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Imagining Alternatives IMAGINING ALTERNATIVES Gazing at the Contemporary World through Figurations of the Outmoded Kylie Banyard University of NSW | COFA PhD Fine Arts 2013 CONTENTS Acknowledgements 3 Abstract 4 List of illustrations 6 Introduction 20 Chapter One The Turn to Obsolescence 57 Chapter Two Examining Visuality and Renewing Wonder 108 Chapter Three The Countercultural Mode 172 Conclusion 265 Bibliography 275 2 ACKNOWLEDGEMENTS My gratitude goes to my two supervisors, the wonderful Dr Toni Ross for her tremendous assistance, support, wisdom and her many close readings of my many drafts. Dr Noelene Lucas for her fantastic support, assistance and encouragement. My appreciation also extends to my dear friend Amber McCullouch for her preliminary edits, as well as other supportive staff and colleagues from COFA, particularly Gary Carsley for his endless belief in me. Thankyou also to Nicole Ellis, David Eastwood, Peter Sharp, Dr Sally Clarke, Kurt Schranzer, Anna Kristensen and Associate Professor Paul Thomas, amongst many others for their support and encouragement. This thesis is dedicated to four special people: my mum and dad, as well as my son Wes Banyard-Coyte and my loving and incredibly patient and talented partner Leo Coyte. Without the four of you I wouldn’t have been able to get this done. 3 ABSTRACT This thesis explains the reasoning behind the convergence of two cases of the outmoded in my art practice. The two instances of obsolescence are old fashioned, pre-cinematic optical devices and the social model of the counterculture commune. My thesis investigates the theoretical, socio-cultural and formal issues associated with my interest in these outmoded phenomena. It will also examine the role of obsolete technologies and ways of living in other contemporary art, asking whether the rekindling of anachronistic forms possess critical agency in the present. Detailed analysis of the twin foci of my research will elaborate how and why I incorporate and reconfigure outmoded forms in my art practice, and through this contribute new knowledge to the contemporary art field. I argue that the outmoded forms given new life in my art hark back to times in the past when it seemed easier to imagine a space and a thinking outside the dominant socio-economic system of modern Western culture; when faith in inventing alternative visions of the world via utopian imagination seemed more vital. My studio-based and written research draws on theoretical resources allied with the tradition of Marxist critical theory, which locate socially critical potential within phenomena considered obsolete within the context of capitalism. The key early proponent of this way of thinking is Walter Benjamin who figures prominently in my research project. My project also builds on the findings of contemporary theorists of Neo-Marxist persuasion who address the social, subjective and ecological shortcomings of the current phase of global capitalism. These thinkers include Fredric Jameson, Slavoj Źižek, Felix Guattari and Franco ‘Bifo’ Berardi among others. Regardless of the current challenges to imagining alternatives to prevailing modes of capitalist production and consumption, my project sets out a politics of the outmoded, which seeks inspiration in technical and social experiments of the past, 4 which, while relegated to the dustbin of history by the techno-teleological drive of capitalism, offer glimmers of hope for alternative futures. 5 LIST OF ILLUSTRATIONS TITLE PAGE Figure 1: Kylie Banyard, Pattern Thinking Inversion (colour), 2013, watercolour on paper with digital manipulation, 52.5 x 39 cm, image courtesy of the artist and Galerie pompom, Sydney. INTRODUCTION Figure 2: Melancholia, Dir. Lars von Trier, 2011 Nordisk Film / Les films du losange, film. Figures 3, 4: Left: Zoetrope, nineteenth century, photograph from the collection at the Deutsches Technikmuseum Berlin. Photograph: Kylie Banyard. Right: Drop City, Colorado USA, viewed on 5 February 2009, http://www.lawrence.com/photos/galleries/2009/aug/02/drop-city-history-pictures/ Figures 5, 6: Left: Kylie Banyard, Pattern Thinking I, 2012, watercolour on paper, 52.5 x 39 cm, image courtesy of the artist and Galerie pompom, Sydney. Right: Kylie Banyard, Winter Romance I, 2012, watercolour on paper, 40 x 48 cm, image courtesy of the artist and Galerie pompom, Sydney. Figure 7: Kylie Banyard, Andrea and Mike’s Place, 2012, oil on canvas, found kaleidoscope, steel, enamel paint, 76 x 92 cm, stand height 150 cm, image courtesy of the artist and Galerie pompom, Sydney. Figure 8: Kylie Banyard, Andrea and Mike’s Place (detail), 2012, oil on canvas, found kaleidoscope, steel, enamel paint, 76 x 92 cm, stand height 150 cm, image courtesy of the artist and Galerie pompom, Sydney. Figure 9: Whole Earth Catalog, ed. Stewart Brand, first edition, Fall, 1968. 6 Figure 10: Kylie Banyard, Imagining Alternatives, 2013, View-Master with custom reel containing images of seven oil paintings, red cedar shelf, dimensions varied, (edition of 5), image courtesy of the artist and Galerie pompom, Sydney. Figure 11: Kylie Banyard, Imagining Alternatives (install detail), 2013, View-Master with custom reel containing images of seven oil paintings, red cedar shelf, dimensions varied, (edition of 5), image courtesy of the artist and Galerie pompom, Sydney. Figure 12: Kylie Banyard, Village Entrance, 2012, oil on canvas, 40 x 46 cm, image courtesy of the artist and Galerie pompom, Sydney. Figures 13,14: (both) Kylie Banyard, Daydreamer II, install views, 2013, Oregon timber, plywood, acrylic, turntable, Dreamachine, cushions, ELO record, dimensions varied, image courtesy of the artist and Galerie pompom, Sydney. Figure 15: Family portrait inside Daydreamer II, 2013. Figures 16, 17: Left: Drop City, Rhizome, 2013, viewed on August 2013, http://rhizome.org/editorial/2013/jul/25/under-dome-drop-city-rockaway-beach/. Right: View-Master, viewed on 3 January 2010, http://upload.wikimedia.org/wikipedia/commons/c/c9/View- Master_Model_E.JPG. Figures 18, 19: Top: Kylie Banyard, Cosmic Tudor, 2011, oil on canvas, 38 x 31 cm, image courtesy of the artist and Galerie pompom, Sydney. Bottom: Zoe Leonard, Lens, 453 West 17th Street, 2012, lens and darkened room, © the artist, courtesy Murray Guy Gallery. Figure 20: Andrea Zittel, Wagon Station in situ at A-Z West, Joshua Tree, CA, 2003, powder-coated steel, mdf, aluminum, lexan, 60 x 70 x 60 inches, 7 ©Andrea Zittel. Figure 21: Kylie Banyard, Dwelling (install), image courtesy of the artist and Galerie pompom, Sydney. Figure 22: Kylie Banyard, DOMESCOPE II, 2013, cardboard, yellow fishing line, found kaleidoscope, steel, enamel paint, ball: 55 x 55 x 55 cm, stand height 150 cm, image courtesy of the artist and Galerie pompom, Sydney. Figure 23: Vegetables growing in my garden, 2012–2013. Photograph: Kylie Banyard. Figure 24: Slavoj Źižek at Occupy Wall Street, 2011, New York City, Impose Magazine, viewed on 30 November 2011, http://www.imposemagazine.com/bytes/slavoj-zizek-speaks-at-occupy-wall-street- qa-transcript. CHAPTER ONE Figure 25: Paul Klee, Angelus Novus, 1920, oil transfer and watercolour on paper, 31.8 x 24.2 cm, The Israel Museum, Jerusalem Collection. Figure 26: Claire Healy and Sean Cordeiro, Lifespan, 2009, VHS videocassette tapes, photograph © Ella Condon, image courtesy of the artists. Figure 27: Claire Healy and Sean Cordeiro, Lifespan (detail), 2009, VHS videocassette tapes, photograph © Ella Condon, image courtesy of the artists. Figure 28: Andre Breton’s 42 Rue Fontaine Atelier, at the Pompidou Centre in Paris. Photograph: Kylie Banyard. 8 Figure 29: Zoe Leonard, Analogue (detail), 1998–2007, C-prints and gelatin silver prints, dimensions unknown, © the artist, courtesy Galerie Gisela Capitain, Cologne. Figure 30: Zoe Leonard, Analogue (detail), 1998–2007, C-print, dimensions unknown, © the artist, courtesy Galerie Gisela Capitain, Cologne. Figure 31: Zoe Leonard, Analogue (detail), 1998–2007, C-print, dimensions unknown, © the artist, courtesy Galerie Gisela Capitain, Cologne. Figure 32: Eugène Atget, Porte d’Asniéres, Cité Valmy, 1913, black & white silver print, Paris, Musée Carnavalet, © Eugène Atget / Musée Carnavalet / Roger- Viollet. Figure 33: Kylie Banyard, Peering into a Bucky Ball, 2010, Ikea table, Perspex, salt crystal, plastic, mirrored Perspex and acrylic paint, overall dimensions vary, image courtesy of the artist and Galerie pompom, Sydney. Figures 34, 35: Left: Richard Buckminster Fuller, Untitled, 1972, © RIBA Library Drawings and Archives Collections. Right: Peepshow, historical illustration, German Museum of Technology, Berlin, 2012. Photograph: Kylie Banyard. Figure 36: Kylie Banyard, Staged Alternatives, 2011, oil on canvas, plywood, pine, customised faceted lens, overall dimensions vary, Grantpirrie Gallery Project Space, image courtesy of the artist and Galerie pompom, Sydney. Figure 37: Kylie Banyard, Staged Alternatives, 2011, oil on canvas, 122 x 168 cm, image courtesy of the artist and Galerie pompom, Sydney. Figure 38: Drop City, Trinadad, Colorado, founded 1965, Clark Rickert, viewed on 10 March 2008, http://www.clarkrichert.com/node/33 9 Figure 39: Kylie Banyard, Staged Alternatives (detail), 2011, oil on canvas, plywood, pine, customised faceted lens, overall dimensions vary, image courtesy of the artist and Galerie pompom, Sydney. Figure 40: Todd McMillian, After the Deluge, 2008, projector, projecto plinth, HD video, media player, image courtesy of the artist and Sarah Cottier Gallery, Sydney. CHAPTER TWO Figure 41: View-Master, circa 1980,
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