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Printmaking As an Expanding Field in Contemporary Art Practice

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Printmaking As an Expanding Field in Contemporary Art Practice Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM ..................................... 18 2.1 The Print and Its Historical Location ...................................................................... 18 2.2 Relevant Histories of the Three Case Study Contexts............................................... 24 2.2a Japan .................................................................................................................. 24 2.2b Australia ............................................................................................................ 28 2.2c Thailand ............................................................................................................. 32 2.3 Broader Visual Arts Contexts ................................................................................. 34 2.4 The Postmodern Condition and Non-Western Epistemologies ................................. 37 Chapter 3 METHODOLOGY............................................................................................. 41 3.1 The Nature of the Research Problem ....................................................................... 41 3.2 Case Study Methodology ......................................................................................... 44 3.3 The Cases and Criteria for Selection ....................................................................... 48 3.4 Data Collection and Analysis ................................................................................... 49 3.5 Issues of Reliability and Validity ............................................................................. 52 3.6 Synthesis ................................................................................................................. 53 3.7 Research Design ...................................................................................................... 54 Chapter 4 CASE STUDY 1 JAPAN ................................................................................... 56 ‘Photographic Interventions’: The Prints of Noda Tetsuya and Shimada Yoshiko ................ 56 4.1 Introduction .......................................................................................................... 56 4.2 Historical Premises for the Print in Japan ................................................................ 64 4.3 Sōsaku Hanga and the career context of Noda Tetsuya and Shimada .......................... 71 Yoshiko ..................................................................................................................... 71 4.4 Prints and Aesthetics in Japan ................................................................................ 79 4.5 Noda Tetsuya and Shimada Yoshiko, Paradoxically In Tune ..................................... 82 4.6. Photographic Interventions.................................................................................... 84 3 4.7 Historical Premises for Photography in Printmaking ................................................. 91 4.8 Tetsuya Noda: Prints Examined in Context .............................................................. 97 4.9 Shimada Yoshiko: Prints Examined in Context ...................................................... 102 4.10 Chapter Summary ............................................................................................. 112 Chapter 5 CASE STUDY 2 AUSTRALIA .................................................................. 115 ‘Crafting Identities’: The Work of Bea Maddock, Raymond Arnold and Judy Watson 115 5.1 Introduction ........................................................................................................ 115 5.2 Historical Premises for the Print in Australia ......................................................... 118 5.3 The Print Council of Australia and Imprint ............................................................ 122 5.4 Bea Maddock: Prints Examined in Context ............................................................ 129 5.5 Raymond Arnold: Prints Examined in Context ....................................................... 145 5.5 Judy Watson: Prints Examined in Context ............................................................. 158 5.7 Chapter Summary ............................................................................................... 172 Chapter 6 CASE STUDY 3 THAILAND .......................................................................... 175 ‘Print as Installation’: The Work of Prawat Laucharoen and Phatyos Buddhacharoen and Their Allies .......................................................................................................... 175 6.1 Introduction ......................................................................................................... 175 6.2 Historical Premises for the Contemporary Print in Thailand .................................... 178 6.3 Silpakorn University and ‘Gate-keepers’ for the Print in Thailand ........................... 187 6.4 The National Exhibition of Art (NEA) .................................................................. 201 6.5 Breaking from Tradition ...................................................................................... 206 6.6 Print as Installation ............................................................................................. 207 6.7 Prawat Laucharoen: Specific Projects Examined in Context .................................... 210 6.8 Phatyos Buddhacharoen: Specific Projects Examined in Context ............................. 223 6.9 Chapter Summary ............................................................................................... 236 Chapter 7 CONCLUSION AND PROPOSITIONS ............................................................ 239 7.1 Theoretical Considerations ................................................................................... 242 7.1a The Postmodern Milieu and Printmaking ............................................................. 243 7.1b Conditions of Contingency When Cultural Borders Are Crossed............................ 245 7.1c Radical Revisionism When the ‘Old’ is Rephrased as the ‘New’ ............................ 248 7. 2 Impact of History and Cultural Imperatives ......................................................... 250 7.2a Nationness ........................................................................................................ 250 7.2b Institutional Gate-keepers .................................................................................. 254 7.2c Jettisoning Authority to Enable Change to Emerge ............................................... 261 7.3 How Has Printmaking Been Transformed by Postmodernism and Globalisation? . 265 7.3a Access to Theoretical Discourse and Global Practice ............................................ 266 4 7.3b Photography and Installation art as an agent for change in printmaking .................. 272 7.4 Significance of chosen case study artists for contemporary printmaking ................ 276 Bibliography: Primary Sources ................................................................................. 279 Unpublished Material and Interviews ......................................................................... 279 Japan ......................................................................................................................... 280 Australia .................................................................................................................... 281 Thailand .................................................................................................................... 282 Bibliography: Secondary Sources ............................................................................ 284 Japan ......................................................................................................................... 290 Australia .................................................................................................................... 297 Thailand ...................................................................................................................
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