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Performance, Spectatorship, and Iden...

Salyer, Joseph Andrew.

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Performance, Spectatorship, and Identity: Masculinity and Failure.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performance, Spectatorship, and Identity: Masculinity and Failure./
Author:	Salyer, Joseph Andrew.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	5 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Contained By:	Dissertations Abstracts International81-04A.
Subject:	Fine arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22621880
ISBN:	9781687923042

Performance, Spectatorship, and Identity: Masculinity and Failure.
Salyer, Joseph Andrew.

Performance, Spectatorship, and Identity: Masculinity and Failure. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 5 p.

Source: Dissertations Abstracts International, Volume: 81-04, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2019.

This item must not be sold to any third party vendors.

Everyone falls. In fact, everything might fall, depending on the temporal scale. But what does it mean for a white male artist to represent himself falling?Through the lenses of gender studies, whiteness studies, visual studies, 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 provide representational 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.

ISBN: 9781687923042Subjects--Topical Terms:

2122690
Fine arts.
Subjects--Index Terms:

Contemporary Art

Performance, Spectatorship, and Identity: Masculinity and Failure.
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245 1 0 $a Performance, Spectatorship, and Identity: Masculinity and Failure.
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300 $a 5 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
500 $a Advisor: Clark, Laurie Beth.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2019.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Everyone falls. In fact, everything might fall, depending on the temporal scale. But what does it mean for a white male artist to represent himself falling?Through the lenses of gender studies, whiteness studies, visual studies, 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 provide representational 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.
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