The Lives of the Most Excellent Visual Artists in Film and Television

我的博士项目着眼于视觉艺术家在20世纪和21世纪主流娱乐文化中的表现；特别关注21世纪美国电影和电视中女性彩色视觉艺术家的表现。通过工作室制作、采访和写作，我正在探索这些表现中的动态。我正在研究主流娱乐文化表征，使用表征理论、女性主义电影理论、媒体理论、批判种族理论，以及电影和电视艺术学者的作品、艺术家的神话和艺术劳动。那些以电影和电视中艺术家的表现为素材的艺术家，以及那些以电影和电视为灵感的形式，即剧本、布景和通读的艺术家，将为我的工作室制作提供信息。在这个特殊的社会文化时刻，艺术家们公开批评艺术机构中的系统性不平等，艺术家经营的组织，如英国的艺术家信息公司（a-n）和美国的工作艺术家和大经济（W.A.G.E.）正在倡导引入艺术家工资，本研究将通过分析目前流传的关于艺术家的叙述来影响这些讨论，并将为这些讨论做出贡献。还有关于电影和电视艺术的学术领域，以当代的例子和另一种叙事方式关注有色人种的女性视觉艺术家。我创作物品和装置，并写一些文章，偶尔作为演讲来表演。我从2017年开始采访艺术界人士，以建立一个音频和书面记录的公共档案。我将把电影和电视中艺术家的表现与我采访过的当代艺术家的叙述并置，并将在我的研究中继续采访。我将使用这些陈述和访谈作为我工作室制作的材料，通过编写脚本，创建布景和编排通读，来创建一个关于有色人种女性视觉艺术家的半自传体叙事。虽然我的更大的研究将研究20世纪和21世纪主流娱乐文化中视觉艺术家表现的例子，但我将完成三个案例研究的视觉分析，这些案例研究的重点是21世纪美国生产的女性彩色视觉艺术家的表现。弗里达（2002），她必须拥有它（1986/2017），和对不起打扰你（2018）作为案例研究将告知我的工作室制作和结构我的书面论文，因为他们将提供机会来研究传记片，制作的代表，电影和电视改编，独立电影和工作室电影之间的差异，以及种族和性别如何影响艺术家的神话。在2020/21学年，我参与了关于在21世纪娱乐电影中扮演自己的艺术家的代表的研究，并发表了一篇文章“这是高级娱乐的终结：小家具和这就是终结”，这篇文章将由阿姆斯特丹大学出版社在《透过玻璃，黑暗：筛选艺术世界》中出版。我完成了17次对英国和美国当代艺术家的采访，由英国艺术委员会和罗瑟米尔美国研究所旅游奖资助。此外，我还写了一部暂定名为《Out of Time》的电视节目的试播集，我尝试将彩色玻璃融入电视节目中，我还完成了Flat Time House的艺术家驻留项目，该项目介绍了已故艺术家的个人档案对他们职业和个人生活表现的影响。

My DPhil project looks at representations of visual artists in 20th & 21st Century mainstream entertainment culture; paying particular attention to representations of female visual artists of colour in film and television produced in the U.S. in the 21st Century. Through a programme of studio production, interviews, and writing, I am exploring the dynamics at play in these representations. I am framing my research into mainstream entertainment culture representations using Representation Theory, Feminist Film Theory, Media Theory, Critical Race Theory, and the work of scholars of art in film and television, the myth of the artist, and artistic labour. Artists who use representations of artists in film and television as material, and artists who work through forms inspired by film and television, namely scripts, sets, and read-throughs, will inform my studio production.In this particular socio-cultural moment when artists are publicly critiquing the systemic inequalities in art institutions, and artist-run organisations like the U.K.-based The Artist Information Company (a-n) and the U.S.-based Working Artists and the Greater Economy (W.A.G.E.) are advocating for the introduction of an artist wage, this study will impact these discussions with an analysis of narratives currently being circulated about artists, and will contribute to these discussions, and to the field of scholarship about art in film and television, with contemporary examples and an alternative narrative focused on female visual artists of colour. I create objects and installations, and write essays that I occasionally perform as lectures. I began interviewing people in the arts in 2017 to develop a public archive of audio and written records. I will juxtapose the representations of artists in film and television with the narratives of contemporary artists that I have interviewed and will continue to interview throughout my studies. I will use these representations and interviews as material in my studio production to create a semi-autobiographical narrative about female visual artists of colour through writing scripts, creating sets, and orchestrating read-throughs. While my larger study will examine examples of representations of visual artists in 20th & 21st Century mainstream entertainment culture, I will complete visual analysis on three case studies that focus on representations of female visual artists of colour produced in the U.S. in the 21st Century. Frida (2002), She's Gotta Have It (1986/2017), and Sorry To Bother You (2018) as case studies will inform my studio production and structure my written thesis as they will provide opportunities to examine the biopic, the production of representations, film and television adaptations, the differences between independent films and studio films, and how race and gender inflect the myth of the artist. During the 2020/21 academic year I engaged in research around the representation of artists who act as themselves in 21st Century entertainment films which resulted in the essay "This is the End of High Entertainment: Tiny Furniture and This is The End" which will be published by Amsterdam University Press in Through a Glass, Darkly: Screening the Art World. I completed 17 interviews with contemporary artists in the U.K. and U.S., funded by the Arts Council England and a Rothermere American Institute Travel Award. Furthermore, I wrote the pilot episode of a television show tentatively titled Out of Time, I experimented with incorporating stained glass into a television show set, and I completed an artist residency with Flat Time House which introduced questions around the impact of late artists' personal archives on representations of their career and personal life.