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Tournant Artistique » Du Service De La Photographie De L'onf, 1960-1978

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Tournant Artistique » Du Service De La Photographie De L'onf, 1960-1978 UNIVERSITÉ DU QUÉBEC À MONTRÉAL LE « TOURNANT ARTISTIQUE» DU SERVICE DE LA PHOTOGRAPHIE DE L'ONF, 1960-1978: MUTATION DU STATUT DE LA PHOTOGRAPHIE ET CONSTRUCTION DE SA VALEUR ARTISTIQUE DANS LE CONTEXTE CANADIEN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES DES ARTS PAR JULIE-ANN LATULIPPE DÉCEMBRE 2009 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement noa des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entrainent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je voudrais d'abord remercier mon directeur de recherche, Vincent Lavoie. Son enseignement, ses conseils et les nombreuses opportunités de recherche qu'il m'a offerts dans les dernières années ont été des plus déterminants dans mon parcours. Mes remerciements vont également aux professeurs Annie Gérin et Laurier Lacroix, qUi ont grandement contribué à ce projet à différents moments de sa réalisation. J'adresse ma plus sincère gratitude à Maxime et à Estelle, pour leur écoute, leurs suggestions, leur support et leurs encouragements constants. Leurs révisions et leurs commentaires ont été des plus appréciés. Je tiens également à témoigner ma reconnaissance au personnel de différents centres d'archives, Pierre Sioui à l'ûNF, Carmen Robichaud au MCPC et Cyndie Campbell au MBAC, pour l'assistance qu'ils m'ont apportée dans mes recherches. Je suis redevable aux auteurs qui ont traité du Service de la photographie de l'ûNF avant moi, principalement Carol Payne et Andrea Kunard. Un merci tout particulier à Pierre Dessureault, dont la conférence De la propagande à l'engagement a pour la première fois amené ce corpus de photographies à ma connaissance et stimulé mon intérêt à poursuivre les recherches amorcées sur le Service de la photographie. Je remercie enfin le Conseil de recherches en sciences humaines du Canada et le Fonds québécois de la recherche sur la société et la culture pour leur soutien financier. TABLE DES MATIÈRES LISTE DES FIGURES v LISTE DES ABRÉVIATIONS, SIGLES ET ACRONyMES................................................ VIII RÉSUMÉ................................................................................................................................. IX INTRODUCTION . CHAPITRE 1 LE« TOURNANT ARTISTIQUE» DU SERVICE DE LA PHOTOGRAPHIE 16 1.1 La période des commandes: brève récapitulation des premières décennies d'activité du Service de la photographie 16 1.2 Lorraine Monk, catalyseur de changement dans le contexte des années 1960-1970 22 1.3 La réorientation du Service de la photographie 29 lA La création d'Information Canada: confirmation de la nouvelle vocation du Service 41 CHAPITRE .II LA MUTATION DU STATUT DE LA PHOTOGRAPHIE 48 2.1 Le processus de mutation du statut de la photographie: analyse de l'évolution des productions du Service 48 2.1.1 Les photoreportages 51 2.1.2 Les livres du centenaire 61 2.1.3 La série Image........................................ 72 2.104 Le portfolio et la série Signature....................................... 87 2.2 Construction de la valeur artistique de la photographie .. 91 CHAPITRE III LA QUESTION DU STATUT DE LA PHOTOGRAPHIE 96 3.1 La photographie canadienne contemporaine: à la fois pratique artistique et documentaire 96 IV 3.2 Déconstruire la polarité des termes « documentaire» et « artistique» 104 3.3 Le discours et le contexte de présentation 110 3.4 Le projet du Service de la photographie: modernisme photographique propre aux années 1960-1970.................................................................................................................... 115 CONCLUSION 122 BIBLlOGRAPHIE................................................................................................................... 129 APPENDICE A LES FIGURES 139 LISTE DES FIGURES Figure Page 1.1 Attribué à Harry Rowed, John Inglis Co., usine defi/sils Bren, Toron/o, 1941.. 139 1.2 Nick Morant, Assemblage d'un char d'assaut RAM, Mon/réal, septembre 1942 140 1.3 Harry Rowed, Village canadien en guerre, Port Daniel, P.Q., novembre 1941. 141 1.4 Harry Rowed, Mademoiselle Alida Cyr faisant la classe à ses élèves, Port Daniel, novembre 1941........................................................................................ 141 1.5 Guy Blouin, Immigrants hollandais, juin 1950................................................... 142 1.6 Gal' Lunney, Chinatown, Vancouver, C. -B., novembre 1951 142 1.7 Dave Bier, Maurice Richard, Montréal, 1957..................................................... 143 1.8 Michael Semak, La communauté italienne, Toron/o, avril 1963......................... 144 1.9 La photothèque en avril 1965....................... 145 1.10 La Collection de la photographie esthétique........................................................ 145 2.1 Harry Rowed, La nouvelle route de la Colombie-Britannique vers 1'Alaska, 1942................. 146 2.2 ONF, « In Canada 's High Arctic: Exploration 67' », photoreportage 444, 6 juin 1967 147 2.3 « Winter on the Farm », photoreportage paru dans Weekend Picture Magazine, voI.4,n° l, 1954,p.4-7 148 2.4 Chris Lund, sans titre 149 2.5 Malak,sanstitre 150 2.6 Exemples de photographies agissant à titre de documents pour illustrer le propos des légendes. Photos par Chris Lund 151 2.7 John Bryan, Entre Princeton et Hedley (Colombie-Britannique)........................ 152 VI 2.8 Freeman Patterson, Kingston (Nouveau-Brunswick) 153 2.9 John de Visser, Près de Spence 's Bridge (Colombie-Britannique) 154 2.10 Vue de l'exposition The Family ofMan, 1955. Photo par Ezra Stollcr............... 155 2.11 Michael Semak, sans titre 156 2.12 Michel Lambeth, sans titre................................................................................... 157 2.13 Michael Semak, sans titre 157 2.14 Exemple de mise en page caractéristique des livres du centenaire. Photo par Michael Semak... 158 2.15 Exemple de mise en page des livres de la série Image. Michel Proulx, Montréal, Québec, 1967....................................................................................... 159 2.16 Lutz Dille, Toronto, Ontario, Canada, 1954......................... 160 2.17 John de Visser, Quebec City, Québec, 1964......... 161 2.18 Michael Semak, Toronto, Ontario, 1966............................................................. 162 2.19 Gunther Karkutt, sans titre, 1965........................................................................ 163 2.20 Michel Proulx, Montréal, Québec, 1967.............................................................. 164 2.21 Vittorio Fiorucci, Montréal, Québec, 1965 L.............. 165 2.22 YousufKarsh, Alberto Giacometti, Paris, France, 1965.................................... 166 2.23 Michael Semak, sans titre 167 2.24 John Reeves, sans titre 168 2.25 « L'auto-animation» conçue par Norman Hallendy et Sharon Van Raalte pour l'exposition Cela commença par un rêve et ce filt la Création à la Galerie de l'Image, Ottawa, 1969. Photo par Chris Lund 169 2.26 Karl Sommerer, sans titre..................................................................................... 170 2.27 Normand Grégoire, sans titre 171 2.28 Normand Grégoire, sans titre 171 2.29 Gerry Gilbert, sans titre......................................... 172 2.30 Christos Dikeakos, sans titre 173 VII 2.31 Pierre Vinet, sans titre.......................................................................................... 174 2.32 Pierre Gaudard, sans ti tre 175 2.33 Pierre Gaudard, sans titre 175 2.34 Normand Grégoire, Série 4, Photo 7.................................................................... 176 2.35 Page couverture de Signature 1 : Tom Gibson. Tom Gibson, Autoportrait, 1969 177 2.36 Tom Gibson, Deux noires, rue Yonge, 1972 178 2.37 Tom Gibson, Robes dans une vitrine, 1970......................................................... 178 2.38 Michael Torosian, sans titre 179 2.39 Portrait de Lutz Dille accompagné de sa signature. Photo par Borge Jorgensen. 180 3.1 Ronald Labelle, « Field Day» du groupe de motards Satan 's Choice, Candiac, juillet 1967.................................................................. 181 3.2 Pierre Gaudard, sans titre.. 182 3.3 Ma1ak, Manufacture de coton, Valleyfield, P.Q., 1958....................................... 183 3.4 Ma1ak, Transformation du coton, Dominion Textile Inc., Valleyfield, Québec, 1958............................................ 183 3.5 Michel Lambeth, St. Nil, Québec, 1964......................... 184 LISTES DES ABRÉVIATIONS, SIGLES ET ACRONYMES BA Bibliothèque et archives BAC Bibliothèque et Archives Canada CMCP Canadian Museum ofContemporary
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