The Dilettante: The paradox of a professional artist working as an amateur

Abstract

This research paper presents historic and contemporary examples of artists who produce work that borrows techniques from other professional fields, thus positioning themselves as amateurs in the field from which they are borrowing. This process is examined through exploring the role of artist as dilettante. It proposes that there are various strengths in embracing dilettantism as a strategy, such as within freedom of expression; the provision of an unrestrained research voice; the reinterpretation of tradition without the constraint of traditional rules; the possibility of not knowing and having nothing to loose. Furthermore in relation to my own practice I explore issues of sexual polarity; success and failure; life and death; and personal historic symbolism. Through the lens of the dilettante I explore my practice and working methodology, contextualising it through the practices of artists such as John Baldessari, Mark Dion, Jan Davidsz de Heem, Camille Henrot, Joseph Kosuth, as well as the writings of, Theodor Adorno, Roland Barthes, Brian Eno, Sigmund Freud, Judith Halberstam and Rosalind Krauss.