Opacity Shift: Picturing the Cute, Zany and Interesting in Image-Based Art Practice
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OPACITY SHIFT: Picturing the Cute, Zany and Interesting in image-based art practice. SKYE WAGNER A thesis in fulfilment of the requirements for the degree of Master of Fine Arts UNSW Art & Design February 2020 Thesis/Dissertation Sheet Surname/Family Name : Wagner Given Name/s : Skye Abbreviation for degree as give in the University calendar : MFA Faculty : Faculty of Art and Design School : School of Art and Design Thesis Title : Opacity Shift: Picturing the Cute, Zany and Interesting in image-based art practice. Abstract 350 words maximum: (PLEASE TYPE) This practice-based research project examines how photography, through its relationship to diverse social and technical apparatuses, can model and remodel constructions of visibility. Following W.J.T. Mitchell and related photography theory, this project develops and analyses a metapictorial inquiry that ‘pictures’ the complex interaction between aesthetics, visuality and contemporary discourse. Through this framework, the research project develops the terms ‘staging’ and ‘versioning’ to describe and image the ‘production of aesthetic experience’ and the ‘temporal movement in materials and forms’ that traverse art and social contexts. These terms are developed in concert with an investigation of image-based artworks and films by Camille Henrot, Elad Lassry, and Jacques Tati, as well as my own photographic practice. Specifically, this project examines how artists enact metapictorial critiques that give visibility to the aesthetic categories of the ‘cute, zany and interesting’ (terms devised by Sianne Ngai to articulate the complexities of contemporary aesthetic experience within late capitalist societies). This project argues that the art practices discussed co-implicate these seemingly ‘trivial’ aesthetics with a reflexive critique to produce defamiliarising effects that resist habitual modes of perceptual engagement. The artistic component of this project is particularly geared to destabilising the depictive legibility and normative codes seen in photographic representation. It does this through a studio methodology where I build then photograph three- dimensional assemblages constructed out of printed photographs and commodity goods. By appropriating and manipulating the visual language of digital software and fragmenting familiar photographic tropes, the final body of work ‘pictures’ the imbricated and often difficult-to-discern relations between technology, economics and aesthetic experience. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents a non-exclusive licence to archive and to make available (including to members of the public) my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books). …………………………………………………………… ……….……………………...…….… Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years can be made when submitting the final copies of your thesis to the UNSW Library. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. i ABSTRACT Opacity Shift: Picturing the Cute, Zany and Interesting in image-based art practice. This practice-based research project examines how photography, through its relationship to diverse social and technical apparatuses, can model and remodel constructions of visibility. Following W.J.T. Mitchell and related photography theory, this project develops and analyses a metapictorial inquiry that ‘pictures’ the complex interaction between aesthetics, visuality and contemporary discourse. Through this framework, the research project develops the terms ‘staging’ and ‘versioning’ to describe and image the ‘production of aesthetic experience’ and the ‘temporal movement in materials and forms’ that traverse art and social contexts. These terms are developed in concert with an investigation of image-based artworks and films by Camille Henrot, Elad Lassry, and Jacques Tati, as well as my own photographic practice. Specifically, this project examines how artists enact metapictorial critiques that give visibility to the aesthetic categories of the ‘cute, zany and interesting’ (terms devised by Sianne Ngai to articulate the complexities of contemporary aesthetic experience within late capitalist societies). This project argues that the art practices discussed co-implicate these seemingly ‘trivial’ aesthetics with a reflexive critique to produce defamiliarising effects that resist habitual modes of perceptual engagement. The artistic component of this project is particularly geared to destabilising the depictive legibility and normative codes seen in photographic representation. It does this through a studio methodology where I build then photograph three-dimensional assemblages constructed out of printed photographs and commodity goods. By appropriating and manipulating the visual language of digital software and fragmenting familiar photographic tropes, the final body of work ‘pictures’ the imbricated and often difficult-to-discern relations between technology, economics and aesthetic experience. ii This thesis was written on the land of the Bidjigal and Gadigal peoples of the Eora Nation. I pay my respects to the traditional custodians of the land and extend this respect to all Aboriginal and Torres Strait Islander people. Sovereignty never ceded. iii ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. iv COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents a non-exclusive licence to archive and to make available (including to members of the public) my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books).’ ‘For any substantial portions of copyright material used in this thesis, written permission for use has been obtained, or the copyright material is removed from the final public version of the thesis.’ Signed ……………………………………………........................... Date …………………………………………….............................. AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis.’ Signed ……………………………………………........................... Date …………………………………………….............................. v INCLUSION OF PUBLICATIONS STATEMENT UNSW is supportive of candidates publishing their research results during their candidature as detailed in the UNSW Thesis Examination Procedure. Publications can be used in their thesis in lieu of a Chapter if: • The candidate contributed greater than 50% of the content in the publication and is the “primary author”, ie. the candidate was responsible primarily for the planning, execution and preparation of the work for publication • The candidate has approval to include the publication in their thesis in lieu of a Chapter from their supervisor and Postgraduate Coordinator. • The publication is not subject to any obligations or contractual agreements with a third party that would constrain its inclusion in the thesis Please indicate whether this thesis contains published material or not: x This thesis contains no publications, either published or submitted for publication ☐ (if this box is checked, you may delete all the material on page 2) Some of the work described in this thesis has been published and it has been ☐ documented in the relevant Chapters with acknowledgement (if this box is checked, you may delete all the material on page 2) This thesis has publications (either published or submitted for publication) ☐ incorporated into it in lieu of a chapter and the details are presented below CANDIDATE’S DECLARATION I declare that: • I have complied with the UNSW Thesis Examination Procedure • where I have used a publication in lieu of a Chapter, the listed publication(s) below meet(s) the requirements to be included in the thesis. Candidate’s Name Signature Date (dd/mm/yy) vi ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisors’