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The Lives of Fictional Artists

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The Lives of Fictional Artists A Transfictive Tale Life of the Artist as a Self-Brand PhD Thesis 2016 Sara Sylvester NOTICE OF SUBMISSION FORM SECTION A: TO BE COMPLETED BY THE CANDIDATE AND SUBMITTED WITH THE THESIS Candidate’s last name Sylvester Candidate’s first name(s) Sara Candidate’s student 0939407 number School Journalism, Media and Cultural Studies Please circle appropriate degree title: Title of degree DAHP, DClinPsy, DEdPsy, DHS, DSW, DNurs, EdD, EngD, MD, MPhil, MScD by Research, PhD, SPPD A Transfictive Tale: Life of the Artist as a Self-brand Full title of thesis Is this a resubmission? YES / NO Bar on Access: YES / NO Library deposit: YES / NO Is a Bar on Access or If YES, please attach your application form or approval confirmation. For library deposit required? guidance and forms, please see: http://learning.cf.ac.uk/quality/pgr/code/thesis-preparation-and- examination/uploading-your-thesis-to-orca-important-information/ Candidate’s signature Date The completed form and all relevant supporting documentation should be returned to: [email protected] or Student Records Team, Registry, 30-36 Newport Road, Cardiff, CF24 0DE. I II ANNEX 1: Specimen layout for Declaration/Statements page to be included in a thesis. DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ……………………………………………………… (candidate) Date STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD Signed ………………………………………….…………… (candidate) Date STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated, and the thesis has not been edited by a third party beyond what is permitted by Cardiff University’s Policy on the Use of Third Party Editors by Research Degree Students. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ……………………………………….……….…… (candidate) Date STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ……………………………………………..…..….. (candidate) Date STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ……………………………………………..……… (candidate) Date III IV Abstract The body serves as a critical site of identity performance particularly when considering the implications of technology on construction of the self. This thesis investigates the growing interest in the development of transfictive artists as art practice and how through the use of multimedia platforms it is possible to create and establish a fictional identity through transmedia storytelling. Each of the fictional artists selected for this research, namely Susan Fielder, Donelle Woolford, Cherry Lazar, Ona Artist and Seren Sanclêr, function to draw the audience into exploring issues of identity, performance, in particular, the artist persona as exemplifying selfebrity. This original contribution to knowledge explores the ideas, concerns and ways of creating a transfictive heteronymic persona in relation to gender politics, the ways in which media convergence is utilised to develop identity, performance and the importance of self- branding. The case studies are discussed in relation to the above issues, demonstrating where appropriate the influence that digital media has had on contemporary art by offering new challenges and opportunities to explore issues of identity construction. By taking an autoethnography approach to explore identity performance, the research incorporates visual autoethnography to illuminate directly the construction process of crafting a fictive artist, Seren Sanclêr, as a site for the development of new knowledge about transfictive storytelling as a process to develop identity. What this particular thesis intends to examine is why artists are creating fictive artists and how this specific art practice reflects and informs the culture from which it emerges. V VI Keywords Alter Ego, Fictive Art, Gender, Hypereality, Identity, Performance, Digital, Technology, Photography, Selfies, Self-Branding, Social Media, Superfictions, Transmedia, Parafiction, Transmediated Self, Visual Art, Femininity-as-image, Feminist art, Post-feminism, Digi Feminism, Selfebrity, Micro- Celebrity, Transfictive Heteronym VII VIII Acknowledgments Undertaking this PhD has been an illuminating seven year journey for me and it would not have been possible to do without the support and guidance that I received from many people. The last seven years have marked great changes in my life including the birth of my daughter, a move to Dubai and back, exhibiting as an artist, as well as a change in career. I would like to first say a very big thank you to my supervisor Dr Jenny Kidd for all the support and encouragement she gave me during my time at Cardiff University. Without her guidance and valuable feedback this PhD would not have been achievable. Many thanks also to Dr Daniel Meadows who supported me during the early years of my research reminding me that the PhD is a journey and his words have always remained in my mind particularly as my project has progressed and transformed. I am also very grateful for Dr Paul Bowman’s encouragement and his valuable input in guiding me through my project. I gratefully acknowledge the funding received towards my PhD from the School of Journalism, Media and Cultural Studies. Without the Sir Tom Hopkinson Scholarship I would not have been able to begin or complete my research. My thanks also goes to the artists examined for this project particularly in taking time to be interviewed. I am especially grateful to Sandra Bridie, Melanie Beddie, Kevin Murray, Stephanie Key, Joe Scanlan and Leah Schrager for providing such insight into their art practice which made an invaluable contribution towards my PhD. Equally my deep appreciation goes out to the fictive artists Susan Fielder, Donelle Woolford, Cherry Lazar and Ona Artist whom without their input the PhD study would not have been possible. I would like also like to thank Arts Council Wales, G39 and Cardiff Artists’ Forum for welcoming me and supporting my role as participant observer as well as taking a real interest in my research. Most importantly I would also like to say a heartfelt thank you to my family. I express great gratitude to my mother in law, Carla Mitchell who babysat countless times during write up stage in order for me to complete the thesis. And to my darling Sia for being such an amazing daughter and at times a very patient toddler, making it possible for me to complete what I started. Lastly, my greatest thanks goes to my husband Damon for always believing in me and encouraging me to fulfil my ambitions. Damon, who has been by my side throughout this PhD, living every single minute of it, and without whom, I would not have had the courage to embark on this journey in the first place. IX X Table of Contents Notice of Submission Form I Declaration III Abstract V Key Word VII Acknowledgments IX Table of Contents XI List of Figures XIII 1. Introduction 1 1.1. A Transfictive Artist is Born 2 1.2. Fictional Artists – A Brief History and Defining an Artform 8 1.3. Fictive Biographies 10 1.4. The Terminology of Transmedia 11 1.5. The Art of a Feminist Approach 13 1.6. Background to the Research 20 1.7. Chapter Overview 33 1.8. Research questions 35 1.9. Summary 37 2. Literature Review 38 2.1. Gender, Genius and the Canon of Art 39 2.2. Feminist Art – A Herstory 47 2.3. Portrait of an Artist as a Young Woman - Gender and Identity 58 2.4. Going Viral - Digital Technologies, Social Media and Digi Feminism 75 2.5. Summary 100 3. Methodology 100 3.1. Autoethnography as a Qualitative Research Method 104 3.2. What’s in a Name? Defining Autoethnography 107 3.3. Arts Based Research and Visual Methodologies 118 3.4. An Analytical/Visual Autoethnographic Approach 124 3.5. Developing a Multidiscipline Methodology 137 3.6. Summary 149 XI 4. The Performance of Fictive Artists: Susan Fielder, Donelle Woolford, Cherry Lazar 151 and Ona Artist 4.1. Case Study Introduction 152 4.2. Susan Fielder: Why have there been no great women artists? Constructing the 152 Failure as a Woman Artist 4.3. Donelle Woolford: And Man created Woman? Collaborative embodiment of Race, 164 Gender and Feminism 4.4. Cherry Lazar: The Second Self, Eroticism and Celebration of Female Sexuality 180 4.5. Ona Artist: Body as Gesture and Feminist Performance 191 4.6. Summary 209 5. The Spectacle of Seren Sanclêr 215 5.1. The Fictive Biography of Seren Sanclêr 216 5.2. Making a show of herself: Seren Sanclêr and the creation of an artist 217 5.3. Selfebrity - the self-branding of Seren Sanclêr 219 5.4. Strategy and the question of the transfictive artist as a feminist 223 5.5. Summary 225 6. Constructing Seren Sanclêr – A Visual Autoethnography 228 7. Conclusion 259 7.1. Reflecting on Transfictive Heteronym Artists 260 7.2. Self and Performativity 262 7.3. Rebooting Cyberfeminism 265 7.4. Post Postmodern Identity Formation 265 7.5. And Woman Created Woman – A Posthuman Process 266 7.6. Authorship Resurrection 269 7.7. The Rhetoric of the Transfictive Pose 274 7.8. Final Reflections 275 8. Bibliography 280 9. Appendices 322 XII List of Figures Figure 1.1 Sanclêr, S. 2016. Retrospective Show Poster Design [Digital Art] Figure 1.2 Sanclêr, S.
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