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Co-Option in Fine Art Practice John Christopher Lavell Phd 2010

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Co-Option in Fine Art Practice John Christopher Lavell Phd 2010 ‘The Power of Naming’; Co-option in Fine Art Practice John Christopher Lavell PhD 2010 ‘The Power of Naming’; Co-option in Fine Art practice John Christopher Lavell A thesis submitted in partial fulfillment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the School of Arts and Social Sciences February 2010 Abstract At every possible level, from undergraduate study to postgraduate research and teaching, art school practitioners working in the field of fine art have to negotiate the relationship between theory and practice. This practice-led research project involves an investigatory journey in which I explore the terrains of ‗interest‘ that have opened up, stimulated, and then informed, my studio and exhibition practices since I was an undergraduate art student. It is a journey that plots a shift from illustrative to poetic forms of creative practice. My central concern has been to understand how these theoretical terrains of interest interact with the practical production of artworks whilst remaining separate, self-sufficient entities. As a result, my aim has been to produce a doctoral submission in which the exhibition of artworks has an equivalent role to the thesis. In practice-led research neither should be subservient to the other. My thesis proposes that the most persuasive way to respond to my topic is through an exploration of the indexical sign (as defined by C. S. Peirce) and the power of naming (as described in Michel Foucault‘s critique of the scientific systems of classification, resemblance, signs and signatures). My chapters explore, firstly, my interests in natural history classification and the political interpretations that critique the history of these systems and ideas; secondly, my interests in the forensic theories that notice the physical signs at a crime scene and then interpret them as indicators of criminal intentions; and lastly, my interest in the productive conflict created through the juxtaposition of poetic artworks and forensic titles, a combination that either ignores or celebrates the indexical nature of my studio techniques. A period of living and working in Japan, where I studied the martial art of Kendo, was responsible for transforming my fascination with lists and glossaries into an interest in the creative tension between waza and keiko, i between rigorous technique and intuitive freedom. The conclusion of my research journey applies a range of ideas about, and methodological engagements with, the power of naming to the realm of practice-led research which is, for this researcher, situated on the shadowy side of the poetics of exhibition reception. ii List of contents Abstract ............................................................................................................... i List of contents ................................................................................................. iii List of appendices....……………………………………………………………………….....v List of figures .................................................................................................... vi Acknowledgements ......................................................................................... vii Declaration ....................................................................................................... viii Chapter 1. An introduction ................................................................................ 2 1.1 The interests of an undergraduate art student in the 1980s ........................... 2 1.2 My undergraduate essay and the power of naming ........................................ 5 1.3 Changing interests ......................................................................................... 7 1.4 A terrain of interests and its impact on my artistic practice ........................... 11 1.5 The problematic politicization of my interests ............................................... 15 1.6 An outline of the structure of my thesis ........................................................ 17 Chapter 2.The undergraduate art school background to my research project. ............................................................................................................. 19 2.1 The cabinet of curiosities and art students in the 1980s ............................... 19 2.2 Linnaeus and the development of taxonomic display ................................... 31 2.3 The relevance of binomial nomenclature to taxonomic display ..................... 34 2.4 An art student‘s interest in the Species Plantarum ....................................... 36 2.5 Visual display: the importance of resemblance and difference ..................... 38 2.6 Homo europeanus and the mission civilisatrice ............................................ 43 2.7 Written on the body: criminology and natural history classification ............... 45 Chapter 3. The master’s level background to my research .......................... 48 3.1 Working in Japan and the power of naming ................................................. 48 3.2 Japanese (en) counters ............................................................................... 49 iii 3.3 Returning from Japan with an interest in forensics ....................................... 54 3.4 On the road with the FBI .............................................................................. 60 3.5 Bob and John and action research methodology ......................................... 65 3.6 Bob and John as interpreters of signs .......................................................... 72 3.7 Bob and John in the studio........................................................................... 82 Chapter 4. Doctoral research and my forensic terrain of interest ................ 87 4.1 Interest one: a Janus-faced word ................................................................. 87 4.2 Interest two: a crime scene .......................................................................... 89 4.3 Interest three: wound pattern analysis ......................................................... 92 4.4 Interest four: Locard‘s exchange principle .................................................... 94 4.5 Interest five: dead reckoning ........................................................................ 97 4.6 Interest six: a lovemap ............................................................................... 101 Chapter 5. Doctoral research practice: ‘Blunt Force Trauma’ .................... 106 5.1 My practice-led research methods ............................................................. 106 5.2 Co-opting names ....................................................................................... 115 5.3 Poetics and indexicality .............................................................................. 125 iv Appendices ........................................................................................................ x Kyudo ................................................................................................................. xi Chaji .................................................................................................................. xii Excerpt of John Douglas interview with David Bowman (1999) ......................... xiv Transcription of interview by research colleague Sulien Hsieh (2009) ................ xv Glossary ........................................................................................................... xvii List of references…………………………………………………………………...136 v List of figures Figure 1: Image from degree show catalogue................................................ 1 Figure 2: Archive (detail)................................................................................ 10 Figure 3: Africanus perseco ........................................................................... 13 Figure 4: Repetitio creta………………………………………………............... 30 Figure 5: Homo diurnus ………………………………………………………….. 33 Figure 6: Nautilus pompilius …………………………………………………….. 35 Figure 7: Argusianus erectus…………………………………………………….. 40 Figure 8: Religare acanthias……………………………………………………... 41 Figure 9: Back on the chain gang……………………………………………….. 44 Figure 10: Back on the chain gang (detail)…………………………………….. 47 Figure 11: Front cover: Sexual Homicide………………………………………. 59 Figure 12: Front cover: Crime Classification Manual………………………….. 59 Figure 13: Front cover: Whoever fights Monsters……………………………... 60 Figure 14: Front cover: Mindhunter……………………………………………... 60 Figure 15: Scanned image (i)……………………………………………………. 72 Figure 16: Scanned image (ii)…………………………………………………… 105 Figure 17: Action research cycle………………………………………………… 108 Figure 18: Scanned image (iii)…………………………………………............. 11 4 Figure 19: Interdisciplinary Glossary……………………………………………. 117 Figure 20: Studio activity (i)………………………………………………………. 118 Figure 21: Studio activity (ii)……………………………………………………… 12 0 Figure 22: Studio activity (iii)……………………………………………............. 121 Figure 23: Studio tools……………………………………………………………. 12 2 Figure 24: Studio activity (iv)……………………………………………............. 12 3 Figure 25: Studio activity (v)……………………………………………………… 124 Figure 26: Template………………………………………………………………. 126 Figure 27: Scanned image (iv)…………………………………………………... 1 28 Figure 28: Scanned image (v)………………………………………………….... 13 1 vi Acknowledgements I wish to express my sincere thanks to: The Art and Humanities Research Council for their generous funding, without which, this research would not have been possible. I have been very
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