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Constituting the Archives of Artist-Run Culture: a Self-Conscious Apparatus of History

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Constituting the Archives of Artist-Run Culture: a Self-Conscious Apparatus of History Constituting the Archives of Artist-Run Culture: A Self-Conscious Apparatus of History By Johanna Elizabeth Plant A thesis submitted to the Graduate Program in Art History In conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada August, 2015 Copyright © Johanna Elizabeth Plant, 2015 This work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ Abstract This study investigates the production of knowledge through the archives of artist-run centres in Canada in the late 20th and early 21st centuries. Archival scholars recognize that the ways materials are collected, presented, and controlled in an archive can impact the types of narratives that may be created from them. But how do such operations occur in artist-run centres, and what challenges might they pose to the construction of historical narratives? What can the ways in which centres define, organize, and provide access to their archival materials reveal about artist- run culture? More specifically, how do systems of ordering, acts of donation, archival architecture, and virtual archives of artist-run centres affect the potential use of these materials in future histories? This contemporary art history thesis borrows literature and questions from cultural studies and archival science. I explore the multiple and fluid forms of archives claimed by each of these overlapping disciplines, and by artist-run centres themselves. To generate new information about artist-run centre archives, I employ a sociological-ethnographical approach, undertaking a broad survey of arts-related self-organized entities, and conducting interviews with selected representatives of artist-run centres. The assumption that informs these methods of investigation is that information about artistic, archival, and administrative practices can best be gathered from the practitioners themselves. Such an approach respects the knowledge and autonomy of the individual and organizational participants, and is in line with a general artist-run ethos, which calls for the recognition of the experience and expertise of artists and cultural producers. ii Acknowledgements I am grateful to the many instructors, colleagues, and artist-run centres that have made this project possible, and to my family and friends, who have supported me throughout the process. To Clive Robertson, my supervisor, I express my sincerest thanks. His insightful feedback and wealth of experience in artist-run culture have greatly enhanced my understanding of this rich and varied topic. The instructors I have had at Queen’s, including Gary Kibbins and Jan Allen, helped provide a strong foundation on which to build this project. I am equally indebted to the faculty members who formed the committee for my field exams: Lynda Jessup, Susan Lord, and Janice Helland. Their critical feedback has helped me strengthen and hone the ideas that ultimately informed my writing. The Department of Art has been truly supportive, and I am thankful to all of its members, and especially current and past graduate chairs Allison Sherman and Una D’Elia, and Programme Assistants Dawn Lloyd and Lovorka Fabek-Fischer. This research was made possible through the generosity of Queen’s University. It has been a privilege to attend Queen’s and to work in such a stimulating environment. iii Many organizations graciously shared their time with me, participating in my survey, or meeting with me for lengthy discussions. I am especially indebted to Shawna Dempsey and Bev Pike at MAWA, Glenn Alteen, Cynthia Bronaugh, Karlene Harvey and Meagan Kus at grunt, Jana Grazley, Scott Owens, and Sarah Todd at Western Front, Sharon Bradley and Crista Dahl at VIVO, Anthea Black, Nicole Burisch, and Wednesday Lupypciw of the LIDS, Joan Sinclair at the Archives of Manitoba, Johanna Householder, and to all the survey participants: Petunia Alves (Groupe Intervention Vidéo (GIV)), Phil Anderson (Gallery 1313), sophia Bartholomew (Gallery Connexion), Lise Beaudry (Gallery 44), Catherine Benoit (Spirafilm), Laura Berazadi (InterAccess (Toronto Community Videotex, est. 1983)), Michel Boutin (The Indigenous Peoples Artist Collective), Derek Brooks (Harcourt House Artists' Run Centre), SOPHIE BRUNET (ATELIER PRESSE PAPIER), Pascale Bureau (VU, centre de diffusion et de production de la photographie), Andrea Carvalho (Hamilton Artists Inc), Stéphanie Chabot (Centre des arts actuels Skol), Martin Champagne (Praxis Art Actuel), Virginie Chrétien (Caravansérail), Caroline Clarke (St. Michael's Printshop), Caroline Cloutier (ARPRIM), Shannon Cochrane (FADO Performance Art Centre (Fado Performance Inc.)), Jacqueline Collomb (Third Space Gallery), Martha Cooley (Atlantic Filmmakers Cooperative), Dave Cunningham (The Film and Video Arts Society – Alberta), Joëlle Françoise Dallot (Atelier Silex Inc.), April Dean (Society of Northern Alberta Print-artists (SNAP)), Elizabeth Dent (Ed Video Media Arts Centre), Jennifer Dorner (Independent Media Arts Alliance), Martin Dufrasne (DARE-DARE_Centre de diffusion d'art multidisciplinaire de Montréal), Matthieu Dumont (L'Écart), Eliane Ellbogen (Eastern Bloc), Amanda Fauteux (Struts Gallery Inc), Diane Fournier (Engramme), hannah_g (aceartinc.), Peter Gazendam (Artspeak), Bart Gazzola (aka artist run), Lucas Glenn (Alternator Centre for Contemporary Art), Keith Higgins (UNIT/PITT Projects iv (formerly the Helen Pitt Gallery)), Astrid Ho (Open Studio), daniel joyce (khyber centre for the arts), Reena Katz (Galerie SAW Gallery), Chris Kennedy (Liaison of Independent Filmmakers of Toronto), Mélissa Landry (La Bande Vidéo), Guylaine Langlois (Centre d'artistes Vaste et Vague), John Latour (Artexte), Cat LeBlanc (New Brunswick Filmmakers' Co-operative), Audrey Legerot (Vidéographe), Mériol Lehmann (Avatar), Fynn Leitch (ARTSPACE (Petebrorough Artists Inc)), York Lethbridge (Mercer Union, a centre for contemporary art), Jean-Baptiste Levêque (Vidéo Femmes), Laura Margita (Gallery 101), Amélie Marois (Centre MATERIA), Brian McBay (221A), Jessica McCarrel (Calgary Society of Independent Filmmakers (CSIF)), deborah mcinnes (main film), Anthony Meza-Wilson (Gallery Gachet), Josianne Monette (OPTICA, un centre d'art contemporain), Sally Raab (Untitled Art Society), Stephen Remus (Niagara Artists Centre), Claudine Roger (VOX, centre de l'image contemporaine), Bruce Saunders (Movie Monday Society), Su Ying Strang (The New Gallery), Tracy Stefanucci (Project Space), Rachel Tremblay (Galerie Séquence), Julie Tremble (articule), Indu Vashist (South Asian Visual Art Centre), Maude Vien (Centre d'exposition Circa), Laura Walker (Factory Media Centre), and Daina Warren (Urban Shaman Inc.). There are several colleagues and mentors from my “pre-Queen’s” life to whom I owe a debt of gratitude: Donald Wetherell, my instructor at the University of Calgary and a continuous source of support and inspiration; Geoffrey Simmins, also my instructor at the U of C and an excellent role model; Quyen Hoang and Barb Greendale, my colleagues at both Glenbow Museum and the City of Calgary, from whom I have learned so much; and Jessical McCarrel, Tim Westbury, Jasmine Valentina, Su Ying Strang, and Sheri Nault, my inspirational colleagues at The New Gallery. v My family and friends have provided much support throughout this process. They have shown great interest in my very specialized topic, have been patient as I try out new ways of explaining my ideas, and have provided moments of much needed distraction from my work. I am grateful to all of them, and especially to my parents, Jim and Joan Plant, and my husband, Arlen Donnelly. vi Table of Contents Abstract ........................................................................................................................................ ii Acknowledgements ..................................................................................................................... iii Table of Contents ....................................................................................................................... vii List of Figures ............................................................................................................................. xi List of Abbreviations ................................................................................................................. xii Chapter One: Introduction 1.1 Preamble: On Ordering and Artistic Practices ........................................................................1 1.2 Research Problématique ..........................................................................................................3 1.3 Methodology ...........................................................................................................................6 1.3.1 Interdisciplinary Positioning and Key Assumptions ...............................................6 1.3.2 Relationship Between Researcher and Research .....................................................9 1.4 Artist-Run Centres and their Archives: A Brief Introduction ...............................................12 1.5 Research Methods .................................................................................................................18 1.5.1 Survey and Interviews............................................................................................18 1.5.2 General Research Ethics Board Approval .............................................................21 1.6 Description
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