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Going Beyond the Photo-Archive the Significance of Fantasy and Photo-Reflexivity in Zoe Crosher’S the Michelle Dubois Project

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Going Beyond the Photo-Archive the Significance of Fantasy and Photo-Reflexivity in Zoe Crosher’S the Michelle Dubois Project Université Paris-Diderot UFR Etudes Anglophones Master 2 Recherche: Arts et Culture Visuelles des Pays Anglophones Going Beyond the Photo-Archive The Significance of Fantasy and Photo-Reflexivity in Zoe Crosher’s The Michelle duBois Project by Yonit Aronowicz Master’s Thesis submitted under the supervision of Professor Catherine Bernard May 2017 Going Beyond the Photo-Archive The Significance of Fantasy and Photo-Reflexivity in Zoe Crosher’s The Michelle duBois Project By Yonit Aronowicz Abstract Zoe Crosher is a contemporary American artist who creatively bends and tests the conventions of photography. She combines fact and fiction to create ambiguous documents and semi-imaginative narratives. This thesis addresses some key concepts in contemporary feminist photography through an examination of Crosher’s The Michelle duBois Project – an extensive photo-archival project in which Crosher appropriated, re-contextualized and intervened in the found archive of a ‘mysterious’ amateur photographer named Michelle duBois. Travelling and working in Asia and the Pacific Rim throughout the 1970s and 80s, duBois took on many different costumed guises, names and identities – all of which were obsessively documented and kept in an impressive archive. Crosher ‘re-activated’ duBois’ archive through numerous creative activities that further highlight the materiality of photographic reproduction and the imminent decline of analog photo technologies. In exploration of duBois’ playful self-portraits, I investigate how Crosher’s formal interventions in the images challenge the means by which feminine identity, fantasy narratives and archives are structured visually. Ultimately, I suggest that the project is less about exposing Michelle duBois’ persona and more about the overall impression of an endless accumulation of images framed by Crosher’s vigilant archival and curatorial undertakings. Therefore, the main argument of this thesis is structured around an understanding of Crosher’s multilayered project as a practice of meta-reflection on the creative process itself; that is, an exciting investigation of photography’s new possibilities. iii Table of Contents List of Figures ................................................................................................................................. v Introduction ..................................................................................................................................... 1 Chapter 1: Feminist Art and Photography .................................................................................... 9 Feminist Photography - Process and Development ....................................................................... 10 The Production of Images in Postmodernity ................................................................................. 18 Photo-Reflexivity ........................................................................................................................ 22 Chapter 2: The Displaced Photographic Self ............................................................................... 30 The Ambiguous Portrayal of Michelle duBois.............................................................................. 31 An Alternative Self-Portrait ......................................................................................................... 34 Recording the Feminist Self ......................................................................................................... 37 The Making of Michelle duBois .................................................................................................. 40 The Aspiring Photographer .......................................................................................................... 46 Disruption of Visibility ................................................................................................................ 50 A Chameleon-like Figure ............................................................................................................. 54 Cindy Sherman Vs. Michelle duBois and Zoe Crosher ................................................................. 58 A Feminist Co-authorship ............................................................................................................ 61 Conclusion .................................................................................................................................. 64 Chapter 3: The Unreasonable Archive ......................................................................................... 67 The Artist as Archivist ................................................................................................................. 68 Archival Theory .......................................................................................................................... 70 Re-archiving the Archive ............................................................................................................. 73 The Incomplete Project ................................................................................................................ 77 Photography and the Archive ....................................................................................................... 79 Archival Operations and Manipulations ....................................................................................... 82 The Artist as Curator ................................................................................................................... 85 The Curatorial Rationale .............................................................................................................. 88 The Institutional Wall at MoMA .................................................................................................. 93 Conclusion .................................................................................................................................... 98 Figures ......................................................................................................................................... 104 iv Bibliography ................................................................................................................................ 120 List of Figures Figure 1 : Zoe Crosher, Like Miko Smiling for Christopher Williams, 2008, Fiber print. ................ 104 Figure 2 : Zoe Crosher, The Additive Dust Series no. 30, 2012, Archival pigment print.................. 104 Figure 3 : Zoe Crosher, The Gypsy Cluster (with the Tow Wigs), 2005, 13 Inkjet prints. ................ 104 Figure 4 : Zoe Crosher, Mirrored Autoportrait #1, 2009, Digital C-print. ...................................... 106 Figure 5 : Zoe Crosher, Mirrored Autoportrait #2, 2009, Digital C-print. ...................................... 106 Figure 6 : Zoe Crosher, The Additive Dust Series no. 40, 2012, Archival pigment print.................. 106 Figure 7 : Zoe Crosher, Mae Wested no. 14 (Crumpled), 2012, Digital C-print. ............................. 106 Figure 8 : Zoe Crosher, Obfuscated no. 3, 2009, Archival inkjet print. ........................................... 106 Figure 9 : Zoe Crosher, Interior Portrait - The Disappearance of Michelle duBois Vol. 4, 2012..... 107 Figure 10 : Zoe Crosher, Almost the Same (8-17-86), 2011, Digital C-prints. ................................. 107 Figure 11 : Zoe Crosher, The Additive Dust Series no. 5, 2012, Archival pigment print. ............... 107 Figure 12 : Zoe Crosher, Polaroided - Eight Dollar Meal, 2008, Polaroid and ink. ........................ 108 Figure 13 : Zoe Crosher, Polaroided 5, 2008, Polaroid and ink. ..................................................... 108 Figure 14 : Zoe Crosher, Almost the Same (Veil), 2010, Digital C-prints. ....................................... 108 Figure 15 : Zoe Crosher, Obfuscated, 2009, Original C-print. ........................................................ 108 Figure 16 : Nikki S. Lee, The Hiphop Project (1), 2001, Fujiflex print. .......................................... 109 Figure 17 : Zoe Crosher, Silhouetted no. 6, 2010, Digital C-print. .................................................. 109 Figure 18 : Zoe Crosher, Color Back of Neck, 2008, Digital C-print. ............................................. 109 Figure 19 : Zoe Crosher, The Additive Dust Series no.34, 2012, Archival pigment print. ................ 110 Figure 20 : Zoe Crosher, The Additive Dust Series no.43, 2012, Archival pigment print. ................ 110 Figure 21 : Zoe Crosher, Mae Wested no.8 (Crumpled), 2012, Digital C-print. .............................. 110 Figure 22 : Zoe Crosher, The Other Disappeared Nurse, 2012, (Installation view) Perry Rubenstein Gallery. ......................................................................................................................................... 111 Figure 23 : Zoe Crosher, The Reconsidered Archive of Michelle duBois Vol. 1, 2011. .................... 111 Figure 24 : Zoe Crosher, Posed Postcard, 2004. ............................................................................ 111 Figure 25 : Zoe Crosher, The Cindy Shermanesque (But She's the Real Thing), 2005, Twelve lightjet prints. ............................................................................................................................................ 112 v Figure 26 : Zoe Crosher, Almost the Same (Really Disguised), 2010, Digital C-Prints. ................... 112 Figure 27 : [Michelle duBois] The Other Disappeared Nurse no.1, 2012. .....................................
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