ebook img

How we live now: The place of class and taste in contemporary Australian ar PDF

247 Pages·2017·26.94 MB·English
by  
Save to my drive
Quick download
Download
Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.

Preview How we live now: The place of class and taste in contemporary Australian ar

How we live now: The place of class and taste in contemporary Australian art STIEG PERSSON ORCID: 0000-0002-4940-356X Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) February 2018 University of Melbourne VCA Faculty of Fine Arts and Music Abstract This practice led research has explored the various ways taste (with its implicit relationship to class) has manifest itself as a type of cultural marker, sending a series of complex and coded messages to its audience. With a focus on a local, Australian contemporary and historical culture, the research exerts that the talismans of 21st century taste inhabit a psychic space, a complex matrix of subliminal and latent cultural ideas, implicitly understood by both artist/producers and their audiences/consumers. Themes and motifs present in the paintings are examined and hypothesised as exemplifying this condition, simultaneously offering the superficial comfort of naïve recognition and a deep, reflective cultural discourse. The research finds that a middle–class hegemony permeates not only the fields of reception and production, but unlike other creative disciplines in Australia, the visual arts are reluctant to engage directly with these issues. It also finds that the process of aestheticisation, once the domain of the creative arts is now embodied in all aspects of middle–class culture, best seen through its hagiographic treatment of food and foodism. Declaration This is to certify that: I. This thesis comprises only my original work towards the Doctor of Philosophy except where indicated. II. Due acknowledgement has been made in the text to all other material used. III. The thesis is less than 50,000 words exclusive of tables, maps, bibliographies, footnotes and appendices. IV. Signature: Acknowledgements Artists don’t often get the opportunity to acknowledge, in writing, those that have supported, cajoled, informed and walked with them on what is often a solitary path. On this three-year journey, I would like to acknowledge a number of people. Firstly, to my supervisors, Dr. Kate Daw and Dr. Edward Colless for their encouragement and support throughout the project. Kate was perfect. Always there whether the request was major or minor and Ted’s formidable intellect provided frighteningly cogent insights. Any deficiencies in the dissertation are me ignoring their advice. Thanks go to Prof. Nikos Papastergiadis for giving me the confidence that I was on the right track and Victoria Lynn for suggesting I check my map. To Norbert Loeffler who also read the text, a man whose knowledge is encyclopedic, who not only gets the references but can extrapolate on them offering greater depth. To Tim Bass for his great friendship over decades and his much needed editorial skills. Countless conversations added layers of nuance to the raw bones, giving an invaluable perspective to the project. To Anna Schwartz who has been with me since the beginning, and whose unwavering trust and judgment as a gallerist is unsurpassed; and to her team at Anna Schwartz Gallery past and present. To Blair French for the engagement with some of the works contained in the final exhibition. His selection of the paintings for The National, at the Museum of Contemporary Art, Sydney, gave the ideas contained within these works their first public airing. To my colleagues at VCA, Dr Mark Dustin a supportive and generous head of department, Adrian Kellett, a master printer whose expertise gave my ideas form, and Dr Raafat Ishak whose patience with the daily serve of half-baked ideas and drivel unknowingly provided an invaluable filter. In these last weeks, the expertise of Caitlin Patane, David Sequeira and Nick Pearce from the Margaret Lawrence Gallery have made my life a lot easier. And finally, my friends and family. As a man who is not one for gushy, over floral statements, I am grateful beyond words for the friends I have around me. They are far better than me, understanding, loyal, generous and smarter. And my family, Chloe, Magnus and Ruth make my life worth living. Contents Figures and Illustrations Third party copyright Introduction 1 Chapter 1 — From Mayfair to North Shore: Some aspects of class in contemporary 17 Australian painting Chapter 2 — Shop Signs v. Graffiti 36 Chapter 3 — Rococo: The signifier of taste 71 Chapter 4 — Against Ornament: The revolution that never happened 96 Chapter 5 — Lifestyle, luxury and the middlebrow 125 Chapter 6— Food, glorious Food! 150 Conclusion 184 Appendix 1 197 Appendix 2 200 Bibliography 213 List of works exhibited 231 Images of works exhibited 232 Figures and Illustrations Fig 1. Stieg Persson, The Philosophy of Individualism with Goji Berries, p.1. Fig 2. Diagram. Bourdieu’s food space, p.7. Fig 3. Still from M&C Saatchi’s Woolworths television commercial with Weber barbeque, p.13. Fig 4. Still from AHM Health Insurance television commercial, p.14. Fig 5. Still from BHP ‘Think Big’ advertising campaign, p.15. Fig 6. Robert MacPherson, Mayfair: Summer farm, forty five signs for Micky Monsour,1993, p.22. Fig 7. Diagram. Archibald Prize occupation of sitters by SES, p.27. Fig 8. Diagram. Archibald Prize occupation of sitters by SES artists excluded, p.27. Fig 9. Diagram. Portia Geach Memorial Award occupation of sitters by SES, p.28. Fig 10. Diagram. Portia Geach Memorial Award occupation of sitters by SES artists excluded, p.28. Fig 11. Diagram. Doug Moran National Portrait Prize occupation of sitters by SES, p.29. Fig 12. Diagram. Doug Moran National Portrait Prize occupation of sitters by SES artists excluded, p.29. Fig 13. James Potter’s trade card, p.39. Fig 14. Trade card of D.Negri, Confectioner at the Pineapple in Berkeley Square, p.41. Fig 15. William Hogarth, The Bad Taste of the Town (Masquerades and Operas), p.44. Fig 16. William Hogarth, Southwark Fair, p.45. Fig 17. William Hogarth, The Invasion: France, p.46. Fig 18. Jean–Baptiste–Simeon Chardin. A Game of Billiards, p.50. Fig 19. Jean–Antoine Watteau, L'Enseigne de Gersaint, p.51. Fig 20. Miklós Barabás signboard for the Zrinyi Coffee House, p.52. Fig 21. Theodore Gericault, The Farrier’s Signboard, p.53. Fig 22. Natalia Goncharova, Linen (Futurist), p.56. Fig 23. Eugène Atget, Boulevard de Strasbourg, Corsets, Paris, p.60. Fig 24. Reginald Marsh, Twenty Cent Movie, p.62. Fig 25. Calvin Klein. CK One Shock for Him, p.66. Fig 26. Jean–Honore Fragonard, The Bathers, p.72. Fig 27. Franz Xaver Winterhalter, The Empress Eugénie, p.76. Fig 28. Franz Xaver Winterhalter, The Empress Eugénie Surrounded by her Ladies in Waiting, p.79. Fig 29. Mariano José Maria Bernado Fortuny, Antiquaries, p.80. Fig 30. Giovanni Boldini, An Elegant Lady, p.81. Fig 31. John H. Belter. Sofa, p.82. Fig 32. Doulton Burslem. Watteau pattern, p.84. Fig 33. Louis Soubrier et Cie, Siege d’amour, p. 85. Fig 34. Ras el–Tin Palace, Alexandria, Egypt, p.86. Fig 35. David Douglas Duncan. Part of King Farouk’s Collection, p.87. Fig 36. Louis Farouk Furniture, p.88. Fig 37. Pope Francis and Armenian President Serzh Sargsyan, p.92. Fig 38. The entrance hall of a contemporary Russian mansion, p.94. Fig 39. Carl Larsson, Flowers on the Windowsill, p.97. Fig 40. Wilhelm Kåge, Liljeblå, Soup plate, p.100. Fig 41. Twyford’s Unitas, p.103. Fig 42. Wash basin in Le Corbusier’s Studio Apartment, p.106. Fig 43. Eugène Atget, Worker's interior, rue de Romainville, p.108. Fig 44. Interior, Isokon Lawn Road Flats, p.113. Fig 45. Page from the nine volume, Commodity Dictionary of the Soviet Union, p.115. Fig 46. Adolf Loos, The Kärntner Bar, p.117. Fig 47. Coco Chanel’s apartment, p.119. Fig 48. Damien Hirst and Jeff Koons, p.128. Fig 49. Del Kathryn Barton, Third Draw Down website, p.133. Fig 50. Certificate of authenticity for Del Kathryn Barton print, certifying limited edition, p.134. Fig 51. David Bromley, Joy Flight, p.137. Fig 52. Norman Lindsay, In the Beginning, p.144. Fig 53. Del Kathryn Barton, Openly Song, p.147. Fig 54. Page from Johanna Basford’s Enchanted Forest, p.148. Fig 55. Heston Blumenthal’s Sound of the Sea, p.152. Fig 56. Ferran Adrià and pavilion G, Documenta 12, p.155. Fig 57. First Dog on The Moon. Frame from The thoroughly humiliating and extremely satisfying demise of Tony Abbott, p.159. Fig 58. Title page from The English and Australian Cookery Book: Cookery for the Many, as well as the ‘ Upper Ten Thousand’, p.162. st Fig 59. Cover of the 1 edition of Oh, For a French Wife! p.165. Fig 60. Woman’s Weekly, 12 October, 1966, p.170. Fig 61. Timothy Behrens, Lucien Freud, Francis Bacon, Frank Auerbach and Michael Andrews having lunch at Wheelers Restaurant in Soho, London, p.172. Fig 62. Belle. Page from August 2016 featuring Martine Emdur’s paintings, p.174. Fig 63. Studio Olafur Eliasson: The Kitchen, p.178. Fig 64. Stieg Persson, Heirloom Carrots, p.186. Fig 65. Stieg Persson, Poussins and Grapes, p.187. Fig 66. Detail, Duck and Quail Eggs, Italian Herbs, p.189. Fig 67. Detail, Heirloom Carrots, p.192. Fig 68. Stieg Persson, Handmade Chocolates and Edible Flowers, p.193. Third Party Copyright Fig 1. Stieg Persson, The Philosophy of Individualism with Goji Berries—Copyright the author Fig 2. Diagram. Bourdieu’s food space—No copyright clearance Fig 3. Still from M&C Saatchi’s Woolworths television commercial—No copyright clearance Fig 4. Still from AHM Health Insurance television commercial —No copyright clearance Fig 5. Still from BHP ‘Think Big’ advertising campaign —No copyright clearance Fig 6. Robert MacPherson, Mayfair: Summer farm, forty-five signs for Micky Monsour—No copyright clearance Fig 7. Diagram. Archibald Prize occupation of sitters by SES—Copyright the author Fig 8. Diagram. Archibald Prize occupation of sitters by SES artists excluded—Copyright the author Fig 9. Diagram. Portia Geach Memorial Award occupation of sitters by SES—Copyright the author Fig 10. Diagram. Portia Geach Memorial Award artists excluded—Copyright the author Fig 11. Diagram. Doug Moran National Portrait Prize occupation of sitters—Copyright the author Fig 12. Diagram. Doug Moran National Portrait Prize artists excluded—Copyright the author Fig 13. James Potter’s trade card—Public domain Fig 14. Trade card of D.Negri, Confectioner at the Pineapple in Berkeley Square—Public domain Fig 15. William Hogarth, The Bad Taste of the Town (Masquerades and Operas)—Public domain Fig 16. William Hogarth, Southwark Fair—Public domain Fig 17. William Hogarth, The Invasion: France—Public domain Fig 18. Jean–Baptiste–Simeon Chardin. A Game of Billiards—Public domain Fig 19. Jean–Antoine Watteau, L'Enseigne de Gersaint—Public domain Fig 20. Miklós Barabás signboard for the Zrinyi Coffee House—No copyright clearance Fig 21. Theodore Gericault, The Farrier’s Signboard—Public domain Fig 22. Natalia Goncharova, Linen (Futurist)—No copyright clearance Fig 23. Eugène Atget, Boulevard de Strasbourg, Corsets, Paris—Public domain Fig 24. Reginald Marsh, Twenty Cent Movie—No copyright clearance Fig 25. Calvin Klein. CK One Shock for Him—No copyright clearance Fig 26. Jean–Honore Fragonard, The Bathers—Public domain Fig 27. Franz Xaver Winterhalter, The Empress Eugénie—Public domain Fig 28. Franz Xaver Winterhalter, The Empress Eugénie Surrounded by her Ladies in Waiting—Public domain Fig 29. Mariano José Maria Bernado Fortuny, Antiquaries—Public domain Fig 30. Giovanni Boldini, An Elegant Lady—Public domain Fig 31. John H. Belter. Sofa—Public domain Fig 32. Doulton Burslem. Watteau pattern—Public domain Fig 33. Louis Soubrier et Cie, Siege d’amour—Public domain Fig 34. Ras el–Tin Palace, Alexandria, Egypt—No copyright clearance Fig 35. David Douglas Duncan. Part of King Farouk’s Collection—No copyright clearance Fig 36. Louis Farouk Furniture—No copyright clearance Fig 37. Pope Francis and Armenian President Serzh Sargsyan—No copyright clearance Fig 38. The entrance hall of a contemporary Russian mansion—No copyright clearance Fig 39. Carl Larsson, Flowers on the Windowsill—Public domain Fig 40. Wilhelm Kåge, Liljeblå, Soup plate—Public domain Fig 41. Twyford’s Unitas—Public domain Fig 42. Wash basin in Le Corbusier’s Studio Apartment—No copyright clearance Fig 43. Eugène Atget, Worker's interior, rue de Romainville—Public domain Fig 44. Interior, Isokon Lawn Road Flats—No copyright clearance Fig 45. Page from the nine volume, Commodity Dictionary of the Soviet Union—Public domain Fig 46. Adolf Loos, The Kärntner Bar—No copyright clearance Fig 47. Coco Chanel’s apartment—No copyright clearance Fig 48. Damien Hirst and Jeff Koons—No copyright clearance Fig 49. Del Kathryn Barton, Third Draw Down website—No copyright clearance Fig 50. Certificate of authenticity for Del Kathryn Barton print—No copyright clearance Fig 51. David Bromley, Joy Flight—No copyright clearance Fig 52. Norman Lindsay, In the Beginning—No copyright clearance Fig 53. Del Kathryn Barton, Openly Song—No copyright clearance Fig 54. Page from Johanna Basford’s Enchanted Forest—No copyright clearance Fig 55. Heston Blumenthal’s Sound of the Sea—No copyright clearance Fig 56. Ferran Adrià and pavilion G, Documenta 12 —No copyright clearance Fig 57. First Dog on The Moon. Frame from The thoroughly humiliating and extremely satisfying demise of Tony Abbott—No copyright clearance Fig 58. Title page from The English and Australian Cookery Book: Cookery for the Many, as well as the ‘ Upper Ten Thousand’—Public domain Fig 59. Cover of the 1st edition of Oh, For a French Wife!—No copyright clearance Fig 60. Woman’s Weekly, 12 October, 1966—No copyright clearance Fig 61. Timothy Behrens, Lucien Freud, Francis Bacon, Frank Auerbach and Michael Andrews having lunch at Wheelers Restaurant in Soho, London—No copyright clearance Fig 62. Belle. Page from August 2016 featuring Martine Emdur’s paintings—No copyright clearance Fig 63. Studio Olafur Eliasson: The Kitchen—No copyright clearance Fig 64. Stieg Persson, Heirloom Carrots—Copyright the author Fig 65. Stieg Persson, Poussins and Grapes—Copyright the author Fig 66. Detail, Duck and Quail Eggs, Italian Herbs—Copyright the author Fig 67. Detail, Heirloom Carrots—Copyright the author Fig 68. Stieg Persson, Handmade Chocolates and Edible Flowers—Copyright the author Introduction Images of white juvenile domestic animals, floating amongst Simpsonesque clouds interspersed with dozens of white flowers, each different, amidst a scattering of goji berries and united with golden curtain of street tagging. The Philosophy of Individualism with Goji Berries[Fig1] is the title of a painting from 2013 exhibited at the National Gallery of Victoria’s Melbourne Now exhibition. So how was it that such innocuous, over sentimentalised images, a piglet and a puppy, chrysanthemum and hydrangea, somehow managed to convey class anxiety amongst viewers? This predicament became the catalyst for this thesis. Fig 1. The Philosophy of Individualism with Goji Berries, 2013. Oil on linen, 183 x 227 cm 1

See more

The list of books you might like

Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.