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File Extension of the Image from ‘.Jpg’ to ‘.Txt’, Revealing the Alphanumeric Text That Instructs Software to Generate an On-Screen Image Reiterative drawing as translation : Making, resistance, and the negotiated encounter. ECCLESHALL, Bryan D. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19596/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19596/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reiterative Drawing as Translation: Making, Resistance, and the Negotiated Encounter Bryan David Eccleshall A thesis submitted in partial fulfilment of the requirement of Sheffield Hallam University for the degree of Doctor of Philosophy January 2016 ProQuest Number: 10694477 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694477 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Declaration I, Bryan David Eccleshall, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and three accompanying publications and an art work, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. I declare that this submission is my own work, and has not been submitted for any other academic award. The use of all materials from sources other than my own work has been properly and fully acknowledged. P a g e ii of ix Abstract Reiterative drawing as translation: making, resistance, and the negotiated encounter Reiterative art, art that remakes art, is a significant strand of twentieth and twenty-first century practice, encompassing the work of artists as diverse as Marcel Duchamp, Elaine Sturtevant, Kate Davis, and Yann Serandour. Prevailing discourses on such works often focus on replication and appropriation as the source of their critique while overlooking what might be understood by exploring their making. Founded in an examination of my own work - predominantly drawings of extant works by others - this doctoral project frames reiterative art in terms of translation and its attendant theory, transforming the act of making into a close reading of its source, and following up on the implications of that reframing. Translations plot trajectories away from their sources and towards specific targets, exposing the space, conceptual and actual, between precursor and product as one of making through remaking and where an extended apprenticeship’ occurs (Briggs, 2013). An expanded description of translation is proposed encompassing visual and literary forms, incorporating the importance of resistance in complex making processes through the generation of sites of negotiated encounter (Sennett, 2008). Negotiation is considered here as a variant of the ongoing and contingent ‘figuring out’ of interlocutors, described by Jacques Ranciere as a hallmark of emancipation, and predicated on a striving for an understanding that must be understood in its true sense: not the decisive power to unveil things, but the power of translation that makes one speaker confront another’ (The Ignorant Schoolmaster, 1991). In translation, as in the drawings produced for this research, negotiation is verifiable and tripartite: occurring between translator, source, and target works. Antoine Berman’s analytic, the ‘twelve deforming tendencies of translation’ (found in his essay Translation and Trials of the Foreign, 1985), when deployed to analyse visual rather than linguistic reiteration, facilitates this verifiability. Berman’s tendencies are revealed as a regulation of the maker’s voice, allowing the artist to understand how works of art are deformed even as they are made, and furthermore providing a new vocabulary for understanding works of art, particularly those founded on reiteration. P a g e iii of ix I promise nothing complete; because any human thing supposed to be complete must for that very reason infallibly be faulty. Herman Melville, Moby Dick P age iv of ix Contents List of Illustrations vi Acknowledgements viii Introduction 1 Chapter One: On Practice, Method, and Reflection 24 I: On Practice 25 II: On Method 43 III: Reflection on Practice 50 Chapter Two: On Translation and Practice 65 I: On Translation 66 II: On Practice 78 Chapter Three: Antoine Bermans Twelve Deforming Tendencies of Translation 82 I: Preamble 83 II: The Twelve Deforming Tendencies of Translation Rationalisation, Rewritten 87 III: Finding a Voice 123 Conclusion: Practice and Pedagogy, in Terms of Translation 128 I: Preamble 129 II: On Practice 130 III: Language and Image 138 IV: Berman as Pedagogical Tool 140 V: Closing Remarks 143 Bibliography 145 Appendices 157 Appendix One: After Berman, Rewriting the Analytic 158 Appendix Two: Timeline 171 Appendectomies (Bound Separately) After After... Interviews: six conversations and one correspondence P age v of ix List of Illustrations 1. Plight, Joseph Beuys 2. Plight, showing transparent barrier, Joseph Beuys 3. Seventeen Fountains, Marcel Duchamp 4. The Incredulity o f St Thomas (sketch) 5. After Caravaggio's The Incredulity o f St Thomas 6. Salon Carre, without the Mona Lisa 7. Gone (painted wall) 8. Cloaking Gone (video stills) 9. Gone (plaque) 10. Post Hoc (installation view, tracing) 11. Post Hoc (installation view, five books) 12. Post Hoc (cover and pages i-vii) 13. Inside the White Cube (OverprintedEdition), Yann Serandour 14. Drawing Plight I (eight images) 15. Drawing Plight II (ten images) 16. Droeshout Portrait Corruption, Bryan Eccleshall and Kenneth Goldsmith 17. Plight.jpg ( page one) 18. One and Three Chairs, Joseph Kosuth 19. Louis Vuitton advert, featuring Uma Thurman 20. Wedding at Cana, Paolo Veronese (Original Painting and Facsimile) 21. Duchamp Bicycle Wheel, Sturtevant 22. After Walker Evans, Sherrie Levine and After Walker Evans' and Sherrie Levine's Annie Mae Burroughs 23. Catcher in the Rye, Richard Prince P age vi of ix 24. Robinson Crusoe and his table 25. Drawing #960, Sol LeWitt 26. La Trahison des Images [The Treachery o f Images], Rene Magritte 27. After... (installation view) 28. Translating Don Quijote, Juan Cruz 29. Bench, Graham Dolphin 30. Las Meninas (Velasquez and Picasso) 31. 24 Hour Psycho, Douglas Gordon 32. Tulips and Dog Ballon (Blue), Jeff Koons 33. Painted Bronze (Ale Cans), Jasper Johns 34. Who is a Woman Now?, Kate Davis 35. Still in Translation 36. Volkszdhlung, Anselm Kiefer 37. Les GrandesBaigneuses [TheBathers], Paul Cezanne 38. Levitation, Sigmar Polke 39. Still Life with Chair Caning, Pablo Picasso 40. Outsider (I Want), Kate Davis 41. KabinettderAbstrakten, GoshkaMacuga 42. Lead Triptych: Schmerzraum, Catching Lead and Volkszdhlung 43. Re-sequenced Colour Chart inserted into a La Pleiade edition o f Bleak House, Guillaume Constantin 44. After Joseph Beuys's Wirtschaftswerte (Economic Values) I 45. Show Your Wound (After Joseph Beuys' Wirtschaftswerte I I and After Caravaggio's The Incredulity o f St Thomas) 46. After Walker Evans’and Sherrie Levine’s Annie Mae Burroughs (Partially Constructed) P age vii of ix Acknowledgments Many people have helped me complete this project and it is only right that I acknowledge the debt I owe them since enrolling in 2011. This Ph.D. been funded partly from money left to me by my grandfather George Eccleshall. Aside from this tangible support, my debt extends to the rest of his generation who settled down after 1945 and worked to provide the conditions that ultimately allowed me to study at such a rarified level. While he never knew academia, he knew the value of work and would, I hope, have understood my realisation that it is in the doing, as much as the thinking, that we grow. I was the first of my family to study beyond school and did so with the support of my parents, for which I will always be grateful. This thesis begins with a key moment from those days and, in many ways, is a final validation of my under-graduate experience. When this project began Dale Holmes was completing his own Ph.D. research and in the two years we shared a studio and an office he asked difficult questions that helped me see this project with new eyes. I am as grateful for his recalcitrance as his friendship. As I complete my research many others have joined the programme at Sheffield Hallam University, further enriching my experience. I wish them all well and thank them for their support and energy. I am especially grateful to Rachel Smith who has been a patient sounding-board for much of what is included in here. Much of the work discussed in this thesis has been shown at Bank Street Arts in Sheffield. That is due in no small part to John Clark who has always, from our first meeting, said yes’ to my proposals and encouraged me to think of Bank Street as a place where work can be made, shown, and tested. As I write this in January 2016 the long-term future of the centre is uncertain but I hope that it continues to offer an accessible space for students and others to experiment. While carrying out this research I have worked as a tutor for the Open College of the Arts.
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