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日和21世纪主流娱乐文化的代表性;特别注意在电影和电视中的颜色的女性视觉艺术家的代表性在美国生产。通过一个工作室制作，采访和写作的计划，我正在探索这些表现中的动态。我正在使用表征理论，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来构建我对主流娱乐文化表征的研究。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，以及艺术家们经营的组织，如英国，艺术家信息公司（a-n）和美国-工作艺术家和更大的经济（W.A.G.E.）目前，美国的一些艺术家正在倡导引入艺术家工资，这项研究将通过分析目前正在流传的关于艺术家的叙述来影响这些讨论，并将有助于这些讨论，以及关于电影和电视艺术的学术领域，其中包括当代的例子和侧重于有色人种女性视觉艺术家的另一种叙述。我创作物品和装置，写论文，偶尔作为讲座表演。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馆。我将把艺术家在电影和电视中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。我将在我的工作室制作中使用这些陈述和采访作为材料，通过编写脚本，创建场景和编排阅读，创造一个关于有色女性视觉艺术家的半自传体叙事。虽然我的更大的研究将探讨视觉艺术家在20日和21日世纪主流娱乐文化的代表性的例子，我将完成三个案例研究，专注于彩色的女性视觉艺术家的代表性的视觉分析在美国生产的世纪。2002年：《She's Gotta Have It》（1986/2017），和对不起打扰你（2018）作为案例研究将通知我的工作室生产和结构我的书面论文，因为他们将提供机会来检查传记片，制作的表示，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，我从事研究围绕艺术家谁充当自己在21世纪世纪娱乐电影，导致在文章“这是高娱乐的结束：微小的家具，这是结束”这将由阿姆斯特丹大学出版社通过玻璃，黑暗：筛选艺术世界的代表性。我完成了17次对英国当代艺术家的采访。和美国，由英国艺术理事会和罗瑟米尔美国协会旅行奖资助。此外，我写了一个电视节目的试播集，暂名为《Out of Time》，我尝试将彩色玻璃融入电视节目集，我完成了一个艺术家的居住地，与Flat Time House合作，介绍了已故艺术家的个人档案对他们的职业生涯和个人生活的影响。

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.