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The Social and Environmental Turn in Late 20Th Century Art

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The Social and Environmental Turn in Late 20Th Century Art THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii Abstract Contrary to prominent New York art critic Hilton Kramer and others who have lamented the weakening and death of the historical avant-garde and its fomenting political unrest, this dissertation argues that the avant-garde attitude is very much alive and thriving. The drive to challenge what exists and to locate oneself outside of a dominant paradigm in order to change it most certainly continues after the so-called triumph of modernism in the 1960s. Yet the contemporary avant-garde has undergone two significant changes. For one, to be avant-garde is no longer synonymous with antagonism against academic institutions. Secondly and more importantly, the contemporary avant-garde is no longer constrained by the modernist idea of polarizing revolutions as the driving force of change. Scholars Bruno Latour and Rosi Braidotti provide theoretical frameworks for understanding the work of art, for example, as complementary and not inherently oppositional to the work of science and technology. For Braidotti, nomadic studies across academic domains and cultural geographies are necessary to come to terms with the complexity of the world. To substantiate my argument about the ongoing vitality of the avant-garde, I draw primarily from the archive of two California artists named Helen and Newton Harrison. Born in New York City in 1927 and 1932 respectively, the Harrisons came of age in the years following the Second World War and married in 1953 with ambitions to develop and use their respective abilities in a way that would benefit society. I present an intimate portrait of the young couple in the postwar era to show that training and self-reflection in those early years is key to appreciating their more than 50-year career in the University of California system, first at UC San Diego and subsequently at UC Santa Cruz, from 1967 to the present. For even within the UC system, the Harrisons have maintained a reputation as self-critical and inquiry-based learners. The latter part of this dissertation is dedicated to an expanded discussion on their nomadic approach to avant-garde aesthetics as it developed in the 1970s on the periphery of theoretical formations and artistic movements, driven by the common goal of realizing a life-support system that bridges social and environmental justice. iv Acknowledgments There are many people who have supported me in the course of research and writing this dissertation to whom I would like to extend my gratitude. I will always remember the day that Ursula K. Heise phoned to announce that I had been admitted to the Program in Modern Thought and Literature (MTL) at Stanford University. Her work in the environmental humanities was inspiring then, and my admiration has grown as she continues to foster new research on multimedia storytelling to drive efforts for a more sustainable world at the Laboratory for Environmental Narrative Strategies (LENS) at the University of California, Los Angeles. Zephyr Frank has served as my principal advisor at Stanford since I commenced my doctoral studies in the fall of 2011. He has supported my individualized pathway through the MTL program with steady assurance that I would always have the freedom to pursue ideas, no matter how rough or perhaps overly ambitious they appeared. Having an advisor who provides you with space to think and who trusts you to develop, pursue, and revise your thinking over time is invaluable. I am grateful that both Ursula and Zephyr agreed to serve as my co-advisors in shaping this dissertation. They have read multiple drafts, and coached me on multiple levels to deepen my engagement with the Harrison archive and the historical context in which I have situated their lifework. I had the pleasure of visiting with Gail Wight in the summer of 2011, before arriving at Stanford, at the Lucas Artists Residency Program at Montalvo Arts Center in Saratoga, California. I immediately appreciated her candor about academic culture and her encouragement to continue cultivating my interest in curatorial practice while I pursued my doctoral degree. Serving as a teaching assistant for Gail’s seminar on art and biology was a highlight of my time at Stanford, and I was thrilled when she joined my dissertation committee. She has offered precise criticism on my writing and wonderful insights as to its relevance to the history of art and art criticism. The generosity of Helen and Newton Harrison must be noted. I owe warm thanks for their welcoming me to their studio in Santa Cruz time and again, speaking with me for hours by phone, and fielding my questions by email. Their passion for art, nature, research, and discourse is inspiring. I am grateful for the opportunity to work with their archive and think critically about their legacy. v The Stanford University Libraries graciously allowed me to work alongside archivists Lucy Waldrop and Freya Channing at the processing facilities in Redwood City as they processed the Harrison archive. Access to the archive has been vital to the success of this dissertation as an original, innovative, and thoroughly researched contribution to the history of art and art criticism as well as the discourse on new environmentalisms. Peter Blank kindly put me in touch with Glynn Edwards who granted me permission to work with Lucy and Freya beginning in the fall of 2014 and continuing through the completion of processing the archive in the spring of 2016. I am also thankful for the generosity of colleagues at the Center for Art + Environment at the Nevada Museum of Art (NMA) and at UC Berkeley’s Sagehen Creek Field Station. In the spring of 2014, NMA’s William F. Fox, Sara Frantz, and Stan St. John welcomed me to sift through archival materials pertaining to one of the Harrisons’ ongoing “Force Majeure” projects called Sierra Nevada: An Adaptation (or Sagehen in the Sierra Nevada, 2007-present) commissioned by CA+E. Faerthen Felix and Jeff Brown furthermore arranged for me to access the Sagehen Creek Field Station so that I could explore the physical site of Sierra Nevada: An Adaptation in the Truckee River Watershed where the adaptation work is taking place. It was a joy to hike up to Carpenter Ridge east of the Sierra Nevada crest to find the headwaters of Sagehen Creek, and then to trace its eight-mile descent (both by foot and by car) through Stampede Reservoir down the Little Truckee River, through Boca Reservoir, to join with the Truckee River (Lake Tahoe’s largest tributary), which flows through Reno’s arts district (home to the NMA) and empties into the Great Basin. That early immersion in both archival and field research set the tone for this dissertation project. A Ric Weiland Graduate Fellowship in the School of Humanities and Sciences supported the fourth and fifth year of my graduate studies at Stanford. Founding donor, Ric Weiland, graduated from Stanford with a degree in electrical engineering in 1976. And after retiring from Microsoft in 1988, he devoted his life to philanthropy, especially gay and lesbian causes, the environment, and health care. The Weiland fellowships are also helping to strengthen interdisciplinary scholarship at Stanford. I benefited greatly from interacting with program administrator Cyndi Geerdes and Weiland fellows across campus, as well as from an equipment and travel grant to carry out research in Southern California and New York City. vi A travel grant from the Graduate Research Opportunity Funds (GRO), sustained by the generous support of alumni of the School of Humanities and Sciences and the Dean’s Office, enabled me to venture even further afield to the island of Sri Lanka in the Indian Ocean to retrace the 1979 journey of the Harrisons and reflect on how the island has changed since that time. I would like to extend my thanks to Tilak Samarawickrema, an acclaimed contemporary artist and architect residing in Colombo, for his hospitality during my travels abroad in the summer of 2015.
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