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Auger Emily Phd 1994.Pdf Il Supervisor; Dr. Charles Wicke Abstract TTiroughout history, artists have been influenced by artistic traditions external to tlieir own. In twentieth century Western art, such influences, often facilitated by the artists' experience of a sense of "empathy" with the art of another tradition, have contributed to the apparent dissolution of aesthetic boundaries. Nicola Wojewoda, a contemporary, non- Native, Toronto artist is a participant in this process. Although she has found inspiration in the art of many historical periods and civilizations, Wojewoda has been most deeply affected by contemporary Inuit sculpture, which is, in itself, largely the result of Western influences on an indigenous culture. Western art demonstrating influences from African, Oceanic, and North American Native arts is one type of "Primitivist" art which has been severely criticized as proof of colonialist attitudes. However, as this thesis demonstrates, Wojewoda’s art and her empathetic involvement with Inuit art belong within the historical context of "Primitivism" defined, as it was by Robert Goldwater in Primitivism in Modem Art (1938), as a search for that which is most fundamental and profound in artistic form and content. This search has resulted in many artistic explorations based on a sincere and respectful acknowledgement of the power of both "traditional" and, as in Wojewoda's case. Western influenced Native art to communicate beyond its originating sphere; but it is not limited to such explorations. This thesis demonstrates that Wojewoda's involvement with Inuit art was a permutation of her previously established search for the fundamentals of artistic form and content; a search which focused on the exploration of movement, transformation, symbols, and "archetypes" in a variety of media and types of art. The decree to which Wojewoda’s art communicates beyond its originating sphere was tested in a series of interviews with Inuit artists during which reproductions of various IV Contents Abstract................................................................................................................... ii Contents ................................................................................................................... iv Figures...................................................................................................................... vu Plates...................................................................................................................... X Acknowledgements................................................................................................ xv Chapter One: Introduction ........................................................................... 1 Chapter Two: Introduction to Nicola Wojewoda .................................... 11 Chapter Three: Nicola Wojewoda: Drawings and Paintings 3.1 Drawings: a. Dead Man's Float .............................................................................. 29 b. The Eniematist.................................................................................. 37 c. Wood's Edge ...................................................................................... 39 3.2 Paintings: a. The Flesh Eaters ................................................................................ 44 b. East of the Sun ............................................................................... 46 c. The Capture of Ursa Minor ........................................................... 49 Chapter Four: Nicola Wojewoda: Function and Alternative Media 4.1 Painting, Prints and Jewelery: a. Northern Summer Series .............................................................. 51 b. Lino-Cut Series ............................................................................... 53 c. Woman with a Bird and Elements ................................................ 55 d. Woman with a D ove ........................................................................ 57 4.2 Rubble Pieces: Fragments Recalled and Cornerstone .....................................58 4.3 Installation: Still L ife ....................................................................................... 60 4.4 Bronze Vases: Athena of the Hunt Poseidon's Cousin. and Hades and the River S tyx ........................................................Jt. 63 Chapter Five: Nicola Wojewoda: Sculpture and Inuit Influences 5.1 Brazilian Soapstone: a. Athena ............................................. 71 b. 2 a.m. Night of the Shooting Stars ................................................ 80 c. Jonah on the Back of the Whale ................................................... 81 5.2 Cast Iron and Bronze; a. Repulse Monkey ...............................................................................88 b. Sideglance .........................................................................................91 c. Cree Pipe. Hand Study, and The Travellers ....................................92 d. Female Form .................................................................................... 96 5.3 Other Works and Mediums: a. Waittnp. Figure with a Clubfoot, and Couple ............................... 98 b. Sculptural Installation: Drum Dance ............................................. 99 c. Out of the Water to Taneo .............................................................. 101 5.4 Summary of Wojewoda's Artistic Development an d Di scussion o f the Influence of Inuit Sculpture...........................................................................102 Chapter Six: Inuit Artists on Art by Nicola Wojewoda 6.1 Interviews with Inuit Artists: Context and M ethod ................................. I ll 6.2 Responses to Drawings and Pmntings: Dead Man's Float. The Enigmatist. and Wood’s Edge: The Flesh Eaters and East of the Sun ...................................................... 116 6.3 Responses to Art in Alternative Media: Northern Summer Series: The Door. Athena of the Hunt Poseidon's Cousin, and Hades and the River Styx: and Sculptural Installation Drum Dance .................................................. 127 6.4 Responses to Sculpture: Athena. 2 a.m. Night of the Shooting Stars, and Jonah on the Back of the Whale: Repulse Monkey. Side Glance. Female Form. Hand Study and The Travellers: Waiting. Figure with a Clubfoot, and Couple: .......................................... 132 6.5 Summary of Interview Responses Given by Inuit Artists to Art by Nicola Wojewoda ..................................................................... 143 Chapter Seven; Discussion and Conclusions 7.1 Western Artistic Values and Artistic Primitivism: a. Western Artistic Values and Late Nineteenth and Early Twentieth Century Artistic Primitivism ...................................................... 146 b. Western Artistic Values and Wojewoda ............................................ 153 7.2 &npathy and Artistic Primitivism: a. Empathy and Late Nineteenth and Early Twentieth Century Artistic Primitivism.......................................................................... 159 b. Wojewoda. ........................................................................................ 173 7.3 Symbolism and Artistic Primitivism: a. Symbolism and I^te Nineteenth and Twentieth Century Artistic Primitivism......................................................................... 175 b. Symbolism and Wojewoda. ............................................................. 186 VI 7.4 The 1984 Museum of Modem Art Exhibition "'Primitivism' in Twentieth Century Art" .................................................................................. 191 7.5 Categorizing Wojewoda’s Inuit Influenced Sculpture ................................. 198 7.6 Contemplating Inuit Responses to Wojewoda's Art ................................. 200 Bibliography Primary Sources Collected During this Research Project Correspondence with Nicola Wojewoda ........................................................... 202 Interviews with Inuit Artists............................................................................... 202 Additional Sources: Other Sources on Nicola Wojewoda ....................................................... 205 Aesthetics and Philosophy ........................................................................ 206 Anthropology ............................................................................................... 209 Anthropology and A r t ................................................................................. 213 Art History and History ............................................................................... 218 Inuit and Inuit A rt......................................................................................... 236 Mythology and Psychology .......................................................................... 248 Addendum One: Nicola Wojewoda: V ita ....................................................250 Addendum Two: Figures Art Works by Nicola Wojewoda ............................................................................. 257 Addendum Three: Plates A3.1: Comparative Art Works .................................................................................312 A3.2: Inuit Sculpture.................................................................................................321 Addendum Four: General Interviews with Inuit Artists A4.1: Historical Context ...................................................................................... 341 A4.2 Economics and Personal Expression .......................................................
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