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Michelle Oxenham Thesis

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MICHELLE OXENHAM MASTER OF ARTS (RESEARCH) Processes of Transformation: Art into Pop and Back Again A Case Study for Interdisciplinary Practice across Music, Performance and Contemporary Art Queensland University of Technology, Creative Industries Faculty, Visual Art 2014 1 PREFACE This creative practice-led research project has been undertaken by Michelle Oxenham part-time at the Queensland University of Technology, Australia, from 2008 – 2013. This research practice has been carried out with the supervision and guidance of Dan Mafe (Supervisor), Toby Gifford (Associate Supervisor) and Mark Pennings (Associate Supervisor). It assigns 75% to the practical research component and 25% to the written exegetical component. KEYWORDS Visual Arts, Electronic Music, Art Installation, Pop Music, Performance, Practice Led Research, Interdisciplinary, Colour, Painting, Sound, Transformation, Michelle Xen ABBREVIATIONS QUT Queensland University of Technology 2 ABSTRACT Creative practitioners balance their work between worlds. They are expected to innovate, reveal and create, yet are constrained by the limitations of engrained and institutionalised value systems, aesthetic traditions and disciplinary languages. For interdisciplinary practitioners this balance extends to working with competing, and often contradictory, expectations of component disciplines that may as a result hinder or, contrastingly, create productive tension. This exegesis presents strategies of interdisciplinary creative practice that utilise productive tension as a generative and de-stabilising device. Highlighted strategies for negotiating incompatible value- structures involve suspending expectations of the artist during the creative process. These strategies are drawn from, and articulated through, a body of reflective interdisciplinary practice. I have deliberately occupied the fissures within this practice that exist between contemporary art, experimental performance and electronic pop music. Key works feature painting/sound/video installation, experimental performance, electronic pop music video and electronic pop music performance. An idiosyncratic and transformative use of 'colour' acts both literally and metaphorically as an underlying theme. This practice-led research seeks to set up a strong methodology for engaged and generative creative works that are ongoing and rigorous. These ongoing works will continue to reframe a position as artist within creative hierarchies, territories, traditions, and the fluid spaces between. And so then, I broke my life and then my heart into fragmenting pieces. To raze the ground of my self was the only way to really be transformed. All costs aside. This is what I chose. And through the process of this Masters completion, have had to reconstruct my self, bones, cells up. Every time I start to write, the first task is to fall apart again as I face the reality contained in the years of this project and I break again, and then continue to write it up, sew myself back together, through to it’s completion. 3 LIST OF IMAGES 1. Pipilotti Rist, Sip My Ocean, 1996. Installation view. Single-channel video installation, shown using two projectors, with sound, 8 minutes, edition 3/3, dimensions variable. Solomon R. Guggenheim Museum, New York 2. Philip Brophy, Evaporated Music Part 1, c. 2000-06, Video still, Dolby digital 5.1 DVD installation, Courtesy: the artist and Anna Schwartz Gallery, Melbourne 3. Philip Brophy, Evaporated Music Part 2, 2006, Video still, Dolby digital 5.1 DVD installation, Courtesy: the artist and Anna Schwartz Gallery, Melbourne 4. Philip Brophy, Fluorescent, 2004, Installation view, 3 screen Dolby 5.1 DVD installation 5. Philip Brophy, Fluorescent, 2004, Video still, 3 screen Dolby 5.1 DVD installation 6. Moloko, Cover for album release of Statues, 2003, Image courtesy of Moloko and EMI 7. Róisín Murphy, Cover for album release of Overpowered, 2007, Image courtesy of Róisín Murphy and EMI 8. Róisin Murphy, Overpowered Music Video, image still, 2007 Róisín Murphy and EMI 9. Róisín Murphy, Cover for single release You Know Me Better, 2007, Róisín Murphy and EMI 10. Róisín Murphy, Cover for album release of Overpowered CD2, 2007, Róisín Murphy and EMI 11. Róisín Murphy, Overpowered Music Video, image still, 2007 Róisín Murphy and EMI 12. Michelle Xen, Mapping image of practice throughout Masters. 13. Michelle Xen, Fields and Folds Exhibition, Installation view. Tom Heath Gallery, QUT Art Musuem, 2010 14. Bjork, Volta, 2007, in performance for her release Volta in garments designed by Romance Was Born and Bernhard Wilhelm 15. Gutai Group, Atsuko Tanaka Electric Dress,1956 16. Róisín Murphy, Overpowered, album cover for her second album Overpowered in garment by Sandra Backlund 4 17. Traditional Buddhist dress from the Tashi Lhunpo ceremony Durdak – Lords of the Ceremony or Dance of the Skeleton. 18. Bjork, Volta, 2007, in performance for her release Volta in garments designed by Romance Was Born and Bernhard Wilhelm 19. Images from the Harajuku precinct of Tokyo documented for experimental and extreme fashions on the street (specifically the 90’s subcultural psychedelic phase titled “Fruits” image courtesy of Taschen publishing) 20. Bjork, Volta, 2007, in performance for her release Volta in garments designed by Romance Was Born and Bernhard Wilhelm 21. Michelle Xen, Fields, 2008, Oil on Canvas Series, 1010 x 1523mm 22. Michelle Xen Bachelorettechangingopinionforevermore, 2008, Installation view. Single channel video installation, duration 30 mins. 23. Michelle Xen, Bachelorettechangingopinionforevermore, 2008, Single channel video installation, duration 30 mins, video still 24. Edge of Colour live performance, MONA FOMA 2010, performance still, photos by Siobhan Maiden ABC 25. Edge of Colour live performance, MONA FOMA 2010, performance still, photos by Siobhan Maiden ABC 26. Edge of Colour, first performance, 2008, Tiny Gold Art Opening, Gold Coast, Performance stills 27. Edge of Colour, first performance, 2008, Tiny Gold Art Opening, Gold Coast, Performance stills 28. Edge of Colour, Promotional photographs, Photography by Svenja Kratz 29. Edge of Colour, Promotional photographs, Photography by Svenja Kratz 30. Edge of Colour, Glimmer EP Release, Official album art 31. Edge of Colour, Glimmer Music Video, 2009, Video Still, Duration 4:32. 32. Edge of Colour, Glimmer Music Video, 2009, Video Still, Duration 4:32. 33. Edge of Colour, MONA FOMA 2010, photos by Siobhan Maiden ABC 34. Edge of Colour, MONA FOMA 2010, photos by Siobhan Maiden ABC 35. Edge of Colour, MONA FOMA 2010, photos by Siobhan Maiden ABC 5 36. Edge of Colour, MONA FOMA 2010, photos by Siobhan Maiden ABC 37. Michelle Xen, Crush Pop Box I, Level gallery, marked performance zone, 2011 38. Michelle Xen, Crush Pop Box I, Level gallery, marked performance zone, 2011 39. Michelle Xen, Crush Pop Box I, Level gallery, marked performance zone, solo improvisation setup, 2011 40. Michelle Xen, Crush Pop Box I, Level gallery, marked performance zone, solo improvisation setup, 2011 41. Michelle Xen, Crush Pop Box 1, Level Gallery, Fields and Fissures exhibition view, 2011 42. Michelle Xen, Crush Pop Box I, Level gallery, construction, 2011 43. Michelle Xen, Crush Pop Box I, Level gallery, construction – view from inside, 2011 44. Michelle Xen, Crush Pop Box 1, Level Gallery, Installation, exhibition view, 2011 45. Michelle Xen, Crush Pop Box II, 2011. Installation view. QUT 46. Michelle Xen, Crush Pop Box II, 2011. Installation view. QUT 47. Michelle Xen, Crush Pop Box II, 2011. Installation view. QUT 48. Michelle Xen, Crush Pop Box II, 2011. Installation view. QUT ACKNOWLEDGMENTS Daniel Mafe, Toby Gifford, Mark Pennings, John Teh, Siall Waterbright, Sarah Oxenham, Svenja Kratz, Mike Riddle, Paula Dunlop, Siall Waterbright, Clare Dyson, LEVEL Gallery, Jeanette and Michael Oxenham, John and Margaret Teh, Robyn Backen and Carly Dickenson. 6 TABLE OF CONTENTS 1. INTRODUCTION 9 2. ANALYTICAL FRAMEWORK 12 3. PRACTICE – CONTEXT 14 4. LITERATURE – CONTEXT I. INTERDISCIPLINARY 22 II. DISOBEDIENCE 25 III. COLOUR 26 5. METHODOLOGY 28 6. DESCRIPTION OF PRACTICE 31 I. FIELDS AND FOLDS EXHIBITION 32 II. EDGE OF COLOUR | GLIMMER EP AND MUSIC VIDEO 39 III. THE POP CRUSH BOX I & II 47 7. CONCLUSION 54 8. BIBLIOGRAPHY 57 9. EXTENDED READING 59 7 STATEMENT OF ORIGINAL AUTHORSHIP “The work contained in this thesis has not been previously submitted for a degree or diploma at any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously written or published by another person except where due reference is made. In the music composition and production (not including music images, or music video) the Australian Performing Rights Association writer’s percentages are as follows: Michelle Oxenham 50% and John Teh 50% In the collaboration of costume construction with Paula Dunlop for the work Bachelorettechangingopinionforevermore the collaboration percentage is as follows: Michelle Oxenham 50% Paula Dunlop 50%” QUT Verified Signature Signature: Date: Monday 12 May 2014 8 INTRODUCTION I have engaged in a practice-led research project examining the interactions, limitations, tensions and benefits of creative practice. The work engages across disciplines bridging my contemporary art practice to my electronic pop music production and performance. This practice, framed as Art into Pop and back again, seeks to reveal the institutional, critical and disciplinary constraints that allow a transformation and evolution of practice
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  • Classical Hollywood Film Directors' Female-As-Object Obsession and Female Directors' Cinematic Response: a Deconstructionist Study of Six Films

    Classical Hollywood Film Directors' Female-As-Object Obsession and Female Directors' Cinematic Response: a Deconstructionist Study of Six Films

    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1996 Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films Sharon Jeanette Chapman Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Film and Media Studies Commons Recommended Citation Chapman, Sharon Jeanette, "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films" (1996). Theses Digitization Project. 1258. https://scholarworks.lib.csusb.edu/etd-project/1258 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CliASSICAL HOLLYWOOD FILM DIRECTORS' FEMALE-AS-OBJECT OBSESSION AND FEMALE DIRECTORS' CINEMATIC RESPONSE; A DECONSTRUCTIONIST STUDY OF SIX FILMS A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Sharon Jeanette Chapman September 1996 CLASSICAL HOLLYWOOD FILM DIRECTORS' FEMALE-AS-OBJECT OBSESSION AND FEMALE DIRECTORS' CINEMATIC RESPONSE: A DECONSTRUCTIONIST STUDY OF SIX FILMS A Thesis Presented to the Faculty of California State University, San Bernardino by Sharon Jeanette Chapman September 1996 Approved by: Dr. Bruce Golden, Chair, English Date Kellie Raybuirn Dr. e Pigeon ABSTRACT My thesis consists of a short study of the theoretical backgrounds of feminist film study and Classic Hollywood norms and paradigms to prepare the reader for six readings—Singin' in the Rain, Rebecca and Touch of Evil from the Classic male-directed canon; and Fast Times at Ridgemont High, Desperately Seeking Susan, and Home for the Holidays directed by women.