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Toronto: Community-Engaged Portrait Projects in the Neoliberal City

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Toronto: Community-Engaged Portrait Projects in the Neoliberal City Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-17-2015 12:00 AM Faces of (and for) Toronto: Community-Engaged Portrait Projects in the Neoliberal City Jennifer E. Orpana The University of Western Ontario Supervisor Dr. Sarah Bassnett The University of Western Ontario Graduate Program in Art and Visual Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Jennifer E. Orpana 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Photography Commons Recommended Citation Orpana, Jennifer E., "Faces of (and for) Toronto: Community-Engaged Portrait Projects in the Neoliberal City" (2015). Electronic Thesis and Dissertation Repository. 3001. https://ir.lib.uwo.ca/etd/3001 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FACES OF (AND FOR) TORONTO: COMMUNITY-ENGAGED PORTRAIT PROJECTS IN THE NEOLIBERAL CITY (Thesis format: Integrated Article) by Jennifer Elizabeth Orpana Graduate Program in Visual Arts A thesis submitted in partial fulfillment of the requirements for the degree of Doctorate in Art and Visual Culture The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Jennifer Orpana 2015 ABSTRACT Recently, we have seen a rise in portrait projects worldwide as they are used for everything from marketing and city branding to street art and activism. In this dissertation, I examine the depths of the seemingly straightforward visual trope of portraiture in community-engaged photographic projects in Toronto. Through integrated articles, this study shows how portrait projects variously support and challenge neoliberalism. This dissertation examines how photographic portraiture is used to constitute communities that are simultaneously the public face of the diversity of the neoliberal city and the targets of neoliberal rationality, policies, and procedures that further marginalize or exclude these groups. Furthermore, this research illustrates how portrait projects variably demonstrate the intensified inequality of neoliberalism, while, at the same time, their focus on identity and community sometimes obscures the systemic causes of exclusion, discrimination, and poverty that communities face. “Faces of (and for) Toronto” contributes to the study of art, photography, and visual culture by considering new roles for photographers, subjects, and photographic portraiture in a global neoliberal era. Chapter 1 looks at how Pierre Maraval’s Mille Femmes (2008) and Dan Bergeron’s Regent Park Portraits (2008) harnessed the power of the spectacle to support and subvert urban neoliberalism in Toronto. Chapter 2 examines Bergeron’s project, The Unaddressed (2009), and discusses how this series of wheatpaste portrait posters contested neoliberal austerity measures and the stigmatization of homelessness. This chapter also looks at how the vandalism of these works embodied harsh neoliberal worldviews. Chapter 3 examines a civic art project composed of hundreds of photographic tiles, entitled, Jameson Avenue Impressions (2009), and situates it within Toronto’s creativity-led, global city strategy. By considering the visual impact of its consequent neglect, chapter three reveals how this civic placemaking strategy now challenges the vibrant image of the Parkdale community it once sought to represent. Finally, chapter 4 focuses on Manifesto Festival’s participation in JR’s Inside Out Project (2011) to contest proposed funding cutbacks and to celebrate diversity. Through this case study, I explore how JR’s participatory methodology encourages citizens to perform neoliberal ideas of citizenship and community. KEYWORDS community-engaged photography, portrait photography, street art, urban entrepreneurialism, neoliberalism, contestation, Toronto ii ACKNOWLEDGMENTS As I write these acknowledgements, I cannot believe how my life has changed since beginning this dissertation in September 2010. Not only have I had the incredible opportunity to be rigorously trained by the dedicated and talented faculty at The University of Western Ontario’s Department of Visual Arts, but I have also become a parent to an energetic little boy. Though becoming a new mother and completing a doctoral program are not mutually exclusive experiences, I humbly confess that I could not imagine reaching this point without the care, support, and guidance of a number of people. I am thankful to the members of my advisory committee, who have each questioned, pushed, and inspired me. I have had the unbelievable good fortune of working with Dr. Sarah Bassnett, my primary advisor, who has literally and figuratively seen me through thick and thin during the last several years. I have appreciated Sarah’s thoughtful and thorough feedback, as well as her advice, generosity, and sense of humour. In addition to serving as a trustworthy advisor, Sarah has been my advocate and a champion of my work. She has supported me on every leg of this journey and has enriched my experience by pointing me toward new opportunities, mentoring me through teaching assignments, and employing me as a research assistant. It is no wonder that in times of doubt, my close friends and family ask, “Well, what does Sarah say?” Sarah has kept me on track throughout this program and for that I will be forever grateful. I would also like to thank my committee members, Professors Kirsty Robertson and Patrick Mahon, for their feedback and encouragement throughout this process. They each approached my work from unique points of view and I have benefitted greatly from their careful readings of my work. The Department of Visual Arts at Western is home to many more accomplished people, whom I have been very fortunate to encounter. I would like to thank a few additional faculty members who have expressed great interest in my work and who have offered me advice along the way: Professors Bridget Elliott, Kathryn Brush, Christine iii Sprengler, Kelly Wood, Joy James, and David Merritt. To my peers: it has been a pleasure learning with you and seeing your work develop. I would also like to thank the members of the department’s incredible administrative staff. In particular, I am thankful to Paula Dias, Marlene Jones, Sandy Leboldus, and Joanne Gribbon for keeping me organized and for always greeting me with warm smiles and friendly conversations. Over the course of this degree, I have enjoyed a number of exciting opportunities to teach. In my first year, I taught the History of Photography undergraduate course and I am very thankful to my primary advisor and to the department for helping with my first foray into academic teaching. Additionally, I would like to thank Doris Van Den Brekel for inviting me to intern in the Education Department at the Art Gallery of Ontario (AGO), where I designed and lead workshops for museum interpreters. I learned so much from the AGO staff and volunteers and I am appreciative of the time granted to me by curators Sophie Hackett and Michelle Jacques, who graciously met with me to discuss exhibitions. I would also like to thank my friends at Soulpepper Theatre Company, for welcoming me back to teach arts workshops for the Youth Mentorship Program. Some of my most cherished teaching moments involve my work with these great collaborators: Paula Wing, Farwah Gheewala, Molly Gardner, and the enthusiastic corps of Soulpepper youth. Finally, on my parental leave, I was fortunate to have the opportunity to partner with the staff at the Parkdale-High Park Ontario Early Years Centre (OEYC) and the AGO to host a day at the museum for moms and babies. Throughout these experiences, I thoroughly enjoyed sharing my passion for the arts with a diverse range of people, from the tiniest tots to the more seasoned museum volunteers, and I have gained so much from my encounters with these creative communities. As my research developed, I was able to share iterations of my chapters with a number of scholars whose comments and questions helped propel this work forward. I am particularly thankful to the Universities Art Association of Canada (UAAC/AAUC) for hosting an illuminating annual conference, where I obtained valuable input. In particular, I would like to thank scholars Carol Payne and Gabrielle Moser for their continued interest in my work. I would also like to extend my thanks to Ersy Contogouris and Lora Senechal Carney for sharing their editorial and scholarly expertise as I prepared an article iv for the RACAR Canadian Art Review journal. Finally, I am very appreciative of the members of my examination committee, who have dedicated their time to read my dissertation over the beautiful summer months. During my tenure at Western, I was fortunate to receive generous funding from a number of sources in the form of awards, grants, and subsidies. This research was supported by the Social Sciences and Humanities Research Council through a Joseph- Armand Bombardier Canada Graduate Scholarship, as well as the Ontario Ministry of Training, Colleges, and Universities through an Ontario Graduate Scholarship. My research was also supported by: the Department of Visual Arts, the Faculty of Arts and Humanities, the Society of Graduate Students, UAAC/AAUC, and PSAC Local 610 at The University of Western Ontario. I cannot thank
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