RDC2 Transfer Report Research Project Title: Playing Painting Personas
Introduction
This report covers my research project titled Playing Painting Personas from March 2017
to February 2018 (12 months) and establishes subsequent steps to be taken from the point of
transfer to PhD status to the exhibition element consisting of results from my practice (paintings,
other objects, and documents) followed by the submission of the written element, and the viva
voce . Throughout this report are embedded links to my Research website (please visit at your
discretion; password for all protected pages: ti18). In this project’s eventual thesis a third
element connecting the exhibition and written elements will consist of a synthesis of postings
from this website. Links or AR icons will provide access to additional layers of insight to my
painting process, work with the personas, readings, writings, thoughts and responses; the links
in this report exemplify how this selected content will be incorporated into the written element.
To provide context for what I am presenting in this report I will reiterate in the following
introductory paragraphs information found in my Project Approval (RDC1) prospectus , including
project aims, questions, definitions and a brief introduction of the three personas I am working
with in this project. The body of this report is divided into two sections: ‘ Now’ addressing
research to date and ‘When’ envisioning steps from point of transfer; and into subsections
focusing on: Playing, addressing my methodology; Painting, covering my research on and my
practice of painting; and Personas, as tools applied in my practice and my research on their use
in other creative practices. I have not submitted a literature review as a separate sample
chapter, instead I have incorporated citations here and in the sample chapters. At the end of this
report I will set forth the thesis elements, present a draft table of contents and outline of the
written element, and address how and for whom the eventual thesis will serve as a contribution
to knowledge.
The project aims stated in the project approval prospectus have remained unchanged.
My three research questions remain however, to allow me greater focus while working I have
temporarily combined these into a single question. The research questions are:
1. How do personas applied within the framework of a self-reflective methodology
based on psychological understanding of play and as a tool in my painting
practice impact the form and content of paintings?
2. How might a visual artist employ play as a means to accommodate the multiple
perspectives of the artist-object-spectator relationship model within a painting
practice?
3. How can tools and methods atypical to my painting practice and stemming from
non-object making creative practices aide in the construction of a playful
self-reflective methodology in which the consistency of identity is preserved?
The combined question I am currently working from is:
● How might the use/application of personas in conjunction with developmental
concepts of play within a painting practice contribute as a tool or a method to the
formation of playful painting strategies relative to this project’s aims?
My general research interests reside in questions pertaining to identity and, more
specifically, to the relationship between identity and self, therefore I frequently employ these
terms in conjunction with the key term of this project, persona . While the terms identity and self
are not explicitly stated in this project’s questions, their relation to the definition of persona is
important to understanding my development of personas and their applications as tools in my
practice. My basic working definitions of identity and self begin in standard English language
dictionaries and thesauruses where they are generally given as synonyms. However, a
difference between the two relative to the definition of persona is found. For example, the New
Oxford American Dictionary defines persona as the aspect of someone’s character, their self
defined as what is essential to their being and recognized via introspection or reflection. This
essential, introspective and reflective self differentiates from their identity defined by the facts of
their being, what is presented to or perceived by others, and, at times, a role or character
adopted by an actor or author. Most thesaurus do not list persona as a synonym for identity
and/or self , however, the Oxford American Writer’s Thesaurus does. Further, identity is
generally understood as remaining the same in different situations whereas self constantly
changes in response to the culture in which it is momentarily found. This mutability of self
implies the existence of multiple options available to and/or contained within it. From this I
question, if self is at times a synonym of identity , then in those instances is that identity
paradoxically subject to this changeability, making it multifaceted ? Constructed identity as
defined by Judith Butler in ‘Performative Acts and Gender Constitution: An Essay in
Phenomenology and Feminist Theory’ (1988) is a multifaceted identity equal to gender identity.
To elucidate this multifaceted identity in my work, I have chosen to make the leap
between the performativity of gender identity (Butler, 1988: 520) and (staged) performance of
characters, two clearly distinct but related terms. I do this by employing the term persona
(singular) per its Latin origins - a theater mask, one of many, to be put on or taken off, or
changed repeatedly. Two variations of the plural are currently used: personas and personae .
The New Oxford American Dictionary does not differentiate between the two while
Merriam-Webster assigns personas to projected or perceived character and limits personae to
the adopted role. My interest is in the former, thus my choice to use the plural form ‘personas’ to
encompass the term’s psychological connotations of projection and reception. In the book
Shock and Awe author Simon Reynolds relates David Bowie’s time studying and performing
mime with Lindsay Kemp’s troupe to the eventual birth of his many personas, writing “Central to
mime is is the idea of the mask: … mime is all about escaping one’s actual self and donning the
costume of a persona. … The Germans have a word for it ‘ Maskenfreiheit ’, ‘freedom in wearing
masks’” (2016: 90). Putting on a persona is like putting on a mask, putting on personas is a
means of obtaining freedom from the psychological projections and receptions one faces as
one’s self. This understanding of identity as being multifaceted and constructed combined with
the donning of many different masks - personas - enables me to encompass through my work
the terminology others have used to describe identities alternative to a primary identity also as
masks - alter egos, pseudonyms, heteronyms; all give the wearer a Maskenfreiheit when
applied in creative practices, becoming tools shaping the work - depersonalizing, erasing and/or
painting over the canvas (2016: 89).
The past 18 months of this project I have donned three different masks in my studio
practice. I will briefly introduce each here. Additional information can be found by following the
website links. The first persona was Melusine Van der Weyden , she is opposite of me, at least
from my understanding of myself, not only in terms of what she does but also in how she
engages with the world. Melusine is a writer and not a painter, and she is not physically
manifested like the others, she appears only in words. She comes and goes, not permanently
residing in the studio, and most importantly came and went with her recent ‘death’ . The second
persona to arrive was Petra Nimm . Unlike Melusine Petra is from my perspective closer to who I
believe myself to be not just as a painter, which she also is, but as a person. However, despite
her physical presence Petra has remained through her poetic nature an elusive persona. The
third mask I put on was Franz Ignatius Walsh , aka “Franzi”, the life-long studio assistant who
gives precedence to others and their work before his own painterly pourings. There is a
relationship between all the personas, who each is and who I am in the ways we are alike and
how we are different. A part of the development of this project has been playing these
relationships relative to my aims and questions.
Concluding the introduction to this report, along with the parts previously mentioned I
have included lists of sources (bibliography, film and video, and exhibitions, performances and
talks lists); attached an updated timetable [Appendix 1] laying out the period moving forward
(April 1, 2018 - September 30, 2020); and lists with embedded links [Appendix 2 ] to the
postings on my Research website (March 2017 - February 2018). A single PDF containing two
sections of the written element as sample chapters has been submitted along with this report.
These sample chapters are combined into a single document to ensure they are read in the
order of their appearance in the written element. They are formatted landscape rather than
portrait to optimize the presentation of the conversation, the relationship of the chapters to each
other, and to the dimensions of a computer screen to view of a full page at once.
I. Now:
Playing
The research project methodology I’ve applied this past year has been a conglomeration
of techniques to arrive at methods such as painting as, presentation in , reflection through ,
playing by , and personas applied each of which I will address and explain more fully below.
Each method contains a bevy of tools utilized in ways emphasizing a concept of play as the
basis of this methodology. At times boundaries between techniques, methods, and tools blur
and break apart. This breaking apart corresponds to the fragmentation processes I employ in
my studio practice of painting, by which I am referring to the practice of deriving subsequent
works from previous iterations through processes of scanning, printing, collaging and
reconfiguring onto multiple panels to play with scale and modes of presentation; and in the
development of the personas applied as tools derived from snippets of information collected
from various sources; and the taking apart and reassembling of my scholarly research through
writing. Fragmentation is never the end but the start of new iterations and inherent to all parts of
my practice-led research.
I began by exploring various concepts surrounding play, such as the cultural expression
of play (Huizinga, 1955), how the value of play is determined by the wide variances in how it is
defined (Gray, 2008), how play aides in the development of creativity (Russ, 2003), why adults
still need to play (Yenigun, 2014) and how adults can play ‘deeply’ (Ackerman, 1999), to the
therapeutic applications of ‘role playing’ (Zwolinski, 2011). This led me to focus on ‘playing as’ a
technique predicated on theories from developmental psychology and related research on how
play informs a child’s exploration of identity, how adults play differently than children , and how I
might apply these two different types of play for exploring identity through tools developed within
my methodological framework. These questions of ‘how’ led me to the writings of Jerome Bruner
( 1986 , 1997, 2002 ) and Lev Vygotsky ( 1971 , 2011 , 2012); specifically, Bruner’s response to
Vygotsky’s ‘Zone of Proximal Development’ and concept of ‘scaffolding’ in which a child’s
learning precedes cognitive development, is aided by adults possessing information/skills the
child seeks which then serve as the ‘scaffold’ to guide the child to a higher cognitive level
(Vygotsky, 2011). Bruner found Vygotsky’s premise contradictory, giving rise to his questions:
“How can the competent adult ‘lend’ consciousness to a child who does not ‘have’ it on is own?
What is it that makes possible this implanting of vicarious consciousness in the child by his adult
tutor? It is as if there were a kind of scaffolding erected for the lerner by the tutor. But how?”
(1986: 74). Studies Bruner conducted together with David Wood and Gail Ross revealed this
how to be generated by the child who turned the learning task guided by an adult into play by
developing a narrative to lend continuity and give points of recognition within a ‘zone’ - the Zone
of Proximal Development - from which the child could develop further (Bruner, 1986: 75-76). To
serve as the my scaffold for my project methodology I have taken this concept of Vygotsky’s,
and Bruner’s conclusion, and through play first developed the personas’ narratives - i.e. built
the tool through telling their stories - to then use them in my practice. In my scholarly research I
have searched for ways a similar scaffolding might be found in painting and other creative
practices, of which I will write more later.
Another foothold has been the differentiation between the way children and adults play;
or, as expressed by English psychoanalyst D.W. Winnicott, the difference between games -
played by rules - and ‘freeplay’ - how children play. In his essay ‘Non multa sed multum’ Roland
Barthes wrote of Cy Twombly, Winnicott and play, not game :
The English psychoanalyst D.W. Winnicott has clearly demonstrated that it is false to
reduce the games of children to a purely ludic activity; he asks us to note the
opposition between game (which is strictly ruled) and play (which is free). TW, to be
sure, is involved with play and not with game. … At a later stage of his discourse,
Winnicott goes from play, which is still too limiting, to playing. The child’s -as well as
the artist’s- reality lies in the process of manipulation and not in the product that’s
produced. … All of this works very well for TW. His work is based not upon concept
(the trace) but rather upon an activity (tracing) -better still, perhaps, one could say that
it’s based upon field (the sheet of paper), insofar as an activity takes place within it. [1]
‘Doing’ rather than ‘do’, ‘being’ rather than ‘be’, and the relationship of space to activity
precipitated a shift early on (Month 2) in my approach to playing and the personas - ‘being a
persona’ (activity) rather than ‘be a persona’ (object), as tools of ‘painting’ (activity) rather than
‘a painting tool’ (object) and extended the connection in my research between methods of
playing by and presentation in the studio process to not only encompass the studio space but to
include the space in which the spectator experiences (activity) the work. Performance theorist
Richard Schechner cites Winnicott’s 1971 book Playing and Reality as locating the origins of
creativity and illusion in playing which develops in a liminal, transitional space established
between the nursing infant and mother. According to Schechner, Winnicott’s position is that the
satisfaction which comes through playing in that space comforts and sustains a person
throughout life; and out of this satisfying experience of playing, creativity is first manifest
( Schechner, 2013: 99 - 100) .
This led me to clinical psychologist Shachaf Bitan’s essay Winnicott and Derrida:
Development of logic-of-play. Bitan developed a ‘logic-of-play’ as the conceptual framework for
theoretical clinical thinking and experiencing the clinical (therapeutic) space from the ‘playful
turn’ he has identified in both the psychoanalyst’s and the philosopher’s approach towards
peaceful and non-exclusionary coexistence of opposites in Western thought (2012: 29). For
Derrida, logic seeming to be the opposite of play. Therefore, ‘logic-of-play’ is a paradox as play
is not logical. Yet when we play it is logic we are playing with. Winnicott’s assertion that the
problem with psychoanalysis’ has been the quickness to overlook playing for the sake of its
content and the playing child, and is limiting to our understanding of the phenomenon of playing
(Bitan, 2012: 33 - 34). Both support not only Bitan’s framework but my own at times paradoxical
methods and those of others address later in this report. My studio is the liminal, transitional
space in which the work originates. I seek to extend the conditions of playing identified by
Winnicott through the works presentation outside of studio and into the space in which the
spectator encounters the work. My experiments with presentation formats this past year at the
Summer and Winter Residency addressed in the next paragraph provided me the opportunity to
do this. Another opportunity to experiment with playing outside my studio was with the work On
Display exhibited at the University of Rhode Island Providence Campus in November 2017.
With ‘logic’ implying ‘rules’ of playing and games, and the paradoxical methods brought
forth by the combination of the two, I was taken back to avid game player Marcel Duchamp, and
‘the rules’ he chose to play the game of art by; [2] prompting me to experiment with methods of the
project’s paintings’ presentation in by observing how paintings are perceived in person versus
as reproductions or representations in digital media, and how context impacts the painting’s
function vis a vis the spectator’s perception. This manifested in my decision to present the work
of myself and the personas in the form of a short video, titled ‘Fresh Widow’, during my Summer
Residency 2017 presentation and as objects to be held during my Winter Residency 2018
presentation . Responses to the different presentation formats varied considerably leading me to
casually conclude these are subjective, making difficult to determine an objective response to
the work via presentation formats. People sure of ‘rules of presentation’ as they understand
them tended to be more comfortable with the video projection. Followers of the ‘don’t touch the
art’ rule have a harder time touching paintings even when invited to do so. And then there are
those who find pleasure in breaking the rules. In all cases the viewers had to first come to terms
with ‘the rules’ before they were free (in themselves) to engage with the paintings.
Painting as a technique converges with rules of playing by producing numerous methods
with rules of their own contained within each modifier generated by ‘as’ :
‘painting-as-action’, ‘painting-as-material’, and ‘painting-as-object’ .
Painting as provoked, for me, reflection through photographic and video documentation of painting as both action
and object by myself, or by Petra and Franzi as painter-personas; reflection through writing - stand alone,
accompanying the process images on my Research website, by the writer- persona Melusine, or
as emails between myself, the personas who all have their own active email accounts from
which they communicate with each other and select people familiar with them.
The method of reflection through occurs primarily in the space of my Research website,
a digital avatar of my practice created first and foremost for me as a tool to reflect through,
intentionally contradicting the ‘rule’ of blogs and websites as existing for viewers - similar to the
expectation paintings are made to be hung on a wall. In short, my Research website digitally
embodies my project methodology, serving as a method and a tool applied to my research
practice, and provide content for a third element linking the exhibition and written element of this
project’s eventual thesis addressed later in this report.
Perhaps not considered artistic research by today’s definitions, nonetheless Marcel
Duchamp’s mode of questioning speaks to artists of varying stripes today, possibly serving as a
‘scaffold’ - showing us how to play. Duchamp’s boxes - Box of 1914, The Bride Stripped Bare
By Her Bachelors, Even ( The Green Box ), 1934 and In the Infinitive ( The White Box ), 1966
serve as examples of analog-documentation-archive-works to contextualize my Research
website as a digital ‘box’. Considering the possibilities of boxes - digital or analog - as archive
and artwork used by painters since Duchamp, [3] leads me to the next subsection of this report,
painting.
Painting
In my studio practice I have been painting, mostly; except when I was doing other things
such as through photography and writing as an extension of my painting practice relative to this
project. What do the paintings look like? Without the contextual meaning of my research project,
the paintings, from myself, Franzi, Petra, or together in various configurations, appear according
to viewers to whom they have been presented thus far to adhere to tenets of formal abstraction.
These viewers have asked “Why abstraction and not representation?”[4] Therefore, it is important
for me to state I do not view the paintings as non-representational; instead they are abstracted,
rather than ‘abstract’ painting; they originate as representations of something. This something is
a preceding iteration representation generated by my methods of fragmentation described in
Playing . These the are rules I play by in my painting practice and in the paintings. [5]
Approaching painting as formal abstraction with representational origins that are not
readily apparent and, produced with the tools of personas, potentially raises questions of
authenticity . This became clear to me during the past 12 months as something I will need to
research further and address in the written element. I will present more to the discussion of
authenticity as I have researched it thus far in the next section on personas but add some, albeit
cursory, historical to contemporary context on authenticity and painting here. [6]
Authenticity and painting, how it is articulated, deciphered and identified as such and by
whom, specifically in twentieth century modernism, and as a changing concept, challenged by
and since Duchamp and theorists of Postmodernism, continues today (Harrison and Wood,
2014). In my contextual research on Duchamp I examined his questioning of painting’s
authenticity expounded by his predecessors and, in the case of the Cubists, his contemporaries,
and his tendency to not play by their rules (Harrison and Wood, 2014: 194 - 201) leading him to
the ideas of The Large Glass, 1915 -1923, Readymades (Harrison and Wood, 2014: 252), and
Rrose Sélavy. [7] From there working my way forward through Abstract Expressionism (Harrison
and Wood, 2014: 557 - 686), a period where Duchamp existed as a footnote in the textbook of
art history for painters working with ideas promulgated by theorists such as Clement Greenberg
(Harrison and Wood, 1997: 554 - 560) and Harold Rosenberg (Harrison and Wood, 1997: 581 -
584), and their understanding of a painting’s authenticity as grounded in the direct and authentic
expression of the painter’s genuine identity via his signature ‘mark’ or style which from the
viewpoint of these theorists stood in opposition to Dada, Readymades, and Rrose Sélavy
(Mileaf, 2010). The next generation of New York School painters [8] - i.e. Rauschenberg and
Johns (Tomkins, 1987, 2005, 2010) - embraced Duchamp’s mode of questioning to question the
authenticity of the Abstract Expressionists authentic expression (Hopkins, 2012: 37 -64). [9]
Quickly progressing through Conceptualism (O’Doherty and McManus, 2009; Harrison and
Wood, 2014: 689 - 761; 813 - 912) a movement whose artists, like the artists grouped under the
nomer ‘Pop Art’, defined themselves as in the lineage of Duchamp via their rejection of the
image - retinal - over the text - conceptual - and the ‘death of painting’ (Harrison and
Wood,1997: 1018 - 1028) with its pretty active afterlife, to postmodern image making. The
postmodern era, no longer strictly painting (Harrison and Wood, 2014: 1018 - 1056) and
fragmented to the point of so many ‘schools’ and ‘-isms’ lasting briefly their names subsumed by
the artists initially associated with them. This includes artists ranging from Cindy Sherman and
her use of her body, costuming and props, and methods of photography (Tomkins, 2010) to
Richard Prince (Rothkopf and Owens, 2017: 534), with his co-opting of images and own
invented persona to question authenticity and the image within a late twentieth/early twenty-first
century context. Finally, to painting today (Myers, 2011) and practices shaped by the fluctuating
notions of authenticity expressed in the preceding century through new technologies of the past
two decades [10] with tools equal in impact to that of photography and cheap printing on image
making and perception more than a century ago (Rothkopf and Owens, 2017, Gachot, 2015).
The questioning of authenticity and painting studied through this contextual research painting as
ambiguity has emerged as part of my studio practice. I have embraced this by inserting
ambiguities in the work through multiple approaches: painterly processes of fragmentation and
repetition, the application of the tools of personas, and the context of presentation.
Adjoining my exploration of ‘painting as _’ through notions of authenticity mentioned in
the previous paragraph are more directed scholarly gazes into the work of other painters via
reading, documentaries and direct observation of their work, along with research into theories of
painting embodied in painters’ practices since Duchamp and through writings on painting - for
example, the essay ‘ Serial Imagery: Definition’ by John Coplans (1996: 77-92) . The following
quote from Coplans I relate to my own process of making ‘original’ images through serial
processes rubbed against my parallel reading of Brian O'Doherty Inside the White Cube (1986)
in late spring (Month 3), a time both Petra and I were heavily creating serial imagery , leading to
exploring methods for this imagerys’ presentation in :
It must be remembered that in Serial Imagery the exhibition space becomes a
component. Only when paintings of a Series are exhibited together in a gallery space
do the parameters built into the paintings and their reciprocal quality begin to operate.
(1996: 86).
By presenting these images as fragments sliding across each other in filtered and unfiltered
states of a video I seek to emphasize their seriality, similar images one after the other, as
paintings in a space beyond the parameters of paintings exhibited together in a defined gallery
space.
Finally, informal conversations - via emails and face-to-face - with other painters and
artists about our practices has contributed to my research project methodology specific to
painting by widening how I have come to think about my own practice and this research project
beyond the materials available to me through other techniques.
Personas
To begin, I am not performing as an actor the personas introduced at the beginning of
this report. They are not characters or objects to entertain spectators; they are tools for a
creative practice, as such their presence is limited to the physical and mental space of my
studio practice and manifested in the products of that space. I am, per Richard Schechner,
engaging with the personas in a performance that is not ‘make-believe’ but ‘make-belief’ by
intentionally blurring or sabotaging the boundary between the world of performance and
everyday reality in my studio space (2013: 42-43). Robert L. Benedetti draws upon the methods
of Konstantin Stanislavski to define his fifth step of the actor’s sticking to the text [11] as crucial to
authenticity and provides a structure - boundaries - for the actor performing the character (2015:
53-57). As I apply these tools each persona’s text defined as her or his narrative and consisting
of not only a backstory but also a psychological profile developed through play, is akin to an
instruction manual accompanying a tool with diagrams describing its parts and recommended
usage for optimum results. There are many, more contemporary approaches to authenticity ,
performance, and acting however, this is the method I chose to use developing the personas as
tools; I have taken liberty in applying this method in a way an actor would not. Instead, I
approach in a way similar to my play with abstraction and representation, vacillating between
the concrete and ambiguous to explore authenticity with the tool and in the painting. [12] Using the
persona’s text as a starting point I can always return to ‘make-belief’ with space for the ‘playful
turn’ of Derrida and Winnicott referred to earlier.
Building upon their introduction earlier in this report I’ll describe here each tool a bit
further beginning with Franzi, a life-long studio assistant who paints . His subservient nature
allows for occasional moments of risk taking and intervening by ‘taking matters into his own
hands’. His text is apparent in his use of a limited palette of blue [13], fluid acrylic paints; cast-off
surfaces of my studio process ; and the narrow, contradictory, and ironic process of his painting
technique [14]. Below is a still from a video of Franzi taking matters into his own hands .
Petra Nimm is a more complex persona and tool; her text is much different than Franzi’s
which, despite his simplicity, is more concrete. In painting Petra plays with the laws of poetic
language to, per Shklovsky in his essay ‘Art as Technique’, “ create a ‘vision’ of the object
instead of as a means of knowing it” (Harrison and Wood, 1997: 277). The object Petra
envisions is painting and an object . Petra’s hand could be seen as a mirror of what I do;
physically apparent in the videos of her working by her left handedness . Like Franzi, I observe
Petra working in video documentation. A short video of Petra at work on Concertinaed , from
which the still photo below is taken, can be viewed via this link .
The choice of materials each persona works with reinforces aspects of her or his text.
Franzi uses modern, plastic paint - acrylics. Petra works with an older material whose history
and craft skirts notions of amateurism and professionalism - watercolor. I prefer ‘real’ paint - oils. [15]
Each medium has specific rules; through playing with these rules we find new ways of playing
the painting game. This has been part of Franzi’s, Petra’s, and my painting practice this year,
together and separately.
Melusine Van der Weyden , as the non-painter, is the outlier persona. Knowing no
boundaries, she does not fit easily onto a page or a painting. She is physically ambiguous,
shifting continually since arrival. A brief vision of her appears now and again; however, she is
never seen ‘whole’ but always a fragment. There is no record of her writing (action) other than
the product, usually digital but as of August (Month 6), analog pages in an older style German
handwriting - Sütterlin - written with a fountain pen in blue ink on vellum or fine writing paper
began to appear. Melusine is a personæ durans - an ephemeral persona - an existence
enabling her to transcend edges and boundaries, playing a game by making up her own rules
as she goes. She is a poet and, like Petra, an elusive persona. Unlike Petra she is a mistress of
the realm of improvisation; this is her text.
Each persona’s text, its definition now extended to include what each through their
application as tools continues to add (write) to their narrative, can be found internal and external
to the work; and, as ‘painting’ is merely one signifier of the work - for Franzi and Petra, so too is
writing one signifier of the work - for Melusine. As Roland Barthes wrote in The Pleasure of the
Text : “The text you write must prove to me that it desires me. This proof exists: it is writing”
(1975: 6). As mentioned earlier in the this report Melusine is ambiguous
still, more than the other two personas she has emerged this past year as not just a tool but a
work (object) that is not painting by means of what she through her application has added to her
narrative. As a tool she is writing. Melusine is also the object that is her text . It remains to be
seen if this will or can happen with the other two.
As stated in the introduction, my general research interests in the relationship between
identity and self is the greater text - narrative - forming my practice ; within the specifics of this
project the paintings, the tools and the texts of the personas serve as metaphoric objects of
identity. Through these metaphoric objects I seek to answer the questions of this project by
addressing painting as action, object, and product of a relationship between artist, object, and
spectator. [16] For Richard Wollheim (1987) this means the artist, the object, and the spectator
each has ‘work’ they must do in order for the relationships to function, for painting as an art to
exist and, tying this to Barthes proof “ that it desires me” , for the painting (object) to make me
look. Wollheim described his approach to looking at a painting for the first time with a slowness
allowing for the painting to do its work, proving its desire:
... seeing a work for the first time, I evolved a way of looking at paintings which
was massively time-consuming and deeply rewarding. For I came to recognize
that it often took the first hour or so in front of a painting for stray associations or
motivated misperceptions to settle down, and it was only then, with the same
amount of time or more to spend looking at it, that the picture could be relied
upon to disclose itself as it was (1987: 8).
The metaphoric objects of this project are meant to elicit this desire to look and to question.
The text - historical narrative - of my painting practice and from which the personas
evolved in response to is Western painting and the foundation upon which the identity of
painting since Duchamp has been questioned as no longer existing as illusion-filled objects in a
space of questionable physical and conceptual dimensions and of surfaces which may or may
not contain the material ‘paint’ . This text includes not just history but the contemporary art
world-market with its own boundaries, rules and definitions. Personas can be found in the
histories and lineages of other creative practices; conceptual, performance, and writing
practices in which they, also called alter egos, pseudonyms, etcetera are used as tools and/or
as the work itself. [17] In addition to background research in performance studies, my scholarly
research on personas has focused predominantly on their use in these other practices.
The two sample chapters included with this transfer report are: 1. ‘Framing the
Conversation’, introducing and contextualizing in an academic style the following chapter 2.
‘Inamorata Non Autentica: Marcel Duchamp, Rrose Sélavy, Melusine and Me’, the beginnings of
a creative conversation between Melusine and myself evolving over three chapters. The content
of the conversation is based on my contextual research of personas, is intended to reveal the
slow unfolding of my research by looking to the practice of Marcel Duchamp and the contrived
nature or inauthenticity of the relationship between Melusine and myself, personas and their
performers.
The opening chapter of our conversation draws upon essays in the anthology aka
Marcel Duchamp: Meditations on the Identities of an Artist (2014) and the exhibition catalogue
Inventing Marcel Duchamp: The Dynamics of Portraiture (2009), as well as videos of talks given
as part of the Duchamp Symposium, March 27, 2009, National Portrait Gallery, Washington
D.C. available on YouTube connected to both publications. Another smaller volume examining
Duchamp’s playing with his own identity is Herbert Molderings’ Marcel Duchamp at the Age of
85: An Incunabulum of Conceptual Photography (2013). Finally, the documentary film Marcel
Duchamp: Iconoclaste et Inoxydable directed by Fabrice Maze (2009) and its companion
interviews has provided additional insight to the man who, according to Monique Fong,
interviewed for this film, recalls John Cage telling her of his lamenting to Alexina Duchamp that
he could not understand her husband. To which Mrs. Duchamp replied “It doesn’t matter.
Neither do I” (Maze, 2009). With Duchamp it is not about understanding the work, the artist, or
his personas, but the playful questioning and desire through the work to challenge and push
beyond the boundaries of (the artwork’s) identity.
In the sample chapter I introduce David Bowie, like Duchamp, was an artist with a
multifaceted identity comprised of numerous personas, and whom I will focus more in the next
segment of the conversation. [18] Important to this part of the report and my contextual research of
personas is exemplified by Philip Auslander’s combing of Bowie’s theatrical roots to address the
issue of authenticity and Bowie as rock star : “The whole notion of self-consciously acting the
role of rock star rather than presenting oneself as one is antithetical to the ideology of
authenticity” (2006: 112). Auslander also cites the impact this had early on in the criticism Bowie
received from the rock world due to a perceived lack of commitment on his part to rock & roll,
specifically referencing American rock writer Lester Bangs and his ability to only find Bowie’s
singing favorable on Young Americans (1975) because he saw the personas not for what they
were - characters performed - but as pretensions of Bowie’s identity. Auslander writes:
Although the “soul boy” persona Bowie constructed for this material, his first full change
of persona after Ziggy Stardust, was just as carefully authored a role as Ziggy had been,
Bangs nevertheless granted Bowie his seal of approval because he heard Bowie as
performing himself rather than a character (2006: 113).
Auslander implies this speaks more to Bangs’ perception of what constitutes authenticity and
ability to reach beyond it and notes how it speaks to the way authenticity is defined in the
discourse of rock. It also shows the fuzziness in defining identity, self, and personas I covered in
the introduction to this report.
In the discourse around both Bowie and Duchamp the terms ‘alter ego’ and ‘persona’ are
often used interchangeably. In my introduction I stated why I use the term ‘persona’ but not why
I do not use the term ‘alter ego’. My choice stems from the association of persona with ‘masks’
which take both perceptual and conceptual forms as opposed to alter ego which has a greater
association with the conceptual ‘ego’ than the perceptual ‘face’. The importance of the
relationship between the work of Duchamp and the work of Bowie is slowly emerging through
my scholarly research on the latter, I am not finding this has been significantly explored by
others but believe at some point it will due to multiple overlaps and assertions made by Bowie,
such as in this interview by Charlie Rose along with painter and film director Julian Schnabel to
promote Schnabel’s film Basquiat (1996) and in which Bowie portrayed Andy Warhol. Bowie
said of Duchamp:
If anybody has told many critics in the fifties and sixties that in fact not,
Picasso wasn’t going to be the only great god of the twentieth century but
Duchamp was actually going to be THE GOD at the end of the twentieth
century I think they probably would and did balk and then did push and
struggle that it wouldn’t be Duchamp, ya know. But the artists made up
their mind that they were going to be incredibly influenced by him and
they worked, a lot of them, in that manner and it produced the Bruce
Naumans and the Rebecca Horns and whatever. And in music it happens
the same way. However much critics write the other musicians decide who
they are going to be influenced by and the history, the story of the music
will come through the artists, all the time (Rose, 1996)
Finally, I will end this section ‘Now’ with a recent development, Melusine’s death in
December 2017 (10 months into my research project since point of approval). This will be
addressed further in the coming months as it plays out in my studio practice. For now I can say
her essence remains ‘alive’ as a tool but the persona Melusine cannot be created further. Her
text has been written and she is no longer free to improvise beyond the boundary of her death -
yet with the ‘playful turn of Winnicott and Derrida - freedom can still be found in that space …
like an artwork in a museum living each time it is looked at a persona is neither ‘living’ or ‘dead’ .
In Shock and Awe Simon Reynolds writes how he felt learning of David Bowie’s death and
being comforted by the fact that David Bowie had not died, David Robert Jones had; according
to Reynolds, David Bowie has the potential to come back in various forms for as long as we
want him to (2016: 644 - 654). With the death of Melusine Van der Weyden I see the same
potential. Expressed in the words of Petra’s favorite poet, Emily Dickinson :
“Who, had they lived, had died, but when /They died, vitality begun”
(Dickinson and Werner, 2016: 31)
II. When:
Following the structure established in the preceding section I will present the progression
of this project from transfer to candidate PhD to completion. [19] I end by addressing the thesis
elements, potential structure of the written element (Draft Table of Contents and Outline), and
what I think my original contribution to knowledge will be, who will benefit from the insight of my
research, and why.
Playing
The past year my focus was on development and implementation with documentation of
both my studio and scholarly practices for the purpose of collection of research materials. Now
this shifts away from development, continues with implementation of techniques, methods and
tools in painting and writing, and focused more readily on documentation for the purpose of
dissemination of the research materials via the three thesis elements. This means continuing my
painting practice per the aims and questions of this project, working with the tools of Franzi and
Petra separately and together to create a body of paintings for the exhibition element,
conversing and writing with Melusine based on the playful turn provided by her recent passing,
and, as before, documenting all this along with fragments of my scholarly research on my
Research website. Additionally, I will explore ways in which to synthesize this documentation in
order to integrate it into the exhibition and the written elements. The case I will be making later
in this report for an original contribution to knowledge, is in part supported by ways in which I
make my research project and its methodology more accessible to both practitioners and
scholars. One way will be by connecting the exhibition and written elements through a
presentation of the synthesized Research website postings as the third element of the project’s
thesis in both the exhibition and writing elements. To clarify, this does not mean the original and
primary purpose of my Research website as a digital tool for reflection applied to my practice will
change for the remainder of this research project; it means I recognize once the project ends
the identity of my Research website will shift from being a tool for me to becoming an archive for
others; in the remaining months of this research project I intend to find the best way to make this
happen.
Painting
The core of my research remains painting. As stated in the previous section I will
continue make paintings as myself and by applying the persona-tools, Petra and Franzi,
individually and together; documenting the process; and preparing the work for exhibition as a
component of this research project thesis.
Going forward I seek to condense the scholarly research I have conducted this past year
on painters and painting since Duchamp, supplementing it with additional research in theory and
critical thought on painting for the same period. I will undertake additional contextual research
on the ideas and painters in Western painting forming the basis of Duchamp’s understanding as
a young painter in order to establish an even more solid base for my questioning. This will
include further research into modernism and postmodernism theoretical notions of authenticity,
signature style, constructed identity, and fragmentation.
Finally, as part of the written element I will focus on how the painters Carolee
Schneemann and Laura Owens have through their work engaged in questioning and the
presentation of painting. I am particularly interested in the series of Boxes Schneemann did in
the early 1960s as her painting moved off the canvas and into other spaces. Like Robert
Rauschenberg (Tomkins, 2005), Schneemann was working with ideas of painting stemming
from Duchamp and in response to the generation of Abstract Expressionists who directly
preceded both her and Rauschenberg [20] (Breitwieser et al., 2016). Whereas Schneemann took
painting away from paint and the canvas hanging on the wall and into other spaces, Laura
Owens has returned to the canvas and paint, mediated through tools such as Photoshop, and
presented painting in a variety of ways, at times by hanging on a wall but eschewing traditionally
given contexts. Following her work in exhibitions over the past decade has spurred my own
interests in how painting might be presented - paintings’ presentation in . One work in particular,
Untitled, 2015 [21] sparked my thoughts on installation and scale, how multiple canvases could be
read together or individually, the impact of a slight shift in the spectator’s position on meaning,
and how the back of the canvas might gain equal significance to the front (Rothkopf and Owens,
2017: 564 - 575). As proposed in the draft Table of Contents and Outline I will focus on these
two artists to contextualize through their contemporary painting practices the paintings of my
practice, and the methods I have chosen to apply in these paintings to address my project
questions, to be exhibited as part of that element of the research project thesis.
Personas
With no anticipated changes to my methodology, I will continue applying the personas as
tools in my practice; working separately and together with Franzi and Petra on paintings to form
the exhibition element of my project thesis. The recent ‘death’ of Melusine will undoubtedly
make this an interesting experience in light of the conversations between for the third section of
the written element. Having written one chapter of our conversation I am aware this writing does
take a considerable amount of time however, most of the scholarly research I intend to
incorporate into the conversation on Duchamp, Bowie and Pessoa has been done. Examples of
the use of personas in other creative practices which could be scattered throughout as support
but not the focus of the conversation are still emerging. Finally, my research has begun
revealing instances of visual artists, painters, who have worked or are working with alter egos or
personas in their practices but not necessarily as tools in the way I am working and also not as
openly as a performer or writer might; in other words, the artist remains hidden behind a mask. I
intend to pursue additional research on these artists in the next six to nine months of this
project. At present my research has progressed to the point where I have collected a volume of
work - painting - and scholarly research providing me with contextual resources to begin writing
more of the chapters of the written element as outlined below. Doing so will provide insight as to
what additional research - scholarly and in the studio - I need to undertake in order to best
support my aims, answer my research question and provide the original contribution to
knowledge I foresee coming from this research project.
Thesis Elements
This research project thesis will consist of three elements: 1. a written element of
approximately 40,000 words; 2. an exhibition element consisting of paintings, objects and
documents created by myself and the personas; and 3. a synthesis of postings from my
Research website accessible via embedded links or AR icons [22] at relevant points (TBD) in both
the written element as well as in the exhibition. A tentative table of contents and outline of the
written element is shown below. The exhibition element of the thesis will take place prior to
submitting the written element and the viva voce; location and date of exhibition TBD.
Draft Table of Contents and Outline
I. Playing: A Methodology
Playing Painting Personas
Introduce research questions, outline the three part structure of
written element, and provide a general overview and contextualization of
project methodology relative to each of the three words in the project title
via a literature review. Present the role of my Research website to the project
as a whole and introduce the embedded AR links to postings from its
synthesis which are found throughout this written element. [23] State case I will
build for original contribution to knowledge.
The Personas: Melusine, Petra, and Franzi
Connect to previous section by addressing collectively the personas
as tools applied in my practice and as part of my project methodology;
introduce each persona individually through their narratives and the work they
have done separately and together.
The ‘Me’ In My Methodology
Emphasize my place and position in this project as I apply the tools of personas
and in project methodology. Build bridge to second section - Painting - by
introducing the practice, the painter, and the object ‘painting’ through questions
emerging from historical and contemporary perspectives on painting prior to
and in opposition to Duchamp; include ideas and questions such as
authenticity, what is authentic, and others relevant to my project research and
arising out of my pursuit of project aims and questions.
II. Painting: A Well Established Practice?
Preparing the Ground and Defining the Edges: Questions of Painting
Examine the ways painters, including myself, have responded in their (my)
practice through their (my) own questioning the historical and contemporary
perspectives on the practice, the painter, and the object ‘painting’ introduce in the
previous section.
Into, Out of, and In-Between Corners: Questioning Painting
Look at the work of Carolee Schneemann and Laura Owens as examples of
how two contemporary painters have addressed these ideas and questions in
their practices. Conclude by presenting the paintings of this research project
forming the exhibition element of the thesis and augmented by synthesized
postings from the Research website embedded as AR links in both the written
and exhibition elements.
Framing the Conversation [submitted as a sample chapter]
Conclude second section by establishing a methodological context for the
creative, conversational sections following in the third section - Personas.
Reiterate the origins of personas; introduce the conversation arising out of my
studio practice; present from scholarly research on self talk and its benefits,
conversation versus dialogue, and what makes conversation “real conversation”;
example in My Dinner with André; and establish case for presenting contextual
research via creative format for reasons of accessibility to practitioners as well as
academics by showing rather than just telling of my relationship to the most
conceptual and least perceptual persona, the non-painter, Melusine, in her
medium -words.
III. Personas: Contextual Conversations with Melusine Van der Weyden
Inamorata Non Autentica: Marcel Duchamp, Rrose Sélavy, Melusine and Me
[submitted as a sample chapter]
First segment of a slowly unfolding three part conversation between myself and
my persona, Melusine. Introduces Melusine, David Bowie, and Marcel Duchamp;
focuses on the origins of Duchamp’s questioning of the identity of painting, his
practice, and his playing of games.
King David: The Many Faces of David Bowie
Second segment looks closer at Duchamp’s persona Rrose Sélavy and the
numerous versions of ‘Marcel Duchamp's to connect to the many personas of
David Bowie - the focal point of this segment; segue to final segment on literary
personas by discussing ‘David Bowie: art writer’ and his role in propagating by
publishing the hoax of William Boyd’s biography of made-up artist Nate Tate .
Monkeying Around: A Congress of Poets and Paraphrasers
Final segment addresses use of personas and pseudonyms in literary arts and
film; discuss relationship between characters and writers, performers and
directors - for example in My Dinner with André and the 72+ heteronyms of
Fernando Pessoa. End with Pessoa and contemporary Portuguese writer José
Saramago’s giving a creative (after-) life and death to Pessoa and his heteronym
Ricardo Reis in the novel The Year of the Death of Ricardo Reis (1991).
IV. Conclusion (Title TBD)
Tie together my research as presented in the preceding parts and sections of the written
element by addressing the outcome of my project aims and the answers I have
uncovered to my research questions; ending with my statement of what my original
contribution to knowledge is based on the information and insight offered here, who will
benefit from this, and why.
Original Contribution to Knowledge
Based on the research I have undertaken to date I anticipate the original contribution to
knowledge I make will primarily be through the accessibility of the documentation and
dissemination of my research process working with personas as tools in my practice. As
mentioned in the previous section, there are visual artists, including painters, today who work
with personas however, not necessarily as publicly revealed, constructed identities with their
own practices, or if openly acknowledged as such, then the persona is (often) foremost an
object of the artist’s practice -that which is made and does not make - instead of as a tool
applied to the practice in the manner I am doing. Personas primarily as tool applied to and not
as objects resulting from my painting practice is another key part of my original contribution to
knowledge.
Disciplines and groups who will benefit the most from this knowledge will be those with
similar interests in identity, questioning, playing and performing; this knowledge is not limited to
object-making or painting practices but could be beneficial to non-visual artists by shifting how
they approach working with personas in their particular practices from objects resulting from to a
tool forming their practice. Practitioners may benefit the most from the accessibility to my
research and impact provided by the conversational approach taken in the third part, Personas .
Academics and scholars, particularly in the areas of art history and theoretical studies of
contemporary painting practices, may also find this creative presentation in conjunction with the
academic approach provides additional insight and support for the case I am making through
this practice-led research project. Because I seek to enhance painting as metaphor of identity
by establishing a playful incorporation of personas in the studio practice to address what their
impact is on the form, content and daily practice of painting, by establishing a novel approach
for the questioning and contextualization of identity through painting including a non-painter
persona I am making the conceptual part of my practice accessible in another way to both
scholars and practitioners in the written element via a creative presentation of contextual
research analogous to the way the perceptual parts (painting) is made visible in the exhibition
element. Applying this academically researched knowledge of how personas have been used in
other creative practices and as objects by which to question identity and the practice I have not
only formed my own playful strategies for incorporating personas as tool in my painting practice
but by building upon knowledge from non-painting practices make my research accessible to
practitioners from these non-painting, creative practices who might be interested in working with
personas, alter egos or pseudonyms in ways other than has already been done in their fields.
The third element of synthesized postings embedded as links or AR icons can serve the
beneficiaries of my research project by making accessible additional layers of information
beyond the exhibition and written elements transferable to many different creative practices.
Endnotes
[1] The English translation of this quote as included here can be found in Motherwell, Robert, and, Nicola Del Roscio,
Editor. (2002) Writings on Cy Twombly . Munich: Schirmer Mosel. p.99. Otherwise in my research I have used the
German translation of the entire essay (Barthes and Twombly, 1979: 29).
[2] Please see the sample chapter submitted with this report for more on Marcel Duchamp’s playing of games and art.
[3] I use the term ‘ since Duchamp’ to refer to the period since the publication of The Box of 1914 ; allowing me to
separate the period of his painting on canvas, culminating in works from 1912- 1913, from the period of The Large
Glass and the ‘Readymades’ also begun in 1914, and for the inclusion of his contemporaries, such as Joseph
Cornell, in addition to the generation emerging in the 1950s, i.e. Rauschenberg, Johns, and Warhol. This will be
further elaborated in the written element of the eventual thesis.
[4] Another question often raised concerns collaboration: how can one ‘collaborate’ with oneself, and how does this
differentiate from role play? Part of defining personas as tools is to distance their application from traditional role play
and a collaboration of equals.. Although we can develop a special fondness for a paint brush, hammer, or kitchen
knife we are unlikely to say we collaborated with these tools to create something. Artists have a long history of
working with fabricators and assistants, the degree to which this is seen as collaboration versus co-authorship varies.
This is addressed somewhat by the relationship between Marcel Duchamp and Man Ray in the sample chapter
submitted with this report and why I have chosen to keep this discussion to a footnote in this report.
[5] This sentence contains four separate links to my Research website documenting this process in the work Elegy .
[6] A more detailed discussion will appear in the written element of the eventual thesis; please see Draft Table of
Contents at the end of this report for more detail. What is important here is the contribution this art historical
excursion has made and continues to make in the studio portion of my research practice which cannot as yet be fully
articulated.
[7] Please see the sample chapter ‘ Inamorata Non Autentica: Marcel Duchamp, Rrose Sélavy, Melusine and Me’
submitted with this report.
[8] I chose to use the term ‘New York School’ here as a means to locate the second generation of post-war painters
based in New York City and often identified as part of this ‘school’ although they are associated with theories of Pop
Art, or as it was first called ‘Neo-Dada’, from the earlier generation of AbEx painters - i.e. Pollock, De Kooning, Kline -
and the younger followers of Greenberg, the Color Field painters -i.e. Frankenthaler and Louis- who remained true to
the tenants of abstract expressionism during the same period as ‘Pop Art’.
[9] A problem with the Abstract Expressionists notions of authenticity is the mismatch of it with the term ‘authentic’.
[10] Photoshop, etc. creating what I like to think of as the Adobe Era.
[11] ‘Text’ defined here as ‘the script’ providing the narrative by which the actor develops an understanding of the work,
the role, and all this entails.
[12] See previous section.
[13] The question ‘why blue?’ and more will be addressed in detail in the written element.
[14] Quickly drying the thinned layers of paint with a hair dryer, directing an uncontrollable flow to create thickness out
of thinness; ironic for a persona described as bald and obese.
[15] Very subjective descriptions of each painting medium encountered over the past thirty years of my practice. Acrylic
paint is made of plastic dissolved in solvents, and by many not consider ‘real’ paint in the same way as oil paint with
its longer history, range of surface qualities painters with less skills in painting with acrylic are unable to achieve with
this newer material, and proven durability. Watercolors have a history of use by children, women and amateur
painters; however, the exhibition American Watercolor in the Age of Homer & Sargent at the Philadelphia Museum of
Art, March 1 - May 14, 2017 showed this medium is and has been indeed a professional medium, too.
[16] Please see Project Prospectus for more background on this.
[17] For an example of this please see sample chapter ‘Inamorata Non Autentica: Marcel Duchamp, Rrose Sélavy,
Melusine and Me’ submitted with this report.
[18] Please see Draft Table of Contents and Outline.
[19] April 2018 (Month 18) to September 2019, with a possible, additional ‘write up year’ into 2020 (Month 36 to 48).
[20] Rauschenberg's practice and its - his - affinity to Duchamp has been widely documented while this has occurred to
a lesser degree with Schneemann’s. However, increased scholarship of her painting practice as a whole, not just her
performances and films, by both historians and critics is now emerging. An example being the recent career
retrospective exhibition Carolee Schneemann: Kinetic Painting at MoMA/PS1 October 2017 - March 2018.
[21] I was fortunate to see in its original installation at Capitain Petzel, Berlin in August 2015 and again in December
2017 as part of exhibition Laura Owens at the Whitney Museum of American Art , New York City November 2017 -
February 2018.
[22] Links in digital versions of the written element, AR icons on paper versions and exhibition signage accessible on
smartphone and handheld devices via apps such as from An Art.
[23] This may precede this first section.
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Film and Video List
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Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
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Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
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Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
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44
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Louisiana Museum of Modern Art, Nov. 2012,
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45
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
PerryDuke. (2017) Howard Hodgkin: Absent Friends . Howard Hodgkin - Absent Friends -
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46
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Schneemann, Carolee, director. (1968 -71) “Plumb Line” UbuWeb Film & Video: Carolee
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Tejada-Flores, Rick, director. (2005) Jasper Johns: Ideas in Paint . Arthouse Films. Film.
Various, director. (2002) Best of Bowie . Warner Music Group. DVD.
Von Boehm, George, director. (1997) David Hockney: Pleasures of the Eye . RM Arts. Film.
Wenders, Wim, director. (1974) Alice in the Cities . Axiom Films. Film.
Wenders, Wim, director. (1977) The American Friend . Filmverlag der Autoren. Film.
Zenith, Richard. (2015) “Fernando Pessoa: An Englishly Portuguese, Endlessly Multiple
Poet” YouTube , Library of Congress, 22 Apr. 2015, youtu.be/r788Xw6xU0U. Accessed
28 Jan. 2018.
Exhibitions, Performances and Talks
47
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
January 2017: Francis Picabia, Nan Goldin, Collection (Duchamp); Museum of Modern Art, New York,
NY. Laura Sharp Wilson; McKenzie Gallery, New York, NY.
March 2017: Gillian Wearing; Institute of Contemporary Art, Boston, MA. X-Fest 2017, performance Cilla
Vee; Town Hall, Holyoke, MA.
April 2017: Sara Berman’s Closet, Marsden Hartley; The Metropolitan Museum of Art, New York, NY.
J.M.W. Turner; The Frick Collection, New York, NY. Biennial 2017, Fast Forward - Painting of the 1980s;
The Whitney Museum of American Art, New York, NY. Emily Dickinson ‘I’m Nobody! Who are you?...’;
The Morgan Library, New York, NY. American Watercolor from Homer to Sargent, The R.Mutt Case,
Collection (Duchamp et al.); Philadelphia Museum of Art, Philadelphia, PA. Mark Roth (artist talk); The
Phatory, New York, NY. Sue Williams; 303 Gallery, New York, NY. Michael Williams; Gladstone, New
York, NY. Alice Neel, Al Taylor; David Zwirner Gallery, New York, NY. Albert Oehlen; Gagosian, New
York, NY. Betty Tompkins; PPOW Gallery, New York, NY. Brian Rutenberg; Forum, New York, NY.
Mimmo Rotella; Gladstone 64, New York, NY.
May 2017: Rei Kawakubo, Irving Penn, Collection; The Metropolitan Museum of Art, New York, NY.
Florine Stettheimer; The Jewish Museum, New York, NY. Mark Mothersbaugh; Grey Art Gallery, NYU,
New York, NY.
June 2017: Michael Williams; Carnegie Museum, Pittsburgh, PA.
July 2017: Robby Müller; German Film Museum, Berlin, Germany.
September 2017: Patti Smith (reading), RISD Auditorium, RISD Museum, Providence, RI.
December 2017: David Hockney, Rodin, Michelangelo, Adolf de Meyer; The Metropolitan Museum of Art,
New York, NY. Carolee Schneemann; MoMA/P.S.1, New York, NY. Laura Owens; The Whitney Museum
of American Art, New York, NY. Arturo Herrera; Sikkema Jenkins, New York, NY. Marjolijn De Wit; Asya
Geisberg Gallery, New York, NY. Elizabeth Murray: Painting in the 80s; Pace, New York, NY. Roy Dowell
& Richard Kalina; Lennon Weinberg, New York, NY. Jacqueline Humphries , Greene Naftali, New York,
NY. Joan Grubin Garvey Simon, New York, NY. Tom Smith; Olsen Gruin Gallery, New York, NY. Ursula
Morley Price; McKenzie Gallery, New York, NY. Mirror Mirror; Foley Gallery, New York, NY. Michael
Haggiag; Freight & Volume, New York, NY. Rachel LaBine; Lyles & King Gallery, New York, NY.
January 2018: Guillermo Gómez-Peña; Museo de Arte Moderno, Mexico City, Mexico.
Appendix 1
Updated Timetables including notations to tasks completed and embedded links to relevant
documentation of these on my Research website, where applicable. Slight changes have been
made to the column headings and the 2017 table to more accurately reflect how time was spent
and column contents.
48
Start date: 1. October 2016 2017 Summer Residency-I (2016) Reading, Exhibits, Film, Video (ongoing) See Research website links for detailed postings of painting (making) and studio writing.
JANUARY
Travel RDC1 Winter Residency RDC2 Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective]
1-7 1-7-17 NYC 1-5-17 revised to draft DoS for comments prior to residency preparation presentation
8-14 NYC 1-13-17 Presentation Presentation 1-9-17 Full Committee NY
15-21 1-15-17 PVD 1-16 to 1-21 final revisions to RDC1 per committee suggestions
22-31 1-23-17 submitted RDC1 via GradBook RDC1 1-23-17 3 month update
FEBRUARY
Method 1 Method 1 Method 1
1-7 2-5-17 report from external reader on RDC1 received from DoS
8-14 15th of month
15-21 2-17 NYC: CAA/WCA 2-17-17 DoS NY CAA/WCA: Attended panel on Artists & The Maternal
22-28 2-28-17 Full Committee Skype
MARCH
Method 1 Method 1 Method 1
1-7 3-4 Holyoke, MA: X-Fest 3-2-17 RDC1 signed off in GradBook by PU Research Coordinator
8-14 15th of month 3-13-17 6 month update
15-21
22-31 3-25-17 DoS Skype
APRIL
Method 1 Method 1 Method 1
1-7 4-7 to 4-10: NYC, PHIL: 4-7-17 DoS NY
8-14 exhibits 15th of month
15-21 TOC/Bibliography -sketches
22-30 TOC/Bibliography -sketches 4-25-17 Full Committee Skype
MAY
Method 2 Method 2 Method 2
1-7 chapter - sketches (see studio writing) 5-9-17 9 month update
8-14 chapter - sketches (see studio writing) 15th of month
15-21 5-20 NYC: exhibits chapter - sketches (see studio writing)
22-31 chapter - sketches (see studio writing)
JUNE
Method 2 Method 2 Method 2
1-7 chapter - sketches (see studio writing)
8-14 chapter - sketches (see studio writing) 15th of month workshop readings and prep
15-21 chapter - sketches (see studio writing) workshop readings and prep
22-30 6-23 to 7-1: PA, OH chapter - sketches (see studio writing) workshop readings and prep Carnegie Museum, PA: Michael Williams Exhibition
JULY
Method 2 Method 2 Method 2
1-7 workshop readings and prep
8-14 15th of month 7-9-17 submitted AMC GradBook Workshop Reading Diaries & prep
15-21 7-20-17 Germany prep and travel
22-31 Germany 7-31 Presentation 7-26-17 Full Committee Berlin workshops: PU Doctoral Training; Presentation
AUGUST
Method 2 Method 2 Method 2
1-7 Germany workshop: Articulation
8-14 8-14-17 PVD No Update -Residency Break workshop:Documentation (readings only); Berlin walk-talk Bowie
15-21
22-31
SEPTEMBER
Method 2 Method 2 Method 2
1-7 chapter
8-14 chapter 15th of month 9-15-17 12 month update
15-21 chapter
22-30 chapter 9-27-17 Patti Smith Reading, artist talk RISD Museum
OCTOBER
Method 2 Method 2 Method 2
1-7 chapter/TR/TOC
8-14 chapter/TR/TOC 15th of month 10-3-17 DoS Skype
15-21 10-17-17 Draft of chapter/TR outline DoS
22-31
NOVEMBER
Method 2 Method 2 Method 2
1-7 chapter/TR/TOC/Bibliography
8-14 11-13-17 Draft chapter 15th of month
15-21
22-30 11-22-17 DoS Skype
DECEMBER
Method 2 Method 2 Method 2
1-7 chapter/TR/TOC
8-14 chapter/TR/TOC 15th of month
15-21 12-15 to 12-16 NYC:exhibits preparation for Winter Residency 2018 chapter/TR/TOC 12-9-17 DoS NY
22-31 preparation for Winter Residency 2018 chapter/TR/TOC
Travel RDC1 Winter Residency RDC2 Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective]
Start date: 1. October 2016 2017 Summer Residency-I (2016) Reading, Exhibits, Film, Video (ongoing)
2018 Reading, Exhibits, Film, Video (ongoing)
JANUARY
Travel RDC2 Winter Residency RDC3 Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective]
1-7 1-6-18 Mexico 1-2-18 Draft of chapter/TR preparation for Winter Residency 2018 Update
8-14 Mexico City committee suggested revisions to drafts 1-10-18 Presentation 1-10-18 Full Committee Skype 1-10-18 15 month update Else Foundation Symposium: On Limits, Borders, Edges, and Boundaries
15-21 1-15-18 PVD committee suggested revisions to drafts Presentation 1-17-18 DoS Skype
22-31 committee suggested revisions to drafts
FEBRUARY
Method 3 Method 3 Method 3
1-7 2-3-18 Draft of chapter/TR
8-14 committee suggested revisions to drafts 15th of month 2-12-18 Full Committee Skype
15-21 committee suggested revisions to drafts
22-28 RDC2 submission
MARCH
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-31 writing chapters
APRIL
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-30
MAY
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-31 writing chapters
JUNE
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month workshop readings and prep
15-21 writing chapters workshop readings and prep
22-30 writing chapters workshop readings and prep
JULY
Method 3 Method 3 Method 3
1-7 writing chapters workshop readings and prep
8-14 writing chapters 15th of month prep
15-21 Germany writing chapters prep and travel
22-31 Germany writing chapters Summer Residency TBD
AUGUST
Method 3 Method 3 Method 3
1-7 Germany Summer Residency TBD
8-14 Germany 15th of month Summer Residency TBD
15-21 Germany
22-31
SEPTEMBER
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-30 writing chapters
OCTOBER
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-31 writing chapters
NOVEMBER
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 writing chapters 15th of month
15-21 writing chapters
22-30 writing chapters
DECEMBER
Method 3 Method 3 Method 3
1-7 writing chapters
8-14 Full First Draft to Committee 15th of month
15-21 preparation for Winter Residency 2019
22-31 preparation for Winter Residency 2019
Travel RDC2 Winter Residency RDC3 Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective]
2018 Reading, Exhibits, Film, Video (ongoing)
2019 Reading, Exhibits, Film, Video (ongoing) 48 month date: 30. September 2020
JANUARY
Travel RDC3 Winter Residency Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective] Exhibition Viva Voce
JANUARY
1-7 preparation for Winter Residency 2019
8-14 Presentation TBD 15th of month
15-21 Method 4 Method 4
22-31 Method 4
FEBRUARY
Method 4 Method 4 Method 4
FEBRUARY
1-7
8-14 15th of month
15-21
22-28
MARCH
Method 4 Method 4 Method 4
MARCH
1-7
8-14 15th of month
15-21
22-31 RDC3 Exam arrangements due 1. Apr.
APRIL
Method 4 Method 4 Method 4
APRIL
1-7
8-14 15th of month
15-21
22-30
MAY
Method 4 Method 4 Method 4
MAY
1-7
8-14 15th of month
15-21
22-31
JUNE
Method 4 Method 4 Method 4
JUNE
1-7
8-14 15th of month workshop readings and prep
15-21 workshop readings and prep
22-30 workshop readings and prep
JULY JULY
1-7 workshop readings and prep
8-14 15th of month prep
15-21 prep and travel
22-31 Summer Residency TBD
AUGUST AUGUST
1-7 Summer Residency TBD
8-14 Summer Residency TBD
15-21
22-31
SEPTEMBER SEPTEMBER
1-7
8-14
15-21
22-30 36. Month as of 30. Sept. 2019
OCTOBER OCTOBER
1-7
8-14
15-21
22-31
NOVEMBER NOVEMBER
1-7
8-14
15-21
22-30
DECEMBER DECEMBER
1-7
8-14
15-21
22-31
Travel RDC3 Winter Residency Blog Supervisory Meetings GradBook Monitoring Summer Residency Research [non-painting] Painting [Self] Painting [Personas] Studio Writing [Reflective] Preparation for exhibition and Viva Voce
2019 Reading, Exhibits, Film, Video (ongoing) 48 month date: 30. September 2020
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Appendix 2
The following is a chronological list of postings in Studio - Making . The content of these
postings relates to painting undertaken in the columns Painting [Self] and Painting
[Personas] on the 2017 timetable. However, because the work with the personas began
prior to March 2017 I have elected to include all postings, beginning with the October 2016
start date of the project in order to include the full documentation of the
development/formation of the personas Franzi, Petra and Melusine through my studio
practice, and, as tools of and for my studio practice. Additionally, each work is built to some
extent off previous work; therefore it is important to start at the beginning to see the
unfolding of the painting strategies through the techniques, methods and tools of my
process. The postings include my own painting (self) and the painting with the personas -
individually and in collaboration within my painting practice. I have documented the process
the various works’ creation through still photos, flatbed scans of the paintings, videos.
Unlike in the Studio Writing postings, the writing in these postings is meant as
documentation of the making process, not an analysis or reflection of the resulting work or
contextualization through sources outside of the works themselves. The writing here will tell
the reader how a work was made and provide some ‘backstory’ -such as the origins of each
persona or images used in a particular work - but little else.
Double Portrait: Self and Franz Walsh
Double Portrait: Self and Petra Nimm
Double Portrait: Self and Melusine Van de Weyden
Franz Walsh
Melusine Van der Weyden
Petra Nimm
Dissecting Double Portrait: Self and Petra Nimm
References
Good Witches of the Between, Part One
Good Witches of the Between, Part Two
Und das Lied
Patchwork Surface
Good Witches of the Between, Part Three
Influential Dressing
Franz Painting, Part One
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Petra Painting, Part One
One Painting Three
A little madness in the Spring, Part One
Good Witches of the Between, Part Four
A little madness in the Spring, Part One -part two
A little madness in the Spring, Part Two
A little madness in the Spring, Part Three
A little madness in the Spring, Part Two -part two
Good Witches of the Between, Part Five -Franz’s intervention
A little madness in the Spring, Part Two -part three
A little madness in the Spring, Part Three -part two
Franzi blue
Three small asides
Good Witches of the Between, Part Six -applying Petra
Gestures of CillaVee-Gestures of Petra Nimm
Three more small asides
A little madness in the Spring, Part Three -part three
Good Witches of the Between, Part Seven -another start
A short visit in the Between
Momentary Messages of Truths as told by Petra Nimm, Image One -part one
Momentary Messages of Truths as told by Petra Nimm, Image One -part two
Momentary Messages of Truths as told by Petra Nimm with Interruptions by Robyn Thomas, Image Two
Momentary Messages of Truths as told by Petra Nimm with Interruptions by Robyn Thomas, Image Three
I am Melusine -Sütterlin
Good Witches of the Between, Part Seven -enter Franz
Good Witches of the Between, Part Eight -Petra returns
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Good Witches of the Between, Part Nine -another layer of paper
Good Witches of the Between, Part Ten -Petra, watercolor, thinned gesso and acrylic
Good Witches of the Between, Part Eleven, -Robyn and oil
Photos: Subject/Object
Berlin Sketches and Melusine Writing
Another Point of View /Shadows on the Wall
Happenings in the Between: Subtext Part Twelve
Zigging and Zagging Postal Posted Posting
On Display
Eight by Ten by Twelve by Four
Petra Frottage
Concertinaed
Nonefficacious Emorhinoplasti
Playing Concertinaed
Eight by Ten by Twelve by Four: Elegy
Elegy
Playing Elegy
****
The following list is a chronological account of postings in Studio Writing . The content of
these postings relates to writing undertaken for the columns RDC2, Research
[non-painting], and Studio Writing [Reflective] on the 2017 timetable; the writing in these
postings takes a variety of forms, such as reflections on the personas and making process,
readings, exhibitions, films, sketches, notes, citations, presentations, and drafts for
chapters. I have found writing on the computer in either in documents or emails allows my
thoughts to flow quicker - and more legibly - to the page I rarely write more than a word or
two as a prompt in my notebook, sketchbook, or journals. Instead, I sit down at my laptop
and write, either as myself, Melusine, Petra, and occasionally Franzi. Most of the following
postings are by me unless otherwise noted, and very informal with very little editing. I return
to read the postings frequently, to re-think, reflect and re-consider the thoughts I had when
creating the posting; and to collect bits and pieces to add to or generate new writing,
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
specifically the writing for presentations, reports, and most importantly, the chapters of the
written dissertation.
The trick of replication
A path to Vygotsky
Mary, Mary quite contrary
Voices of a Nomadic Soul
Thoughts on Pessoa and Duchamp
Slant
Boxes and Bins
Joe Fig’s Questions, Part One
A child’s solution to the limits of space
Codes of Dressing Up, Part One
Vygotsky 101
Joe Fig’s Questions, Part Two
Notes from: Play and Its Role in the Mental Development of the Child by Lev Vygotsky
Fragments from a Fragment
Considering narrative
Petra paints with her left hand
Random Notes, Part One
Thoughts and Questions by Melusine Van der Weyden
Vygotsky in Context, Part One
Sara Berman’s Closet @ The Metropolitan Museum of Art
Shock and Awe, Part One
Vygotsky: The Psychology of Art, Part One
Painters of Place
The digital continuation of a walking-talking conversation between two painters
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Maskenfreiheit
Smoothing the edges: an observation
(How) is adult play/creativity different?
Notes on a search of adult play
Roland Barthes on Cy Twombly: play not game
Waiting for Franz: May 8 11 AM
Philip Guston, Part One
Preliminary thoughts on the written exegesis
Petra’s statement
Quotes and Notes on Performance Studies: An Introduction
Schjeldahl on Rauschenberg
Important?
Authentic Drips and Ziggy Stardust
First, very rough draft
Notes and Quotes from Serial Imagery: Definition by John Coplans
The pleasure of The Pleasure of the Text
From Death to Birth
Bibliography as a tool for reflection
Petra responds to Melusine
Franz responds to Melusine
Notes: Important sentences from my Summer 2017 residency presentation and how my understanding of what I am
doing has developed through the process of preparing it.
Melusine’s correspondences and other writings (until August 1, 2017)
Some words from some words I.
Trans-scribed
Melusine Sütterlin
Robyn Thomas
RDC2 Transfer Report Research Project Title: Playing Painting Personas
Boxing Shadows with the beginning of (mainly) Melusine’s interruptions
Odds and (non)Ends, August and September
Poems by Melusine Van der Weyden
On Display
Window Shopping
Painting: a Treacherous Image
For all intent and purpose
Clarifications in a Storm
Obituary
Condolences
Petra thinking of Melusine
Life, Death and the Persona
The Relevancy of a Death in Writing
Two quotes on identity and its reception by others by a couple of recently deceased artists
Petra thinking of a friend while painting
19 by One
This increasingly fragmented pixel
Another Way of Telling My Practice
John Dogg