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Amanda Speight Thesis Amanda Speight Diploma of Education Secondary (Art/English) Bachelor of Arts Honours (Visual Arts) op writing: Text Ornamenting Vision Thesis Submission for Doctor of Philosophy Visual Arts CIF Research Office Queensland University of Technology 2008 1 Certificate recommending acceptance 2 Key Words Arts practice Art history-theory Contemporary visual arts Clement Greenberg Ornament and modern art Frank Stella Text and modern art Lawrence Weiner 3 Abstract: The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as “foreign” forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re- examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a “decorative” painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella’s early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner’s statement- sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a “direct” form of art information that would remain unchanged even in reproduction. But as Weiner’s work is reproduced in journals and magazines, this “direct” form of art is complicated through a variety of reproductive forms – documentary photographs, transcription errors and differences in the visual format and typography of the text. 4 In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities. 5 Table of Contents: Page List of Figures 7 Introduction Re: Visions of the Decorative 11 Chapter 1 Divisions of the Decorative: 32 The decorative in early modernism Chapter 2 Re-visions of the Decorative 1: 59 Clement Greenberg and the decorative that must be used against itself. Chapter 3 Re-visions of the Decorative 2: 68 Frank Stella and the indirect decorative. Chapter 4 Revisions of the Decorative: 92 How the Black series paintings became the white pin-striped paintings. Chapter 5 The Writing of Materials and the Materials of 100 Writing: The statement-sculptures of Lawrence Weiner Chapter 6 Suspicious Imaginings: 146 A story of Lawrence Weiner and statement- sculpture #001. Chapter 7 How to See How to Write: 153 Revisions of translation. Chapter 8 Interior Decorations: 181 Decorative translations of modernist abstraction. Chapter 9 Scripts for Devision (2003 – 2004). 207 Chapter 10 Op Writing 222 Appendix Images of the exhibition Refabrication (2004) 239 Bibliography 255 6 List of Figures: Page Figure 1: Villa Primavesi, Winkelsdorf, designed by Josef Hoffmann, 36 1913. Figure 2: Gustav Klimt wearing a houserobe featuring Waldidyll (1910/11) 38 by Carl Otto Czeschka. Figure 3: Portrait of Friederike Beer-Monti (1916) by Gustav Klimt. 42 Figure 4: Die Fahne hoch (The Flag on High) (1959) Frank Stella. 73 Figure 5: Frank Stella (1959) 94 Figure 6: Die Fahne hoch (The Flag on High) (1959). Frank Stella. 96 Figure 7: Frank Stella (1959) 98 Figure 8: The cover and two sample pages from STATEMENTS (1968) by 113 Lawrence Weiner. Figure 9: From Zang Tumb Tuum (1914) by Filippo Tomasso Marinetti. 122 Figure 10: From Zang Tumb Tuum (1914) by Filippo Tomasso Marinetti. 123 Figure 11: An example of how the statement-sculptures appear in books. 126 Figure 12: STAPLES, STAKES, TWINE , TURF (1968) by Lawrence 149 Weiner. Figure 13 Starlite (1993) by Debra Dawes. 187 Figure 14 Transcription of Scripts for Devision (2003 – 2004). 208 Disgusting Scrutiny. Amanda Speight. Figure 15 Transcription of Scripts for Devision (2003 – 2004). 209 Invisible Painting. Amanda Speight. Figure 16 Transcription of Scripts for Devision (2003 – 2004). 210 Colours Written Backwards. Amanda Speight. Figure 17 Transcription of Scripts for Devision (2003 – 2004). 211 Just out of Focus. Amanda Speight. Figure 18 Transcription of Scripts for Devision (2003 – 2004). 212 Kissing Distance. Amanda Speight. Figure 19 Transcription of Scripts for Devision (2003 – 2004). 213 Light or Colour. Amanda Speight. Figure 20 Transcription of Scripts for Devision (2003 – 2004). 214 Shadows or Colours? Amanda Speight. Figure 21 Transcription of Scripts for Devision (2003 – 2004). 215 Souvenir of a Painting. Amanda Speight. 7 List of Figures Continued … Figure 22 Transcription of Scripts for Devision (2003 – 2004). 216 Successive Resemblance. Amanda Speight. Figure 23 Scripts for Devision (2003 – 2004). Installation view. 217 Amanda Speight. Figure 24 Commemorative Labyrinth by Florentius (945) 225 Figure 25 Part of the installation Dissemble (2003) Amanda Speight. 227 Figure 26 Dissemble (2003) Installation view. Amanda Speight. 228 Figure 27 Dissemble (2003) (detail). Amanda Speight. 228 Figure 28 Dissemble (2003) (detail). Amanda Speight. 228 Figure 29 Dissemble (2003) (detail). Amanda Speight. 232 Figure 30 Dissemble (2003) (detail). Amanda Speight. 232 Figure 31 A fragment of Souvenir of a Painting (2003 – 2004) 237 Amanda Speight. Figure 32 Dissemble (2003) Installation view. Amanda Speight. 240 Figure 33 Dissemble (2003) Installation view. Amanda Speight. 241 Figure 34 Dissemble (2003) (detail). Amanda Speight. 241 Figure 35 Dissemble (2003) (detail). Amanda Speight. 241 Figure 36 Dissemble (2003) Installation view. Amanda Speight. 242 Figure 37 Dissemble (2003) Installation view. Amanda Speight. 242 Figure 38 Dissemble (2003) (detail). Amanda Speight. 243 Figure 39 Dissemble (2003) (detail). Amanda Speight. 243 Figure 40 Dissemble (2003) (detail). Amanda Speight. 244 Figure 41 Dissemble (2003) (detail). Amanda Speight. 244 Figure 42 Dissemble (2003) (detail). Amanda Speight. 244 Figure 43 Ensemble (2004) Installation view. Amanda Speight. 245 Figure 44 Ensemble (2004) (detail). Amanda Speight. 245 Figure 45 Ensemble (2004) (detail). Amanda Speight. 246 Figure 46 Ensemble (2004) (detail). Amanda Speight. 246 Figure 47 Ensemble (2004) Installation view. Amanda Speight. 247 8 List of Figures Continued … Figure 48 Double Hues (2004) Installation view. Amanda Speight. 248 Figure 49 Double Hues (2004) Installation view. Amanda Speight. 248 Figure 50 Double Hues (2004) Installation view. Amanda Speight. 249 Figure 51 Double Hues (2004) Installation view. Amanda Speight. 249 Figure 52 Double Hues (2004) (detail). Amanda Speight. 250 Figure 53 Double Hues (2004) (detail). Amanda Speight. 250 Figure 54 Souvenir of a Painting (2003 – 2004). Installation view. 251 Amanda Speight. Figure 55 Souvenir of a Painting (2003 – 2004) (detail). Amanda Speight. 251 Figure 56 Refabrication (2004) Installation view. Amanda Speight. 252 Figure 57 Refabrication (2004) (detail). Amanda Speight. 253 Figure 58 Refabrication (2004) (detail). Amanda Speight. 253 Figure 59 Refabrication (2004) (detail). Amanda Speight. 254 9 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 published or written by another person except where due reference is made. Signed: _____________________________ Date: _____________________________ The Doctor of Philosophy consists of two interrelated research components: the creative practice (40%) and this thesis (60%). Supervisory Team: Dr Andrew Eamonn McNamara (P) Principal Supervisor IF49 Mr Mark Andrew Webb Associate Supervisor IF49 10 Introduction Re: Visions of the Decorative 11 In this thesis, I present the diverse work of my creative practice as part of an ongoing dialogue with some key quandaries in the history and practice of modernist abstract painting.1 The creative practice includes installation, painting, photography, text and an exhibition-catalogue. Exploring the decorative and graphic possibilities of writing, the creative practice engages with (visual) codes conventionally associated with the fields of writing and pattern, and places them within the context of visual art. Many of the works in my creative practice contain letters of the alphabet that have been doubled, mirrored and rotated to make decorative patterns. When this patterned writing becomes the subject of painting there is an intriguing oscillation and complication between reading and seeing, writing and pattern, the decorative and the abstract. The tasks of the thesis are to contextualise and examine this form of creative practice. But the effort to accomplish these tasks
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