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Self-Representations: Exposure/Disguise Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2004 Self-Representations: exposure/disguise Rachel L. Leising Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Leising, Rachel L., "Self-Representations: exposure/disguise" (2004). Retrospective Theses and Dissertations. 20708. https://lib.dr.iastate.edu/rtd/20708 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Self-Representations: exposure/disguise by Rachel L. Leising A thesis submitted to the graduate f aculty in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS Major: Integrated Visual Arts Program of Study Committee: Steven Herrnstadt, Major Professor Dennis Dake Sunghyun Kang Joern Langhorst Iowa State University Ames, Iowa 2004 Copyright © Rachel L. Leising, 2004. All rights reserved. ii Graduate College Iowa State University This is to certify that the master's thesis of Rachel L. Leising has met the thesis requirements of Iowa State University Signatures have been redacted for privacy ZZZ TABLE OF CONTENTS List of Figures iv Glossary vii Acknowledgements v111 Preface ix Introduction 1 Gesturalism 8 Midwestern Backyard 15 Body &Landscape Abstracted 19 An Artistic Process Towards An Emerging Aesthetic 22 The Floral Culture—An Identity Dilemma 25 Frustration &Compulsion Montage(d) 27 Everyday 30 Sleeping Spiritually 33 Conclusion 35 Appendix: Self-Representations—The Video Series 36 Bibliography 37 iv LIST OF FIGURES 1. Muntadas. Between the Lines, 1979. Michael Rush. Video Art. New York: Thames and Hudson, 2003. 2. Campus, Peter. Interface, 1979. Video Art. New York: Thames and Hudson, 2003. 3. Paik, Nam June. Moon is the Oldest TV, 1965-76. Video Art. New York: Thames and Hudson, 2003. 4. Export, Valie. Body Tape, 1970. Video Art. New York: Thames and Hudson, 2003. 5. Jonas, Joan. Vertical Roll, 1972. Video Art. New York: Thames and Hudson, 2003. b. ~ursler, Tony. EVOL, 1984. Video Art. New York: Thames and Hudson, 2003. 7. Rovner, Michal. Dverhanging, 1999. Video Art. New York: Thames and Hudson, 2003. 8. Leising, Rachel. Everyday, 2003. Video still. 9. Leising, Rachel. Juxtaposition. Photograph of outdoor installation, Nov. 10, 2001. Collection of the artist. 10. Leising, Rachel. Juxtaposition. Indoor installation, 2001. Collection of the artist. 11. Leising, Rachel. Physiognomics 1, 2002. Collection of the artist. 12. Leising, Rachel. Physiognomics 2, 2002, Collection of the artist. 13. Leising, Rachel. Untitled 1, 1999. Collection of Muschi Mues. 14. Leising, Rachel. Digital 1, 2000. C011ection of the artist. 15. Leising, Rachel. Curtains, 1999, Collection of the artist. lb. Leising, Rachel. Dancing Sketches, 2001, Collection of the artist. 17. Pollock, Jackson. Lavender Mist. http: / / www.jacksonpollock.com / mist.html 18. Mitchell, Joan. Painting 1953. Livingston, Jane. The Paintings Of Joan Mitchell. New York: Whitney Museum of American Art, 2002: 84, plate 3. 19. Motherwell, Robert. Elegy to the Spanish Republic, No. 57. http: / / www.abstract- art.com 20. Leising, Rachel. Stroke, 2001. Collection Of the artist. 21. Leising, Rachel. Amalgamation, detail, 2001. Collection of the artist. v 22. Leising, Rachel. Juxtaposition, 2001. Video stills. Collection of the artist. 23. Leising, Rachel. Surfaces, 2002. Collection of the artist. 24. Leising, Rachel. Grass stalks used in mono-print process, 2002. Collection of the artist. 25. Leising, Rachel. Grass 1, 2002. 26. Collection of the artist. Mendieta, Ana. Untitled 1963. Ana Mendieta. Santiago de Compostela: Centro Galeagao de Arte Contemporanea, 1996: 51. 27. Mendieta, Ana. Untitled 1980. Ana Mendieta. Santiago de Compostela: Centro Galeagao de Arte Contemporanea, 1996: 51. 28. Leising, Rachel. Frames from Backyard, 2002. Collection of the artist. 29. Leising, Rachel. Frames from BodylLandscape, 2002. Collection of the artist. 30. Ray, Man. Frames from Return to Reason, 1923. www.medienkunstnetz.de/artist/ray/ biography / . 31. Leising, Rachel. Photographs used in making BodylLandscape, 2002. Collection of the artist. 32. Leising, Rachel .Photocopy 1, 2002. Collection of the artist. 33. Leising, Rachel. Photocopy 2, 2002. Collection of the artist. 34. Leising, Rachel. WritinglRecording, 2002. Collection of the artist. 35. Leising, Rachel. Video Screens, 2002. Collection of the artist. 36. Leising, Rachel. Perception, 2002. Collection of the artist. 37. Leising, Rachel. Abstract Black, 2002. Collection of the artist. 38. Todd, Marvin. Mother's Day, 1979. Collection of the artist. 39. Leising, Phillip. Baby blanket, 1978. Collection of the artist. 40. Leising, Rachel. Iescape, 1999. Collection of the artist. 41. Leising, Rachel, Frames from Identity Dilemma (2003). Collection of the artist. 42. Leising, Rachel, Frames from FrustrationlCompulsion (2004). Collection of the artist. 43. Leising, Rachel, Untitled 1 ~ 2 (2003). Collection of the artist. vi 44. Eisenstein, Sergei .Frames from Strike, 1924. http: / / www.sensesof cinema.com / contents /directors / 04 / eisenstein.html 45. Leising, Rachel, frames from Everyday, 2004. Collection of the artist. 46. Ingres, La Grande Odalisque and a men's magazine photograph. John Berger, Ways of Seeing. London: Pelican, 1972. 47. Tabard, Maurice. Untitled, 1929. Stich, Sidra. Anxious Visions. Surrealist Art. New York: Abbeville Press, 1990. 48. Leising, Rachel. Frames from Sleeping, 2004. Collection of the artist. vii GLOSSARY Bisociation. The combinatorial act of mixing physiognomies from two or more separate objects or categories into a new and novel visual configuration. Invented word by Arthur Koestler t0 designate a mental process that is the basis for creative thinking. Distinguished from ordinary associational thinking. Mnemonic. Assisting Or intended t0 assist memory. Mickeymousing. A type Of film music that is purely descriptive and attempts t0 mimic the visual action with musical equivalents. Often used in cartoons. Mise-en-scene. The arrangement Of visual weights and movements within a given space. In the live theater, the space is usually defined by the proscenium arch; in movies, it is defined by the frame that encloses the images. Cinematic mise-en-scene encompasses both the staging Of the action and the way that it's photographed. Montage. Transitional sequences Of rapidly edited images, used to suggest the lapse of time Or the passing of events. Often employs dissolves and multiple exposures. In Europe, montage means the art Of editing. Physiognomy. The practice of trying t0 judge character, mental qualities, or apparent meaning by observation Of features. Apparent structural qualities, basic characteristics; outward features or appearance. Semiotics. The study of meaning in language through the study Of signs. Synchronous sound. The agreement Or correspondence between image and sound, which are recorded simultaneously, Or seem s0 in the finished print. Synchronous sounds appear to derive from an obvious source in the visuals. Visual Metaphor. A figure (visual configuration) containing an implied visual comparison in which structural aspects of an image ordinarily and primarily thought to denote one type of thing is applied to another. viii ACKNOWLEDGEMENTS This study would not have been possible without the patience, guidance, inspiration, participation and support from the following individuals: Steven Herrnstadt, Dennis Dake, Sunghyun Kang, Joern Langhorst, Wai Kin Soo. ix PREFACE The eight-part series Self-Representations: ExposurelDisguise was created during the period of August 2001 August 2004. The process was a personal journey of reflection and contemplation. Video was used as a medium for self-discovery as memories, perceptions and personal relationships were explored. These movies simultaneously revealed and concealed the artist's identity. Juxtaposition revealed an individual's body, layered over ink wash drawings and photographs of plants. The intention was to show the merging between the body, organic forms, and the beauty of their movements and lines. Backyard dealt with childhood memories. The film showcased a style similar to the way memories are constructed. BodylLandscape examined the relationship between spatial elements of the body and earth, while Emerging Aesthetic considered the cyclic nature of the creative process. Identity Dilemma looked at constructions of femininity through flowers in our Western culture. The artist's metaphoric expression of anger was addressed in the montage Frustration/Compulsion. Mass media and its trappings were investigated in Everyday, while Sleep was a tribute to the loss of a loved one. I am continually redefining myself as I explore my sexuality, nature and culture. The tension that exist between an assertion and a corresponding denial of self is situated somewhere between exposure and disguise. My self-representations simultaneously reveal and conceal both my body and identity. Morals that I learned in my childhood were demarcated in stark black and white—this theme is evident in my work albeit subconsciously. As I revisited my body of work, I found powerful metaphors for my conscious self and my future self-representations. INTRODLJCTIC~N
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