فراتر از بیابان: گروه هفت، هویت کانادایی و هنر معاصر (سری بینش‌های هنری)

"The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York). Contents 6 INTRODUCTION 12 CHAPTER 1 WILDERNESS MYTHS 17 Out of the Woods 20 Wild Art History 30 CHAPTER 2 EXTENSIONS OF TECHNOLOGY 47 Introduction 49 Landscape Manual 51 Technology and Environment 56 La Région Centrale 60 Plus Tard 61 Amendments to Continental Refusal/Refus Continental 66 View of Victoria Hospital, First Series, Nos. 1–6 68 Siting the Banal: The Expanded Landscapes of the N.E. Thing Company 72 Landscape with Tree and 3 Cirrus Clouds 78 Simulated Photo of the Moon’s “Sea of Tranquility” Filled with Water and the N.E. Thing Company’s Sign Placed Beside It, August 1969 78 Conceptual Landscape Art: Joyce Wieland and Michael Snow 82 True Patriot Love 94 Space at the Margins: Colonial Spatiality and Critical Theory after Innis 98 Illuminated Ravine 102 CHAPTER 3 POST-CENTENNIAL HISTORIES 105 Introduction 107 Introduction to The Group of Seven 110 Preface to The Bush Garden 118 Night Storm and Iceberg 120 The Group of Seven: A National Landscape Art 124 The Wembley Controversy in Canadian Art 132 Artists, Patrons, and Public: An Enquiry into the Success of the Group of Seven 138 CHAPTER 4 NORTHERN DEVELOPMENT 143 Introduction 145 Pharm@cology 147 The Group of Seven and Northern Development 150 Modernism and The Industrial Imagination: Copper Cliff and the Sudbury Basin 154 “How Shall We Use These Gifts?” Imaging the Land in the National Film Board of Canada’s Still Photography Division 162 Reflections on Being Born in a Group of Seven Canvas That Is Magically Transformed into a Sensuous Eleanor Bond Painting 170 Later, Some Industrial Refugees from Communal Settlements in a Logged Valley in B.C. and The Women’s Park at Fish Lake Provides Hostels, Hotels and Housing 175 CHAPTER 5 CONTEST AND CONTROVERSY 179 Introduction 181 National Gallery of Canada 184 “Whiffs of Balsam, Pine, and Spruce”: Art Museums and the Production of a Canadian Aesthetic 184 Establishing the Canon: Nationhood, Identity, and the National Gallery’s First Reproduction Programme of Canadian Art 190 Art for a Nation? 196 The Britishness of Canadian Art 202 The McMichael Canadian Art Collection 211 What Would the Group of Seven Say? 211 Letter to the Editor 215 Ding Ho/Group of 7 216 Graveyard and Giftshop: Fighting over the McMichael Canadian Art Collection 220 Emily Carr 226 Disfigured Nature: The Origins of the Modern Canadian Landscape 226 Construction of the Imaginary Indian 228 The Trouble with Emily 232 Emily Carr and the Traffic in Native Images 238 CHAPTER 6 WHAT IS CANADIAN IN CANADIAN LANDSCAPE? 243 Introduction 245 The Myth of the Land in Canadian Nationalism 248 Natural Range of Bur Oak, Natural Range of Canada Plum, Natural Range of Shagbark Hickory, Natural Range of White Oak 250 Staging Antimodernism in the Age of High Capitalist Nationalism 254 Canoe-Lake and a Figure in Mountain Landscape 256 The Mystic North 260 Cabin in the Snow 263 The Myth – and Truth – of the True North 267 Le Groupe des Sept 273 The Terminal City and the Rhetoric of Utopia 278 Nu·tka· 281 Race, Wilderness, Territory, and the Origins of Modern Canadian Landscape Painting 286 Premises for Self-Rule 292 Defining Canada 295 A Group of Sixty-Seven 299 CHAPTER 7 THE EXPRESSION OF A DIFFERENCE 303 Introduction 305 Offensive/Defensive 308 The Expression of a Difference: The Milieu of Quebec Art and the Group of Seven 312 Interview with John O’Brian and Peter White 316 Slough and Lake Reflecting Mountains 322 Painting and the Social History of British Columbia 326 Entering and Leaving St. John’s, Newfoundland, 1995 330 Lesbian National Parks and Services 333 ch’e chée lmun and Wanuskewin Park, Mike Vitkowski’s Farm, Saskatoon, Saskatchewan 336 Jack Pine: Wilderness Sublime or the Erasure of the Aboriginal Presence from the Landscape 340 Video and Location Stills 344 Performing Memory: The Art of Storytelling in the Work of Rebecca Belmore 347 Ayumee-aawach Oomama-mowan: Speaking to their Mother 350 Yuxweluptun: A Philosophy of History 353 Scorched Earth, Clear-Cut Logging on Native Sovereign Lands, Shaman Coming to Fix and Red Man Watching White Man Trying to Fix Hole in Sky 357 Butterfly Garden 361 Notes 364 Bibliography 380 Contributors 384 Contemporary Art Pages 388 Acknowledgments 389 Image Credits 390 Index 392 A 392 B 392 C 393 D 394 E 394 F 394 G 394 H 395 I 395 J 395 K 395 L 396 M 396 N 396 O 397 P 397 R 397 S 397 T 398 U 398 V 399 W 399 X 399 Y 399 Z 399 Content: Introduction / John O'Brian & Peter White -- Out of the woods / Peter White -- Wild art history / John O'Brian -- Landscape manual / Jeff Wall -- Technology and Environment / Marshall McLuhan -- La region centrale / Michael Snow -- Plus tard / Michael Snow -- Amendments to continental refusal/refus continental / Greg Curnoe -- View of Victoria Hospital, first series, nos. 1-6 / Greg Curnoe -- Siting the banal: the expanded landscape of the N.E. Thing Company -- Landscape with tree and 3 cirrus clouds / Iain Baxter -- Simulated photo of the moon's "Sea of Tranquility" filled with water and the N.E. Thing Company's sign placed beside it, August 1969 / N.E. Thing Company -- Conceptual landscape art: Joyce Wieland and Michael Snow / Johanne Sloan -- True patriot love / Joyce Wieland -- Space at the margins: colonial spatiality and critical theory after Innis / Jody Berland -- Illuminated ravine / Rodney Graham -- Introduction to the Group of Seven / Dennis Reid -- Preface to The bush garden / Northrop Frye -- Night storm and iceberg / Paterson Ewen -- The Group of Seven: a national landscape art / Barry Lord -- The Wembley controversy in Canadian art / Ann Davis -- Artists, patrons, and public: an enquiry into the success of the Group of Seven / Douglas Cole. Attempts to expand the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century onwards. This book explains why landscape art in Canada had to be reinvented, and what forms the reinvention took.