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Shame and the Aesthetics of Intimacy Three SHAME AND THE AESTHETICS OF INTIMACY THREE CONTEMPORARY ARTWORKS ELLA DREYFUS 1 Shame and the Aesthetics of Intimacy Three Contemporary Artworks Ella Dreyfus This thesis is submitted in support of three contemporary artworks DOCTOR OF PHILOSOPHY School of Art, College of Fine Arts, University of New South Wales 2012 2 3 ABSTRACT This research project explores contemporary visual arts that are located within a field I identify as the ‘aesthetics of intimacy’. Within this field I explore the emotional state of shame, including feelings about the body, and the capacity of art to build relationships between the artist, artwork and audience. This research project shows how affects can be foregrounded within contemporary artworks, to provide intimate, aesthetic encounters that impact on individuals and groups. The thesis specifically articulates an expansion of my art practice which led to the creation of new conceptual approaches to exploring the relationships between artists, subject/models and spectators. It also examines the way that art galleries, exhibition spaces or public places can provide a forum for intimate experiences for viewers Three bodies of artworks were created for this research project — Weight and Sea, Scumbag and To see beyond what seems to be. The first artwork, Weight and Sea, is an interactive sculpture that invites audiences to shift in their traditional position from objective spectator to embodied subject by spontaneously performing within the work. This artwork is located in a public environment and reveals personal and private information about bodies, activating shame responses when confronted by a large audience. In the second artwork, Scumbag, the physical body is absent, yet its presence is conveyed by emotive language inserted into specific domestic sites, then photographed in order to confront shameful issues about domestic and familial traumas. In the final artwork, To see beyond what seems to be, the emphasis shifts to a more abstract representation of emotion, where shame is transformed and spectators encounter the possibility of new and transformative personal meanings. The first and second artworks identify different aspects of how private shame is disclosed in public spaces, whilst the third artwork moves towards a possible emotional and visual resolution for the viewer. These three works map significant shifts in my practice and the movement from conventional representational modes of seeing and representing the body, demonstrating the potential for difficult feelings to reside within the ‘aesthetics of intimacy’. The affect of shame is critically analysed from the perspective of how shame can be transformed from being a negative affect into a productive and creative force. I describe this creative force as a ‘gateway to intimacy’. My thesis is supported by key theorists on the ‘aesthetics of shame’, such as Tomkins, Sedgwick, Probyn and Munt and comparisons are drawn with the works of contemporary artists such as Bourgeois, Goldin, Spence, Emin and Moffatt, who are located within the field of intimacy by their critical explorations of subjectivity. This research project provides a new model for contemporary art practice through the exploration of shame and the experience of intimacy. The findings of this research have implications for artists as an exploration of how an aesthetic work and its environment, might embrace positive and negative affect as relational encounters for audiences. This knowledge permits levels of both increased subtlety and playfulness to emerge without compromising either the seriousness of emotions such as shame or the importance of intimacy. 4 ACKNOWLEDGMENTS This research project was supported by many personal friends and professional associates, as well as by various institutions that I would like to acknowledge. My sincerest thanks, deepest love and respect go to my husband David Chemke, who has been my primary supporter for many years, emotionally, ethically and gastronomically. My children Felix and Axel are a continual source of delight and inspiration, and my parents Dora and Richard Dreyfus always encouraged my creative pursuits. I would like to especially thank Dr Shoshana Dreyfus and Dr Kay Dreyfus for their input, expertise and moral support throughout the entire research period. I also thank academics Dr Maree Stenglin, Dr Mari Velonaki and Dr Susan Landau for their interest in my research work. For their wonderful support of the three art exhibitions I would like to thank David Handley and the staff at Sculpture by the Sea, Kathy Freedman, Bronwyn Rennex and the staff at Stills Gallery, Sue Callanan, Margaret Roberts and the committee at Articulate Project Space and Gillean Shaw and staff at the University of Newcastle Gallery. My heartfelt thanks go to the many models, spectators and audiences who participated in my artworks. Without their willingness to join in these projects and thereby complete the works, there would be no aesthetics of intimacy. I am also grateful to the hundreds of people who shared their intimate stories, experience, strength and hope in group meetings and on and individual basis over many years. I also thank my extended family, friends, neighbours and colleagues in the visual arts for their enthusiasm and encouragement. I was delighted to be awarded an Australian Postgraduate Award and the Postgraduate Research Student Support Grant by the College of Fine Arts, University of New South Wales. These grants enabled me to undertake the research and travel overseas to present my findings at international conferences in Budapest and New York. I am also grateful to the National Art School for supporting my professional development leave in order to complete this thesis. I also thank the two external examiners of my work, Dr Pam Sinnott from the University of Newcastle and Dr Marsha Meskimmon from Loughborough University, UK. I am grateful for their engaging, interested and supportive comments about this research and it’s outcomes. Finally, I would like to thank the following academics and staff at COFA for their vast knowledge, guidance and essential support of my research project; supervisors Dr Bonita Ely and Dr Jill Bennett; Dr Leong Chan, Dr Paula Dawson, Professor Ian Howard, Joanna Elliot, Douglas McKeough, Maria Zueva and my very special thanks to Emeritus Professor Elizabeth Ashburn. 5 TABLE OF CONTENTS PROLOGUE .......................................................................................................................................... 8 CHAPTER ONE: INTRODUCTION ................................................................................................ 9 CHAPTER TWO: PUTTING MYSELF IN THE PICTURE ....................................................... 14 2.1 Feminist representation ......................................................................................................... 21 CHAPTER THREE: IN THE SHADOW OF SHAME.................................................................. 25 3.1 Speaking shame .................................................................................................................... 25 3.2 The double bind of shame ..................................................................................................... 28 3.3 Photography and proximity ................................................................................................... 32 3.4 Phototherapy: transforming shame ....................................................................................... 36 CHAPTER FOUR: INTIMATE UNTO OURSELVES ................................................................. 43 4.1 Private passion: the search for intimacy ............................................................................... 43 4.2 Re-enacting, visualizing and witnessing ............................................................................... 48 4.3 The art of shame .................................................................................................................... 55 CHAPTER FIVE: A GATEWAY TO INTIMACY ....................................................................... 61 5.1 An initial shift ....................................................................................................................... 65 5.2 Risky viewing ....................................................................................................................... 68 5.3 Art galleries as intimate spaces ............................................................................................. 72 5.4 Social and relational encounters ........................................................................................... 77 5.5 The embodied spectator ........................................................................................................ 79 CHAPTER SIX: WEIGHT AND SEA .............................................................................................. 82 6.1 Shameful exposures in public places .................................................................................... 83 6.2 Seeing shame ........................................................................................................................ 88 6.3 From spectator to ‘spectated’ ................................................................................................ 91 6.4 Voyeurs of shame ................................................................................................................. 99 6.5 Surveillance of the self .......................................................................................................
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