PLACEBO
by
William Hawkins Hunter
A thesis submitted in partial fulfillment
of the requirements for the degree
of
Master of Fine Arts
in
Art
MONTANA STATE UNIVERSITY
Bozeman, Montana
April 2005
©COPYRIGHT
by
William Hawkins Hunter
2005
All Rights Reserved
ii
APPROVAL
of a thesis submitted by
William Hawkins Hunter
This thesis has been read by each member of the thesis committee and has been found to be satisfactory
regarding content, English usage, format, citations, bibliographic style, and consistency, and is ready for
submission to the College of Graduate Studies.
Chairperson, Graduate Committee
Harold Schlotzhauer
April 12, 2005
Approved for the School of Art
Head, Major Department
Richard Helzer
April 12, 2005
Approved for the College of Graduate Studies
Graduate Dean
Dr. Bruce McLeod
April 12, 2005
iii
STATEMENT OF PERMISSION TO USE
In presenting this thesis in partial fulfillment of the requirements for a master's degree at
Montana State University, I agree that the Library shall make it available to borrowers under rules
of the Library.
If I have indicated my intention to copyright this thesis by including a copyright notice
page, copying is allowable only for scholarly purposes, consistent with "fair use" as prescribed in
the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of
this thesis in whole or in parts may be granted only by the copyright holder.
Signature_William Hawkins Hunter____________________
Date__April 12, 2005__________________________
iv
LIST OF IMAGES
Image
Page
1. Outside Wall—Process Materials, paper and plastic bags................................5
2. Gallery View #1.................................................................................................6
3. Gallery View #2.................................................................................................7
4. Gallery View #3.................................................................................................8
5. Gallery View #4.................................................................................................9
6. Gallery View #5................................................................................................10
7. Gallery View #6................................................................................................11
8. Globe Tower, 13’..............................................................................................12
9. Placebo, paper and pins, 8’x18’........................................................................13
10. Placebo, detail...................................................................................................14
11. Prayer Targets, triptych, paper and pins, 7’x16................................................15
12. Prayer Targets, center, paper and pins, 7’x7’....................................................16
13. Prayer Targets, center, detail.............................................................................17
14. Prayer Targets, right, paper and pins, 40”x40”.................................................18
15. Prayer Targets, right, detail...............................................................................19
16. Prayer Targets, left, paper and pins, 40”x40” 20...............................................20
17. Prayer Targets, left, detail.................................................................................21
18. Portraits of the Artist (ski-masks), series of 32 15”x15” photographs.............22
19. Earth Tower, paper on canvas, 48”x36”...........................................................23
v
LIST OF IMAGES CONTINUED
Image
Page
20. Moon Tower, paper on canvas, 48”x36”..........................................................24
21. Original Sun, paper on canvas, 48”x36”..........................................................25
22. Missing You, triptych, paper on canvas, 4’x9’.................................................26
23. Blue Triptych (Whale Composition, Sharks and Birds, Heavenly Bodies)......27
24. Whale Composition, paper on canvas, 48”x36.................................................28
25. Sharks and Birds, paper on canvas, 48”x36”....................................................29
26. Sharks and Birds, detail....................................................................................30
27. Hummingbirds and Handguns, paper on canvas, 3’x4’....................................31
28. Every Things Fine, paper on canvas, 48”x36”..................................................32
29. Snake Tower, paper on canvas, 50”x30”..........................................................33
30. Snake Tower, detail.........................................................................................34
31. New! Evolution Series, paper on panel............................................................35
1
I view my thesis show as an opportunity to present a body of work unified by
process, ideas and context. The show consists primarily of collage, including
photography, and collected objects. The exhibition shows the dual roles of the artist as
autonomous creator and, as exploiter of the collective history of artistic traditions. The
exhibition also affirms the idea that every detail within the space should contribute to it’s
meaning and impact. Evidence of the way the work is created has been selected to
accompany the work. By showing stages of development the viewer is afforded the
opportunity to engage elements of the artistic process often hidden.
The strategy chosen to make the majority of the work can be separated into three
stages. The first stage of development is the process of collecting types of images or
objects based on aesthetic and associative significance. Second, from this collection,
materials are chosen and ordered formally in terms of scale, color, and point of view. The
images and objects appropriated come to the work loaded with meaning. The inherent
character of the materials selected suggests the concepts of originality, gender,
spirituality, and beauty. For example, butterflies where chosen as metaphors for
transformation, feminine beauty, and vulnerability. In the third stage, meaning is created
by the way in which the materials are organized. Every image or object has a logic that
dictates an appropriate system of order. Images of fish and butterflies are layered
according to scale and color to create illusions of new or evolved representations. These
two bodies of work combine to represent what I refer to as the New! Evolutions Series.
This series mimics both the natural evolutionary process as well as the human motivation
to speed up the process. Rather than seeking out evidence of natural evolution, new types
2
of forms are developed by combining images. The artist replaces the scientist in a world
where representation replaces reality. Photocopies are made of these collages for two
wall-mounted assemblages. The original collage images are significantly unified through
the process of making copies of copies to create artificial representations of type.
In “Prayer Targets”, one of two cut paper assemblages, images of butterflies are
organized in circles to exploit their beauty and symbolic content, as well as the symmetry
and angle of their wings. The circles are presented concentrically, forming a series of
targets. The butterfly assemblage can be viewed both intimately and from a distance.
From a distance, the viewer is confronted by the gestalt of the color and forms. As the
viewer approaches the piece they observe each individually pinned butterfly. I am
interested in engaging the viewer on different levels of meaning. In my work, selection
and organization of materials suggest rather than dictate meaning. I have chosen forms
that remain open to multiple interpretations by the viewer. The viewer responds to the
aesthetics of the organization and the symbolism of order. Order represents control and
each butterfly suggests an appropriation of color and form. In “Prayer Targets”, the
viewer first assumes the position of the one taking aim at the targets. In close proximity
to the piece the viewer enters the space of the targeted.
The second assemblage titled “Placebo” is organized from cut paper copies of fish
from the New! Evolutions Series”. The cut fish images are organized on the wall to form
a massive pill capsule shape. This pill form was chosen for its metaphorical significance
and because it is a hybrid of a rectilinear/masculine and a curvilinear/feminine form into
one. The title “Placebo” functions to reinforce the reading of the form as a pill, and as a
3
synonym for control and nothing. The title contradicts the scale and complexity of the
piece. Both “Placebo” and “Prayer Targets” reference spirituality by mimicking forms
such as mandalas in Hinduism and Buddhism and stained glass found in Christian
churches. These forms suggest the meditative, ritualistic, ascetical aspects of artistic
creation.
The images within several collages are organized to suggest chaos and chance.
These compositions make use of a central void in the picture plane. This void implies the
presence of the artist and allows the viewer to enter the work as proxy. In some work the
viewer enters visual worlds that portray conflicting states of being. This is evident in
pieces through the juxtaposition of tropical birds and sharks, or canaries and assault
rifles.
Creating work from appropriated materials raises the notions or originality and
representation. The concept of originality is suggested in the collage titled “Original
Sun”. The piece is created by the collection and ordering of hundreds of representations
of the earth’s sun. The infinite number of ways a unique object such as the sun can be
represented fascinates me.
The concept of penetration is evident in several of the pieces in the exhibition.
Physical, visual, and symbolic penetration are emblematic of a patriarchal order. For
example, a collage incorporating hundreds of hummingbirds and handguns plays with
this idea. This order is subverted in the piece by virtue of the stereotypically masculine
guns being penetrated by the symbolically feminine hummingbirds. The concept of
4
penetration is also a significant aspect of the butterfly targets. The target forms suggest
this metaphor and the individually pinned butterflies reinforce the idea.
I have included a series of photographs in the show as a play on the tradition of
the self-portrait. The images are a series of head shots of myself wearing pieces from my
ski mask collection. I am suggesting how an artist hides behind their work, the link
between collection and collector, and the concept of identity.
The work included in the show has been created to function as individual pieces
but also in series, and as a complete body of work. Discovering and exploiting the depth
of ideas has been a goal in the development of my thesis exhibition. I have enjoyed
constructing an exhibition that is connected throughout by both formal and conceptual
strategies. My goal has been to create an exhibition that allows me to take advantage of
unexpected juxtapositions while demonstrating a sense of control and order.
5
Image 1 – Outside Wall
6
Image 2 – Gallery View #1
7
Image 7 – Gallery View #2
8
Image 4 – Gallery View #3
9
Image 5 – Gallery View #4
10
Image 6 – Gallery View #5
11
Image 7 – Gallery View #6
12
Image 8 – Globe Tower
13
Image 9 – Placebo
14
Image 10 – Placebo, detail
15
Image 11 – Prayer Targets
16
Image 12 – Prayer Targets, center
17
Image 13 – Prayer Targets, center, detail
18
Image 14 – Prayer Targets, right
19
Image 15 – Prayer Targets, right, detail
20
Image 16 – Prayer Targets, left
21
Image 17 – Prayer Targets, left, detail
22
Image 18 – Portraits of the Artist (ski-masks)
23
Image 19 – Earth Tower
24
Image 20 – Moon Tower
25
Image 21 – Original Sun
26
Image 22 – Missing You
27
Image 23 – Blue Triptych
28
Image 24 – Whale Composition
29
Image 25 – Sharks and Birds
30
Image 26 – Sharks and Birds, detail
31
Image 27 – Hummingbirds and Handguns
32
Image 28 – Every Things Fine
33
Image 29 – Snake Tower
34
Image 30 – Snake Tower Detail
35
Image 31 – New! Evolution Series