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Production of Rebecca Belmore: Fountain for the 2005 Venice Biennale

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Production of Rebecca Belmore: Fountain for the 2005 Venice Biennale CO-PUBLISHING IN THE VISUAL ARTS: THE PRODUCTION OF REBECCA BELMORE: FOUNTAIN FOR THE 2005 VENICE BIENNALE by Cindy Richmond PROJECT SUBMllTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PUBLISHING In the Faculty of Arts & Social Sciences O Cindy Richmond, 2007 SIMON FRASER UNIVERSITY Fall 2007 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Cindy Richmond Degree: Master of Publishing Title of Project: Co-publishing in the Visual Arts: The Production of Rebecca Belmom: Fountain for the 2005 Venice Biennale. Supervisory Committee: John Maxwell Senior Supervisor Assistant Professor, Master of Publishing Program Simon Fraser University Mary Schendlinger Supervisor Senior Lecturer, Master of Publishing Program Simon Fraser University Scott Watson Industry Supervisor Professor, Art History Department; Director, Monis and Helen Belkin Art Gallery University of British Columbia Date Approved: SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: ~http:llir.lib.sfu.ca/handle/l892/112~)and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Revised: Fall 2007 Abstract In many respects, the publishing activities of public museums and galleries parallel those of the trade industry, though their objectives often differ. Galleries are addressing these differences by partnering with trade publishers. Collaborations are also on the rise between galleries, as demonstrated by the co-publishing of the exhibition catalogue, Rebecca Belmore: Fountain, by the Kamloops Art Gallery and the Monis and Helen Belkin Art Gallery at the University of British Columbia. Rebecca Belmore: Fountain illustrates the process of produang and distributing an exhibiion catalogue; it highlights the importance of gallery publishing for a highly regarded art- world event such as the Venice Biennale. iii In memory of my father Acknowledgements I would like to thank my professors at the Canadian Centre for Studies in Publishing. In particular, Valerie Frith and Ron Woodward, who each provided me with the initial encouragement to go forward with this project, and importantly my supewisor, John Maxwell, for agreeing to take me on and helping me to sort through the tangle of information amassed in the early drafts of the paper. Mary Schendlinger very kindly agreed to read the paper and provided valuable comments in the final draft. I am also grateful to Scott Watson for inviting me to contribute to the Rebecca Belmore: Fountain project; Iworked with him on a number of projects in recent years and it was always a pleasure. Jann Bailey was generous with her time and provided me with clarification on many aspects of the project; she made the Kamloops Art Gallery files available to me and was always enthusiastic in her replies to my many e-mail inquiries. Several staff at the Kamloops Art Gallery and Morris and Helen Belkin Art Gallery assisted me with various facets of my research; I would like to thank Jen Budney, Wendy Lysak, and Jana Tyner for filling in the blanks when I requested specific details and for doing so with haste. The research I conducted at the Art Gallery of York University (AGYU) in Toronto, Musee d'art contemporain de Montreal, and the National Gallery of Canada mGC) was possible due to the generousity and support of the following: Philip Monk (Director, AGYU), Marc Meyer (Director, Mude d'art contemporain), and Cyndie Campbell (Head, Archives, Documentation and Visual Resources, NGC). Each provided me with access to pertinent files at these institutions, which allowed me to explore details relevant to earlier Biennale projects. I would also like to thank Wayne Baerwaldt for revisiting old exhibition files and, in tum, answering my questions with humour and interest. Working with Judith Steedman is always a pleasure and this project was no exception. Judith was also kind enough to let me review her files and guided me through the design and printing details. Finally, I am enormously grateful to Ian Wallace, whose unwavering support allowed me to pursue and complete this project. Table of Contents Approval.................................................................................................................................... ii ... Abstract .......................................................................................................................................III Dedication..................................................................................................................................... iv Acknowledgements .................................................................................................................. v Table of Contents ...................................................................................................................... vi ... List of Tables ...............................................................................................................................VIII Part I. Gallery Publishing: A Perspective. Then and Now ......................................................... 1 I. Introduction .............................................................................................................................1 II. Gallery Publishing versus Trade Publishing ............................................................................... 4 Collaborations: Financial Benefits................................................................................................ 8 Ill. Objectives of Public Galleries: Mandates and Mission Statements ........................................8 IV. Curatorial Vision and Exhibition Catalogues ............................................................................9 V . Publishing and the Venice Biennale .......................................................................................11 Venice Biennale: Background. Eafly Biennale Publications....................................................... 12 Venice Biennale: Publishing Regulations.................................................................................. 17 Canadian Biennale Catalogues: A Selected History ...................................................................19 Part II. The Kamloops Art Gallery and Moms and Helen Belkin Art Gallery: Collaboration and the 2005 Venice Biennale ...........................................................................26 I. Co-publishing in a Gallery Context........................................................................................... 26 II . Planning and Organization: Rebecca Belmore: Fountain......................................................... -29 Financial Management and Corporate Sponsorship................................................................... 29 Editorial Concept and Catalogue Budgeting ..............................................................................32 Collaboration and Division of Responsibillies............................................................................ 35 Ill. Contributors and Content ........................................................................................................36 = Writers . Essays. Other Content ................................................................................................ 37 .Editing ......................................................................................................................................40 Reproductions..........................................................................................................................
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