Dog Whistlers

Background: Artwork investigates expanded field of drawing practice as a critical mode of political satire overlapping private-public political dialogues. Framed by key texts on political agency and art practice: Layton, R (2003) 'Art and Agency: A reassessment', Journal of the Royal Anthropological Institute, Sep, 447-465. and political communication studies: Barry Hindness (2014) Whistling the dog, Studies in Australian Political Rhetoric. Related to satirical traditions from Honoré Daumier, The Legislative Belly, lithograph (1834) to Raymond Pettibon, Independent Projects, New York (2014). Work considers how cartoon-carciature and autographic writing as deforming gesture in encounter in art, transfer moral agency to the spectator. Contribution: Work reformulates the poltical caricature as a form of poltical dialogue. A group of 42 framed, mixed media works On walls of exhibition space array of 126 graphic effigies of Australian Federal parliamentarians, presented as speech bubbles for the audience to complete with hand-written text face each other across a dessicated dog presented on a plinth Research suggests froms of political cartooning including viewer agency establish poltical critique through self-identification with grotesque political body. Significance Work part of curated program at Sarah Scout Presents, Melbourne. The Sarah Scout Gallery develops opportunities for "outstanding early to mid-career artists with critically engaged conceptual practices" and represents "artists in a range of local and international situations" (see link). Exhibited artists include Bianca Hester, Lou Hubbard and Kit Wise. 'Dog Whistlers is a development from Ph.D project, 'Manifesto Drawing: Political Cynicism, Cartooning and Art' Peer press reviews include Dylan Rainforth (2014) Dug-up dog and whistlers, Sydney Morning Herald, 8/7/2014 http://www.smh.com.au/entertainment/art-and-design/dugup-dog-and-whistlers-20140708-zszv5.html

研究背景：本作品探讨绘画实践的拓展场域，将其作为兼具私人与公共政治对话属性的政治讽刺批判范式。本研究依托两篇核心学术文本：一是关于政治主体性与艺术实践的莱顿（Layton, R）2003年论文《艺术与主体性：重新评估》（*Art and Agency: A reassessment*），发表于《皇家人类学会期刊》（*Journal of the Royal Anthropological Institute*）2003年9月刊，第447-465页；二是关于政治传播研究的巴里·欣德斯（Barry Hindess）2014年著作《吹口哨的狗》（*Whistling the dog*），收录于《澳大利亚政治修辞研究》（*Studies in Australian Political Rhetoric*）。其创作关联奥诺雷·杜米埃（Honoré Daumier）1834年石版画《议会腹》（*The Legislative Belly*），以及雷蒙德·佩蒂本（Raymond Pettibon）2014年于纽约举办的《独立项目》（*Independent Projects*）所代表的讽刺艺术传统。本作品探讨漫画与讽刺画、亲笔书写作为艺术互动中的变形姿态，如何将道德主体性赋予观者。

研究贡献：本作品将政治讽刺画重构为一种政治对话形式。本次展览包含42件装裱综合媒介作品，展览空间墙面陈列126幅澳大利亚联邦议员的肖像漫画，作品以对话气泡形式呈现，供观者手写补全文本；展台上陈列一具干瘪的狗形标本，与肖像漫画相对而置。相关研究表明，包括赋予观者主体性在内的政治漫画创作形式，可通过观者与荒诞政治形象的自我认同，构建政治批判维度。

研究意义：本作品为墨尔本Sarah Scout Presents策展项目的组成部分。Sarah Scout画廊致力于为"拥有批判性介入式概念创作实践的杰出早期至中期职业艺术家"提供发展机遇，并代理"身处各类本土与国际创作场景中的艺术家"（详见链接）。参展艺术家包括比安卡·赫斯特（Bianca Hester）、卢·哈伯德（Lou Hubbard）与基特·怀斯（Kit Wise）。《吹哨者》（*Dog Whistlers*）为本博士研究项目《宣言式绘画：政治犬儒主义、漫画与艺术》（*Manifesto Drawing: Political Cynicism, Cartooning and Art*）的衍生成果。相关同行评审包括迪伦·雷恩福斯（Dylan Rainforth）2014年发表于《悉尼先驱晨报》（*Sydney Morning Herald*）2014年7月8日的评论《被挖出的狗与吹哨者》（*Dug-up dog and whistlers*），链接为：http://www.smh.com.au/entertainment/art-and-design/dugup-dog-and-whistlers-20140708-zszv5.html