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Essais Bibliographiques / Book Review Essays Art Exhibition Catalogues Document généré le 29 sept. 2021 14:02 Études/Inuit/Studies Art exhibition catalogues BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Amy Karlinsky Art et représentation Art and representation Volume 28, numéro 1, 2004 URI : https://id.erudit.org/iderudit/012645ar DOI : https://doi.org/10.7202/012645ar Aller au sommaire du numéro Éditeur(s) Association Inuksiutiit Katimajiit Inc. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Karlinsky, A. (2004). Art exhibition catalogues / BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. / WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. / WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Études/Inuit/Studies, 28(1), 161–170. https://doi.org/10.7202/012645ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Essais bibliographiques / Book review essays Art exhibition catalogues Amy Karlinsky* BOUCHARD, Marie 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. The exhibition catalogue as a form can be an odd little hybrid. Long after the exhibition has been struck, and objects returned to owners or the vault, the catalogue remains, recording the absence of presence through image and text. Sometimes it appears after the exhibition has closed, subject to the instability of gallery funding and tight time lines. Design considerations, the quality and numbers of the visual images determine how we view the catalogue and make meaning of its arrangement of images, texts and ideas. Given the competing mandates of writers, curators, designers, donors, institutions, patrons, and art councils; the exhibition catalogue as published by the art museum or gallery is, to borrow a concept from Freud, overdetermined. It is a record sometimes more, sometimes less, faithful to the exhibition experience. But verisimilitude to that experience is not necessarily the criterion of excellence when evaluating exhibition catalogues. Scholarship and new research are important components of the art writing held between the covers. Often, new data is brought to the fore by art historians and curators. The objects in question are re-contextualized or re-considered based on aesthetic and extra-aesthetic concerns. The essays extend the reach of the exhibition and set the ambulatory narrative of physical objects in space into textual form with description and argumentation. Such art writing, research and interpretation is of interest to connoisseurs, commercial dealers, donors, patrons, museologists, and academics. * Visiting Fellow, School of Art, St. John's College, University of Manitoba, 234 St. John's College, Winnipeg, Manitoba, R3T 5V5, Canada. [email protected] ETUDES/INUIT/STUDIES, 2004, 28(1): 161-183 Is the purpose of the exhibition to extend connoisseurship? If so, then the bringing together of discrete objects for the benefit of close visual inspection is important for both exhibition and catalogue. Are the exhibition and catalogue part of the process of institutional or individual aggrandizement? If so, then it is more likely that boosterism rather than arguments of substance will be encountered therein. The look and feel of the exhibition catalogue is borne of its institutional relationship to the host museum or gallery. The semiotic strategies may demand a director’s waving of the flag, symbols of various art council logos, and acknowledgements of past productions. One of the catalogues under discussion here, Rankin Inlet Ceramics (Wight 2003) published by the Winnipeg Art Gallery (WAG), is similar in scale and shape to the well known series of exhibitions and catalogues that the WAG produced in the late 1970s and early 1980s. Slim enough to be slipped into a handbag or a pocket, these were devoted to the work of individual communities and included small but copious illustrations and relevant essays by Inuit Art experts and practitioners. They were guides for connoisseurs and dealers to help distinguish the style, iconography and materials of one community as distinct from another. For example, the community or region, such as Port Harrison/Inoucdjouac (Inukjuak) or Rankin Inlet/Kangiqliniq served as an organizing principle for both exhibition and catalogue (Blodgett et al. 1977; Selby et al. 1981). As noted by then WAG curator Jean Blodgett in 1977, for the Port Harrison exhibition catalogue: [This] is the first in a series of shows giving an historical survey of contemporary art from the late 1940s to the mid-70s. The series will include works from the major art-producing areas; each show being organized around a particular settlement (Blodgett et al. 1977: 5) The impetus for exhibitions of community based arts flows from the introduction of Eskimo Art to a southern audience in the 1950s. From organizing principle to causal explanation, the region exerts a determining influence on style. Regional stylistic continuities are found as a result of the flavour and texture of local stone, the shared experiences in the context of a particularly forceful art adviser, or a media-based practice. More typically in art historical approaches to Inuit Art, the methodology integrates the influences exerted by communities and the special artistic abilities of individual artists in discussions of style (Hessel and Routledge 1993). The mother and child sculptures from Salluit in the 1950s, the early shamanistic narrative work produced under the Butlers in Baker Lake in the early 1970s, and the delicacy of the stencil technique of many Holman prints are three examples of stylistic coherency within a regionally defined or temporal category. The maturation and sophistication of the southern market for Inuit Art and the development of distinct artistic approaches by northern artists required conceptual approaches that would extend the analysis and interpretation of the art. Generic catalogues and exhibitions devoted to Eskimo art and to the communities appear in counterpoint to exhibitions and catalogues of masterworks and outstanding practitioners. The historiography of Inuit art exhibitions also includes media-centric exhibitions such as drawings or wall hangings, and those related to gender. As early important collectors donate their collections to museums, these are turned into 162/ESSAIS BIBLIOGRAPHIQUES exhibitions and catalogues for the public. The Jerry Twomey Collection (Wight 2004) marks the acquisition of one such collection. The donation was originally made in 1971 through the generosity of Jerry Twomey with the financial assistance of the Secretary of State in Ottawa and the Province of Manitoba. As WAG curator Darlene Wight has noted, since the donation of works collected by Twomey between 1952 and 1970, aspects of the Twomey collection have been included in almost every major exhibition of Inuit Art that the WAG has mounted. But to return to the definition of the catalogue and its relationship to the originating event, significantly, the Canada Council for the Arts has defined the exhibition catalogue as a distinct form. The exhibition catalogue is one of the approximately 25 categories of book-like forms ineligible for financial support to publishers. Like cookbooks, self-help books and testimonials of a devotional nature, it is a “non-eligible form” for funding to real book publishers. It appears and is defined this way in a list of non-eligible items: Catalogues of visual art exhibitions (i.e. a book of a visual artist’s work related to a specific exhibition, which includes one or more of the following elements: detailed information regarding the exhibition, a list of works exhibited, an artist’s statement, and/or provenance of the works) (Canada Council 2004). Paradoxically, from the same list, reference books are ineligible unless they are about the arts. Such mistrust of the catalogue with its “detailed information” and “artist’s statement” sheds light on the contemporary context of reception. There is a general mistrust of contemporary art and its value in our culture (Barber et al. 1996). The skepticism comes from two distinct fronts: a growing alienation on the part of the general public towards contemporary art; and an insistence on the ideological role of art and art institutions from methodologies informed by Marxism, post structuralism and post colonialism. Power relations among artist,
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