Encountering Mimetic Realism: Sculptures by Duane Hanson, Robert Gober, and Ron Mueck by Monica Ines Huerta A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2010 Doctoral Committee: Associate Professor Patricia Simons, Co-Chair Associate Professor Rebecca Zurier, Co-Chair Associate Professor David T. Doris Professor Alexander D. Potts © Monica Ines Huerta All rights reserved 2010 To My Dad ii Acknowledgements Although it can at times feel like an isolating journey, a dissertation is never a solo adventure. There have been many people along the way that have contributed to the progress and completion of this project. I am grateful to my academic advisors who gave generously of their time and expertise. Rebecca Zurier, a supportive advisor, whose historical perspective continuously pushed me to creatively and critically think about the many permutations of realism. Patricia Simons, a wonderfully committed mentor, who asked the tough questions that helped me break through binaries in order to embrace more nuanced arguments. Alex Potts, whose early and ongoing support during my graduate career inspired me to delve deeper into the areas of modern and contemporary sculpture. And last be not least, David Doris, a most welcomed addition to my committee in the later stages of writing and whose creativity I will forever attempt to emulate. I would also like to extend a very warm thank you to the faculty and staff of the Department of the History of Art for their scholastic, financial, and logistical support. I am very thankful to the Ford Foundation for providing the necessary financial backing that allowed me to focus on the research and writing of this document during critical stages of its development. I am proud to be a Ford Foundation Fellow and will continue to work towards increasing diversity among university faculty. For the opportunity to iii participate in the Museum Studies Program (MSP) I extend a heartfelt thank you to Ray Silverman and Bradley Taylor. With assistance from the MSP I was also able to undertake an internship at the Art Institute of Chicago. I’d like to thank the education department at the AIC for allowing me to give tours of their museum’s collections and for their assistances during the research of my third chapter. For their willingness to discuss their thoughts on the sculptors highlighted in this study, I would like to extend my gratitude to Sidney Lawrence (former curator of exhibitions at the Hishhorn Museum and Sculpture Garden), Sarah Tanguy, Jonathan Shaughnessy (curator of contemporary art at the National Gallery of Canada, Ottawa), Charles Desmarais (curator of contemporary art at the Brooklyn Museum of Art, in New York), Andrea Karnes (curator at the Modern Art Museum of Fort Worth), Bruce Katsiff (director and curator at the James A. Michener Art Museum, Pennsylvania), and James Rondeau (curator of contemporary art at the Art Institute of Chicago). For allowing me to conduct research in their archives, I want to thank the staff members of the Archives of American Art, especially Liza Kirwin. I was able to gather valuable information on Hanson’s training and early career with help from the library and curatorial staff at Cranbrook Academy of Art. I’d also like to thank the staff in the registrar’s office at the Hirshhorn, the public relations staff at The National Gallery of Scotland, Edinburgh, The National Gallery of Canada, Ottawa, and the Modern Art Museum, Fort Worth, Texas. Thank you to Ron Mueck, Susanna Greeves, and Anthony D’Offay for allowing me to observe the installation at the Modern. Thank you also goes to the Center for Research on Learning and Teaching, particularly Mary Wright, for providing the chance to collaborate with other graduate iv student instructors and to learn more about pedagogy. I’d like to thank my colleagues, Katie Hornstein, Christina Chang, Katie Brion, Melanie Sympson, Beatriz Zengotitabengoa, and Kristine Ronan, who have in many ways inspired me and kept me going. I would also like to thank, Julie Human and Stephanie Pilot whose careful reading of the early drafts of the case study chapters produced invaluable feedback. I am, especially, indebted to two amazing women and scholars: Kirsten Olds and Heidi Gearhart. Words cannot express my deep and sincere appreciation for all they have done for me. I am truly honored to be their colleague and friend. I would like to thank my mother Janet Smith and the women in my family whose strength forms the scaffolding of my success. My sincere gratitude goes to my paternal grandmother, Maria de Jesus Huerta, my aunts Leticia H. Chavez and Ana H. Macias, and my cousins Marissa Chavez, Claude C. Ullrich, and Gabriella Macias. It would be unjust not to thank my most devoted writing companion, my dog Smoochie, who slept soundly by my side as I drafted, redrafted, edited, and revised this dissertation. I will always cherish our walks together which helped to temper my moments of frustration by rejuvenating me mind, body, and spirit. I extended my deepest appreciation to my husband, Alan Wilson. He became my side-kick during our joint venture through graduate school. I am forever grateful to him for continuously slaying the negative thoughts of failure that threatened the successful completion of this project and for burning the midnight oil with me on numerous occasions. Lastly, but most importantly this dissertation is dedicated to my father, Michael Huerta, whose ambition, creativity, and desire to push beyond the limitations of what v other people see as practical or plausible has helped me to become the person I am today. I will continue to be motivated by his example as I chart new personal and professional endeavors. May this dissertation stand as a testament to his unwavering commitment to me and as an example for my younger brother Michael C. Huerta. vi Table of Contents Dedication ........................................................................................................................... ii Acknowledgements ............................................................................................................ iii List of Figures .................................................................................................................... ix Abstract ............................................................................................................................ xvi CHAPTER 1: Introduction: Figuring it Out ....................................................................... 1 Body and Performance Art ................................................................................... 18 The Uncanny ......................................................................................................... 21 Is It Real? .............................................................................................................. 23 Mimesis ..................................................................................................... 27 Realism ..................................................................................................... 30 Mimetic Realism ....................................................................................... 34 Embodiment .......................................................................................................... 37 Spectacular Encounters in Wax and Plastic .......................................................... 38 CHAPTER 2: Duane Hanson Catching Viewers Off-Guard ............................................ 47 Polyester Resin ...................................................................................................... 54 WHAAM! Pop as motivating influence for Hanson ............................................. 57 The Bowery in One Inclusive Descriptive System ................................... 59 Too close for comfort............................................................................................ 64 Critical Responses Amidst a Climate of Institutional Changes ................ 68 Hanson’s Decisive Punt ........................................................................................ 71 Photorealism: Representations of Suburban Life in America ............................... 74 POPular ..................................................................................................... 78 Corpulent not Classical ............................................................................. 80 Clothing and Accessories .......................................................................... 83 vii Off-Guard Encounters ........................................................................................... 87 Conclusion ............................................................................................................ 89 CHAPTER 3: Robert Gober and the Recently Departed .................................................. 93 Home ....................................................................................................... 101 Haunted House .................................................................................................... 102 Absent Bodies and Surrogate Persons ................................................................ 105 Domestic Violence .................................................................................. 107 Replacements for Bodies .................................................................................... 113 Sinks