Exhibit Reviews

Comptes rendus d'expositions

University of Winnipeg, Brooks: Coming Home

GERRY BERKOWSKI

University of Winnipeg, Brooks: ComingHome history of irrigation in different parts of the Curator: Sarah McKinnon, Art History Profes­ world throughout human history. This is fol­ sor, University of Winnipeg lowed by a description of the construction of Author: Walter Hildebrandt the aqueduct and its early years of development. Artist and Designer: Peter Tittenberger The second part of the exhibit describes the Duration: 12 January to 6 February 1993 unsuccessful efforts to make the project viable under the management of the CPR and EID, and The focus of this exhibit is the Brooks Aqueduct, its subsequent demise and abandonment. one of many Canadian Pacific Railway (CPR) Brooks: ComingHome, to its credit, is a rig­ irrigation projects - ditches, canals, dams, and orous intellectual exercise for those who are aqueducts - that were intended to promote set­ comfortable with descriptive, logically orga­ tlement in southeastern Alberta in the early nized label copy. Many facts surrounding the part of this century. Construction of the aque­ aqueduct's history jump out at the reader unex­ duct began in 1908, and three years later Brooks, pectedly, without the usual explanatory infor­ 185 km east of Calgary, was incorporated as a mation that one finds in conventional displays. town. The aqueduct was operational by 1914, In one picture, for example, the overlay on an but was beset with financial, construction and archival photograph shows a car driving on a engineering problems which led to its takeover highway (presumably to Calgary), while the text by the Eastern Irrigation District (EID) in 1935. nearby reads: The monumental project, an unprecedented feat of engineering and labour, was eventually Ugive it a double take abandoned after structural flaws rendered it cuz at first u can't inoperable. figure it out This story is told with a mixture of contex­ it just looks like tual narrative descriptions, quotations, anec­ a biggreymass of something dotal excerpts of oral history interviews, poetry, just when u look south and graphics. Historical and contextual descrip­ of the high way tions are laid out on 62 panels of text on sepia- goin' west towards Calgary toned paper. The text is derived from eyewitness just sort of like a accounts of the ruin, reflections of those who tide that should be movin' worked on the project, and Walter Hildebrandt's Other overlays contain contemporary objects historical poems. In addition, there are 24 im­ like waterslides, or modern building materials. ages. These are a combination of black-and- All the factual content and context is presented white archival photographs, and photographs in similar fragmented fashion. It is also assumed altered with colour tints and plasticized over­ that the reader has some prior knowledge of lays that provide a two-dimensional, collage engineering and construction jargon. In order effect. Generally, die story line is divided in half to understand what happened, visitors need to by a lm by 3 m colour computer-generated, pixel spend some time reading the text, putting mural of the aqueduct. In the first section, visi­ together the material, rearranging and digest­ tors are given very general context about the ing it, and constructing the story.

Material History Review 40 (Fall 1994) I Revue d'histoire de la culture matérielle 40 (automne 1994) 60 displays. The question is: how do popular audi­ ences reconstruct these fragments into a mean­ ingful journey into history without a store of factual and contextual information available to them? One panel contains references to wages for teamsters and labourers in 1919,1921, and 1922-25. Without some context, this can lead to the perpetuation of stereotypes of the "good old days," rather than inquiry into the complexity of situations that surrounded the struggle for wages and working conditions in that period. This is not a failure of the exhibit, but a com- ment on how difficult it is to question form and content in the presentation of history. It raises questions about what skills an audience needs to possess in order to participate in that ambi­ tious curatorial objective. One of the strengths of Brooks: ComingHome is that it invites the visitor to question the content Fig. 1 of traditional modes of historical presentation. The fragmented text is a means of pursuing Siphon outlet of the There are repeated references to authoritative Brooks Aqueduct, CO one of the major curatorial objectives: to "unset­ and official histories of the Brooks site, where 1950, one of the images tle and even jar the viewer/reader to reconsider Hildebrandt draws attention to mainstream appearing in the exhibit. both form and content." There are risks in fol­ museum displays. One example is the Brooks (Courtesy Provincial lowing this line. In order to deviate from con­ and District Museum which has a bandstand Archives of Alberta} ventional modes, curators may be forced to donated by Nova Corporation: abandon traditional historical prerogatives, and unwittingly end up catering to popular enter- Thanks to Nova, an Alberta corporation, ta i nment rather than a popular presentation of there is a fine new history. Rather than present something that is bandstand both informative and interactive, the danger is whereyou might enjoy that by offering something so different it is inter­ your picnic lunch preted as a mere curiosity. Sometimes extremely and a five foot fence around the entire novel presentations can lead the viewer to a- museum historical or even anti-historical directions. The Traditional commemorative museum displays visitor is invited to view the material as an en­ often reinforce nation-building progress nar­ gaged participant but ends up by consuming ratives. Hildebrandt exposes these traditional images and text without critical thought or forms for questioning. Commentary about these reflection. displays and narratives contained within them The other problem is that such presentations are implicitly critical, ironic statements about can react against traditional narrative styles, how history is constructed and presented to the whose own unique power to evoke audience public. The Brooks and District Museum, for responses is ignored in the process. It is aston­ instance, is commemorated as a 'walk through ishing how many people marvel at the power the ages,' with displays presenting of the spoken word of oral cultures, which trans­ mit values and history to their descendants. The the dinosaur; explosion of interest in oral history as a resource the Indian culture; for education and as an interpretive tool for the ranchers; ordinary people in the last 20 years testifies to the sheepmen; the power of narrative story telling. Perhaps the the homesteaders; discomfort with the fragmented text persuaded the farmers; one visitor to write "relevant, but obscure" after theR.CM.P. theC.PR.:and passing through the exhibit. theE.I.D. Unfortunately, there is no foolproof method of evaluating how an audience interacts with as well as articles from the war years.

Material History Review 40 (Fall 1994)/Revue d'histoire de lu culture matérielle 40 (automne 1994) 61 Later, after reading about unsuccessful Notes in the visitors' book indicate that this attempts to repair the aqueduct and descrip­ populist tone was welcomed by the audience. tions about working conditions, there is the fol­ "Working-class, made my day," wrote one ob­ lowing statement about what the commemo­ server. Unlike some populist narratives, how­ ration of the Brooks aqueduct site might mean ever, Brooks correctly links these past projects to its contemporaries: to larger political and economic forces, and with the same progress-oriented dreams motivating Well now they went'n present-day projects. declared it On the last panel, a long poem describes the an historic site legacy of the aqueduct as the offspring of "pi­ soon rates and raiders - crazy with greed and fear" the public will who: get to go out there we'11 all wanna redraw maps move the last fresh reservoirs be told of water how it once worked for the opulent artificial California gardens Visitors are not lectured about public program­ huge schemes ming, though the exhibit makes many subtle diversions statements about the nature and purpose of pub­ for ornamental deserts lic programs. Visitors are invited to ask critical Hollywood feeding these colossal shallow false-fronted questions about how historical memory is trans­ Fig. 2 man made mitted, and how authoritative interpretations Composite collages of failures of folklore are reinforced through popular ap­ archival and contem­ peals to the public imagination. porary images are used And here this aqueduct throughout the exhibit. The unorthodox style of presentation rein­ this skeleton of a dream (Courtesy Peter forces the intention to construct a general, im­ Titti'nberger) pressionistic, emotive history of the site. In Al­ berta, the aqueduct and its sister projects were justified by "boosterism, and agricultural 'prog­ ress'." Brooks shows how this experiment failed after monumental human effort, at the expense of the workers who built it and the farmers whose livelihood it was supposed to sustain. The poetry and narrative text effectively des­ cribe the emotions that the site evoked for work­ ers, their families, and descendants. It is also used to scrutinize the motives and wisdom of large-scale, subsidized economic projects. The CPR, we are told in one poem: got lots forbuildin' the railway an' this here land was preat'near useless So in this part The exhibit successfully reconsiders "meta- of the country narratives of progress that dominate nation- They took a big shit kickin' first building narratives" by describing the negative tryin' make the land bountiful impact that progress has had on human history But they got and our natural environment. smart and eventually Brooks: Coming Home also encourages us got most of it back to think in personal terms about our relation­ bysoakin' ship with the past. The text often surfaces from thefarmer Hildebrandt's own personal engagement with

Material History Review 40 (Fall 1994) I Revue d'histoire de la culture matérielle 40 (automne 1994) 62 the past, as much as from his experience in writ­ footnotes and, with a few exceptions, the speak­ ing technical-academic history for the Cana­ ers are unidentified on the panels or the cura­ dian Parks Service. His autobiographical reflec­ torial statements that were available. While it tions, observations and recollections reveal sen­ might be said that this is a way of challenging sitivity to such issues as gender, race, and his­ popular conceptions of authority and authen­ torical process: ticity of official history (as expressed in foot­ notes), identifying the speakers would have •N enhanced the emotional and poetic responses mymother with me in her to the site. belly The prevailing economic climate is forcing washed floors all cultural institutions to work with smaller for ladies budgets and attract wider audiences to justify in town their cultural value, and, ultimately, their eco­ living on the edge nomic viability. Put crudely, public history is in a shack under severe pressures to pay its own way. In ice two inches thick past decades, public history displays have been grows on the walls modified, revised, and re-presented to address in winter the needs of contemporary audiences. The pub­ With poems like these Hildebrandt creates a lic has been offered many different opportuni­ poetic response to a material environment that ties to take part in the discovery, interpretation, is loaded with the potential for observation and and remaking of its heritage. Multimedia, gala interpretation. events, andliving history have helped to excite I agree with the majority of visitors who the public imagination, thus helping museums thought that Brooks: Coming Home was an inter­ and other cultural institutions to appeal to wider esting and refreshing work, and I hope addi­ audiences. tional resources can be found to convert it to a But at what point do innovative program­ travelling exhibit. If this happens there will be ming and entertainment reduce content to triv­ an opportunity to fix minor weaknesses. ial curiosity? Will future programming help or The first of these is that the size of the text hinder the communication of history to wider was too small (about Times Roman 12 pt), and audiences? Can history be displayed in ways because it was mounted approximately five feet that are critical and entertaining, and still play above the floor, the copy could not be read by a role for educating the public about the past in anyone unless they were standing very close. ways that are relevant to everyday life? Brooks: Other similar technical points, such as the qual­ Coming Home shows that a thoughtful, rele­ ity of wall mounts, could also be addressed. Sec­ vant, and provocative inquiry into the meaning ondly, though the exhibit relies on the voices of an artifact in past and present society can be and recollections of observers, the identity of accomplished by experimenting with the form the observer is usually obscure. There are no and content of presentation.

Curatorial Statement

WALTER HILDEBRANDT

The Brooks Aqueduct was begun in 1908 to bring Brooks: Coming Home combines visual and water from the Lake Newell reservoir across a written languages assembled to begin a dialogue dried-up river bed two miles wide. The aque­ between past and present, form and content, as duct was 60 feet high in places and brought well as vernacular and more formal language. water to an area of southwestern Alberta that Both artists examine the visual and written was little more than a desert. It remained oper­ narratives that dominate the historical record, ational for 65 years. not simply or even primarily to discredit the

Material History Review 40 (Fall 1994) /Re vue d'histoire de la culture matérielle 40 (automne 1994) 63 evidence, but instead to draw attention to what ered here balanced off against the voices of those can happen when dominant narratives are who constructed and lived in the communities "rubbed against the grain." Historical and photo­ around the aqueduct. Both artists are interested graphic documentation is presented in a frag­ in considering a multiplicity of perspectives on mented, tinted and altered form, then juxta­ what the aqueduct has meant for a wide vari­ posed in unorthodox sequence to unsettle and ety of people - from those who went to the aque­ even jar the reader/viewer to reconsider both duct to cool off in the trickle from the overflow, form and content. to present day historians who may never have The Brooks Aqueduct was considered a seen the aqueduct when it was operational. To­ major engineering feat in its day, but in the later day, historians and artists are less likely to decades of the twentieth century, mega-projects believe that history can actually be reconstruc­ like the aqueduct have been questioned; critics ted 'the way it really was' and are more willing no longer focus only on the positive results of to be open about their sympathies. Indeed it is these mega-projects but have analysed the con­ the poetic response of the artists here that helps sequences of these major alterations of nature. keep the past alive and important to our culture Enthusiasts for these large feats of engineering - renewing it by reconsidering it. There may have been unable to foresee the ways in which even be important political reasons for Cana­ their experiments would end in human, tech­ dians to keep alive a history that could well hold nological and environmental failure. lessons for the future as countries begin to cast The meta-narratives of *progress' that domi­ covetous eyes on the once-thought-to-be end­ nate nation-building narratives are reconsid­ less supply of water.

Musée McCord d'histoire canadienne Le McCord est mort ! Vive le McCord ! La renaissance d'un musée

ÉLISE DUBUC Le Musée McCord d'histoire canadienne : fondé Musée en 1988 par un généreux mécène, la Fon­ en 1921, réaménagé entièrement et rouvert en dation de la famille J. W. McConnell. Les baisers 1992. Adresse : 690, rue Sherbrooke ouest, Mont­ des princes de ce monde ont de tout temps été réal (Québec), Canada H3A1E9. Téléphone : d'espèces bien sonnantes; il s'agissait ici de (514) 398-7100. 25 millions de dollars. Cet événement dans la vie du Musée allait être d'autant plus marquant La belle au bois dormant qu'il annonçait la fin de la direction de l'Uni­ Comme dans l'histoire de la belle au bois dor­ versité McGill et une nouvelle vie autonome mant, le nouveau Musée McCord s'éveille à en tant que musée privé pour le McCord. peine d'un profond sommeil, tout juste prêt à Fondé en 1919, alors que David Ross McCord temps pour le grand bal du 350B anniversaire donne à l'Université McGill une collection ap­ de la Ville de Montréal (1992). Deux ans de lé­ préciable de près de 20 000 objets, le « McCord thargie lui ont été nécessaires, pendant les­ National Museum » est inauguré en 1921. D'a­ quels il s'est retiré dans des entrepôts afin de bord installé à l'angle des rues McTavish et Sher­ permettre le réaménagement de l'édifice qu'il brooke, dans l'ancienne maison de Jesse Joseph, occupe au coin des rues Sherbrooke et Victo­ il est transféré en 1968 dans les locaux de l'asso­ ria. Cette léthargie n'était qu'apparente car il ciation étudiante de l'université, son emplace­ était question du réaménagement complet des ment actuel. Souvent effacé de la vie montréa­ locaux du Musée et surtout du dédoublement laise - pensons à cette éclipse de 35 ans où ses de sa surface par l'adjonction d'un second édi­ collections ne sont accessibles qu'aux cher­ fice. À cet effet, un don fabuleux a été offert au cheurs - le Musée ouvre de façon définitive ses

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