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dc.contributor.advisorSpencer, Catherine
dc.contributor.authorMajewska, Martyna Ewa
dc.description.abstractThis thesis posits performance for the camera, exemplified by selected practices of contemporary African American artists, as a means of exploring the construction and fixation of identities and a strategy for dismantling hegemonic conceptions of race and gender. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons and Pope.L, it examines the ways in which these artists incorporate embodied performance and personal information into their practices simultaneously foreclosing autobiographical readings and challenging interpretations overdetermined by race, gender and sexuality. In these practices, the image production of performance engages in dialogues with existing representations, highlighting the limited capacity of photographic imagery – and representation more broadly – to give voice to individual positionalities and nonconformist sensibilities. Shedding light on discords between individual and group representations, especially in the wake of the civil rights movement and second-wave feminism, the artists in question gestured towards artistic explorations that decades later became codified as a novel genre of post-black art. These artists destabilised the performative agency of performing for the camera, revealing the biases and abstractions inherent to photographic and video processes. Artistic methodologies examined in this thesis deny photographic technologies of reproduction their often assumed transparency, calling into question the role of the camera as a transmitter of historical and personal truths. Finally, analyses comprising this thesis point to the use of performance-generated images as critiques of entrenched racial biases of camera technologies. This thesis constitutes an intervention into dominant theories of performance, its mediation and mediatisation, and exposes their imbrication in white, Western, neoliberal viewpoints. It argues that the selected practices offer innovative approaches to embodiment, representation, abstraction and performativity – approaches that have been overlooked in theoretical scholarship due to their overdetermination with race and ethnicity.en_US
dc.description.sponsorship"This work was supported by a full-time PhD Scholarship awarded by The Carnegie Trust for the Universities of Scotland, including a Research Allowance and a pandemic-related scholarship extension. This work was supported by The Terra Foundation for American Art. The Terra Foundation Research Travel Grant enabled my research travel to the United States in 2019. The Terra Foundation Summer Residency Stipend supported the continuation of this project. This work was supported by The Catherine and Alfred Forrest Bursary of the Burnwynd Trust; The Russell Trust Postgraduate Award; and The Santander Research Mobility Award. These awards facilitated my research travel to the United States."--Fundingen
dc.subjectPerformance arten_US
dc.subjectVideo arten_US
dc.subjectIdentity politicsen_US
dc.subjectAmerican arten_US
dc.subjectInstitutional critiqueen_US
dc.subjectLyle Ashton Harrisen_US
dc.subjectAdrian Piperen_US
dc.subjectGlenn Ligonen_US
dc.subjectSenga Nengudien_US
dc.subjectMaren Hassingeren_US
dc.subjectHowardena Pindellen_US
dc.subjectDavid Hammonsen_US
dc.subject.lcshAfrican Americans in the performing artsen
dc.subject.lcshPhotography--United States--20th centuryen
dc.subject.lcshPerforming arts--Social aspects--United Statesen
dc.titleResisting overdetermination, destabilising representation : African American artists performing for the camera since the 1970sen_US
dc.contributor.sponsorCarnegie Trust for the Universities of Scotlanden_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Restricted until 6th May 2027en

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