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Reframing an Arctic Image, out of the Sublime

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Reframing an Arctic Image, out of the Sublime University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016-01-26 Reframing an Arctic Image, Out of the Sublime Thoreson, Kristine, Nicole Thoreson, K. (2016). Reframing an Arctic Image, Out of the Sublime (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27572 http://hdl.handle.net/11023/2779 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Reframing an Arctic Image, Out of the Sublime by Kristine Thoreson A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM OF ART CALGARY, ALBERTA January, 2016 © Kristine Thoreson 2016 Abstract A proliferation of sublime, mythic and nearly vacant landscape photographs of Arctic regions are circulating in museums and galleries internationally; artist monographs of these photographs are also readily available in major booksellers. Although the photographs are artfully crafted and technically superior, there is the question of what an accretion of so many sublime landscape images of the North accomplishes in terms of perceptions of place, community and culture? It is true that creating awe-inspiring photographs that promote an appreciation for polar-regions is legitimate work. Yet, taking a wider view of this field of landscape art photography reveals important insights into our beliefs about places. Re-examining the production and circulation of recent photographs will underline ways in which photography creates and sustains place perceptions that in turn inform local and global attitudes about the Arctic. This Social Sciences and Humanities Research Council (SSHRC) funded project presents an in-depth account of three bodies of work by the prominent artists Olaf Otto Becker, Camille Seaman and Tiina Itkonen as well as the contexts within which they are created and presented. It will provide links to historic practices that have informed modern works, an analysis of the notions of place that emerge, and importantly, through research creation1 it will offer new and alternative approaches to art photography in the Arctic as a result of field work carried out in Ilulissat, Greenland. 1 An approach to research that combines creative and academic research practices, and supports the development of knowledge and innovation through artistic expressions, scholarly investigation, and experimentation, The creation process is situated within the research activity and produces critically or analysis of a creators work, conventional works of technological development, or work that focuses on the creation of curricula, The research-creation process and the resulting artistic work are judged according to SSHRC’s established merit review criteria. ii Acknowledgements I offer a thousand thanks to my supervisor Dr. Jean-René Leblanc and co-supervisor Dr. Susan Bennett for the much appreciated guidance, support and patience that you each offered me throughout this entire process. And to my committee members Dr. Brian Rusted and Dr. Robert Kelly, thank you for the meetings, assistance and support that you happily offered at every stage. Thank you to the Department of Art, the Department of Graduate Studies, the Alberta Foundation for the Arts, and the Social Sciences and Humanities Research Council for the funding they each provided for this project. Thank you as well to my family and friends who have patiently cheered me on from the sidelines over the past five years. And finally, to my parents Bud and Charleen Thoreson, thank you for instilling in me a belief in learning and higher education, and for encouraging me to do what I love in life. iii Table of Contents Abstract .............................................................................................................................. ii Acknowledgements ........................................................................................................... iii Table of contents ............................................................................................................... iv List of Figures and Illustrations ........................................................................................ vi Chapter 1: Introduction, Why Greenland? ................................................................... 1 1.1 Why Greenland? ............................................................................................... 1 1.2 The Photographic Artists ............................................................................... 16 1.3 Olaf Otto Becker ............................................................................................ 22 1.4 Ties to Historical Notions of the ‘North’ ....................................................... 35 1.5 Camille Seaman ............................................................................................. 53 1.6 Tiina Itkonen .................................................................................................. 67 1.7 Contemporary Art Photography, Significance of Place Perceptions ..................................................................................................... 86 1.8 Re-thinking Popular Motifs: the Sublime, the Otherworldly and the Peripheral North ................................................................................. 93 1.9 Pushing Back ................................................................................................ 100 1.10 Chapter One Conclusion ......................................................................... 105 Chapter 2: Research Context ...................................................................................... 107 2.1 Contextualization, the Field of Art Photography ......................................... 107 2.1.1 Sarah Anne Johnson ............................................................................ 108 iv 2.1.2 Lars Tunbjörk ..................................................................................... 113 2.1.3 Mette Tronvoll .................................................................................... 115 2.1.4 Jorma Puranen and Janet Biggs ........................................................... 119 2.1.5 Pipa Lykke Løgstrup and Julie Decker ............................................... 124 Chapter 3: Research Creation ..................................................................................... 133 3.1 The Artist Researcher ................................................................................... 134 3.2 Research-creation and practice-based Research ........................................... 137 3.3 Daily Journal Entries .................................................................................... 142 3.4 Photographic Experimentation and Approaches .......................................... 170 3.5 Creative Synthesis and Validation of Research ........................................... 188 3.6 Conclusion.................................................................................................... 200 Works Cited .................................................................................................................. 205 Bibliography ................................................................................................................ 217 v List of Illustrations Fig. 1. Tiina Itkonen, Icefjord II, 2005. Tiina Itkonen. N.p. N.d. Web. 10, June, 2015. Fig. 2. Ed Burtynsky. Socar Oil Fields #1ab, Baku Azerbaijan, 2006. Edward Burtynsky. N.p. N.d. Web. 15, July, 2015. Fig. 3. Olaf Otto Becker, Ilulissat Icefjord 5, 07/ 2003 69˚ 11’59” N, 51˚ 08’08” W Olaf Otto Becker. N.d. N.p. Web. 10, April, 2015. Fig. 4. Olaf Otto Becker, Ilulissat Icefjord 6, 07/2003, 69°11’58’’ N, 51°07’08’’ W. Olaf Otto Becker. N.d. N.p. Web. 10, April, 2015. Fig. 5. Olaf Otto Becker, Ilulissat Icefjord 3, 07 / 2003, 69° 11’ 59” N, 51° 14’ 02” W. Olaf Otto Becker. N.d. N.p. Web. 10, April, 2015. Fig. 6. Olaf Otto Becker, Ilulissat Icefjord 09, 07/2003, 69°11’50’’ N, 51°12’54’’ W. Olaf Otto Becker. N.d. N.p. Web. 10, April, 2015. Fig. 7. Olaf Otto Becker, 827 Nuussuaq, 07 / 200674° 06’ 45” N, 57° 03’ 32” W. Becker, Olaf Otto. Broken Line. Ostfildern: Hatje CantzVerlag, 2007. Print. Verlag, 2007. N. pag. Print. Fig. 8. Olaf Otto Becker, Ikerasak, Qarajaqs Icefjord 1, 07 / 2005, 70° 29’46” N, 51° 18’ 14” W. Becker, Olaf Otto. Broken Line. Ostfildern: Hatje CantzVerlag, 2007. N. pag. Print. Fig. 9. Olaf Otto Becker, Qimmeq, Nuussuaq, 07 / 2006, 74° 06’ 36” N, 57° 03’ 32” W. Broken Line. Ostfildern: Hatje CantzVerlag, 2007. N. pag. Print. Fig. 10. Olaf Otto Becker, Oquaatsut 5, 07/2003,69°19’57’’ N, 51°00’23’’ W. Olaf Otto Becker. N.d. N.p. Web. 10, April, 2015. vi Fig. 11. Ed Burtynsky, Westar Open Pit Coal Mine, Sparwood, British Columbia, Canada, 1985. Edward Burtynsky. N.p. N.d. Web. 15, July, 2015. Fig. 12. Frederic Edwin Church, The Icebergs (1861). Louisiana Museum of Modern Art. Arctic. Esbjerg: Louisiana Museum of Modern Art, 2013. 22. Print. Fig. 13. Carl Rasmussen, Gustav Holm’s Umiak Expedition to Ammassalik 1883-85, 1891. Louisiana
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