Abstract

In the early 1970s, prescribed definitions of traditional ways of making art underwent an intense re-evaluation. This thesis examines the reconsideration of sculpture through analysis of several works of Montreal artists Andrew Dutkewych (b.1944), Jean-Serge Champagne (b.1947), and Claude Mongrain (b.1948). In these works, we see a move towards sculpture that is more conceptual and site-specific. For instance, Dutkewych's architectonic sculptures explore and re-emphasize the relationship between the work and its location in the gallery, while Champagne's sculptures communicate to the viewer previously latent physical phenomena, and Mongrain's 'situations' emphasize their temporal quality. We also see a preference of each artist for using natural, unprocessed materials. This thesis analyzes the work of Dutkewych, Champagne and Mongrain within the modal shift in sculpture that moves away from the production of self-contained art objects towards the use of inexpensive natural materials, the referencing of site and the revelation of process. The study also contextualizes the work within the wider Montreal art milieu through discussing the critical reception it received when shown in pivotal group exhibitions such as Périphéries in 1974 and Québec 75 a year later.