Cartographies of Consciousness-raising: Mapping Out a Feminist Approach in the Work of Marlene Creates

Heather Webb

A Thesis

in

The Department

of

Art History

Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University , Quebec,

August 1997

BHeather Webb, 1997 National Library Bibliothèque nationale du Canada

Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington ON K1A ON4 Ottawa ON K1A ON4 Canada Canada

The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la fome de rnicrofiche/film, de reproduction sur papier ou sur format électronique.

The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Cartographies of Consciousness-raising: Mapping Out a Feminist Approach in the Work of Marlene Creates

Heather Webb

Between 1987 and 199 1, contemporary Canadian artist Marlene Creates

(b. 1952) produced three separate "memory map" series of mixed-media assemblages consisting of black and white photographs, text, hand-drawn "memory maps7'and in some instances, natural elements selected fiom the environment. The works present the stones, remembrances and recoilections by elderly inhabitants of their experiences in and relationships to specific geographical locales. In these works Creates' employed an autobiographical approach to explore the intersections between experience, identity and the land(scape). The specific concems and social function of these works will be discussed as informed by and concemed with feminist theory and practice. This will be undertaken in order to show that an underlying political strategy inforrns both the production and the reception of these works.

1would like to extend my thanks to my thesis advisor, Dr. Janice Helland and the other members of my thesis cornmittee; Dr. Catherine Mackenzie and, especially,

Dr. Joan Acland for theV efforts on my behalf.

I wish to express my gratitude to the Library Staff of the National Gallery of

Canada for their encouragement and willingness to assist me during the preparation of this thesis. In particular, 1 wish to thank Murray Waddington for his generosity and flexibility in terms of time off work, as well as Peter Trepanier for his unflagging interest and bibliographic suggestions. 1 have benefitted greatly from the emotional support and enthusiasm of colleagues and fnends, and although too numerous to mention individually, 1 would like to acknowledge the following people for their contributions: Carol Payne, Fraser Valentine, Victoria Angel, Scott Weir, Bill

MacDonald and Cecily Wallace. Tu Mark Boone, 1 would like to extend special thanks for his unyielding optimism and belief in my abilities and for his love and support. Also, sincere thanks to my parents for their constant encouragement.

Finally, 1 wish to express my indebtedness to Marlene Creates. Her willingness to be supportive and generous with her time has been greatly appreciated and made this endeavour possible. TABLE OF CONTENTS

LIST OF PLATES vii

Chapter

1 INTRODUCTION

2 LAYERING, SHIFTINGt SPIRALLING

Reading in Circles Union of Oppo