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Review Articles Review Articles Visual Archives and the Writing of Canadian History: A Personal Review JIM BURANT RÉSUMÉ En fondant ses arguments sur plus de vingt-cinq ans d’expérience avec les archives visuelles, l’auteur analyse la question des liens entre les archives visuelles et l’écriture de l’histoire canadienne dans les trois dernières décennies. Il passe en revue l’usage fait par les chercheurs universitaires, dans les publications du dernier quart de siècle, des images tirées des archives et principalement des fonds d’art et de photogra- phies des Archives nationales du Canada. L’article démontre comment certains spécia- listes actuels dans les domaines de l’histoire de l’art, de la géographie et des sciences sociales ou de l’environnement, entre autres, utilisent une telle imagerie visuelle dans leur recherche et leur analyse. Un relevé de la littérature disponible relative aux archives visuelles suit. L’auteur poursuit avec un examen du dialogue qui devrait se développer entre les archivistes et les autres professionnels afin que les archives visuelles, et particulièrement les photographies, deviennent une partie intégrante de la création d’interprétations significatives de notre histoire et de notre mémoire collec- tive. ABSTRACT Basing his arguments on more than twenty-five years of experience with visual archives, the author focuses on issues relating to visual archives and the writing of Canadian history over the past three decades. A review is undertaken of the use made by academic researchers of images from visual archives – primarily from the art and photography holdings of the National Archives of Canada – in historical publica- tions over the past quarter century; and of how some current practitioners in such fields as art history, geography, and the social and environmental sciences, among others, are using such visual imagery as part of their research and analysis. A survey of available literature relating to visual archives is included. These sections are followed by a dis- cussion of the dialogue which must develop between archivists and other professions in order to make such visual imagery, particularly photography, an integral part of the creation of meaningful interpretations of our history and our public memory. This paper will focus on two major issues relating to visual archives and the writing of Canadian history over the past three decades.1 In the first instance, I 1 This article originally began as a review of my experiences over a twenty-seven-year career at the National Archives, but I have tried to broaden the scope of my investigation through an examination of a large number of scholarly texts in a variety of disciplines. I would be remiss if I did not mention the many individuals with whom I have worked over the years, and who Visual Archives and the Writing of Canadian History 93 will examine two points: the use made by academic researchers of images from visual archives, specifically the art and photography holdings of the National Archives of Canada, in historical publications over the past quarter century; and the ways some current practitioners in art history, geography, and the social and environmental sciences, among others, are using such visual imagery as part of their research and analysis. This leads to a second part that discusses how a meaningful dialogue must develop between archivists and other professions in order to make such visual imagery, particularly photogra- phy, an integral part of creating interpretations of our history and our public memory. Because my experience has largely been with art and photography, most of this paper will focus exclusively on those two media. I will make ref- erence from time to time to both audio-visual and cartographic archives, but working with these media is outside my experience, and I cannot profess to have an expert’s knowledge of either of them. However, the experience of archivists working with these media in many ways echoes my own, and some of the arguments I use here are equally applicable to those media. My own experience as an archivist began as a summer student in the pho- tography section of the National Archives of Canada in 1972. Over the next three years I carried out a multiplicity of selection, description, and arrange- ment projects, including work on the Information Canada Photothèque hold- ings, which had formerly been the National Film Board’s Still Photo Division;2 and on the photographic collections of the Montreal Gazette, the Paul Horsdal Photo Studio, and the Geological Survey of Canada. I also have done so much in shaping my understanding of visual archives. These include my first archival supervisors, Richard Huyda, Andrew Birrell, and Claude Minotto, who introduced me to the world of photography and photographic history; and to Michael Bell, who first taught me about documentary art. I also extend my thanks to many colleagues and friends with whom I have worked over the years, including Dr. Lilly Koltun, Peter Robertson, Andrew Rodger, Kate O’Rourke, Guy Tessier, Lydia Foy, Gilbert Gignac, Dr. L. Jill Delaney, Ed Dahl, Louis Cardinal, Jeffery Murray, and Dr. Joan M. Schwartz, whose writings on pho- tography and archives have been justly celebrated and honoured by the archival community. Finally I would like to mention colleagues from other institutions, including Charles Hill, CM, National Gallery, Mary Allodi, CM, Royal Ontario Museum, Dennis Reid, CM, Art Gallery of Ontario, Brock Silversides, Medicine Hat Museum and Art Gallery, Ed Cavell, formerly of the Peter Whyte Museum and Art Gallery, Mario Béland, Musée du Québec, and Robert Stacey, independent curator, scholar, and good friend. There have been many others whose insight and research into Canadian visual imagery also have had an impact; I apologize in advance if I have omitted anyone who deserves to be mentioned. 2 This work involved the selection and retrieval of more than 130,000 catalogue cards of photo- graphs taken by government photographers who had worked for the Canadian Government Motion Picture Bureau and the National Film Board Still Photos Division from the 1920s to the 1960s. These cards were part of the finding aid for the massive image bank owned and administered by the Information Canada Photothèque, and represented that segment of the Photothèque’s holdings which had been deemed to be outdated and “historical,” therefore to be turned over to the National Archives (NA). It has since become one of the NA’s major sources of imagery for the history of Canada in the first sixty years of the twentieth century. 94 Archivaria 54 worked part of the time for the National Archives’ Picture Division, organiz- ing and arranging such diverse holdings as the Sam Hunter cartoon collection done for the Toronto World from 1896 to 1917; the Sydney Prior Hall draw- ings of the Marquis of Lorne’s 1881 tour of the Canadian West; and the W.H. Coverdale Collection of Canadiana. After completing the course work for my M.A. in Canadian Studies in 1976, I became a full-time reference archivist, and then continued on a career which has seen me working with both art and photographic archives in a variety of positions. This experience has been ful- filling; my working life has been filled with moments of great pleasure, both in working with archival documents of rare beauty and incredible importance, and in meeting a wide range of impressive and intelligent individuals from all walks of life. One aspect of my archival experience in art and photography archives has been what I have perceived as the lack of understanding displayed by many researchers in various disciplines who used the archives to carry out their work. Most archivists working with visual records, particularly art and photography, but not excluding cartography and audio-visual archives, will be familiar with the prevailing attitudes displayed towards such materials.3 The busiest moments in the year were the last Friday during reading weeks, the last week in August, or the last week of December before Christmas. Researchers would spend an entire summer, the whole reading week, or most of December work- ing with textual records, and then would finally rush in two hours before they left the archives, looking for the sixteen illustrations they needed for their book, or to add to the thesis they were writing. In many cases they didn’t do so at all; manuscripts would be handed over to a publisher, and the company’s pic- ture researchers then called or wrote to find what they thought would be appro- priate images. Most diligent reference archivists like to think that their work was in some measure responsible for the success of such popular works as the New Science Library’s series of publications on Canadian history, published in 1977–78,4 for example. Fortunately, my career coincided with a burgeoning effort among Canadian archivists working with visual records to educate the academic and cultural community, as well as their own textual archives colleagues, about the impor- tance of art and photography to the writing of history. Richard Huyda, for 3 I have discussed the phenomenon with other visual archivists at various archival conferences at the provincial, national, and international levels, and have rarely heard anyone contradict my description of what usually happened when researchers were dealing with visual records. 4 This sixteen volume series, each volume covering a specific time period, was published as Canada’s Illustrated Heritage, under the general editorship of Toivu Kiil, with historical con- sultants Pierre Berton and Michael Bliss, with Jack McClelland acting as the publisher for Natural Science of Canada Limited. Each volume was written by a different author, among them Fraser Symington, June Callwood, Max Braithwaite, Jack Batten, Harold Horwood, and Margaret Atwood.
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