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1 Stars in Their Eyes: Contemporary Artists' Expressions of Fandom and How Fan Identities Influence Art

Ana Finel Honigman

History of Art

Lady Margaret Hall

University of Oxford

OSS No: 207852

2

TABLE OF CONTENTS

IMAGE LIST....................................................................... ........1 -13

LONG ABSTRACT

..........14 -19 SHORT ABSTRACT ...................................................... ...........20 .....21

INTRODU

......22 -40

Introduction, 22-25

Context, 25

-30

Aims, 31-32

Definitions, 32-34

Scope and Setting, 34-36

Methodology, 36- 37

Thesis Structure, 37-40

CHAPTER I: What is a Fan: Fan Culture, Fan Studies and the Context of Artists' ....... 41 -84 Celebrities and Celebrity Studies: the Objects of Fandom, 42 -50

History of Celebrity Studies, 4

2 -43 Purpose of Celebrity in Contemporary Society, 43-45 History of the Contemporary Concept of Celebrity, 45-46

Categories of Contemporary Celebrity, 46-48

Qualities of Contemporary Celebrity, 48-49

Subcultural Celebrity and Art Stars, 49-50

Fans and Fan Practices, 50-77

Epistemology and Meaning of the Word 'Fan', 50-52

History and Language of Fan Communities, 52

-54

Nature and Character of Fan Attachments, 54-56

Psychological Theories of Fandom and Fan Attachment, 56 -60

Artists &

Amae: Elective Distance between Fans and Celebrities,60-62

History of Fan Studies and Aca-Fans, 62-66

Scholarly Opposition to Fandom, 65-68

Fandom and Prejudice: Negative Assertions about Fans in Scholarship and Popular Culture, 68 -77 Immature Fans: Stereotypes of Fans as Regressive, 68-71

Pathological Fans: Fans and Mental Illness, 71-73

Fandom and Gender, 73-74

Fandom and Socio-economic Identity, 75-76

Textual Productivity, Pleasure and Politics: Active and Resistant Fans and

Creative Fan Practices, 76-79

Case Study: Jeremy Deller Documents Fans' Creativity, 79-80

Fan Fiction: Fans' Appropriation of Celebrity, 80

-82

Conclusion, 82

-83 3 CHAPTER II: Irregular Regulars: Ryan McGinley Depicts His Fandom For .....84-111

Introduction, 85-86

Ryan McGinley: Context and Analysis, 86-100

McGinley's Biographical Background& Signature Artistic Style, 86-95

Overview, 86-88

Irregular Regulars, 88-94

Critical Reception of McGinley's Artworks and Fandom, 94-96 McGinley's Attitude to Fandom and Himself As a Fan As Seen in His

Art, 95

-101 Religious Iconography & Fandom in Irregular Regulars, 95-96 Sexual Identity and Celebrity Identification, 96-98

Art Star Status and Amae, 98-100

Comparative Case Studies, 100-110

Irregular Regulars Contrasted with Phil Collins's The World Won't

Listen,

100
-105

Irregular Regulars

Contrasted with Candice Breitz's Fan Video

Portraits, 105

-109

Conclusion, 109-110

CHAPTER III: An Adoring Gaze: Elizabeth Peyton's Idealized Painted Portraits of Male 111
-147

Introduction, 112-114

Elizabeth Peyton: Context and Analysis, 114-132

Peyton's Biographical Background & Her Signature Artistic Style,114- 120
Critical Reception to Peyton's Artworks and Fandom, 120-125

Peyton's Art and Adolescent Expression, 120-123

Gender Identity and Celebrity Identification, 123-125 Peyton's Attitude to Fandom & Herself as a Fan, 125-130

Art Star Status and Amae, 130-131

Comparative Case Studies, 131

-145

Introduction, 131-132

Warhol's Influence on Peyton's Portraits and Their Reception,132-135 Peyton's Portraits of Kurt Cobain Contrasted with Rodney Graham's

Creatures,

135
-138 Peyton's Portraits of Kurt Cobain Contrasted with Bank Violette's Kill

All Rock Stars,

138
-144

Conclusion, 14

4 -145 CHAPTER IV: A Stalker Sensibility: Karen Kilimnik's Fantasies about Celebrities .........146 -180

Introduction, 147-148

Karen Kilimnik: Context and Analysis, 148- 169

Kilimnik's Biographical Background, 148-150

Klimnik's Signature Artistic Style and Artworks, 150-160 Critical Reception of Kilimnik's Artworks and Fandom, 160-165

Kilimnik's Attitude to Fandom and Herself

as a Fan as Seen in Her 4

Art, 165

-167

Comparative Case Studies, 167-183

Introduction, 167

Kilimnik's Drawings of Moss Contrasted with Lucian Freud's Portrait of Moss, 167-170 Kilimnik's Portraits of Kate Moss Contrasted with Aim ee Dicke's Collages of

Moss, 170

-176 Kilimnik's Portraits of Kate Moss Contrasted with Marc Quinn's Sculpture

Series of Moss,

176
-180

Conclusion, 180

CHAPTER V:

Broken Dolls:

Stella Vine's Macabre Paintings of

........................181

Introduction, 182-184

Stella Vine: Context and Analysis, 184-205

Vine's Biographical Background, 184-187

Vine's Signature Artistic Style, 187-189

Representative Artworks by Vine, 189-192

Critical Reception to Vine's Artwork and Fandom, 192-195 Vine's Attitude to Fandom and Herself as a Fan, 195- Identification and Fandom in Vine's Paintings, 195-199

Gender and Fandom in Vine's Art, 199-200

Violence and Pathology in Vine's Work,

200
-202

Comparative Case Studies, 202-216

'My Marilyn' by Richard Hamilton Contrasted with Vine's Portraits, 202
-205 Vine's Painted Portraits with Douglas Gordon's Series,

Self-Portrait of

You +

Me, 205-209

Vine's Painted Portraits with Dawn Mellor's Macabre Portraits of

Celebrities, 209

-216

Conclusion: 216

-218 ...........219-229 .....................230-300 ........3 00 -335 5

Image List

Figure 1

McGinley, R.

Untitled

2003

Chromogenic print

h. 20 x w. 16 in

Numbered edition of: 10

Collection (example): Menil Collection

Figure 2

McGinley, R.

Dan and Eric

2001

Chromogenic print on mounted aluminium

h. 30 x w. 40 in

Numbered edition of: 20

Collection (example): Menil Collection

Figure 3

McGinley, R.

Untitled (Morrissey 1)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Collection (example):

Ann and Mel Schaffer Family Collection

Figure 4

McGinley, R.

Untitled (Morrissey 2)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Collection (example):

Roddy Gonsalves and Paul Pincus

Figure 5

McGinley, R.

Untitled (Morrissey 3)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Private Collections

6

Figure 6

McGinley, R.

Untitled (Morrissey 4)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Private Collections

Figure 7

McGinley, R.

Untitled (Morrissey 5)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Collection (example): National Portrait Gallery

Figure 8

McGinley, R.

Untitled (Morrissey 6)

2004
6

Chromogenic print

h. 17 × w. 23 1/2 in.

Edition of: 20

Collection (example): Seth O. and Mandy W. Lax

Figure 9

McGinley, R.

Untitled (Morrissey 7)

2005

Chromogenic-print

h. 46 x w. 65 in.

Edition of: 20

Collection (example): Saatchi Gallery

Figure 10

McGinley, R.

Untitled (Morrissey 8)

2006

Chromogenic print

h. 72 x w. 48 in.

Edition

of: 20

Private Collections

7

Figure 11

McGinley, R.

Untitled (Morrissey 9)

2004
6

Chromogenic print

h. 72 x w. 48 in.

Edition of: 20

Collection (example): Jeanne Greenberg-Rohatyn

Figure 12

McGinley, R.

Untitled (Morrissey 10)

2004
6

Chromogenic print

h. 72 x w. 48 in.

Edition of: 20

Private Collections

Figure 13

McGinley, R.

Untitled (Morrissey 11)

2004
6

Chromogenic print

h. 72 x w. 48 in.

Edition of: 20

Private Collections

Figure 14

McGinley, R.

Untitled (Morrissey 12)

2004
6

Chromogenic print on mounted aluminium

h: 30 x w: 40 in.

Edition of: 20

Private Collections

Figure 15

McGinley, R.

Untitled (Morrissey 13)

2004
6

Chromogenic print on mounted aluminium

h: 30 x w: 40 in.

Edition of: 20

Private Collections

8

Figure 16

McGinley, R.

Untitled (Morrissey 15)

2006

C-print

h. 38 x w. 28 in.

Edition of: 20

Collection (example): Saatchi Gallery

Figure 17

McGinley, R.

Untitled (Morrissey 16)

2006

Chromogenic print

h. 17 × w. 23 ½ in.

Edition of: 20

Collection (example): Solomon R. Guggenheim Museum

Figure 18

McGinley, R.

Untitled (Morrissey 17)

2004
6

Chromogenic print on mounted aluminium

h. 30 x w. 40 in.

Edition of: 20

Private Collections

Figure 19

McGinley, R.

Untitled (Morrissey 20)

2006

Chromogenic print

h. 72 x w. 48 in

Edition of: 20

Private Collections

Figure 20

McGinley, R.

Kiss Explosion

2005

Chromogenic

print h. 16 x w.16 in.

Edition of: 10

Private Collections

9

Figure 21

Collins, P.

Still from

The World Won't Listen

2005
Single-channel colour video projection with audio (online screenshot)

58 minutes

Collection: Dallas Museum of Contemporary Art

Figure 22

Collins, P.

Still from

The World Won't Listen

2005
Single-channel colour video projection with audio (online screenshot)

58 minutes

Collection: Dallas Museum of Contemporary Art

Figure 23

Collins, P.

Still from

The World Won't Listen

2005
Single-channel colour video projection with audio (online screenshot)

58 minutes

Collection: Dallas Museum of Contemporary Art

Figure 24

Breitz, C.

Still from

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