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Performance, Spectatorship, and Identity: Masculinity and Failure
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| 자료유형 | 학위논문 |
|---|---|
| 서명/저자사항 | Performance, Spectatorship, and Identity: Masculinity and Failure. |
| 개인저자 | Salyer, Joseph Andrew. |
| 단체저자명 | The University of Wisconsin - Madison. Art History. |
| 발행사항 | [S.l.]: The University of Wisconsin - Madison., 2019. |
| 발행사항 | Ann Arbor: ProQuest Dissertations & Theses, 2019. |
| 형태사항 | 5 p. |
| 기본자료 저록 | Dissertations Abstracts International 81-04A. Dissertation Abstract International |
| ISBN | 9781687923042 |
| 학위논문주기 | Thesis (Ph.D.)--The University of Wisconsin - Madison, 2019. |
| 일반주기 |
Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Advisor: Clark, Laurie Beth. |
| 이용제한사항 | This item must not be sold to any third party vendors.This item must not be added to any third party search indexes. |
| 요약 | Everyone falls. In fact, everything might fall, depending on the temporal scale. But what does it혻mean for a white male artist to represent himself falling?Through the lenses of gender studies, whiteness studies, visual혻studies, and performance studies, this dissertation analyzes latent and manifest ideological meanings within a photographic archive of white male gestures of falling. I identify a pattern of what I call cultivated failure as a practice and a trope in contemporary art, and I argue that white male artists Bas Jan Ader, Yves Klein, Bruce Nauman, Martin Kersels, Kerry Skarbakka, and Patrick Manning perform a cultivated failure that interrogates masculinity and throws whiteness into relief. Their work questions the need for a stable masculinity by rendering each artist tentatively falling, failing, or floating, and develops a visual counter-argument for how a gendered body should function.Actively resisting a hegemonic white masculinity, these disruptive gestures provide혻representational tactics to counter the visual mythologies of straight white male dominance in cultural production. However, while the individual gestures perform a collapse, suspension, or failure of straight white masculinity, patriarchal and white supremacist institutions remain standing. Still, I argue that these photographs attempt a visual rupture of masculine ideals of stability by exposing repetitive gendered acts in a moment of collapse, and challenge dominant notions of how men allow (or disallow) themselves to perform. Ultimately, I argue that these artists use their privilege to perform a self-reflexive exhaustion, emptiness, and failure in late 20th century mythologies of white masculinity - but provide the possibility of ethical performative interventions in the form of what I call cultivated failures, the pause, and the reorientation drive. |
| 일반주제명 | Fine arts. Art criticism. Performing arts. |
| 언어 | 영어 |
| 바로가기 | 
: 이 자료의 원문은 한국교육학술정보원에서 제공합니다. |
