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Mapping out a Feminist Approach in the Work of Marlene Creates

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Mapping out a Feminist Approach in the Work of Marlene Creates 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 Montreal, Quebec, Canada 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 Ottawa 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 Opposites 3 CARTOGRAPHIES OF DIFFERENCE Wilderness as Home 'This Land is My Land, This Land is Your Land" Geographies of the Everyday Ordering, Framing and Selection 4 NARRATIVES OF DISCOVERY Competing Voices Ties That Bind 5 CONCLUSION BIBLIOGRAPHY PLATES LIST OF PLATES All measurements are given in metric. Height precedes width. Al1 works by Marlene Creates. Unless otherwise indicated, al1 works are fiom the collection of Marlene Creates. Mary Allen, Sault Ste. Marie 1987 from the series meDistance Between Two Points is Measured in Memories, 1987. Assemblage of memory rnap drawn by Mary Allen, incised in slate, 122 x 122 cm, black & white photograph, 28 x 36 cm, and beach Stones, collection of the Art Gallery of Algoma. Joseph Cadran, Sadt Ste. Marie 1987 fkom the series The Distance Between Two Points is Measured in Memories, 1987. Assemblage of memory rnap drawn by Joseph Cadran, incised in slate, 122 x 122 cm, black & white photograph, 28 x 36 cm, and sticks, collection of the Art Gallery of Algoma. Mary Allen, Sault Ste. Marie 1987 from the series The Distance Between Two Points is Measured in Memories, 1987. Assemblage of2 black & white photographs, memory rnap drawn by Mary Allen, pencil on paper, printed text, and beach stone, each fiame 28 x 36 cm, private collection. Joseph Cadran, Sault Ste. Marie 1987 from the series The Distance Between Two Points is Measured in Memories, 1987. Assemblage of2 black & white photographs, memory rnap drawn by Joseph Cadran, pencil on paper, printed text and stick, each fiame 28 x 36 cm. SybilZu Nitsman, Labrador 1988 fkom the series The Distance Between Two Points is Measured in Memories, 1988. Assemblage of 2 black & white photographs, memory rnap drawn by Sybilla Nitsman, pencil on paper, printed text, each of 3 fiamed elements 25.5 x 36.1 cm, framed memory map drawing 28.3 x 64.1 cm, collection of the National Gallery of Canada. John Dickers, Labrador 1988 fiom the series The Distance Between Two Points is Measured in Memories, 1988. Assemblage of 2 black & white photographs, memory rnap drawn by John Dickers, pencil on paper, printed text, wooden log, each of 4 fkamed elements 28.5 x 36.1 cm, log, 52.4 x 11-2 cm, collection of the National Gallery of Canada. Excerpt: Joe Ford, Labrador 1988 fiom the series The Distance Between Two Points is Measured in Memories, 1988. Printed text, 28 x 36 cm fiarned. vii Excerpt: Sam Winters, Labrador 1988 nom the series The Distance Between Two Points is Measured in Memories, 1988. Printed text, 28 x 36 cm framed. Excerpt: Hilda Dickers, Labrador 1988 fiom the series The Distance Between Two Points is Measured in Memories, 1988. Printed text, 28 x 36 cm fkamed, collection of the Canada Council Arî Bank. Excerpt: Joachim Nui, Labrador 1988 fkom the series The Distance Between Two Points is Measured in Memories, 1988. Printed text, 28 x 36 cm Famed. Excerpt: Mary Ann Noah, Labrador 1988 from the series The Distance Between Two Points is Meusured in Mernories, 1988. Printed text, 28 x 3 6 cm hed,collection of the Art Gallery of Memorial University of Newfoundland. wheve my grandmother was born fiom the series Places of Presence: Newfoundland kin and ancestral land, Newfoundland 1989-1991. Assemblage of 13 black & white photographs, selenium-toned silver prints, each 20 x 25 cm fiamed, lcolour photograph, cibachrome print, 20 x 25 cm framed, 6 rnemory map drawings, pend on paper, each 22 x 28 cm, framed 28 x 36 cm, 6 story panels and 1 title panel, screen print on plexi, each 28 x 36cm framed, aspen leaves, 41 x 5 1 cm framed, beach stone, wooden shelf, 6 m x 18 cm. Installed dimensions, 161 cm high x 6.5 m long x 18 cm deep, plus floor space. Excerpt: Harvey Burt and Jennie Hackett née Burt from the assemblage where rny grondmother was born fi-orn the series Pluces of Presence: Newfoundland kin and ancestral land. Newfoundland l989-199l. where my grandfather was born from the series Places of Presence: Newfoundland kin and ancestral land, Newfoundland 1989-1991. Assemblage of 13 black & white photographs, selenium-toned silver prhts, each 20 x 25 cm fiamed, 6 memory map drawings, pencil on paper, each 22 x 28 cm, fiamed 28 x 36 cm, 6 story panels and 1 title panel, screen print on plexi, each 28 x 36 cm fiamed, kelp, 41 x 5 1 cm fiamed, beach stone, wooden shelf, 6 m x 18 cm. Installed dimensions, 16 1 cm high x 6.5 m long x 18 cm deep, plus fioor space. Excerpt: Fred Layte, Effie Kavli née Layte, Harold Layte from the assemblage where my grandfaather was born £kom the series Places of Presence: Newfoundland kin and ancestral [and, Newfoundland 1989-1991. 16 where my great-grandmother was born from the series Places of Presence: Newfoundhd kzh and ancestral land, Newfoundlund 1989- 1991. Assemblage of 14 black & white photographs, selenium-toned silver prints, each 20 x 25 cm fiamed, 6 memory map drawings, pend on paper, each 22 x 28 cm, framed 28 x 36 cm, 7 story panels and 1 title panel, screen print on plexi, each 28 x 36 cm hed,2 stones, 5 birch logs, wooden shelf, 7 m x 18 cm. Installed dimensions, 16 1 cm high x 7.5 m long x 18 cm deep, plus floor space. 17 Excerpt: Rosie Webb, Labrador 1988 fiom the series The Distance Between Two Points is Measured in Memories, 1988. Memory map drawn by Rosie Webb, pend on paper, 28 x 36 cm fiameci, collection of the Canada Council Art Bank. 18 Excerpt: Chesley Webb, Labrador 1988 fiom the senes The Distance Between Two Points is Measured in Memories, 1988. Memory map drawn by Chesley Webb, pencil on paper, 28 x 36 cm fhned. 19 Excerpt: Clara Voisey, Labrador 1988 f?om the series The Distance Between Two Points is Measured in Mernories, 1988. Memory map drawn by Clara Voisey, pend on paper, 28 x 36 cm fiamed. 20 Excerpt: Jini Voisey, Labrador 1988 fiom the series The Distance Between Two Points is Measured in Memories, 1988.
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