Login | Register

Making Up Lost Time: Fiction in Carol Sawyer’s The Natalie Brettschneider Archive and the Canadian Women Artists History Initiative.

Title:

Making Up Lost Time: Fiction in Carol Sawyer’s The Natalie Brettschneider Archive and the Canadian Women Artists History Initiative.

Dumais, Douglas (2019) Making Up Lost Time: Fiction in Carol Sawyer’s The Natalie Brettschneider Archive and the Canadian Women Artists History Initiative. Masters thesis, Concordia University.

[thumbnail of Dumais_MA_F2019.pdf]
Preview
Text (application/pdf)
Dumais_MA_F2019.pdf - Accepted Version
Available under License Spectrum Terms of Access.
8MB

Abstract

This thesis examines Vancouver-based contemporary artist Carol Sawyer’s The Natalie Brettschneider Archive as well as the Concordia-based Canadian Women Artists History Initiative (CWAHI) through the lens of fiction, feminist theory, and counter-archival practices. Sawyer’s Archive is a series of documents that recount the biography of fictional Surrealist and Dada performance artist Natalie Brettschneider (1896-1986?). CWAHI is a Concordia-based documentation centre that maintains artist files, programming, and publication initiatives. This thesis argues that fiction is an effective tool to address historiographical erasures in women’s history. Though both projects emerge from the polarities of fictional art and historical documentation practices, CWAHI and the Archive are invested in the plausibilities for feminist interventions veiled within the unknowability of the past. Chapter one explores how the Archive renders sensible and actionable a cross-historical dialogue with historical women’s art, one that argues for an expanded notion of intertemporal feminist collaboration. Similarly, CWAHI’s collaborators craft frameworks that forge communities of participation that generate affective resonances between artists of the past and historians in the present. Chapter two complicates this collapse between historical and contemporary, arguing that Sawyer’s Archive and CWAHI sustain tensions at the heart of feminist scholarship between historical women artists and the historians who study them. Both projects recognize that the historian and their subjects of study are entangled across differing contexts. The result are two projects that speak to the variety of experiences across divides of fact and fiction, past and present, as well as life and death, divides that Sawyer’s project argues can be partially, but never fully, breached.

Divisions:Concordia University > Faculty of Fine Arts > Art History
Item Type:Thesis (Masters)
Authors:Dumais, Douglas
Institution:Concordia University
Degree Name:M.A.
Program:Art History
Date:13 August 2019
Thesis Supervisor(s):Hammond, Cynthia I.
Keywords:fiction, photography, feminist art history, Carol Sawyer, Canadian Women Artists History Initiative, fiction in art, fiction in photography
ID Code:985669
Deposited By: Douglas Dumais
Deposited On:14 Nov 2019 15:23
Last Modified:14 Nov 2019 15:23

References:

Anderson, Janice. Interview by Doug Dumais, September 26, 2018.
Bal, Mieke. “In Your Face: Migratory Aesthetics.” In The Culture of Migration: Politics, Aesthetics and Histories, edited by Sten Pultz Moslund, Anne Ring Petersen, and Moritz Schramm, 147–71. London: I.B. Tauris & Co. Ltd, 2015.
———. Reading “Rembrandt”: Beyond the Word-Image Opposition. Cambridge: Cambridge University Press, 1991.
Bal, Mieke, and Norman Bryson. “Semiotics and Art History.” Art Bulletin 73 (June 1991): 174–208.
Barolsky, Paul. “Art History as Fiction.” Artibus et Historiae 17, no. 34 (1996): 9–17.
Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 2010.
Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, Mass: MIT, 1999.
Benjamin, Elizabeth. Dada and Existentialism: The Authenticity of Ambiguity. London: Palgrave Macmillan, 2016.
Benjamin, Walter. Illuminations: Essays and Reflections. Translated by Harry Zohn. New York: Schocken Books, 1968.
Brown, Wendy. Politics Out of History. Princeton: Princeton University Press, 2001.
Campbell, Mark V. “Hip Hop Archives or an Archive of Hip Hop? A Remix Impulse.” Edited by May Chew, Susan Lord, and Janine Marchessault. Public 57 (Summer 2018): 68–79.
Chew, May, Susan Lord, and Janine Marchessault. “Introduction.” Public 57 (Summer 2018): 5–10.
Davis, Natalie Zemon. Fiction in the Archives: Pardon Tales and Their Tellers in Sixteenth-Century France. Stanford, CA: Stanford University Press, 1987.
De Certeau, Michel. The Practice of Everyday Life. Edited by Steven Rendall. Berkeley, CA: London University of California Press, 1984.
Deleuze, Gilles. Foucault. Translated by Seán Hand. Minneapolis: University of Minnesota Press, 1988.
Derrida, Jacques. “Archive Fever.” In Refiguring the Archive, edited by Carolyn Hamilton et. al., 38–60. Dordrecht; Boston: Kluwer Academic, 2002.
———. Spectres of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Peggy Kamuf. New York; London: Routledge Classics, 2006.
Diamond, Elin. “Mimesis, Mimicry, and the ‘True-Real.’” In Acting out: Feminist Performances, edited by Lynda Hart and Peggy Phelan, 363–82. Ann Arbor, MI: The University of Michigan Press, 1993.
Doran, Robert. “Introduction.” In Hayden White, The Fiction of Narrative: Essays on History, Literature, and Theory, 1957-2007, edited by Robert Doran. Baltimore, MD: Johns Hopkins University Press, 2010.
Eichhorn, Kate. The Archival Turn in Feminism: Outrage in Order. Philadelphia, PA: Temple University Press, 2013.
Emerling, Jae. Photography: History and Theory. New York: Routledge, 2012.
Enwezor, Okwui. “Documentary/Vérité: Bio-Politics, Human Rights, and the Figure of ‘Truth’ in Contemporary Art.” In The Green Room: Reconsidering the Documentary and Contemporary Art, edited by Maria Lind and Hito Steyerl, 62–102. Berlin; Annandale-on-Hudson, NY: Sternberg-Press, 2008.
Foster, Hal. “An Archival Impulse.” October 110 (2004): 3–22.
Foucault, Michel. Archaeology of Knowledge. Translated by Alan Sheridan. New York: Pantheon Books, 1972.
Foucault, Michel. “On the Archaeology of the Sciences: Response to the Epistemology Circle.” In Aesthetics, Method, and Epistemology: Essential Works of Foucault 1954-1984 Volume 2, edited by James D. Faubion. New York: The New Press, 1998.
Frenkel, Vera, Dot Tuer, and Clive Robertson. “The Story Is Always Partial: A Conversation with Vera Frenkel.” Art Journal 57, no. 4 (1998): 3–15.
Gammel, Irene. Baroness Elsa: Gender, Dada, and Everyday Modernity—A Cultural Biography. Cambridge, Mass.: MIT Press, 2003.
Godfrey, Mark. “The Artist as Historian.” October, no. 120 (Spring 2007): 140–72.
Goldchain, Rafael. I Am My Family: Photographic Memories and Fictions. New York: Princeton Architectural Press, 2008.
Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 1997.
Gordon, Mel. Dada Performance. New York: PAJ, 1987.
Grosz, Elizabeth. “Histories of the Present and Future: Feminism, Power, Bodies.” In Thinking the Limits of the Body, edited by Jeffrey Jerome Cohen and Gail Weiss, 13-23. Albany, NY: SUNY Press, 2003.
Halberstam, Jack. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005.
Hammond, Cynthia. “‘I Weep for Us Women’: Modernism, Feminism, and Suburbia in the Canadian Home Journal’s Home ’53 Design Competition.” In Rethinking Professionalism: Women and Art in Canada, 1850-1970, edited by Kristina Huneault and Janice Anderson, 194–224. Montreal: McGill-Queens University Press, 2012.
Hemmings, Clare. Why Stories Matter: The Political Grammar of Feminist Theory. Durham, NC: Duke University Press Books, 2010.
Hemus, Ruth. Dada’s Women. New Haven; London: Yale University Press, 2009.
Hermange, Emmanuel. “The Mirror and the Encyclopedia: Regarding Some Fictions of Knowledge.” In Fiction or Other Accounts of Photography, edited by Stephen Horne and France Choinière. Montreal: Dazibao, 2000.
Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, Mass: Harvard University Press, 1997.
Huneault, Kristina. I’m Not Myself at All: Women, Art, and Subjectivity in Canada. Montreal: McGill-Queen’s University Press, 2018.
———. “Professionalism as Critical Concept and Historical Process for Women and Art in Canada.” In Rethinking Professionalism: Women and Art in Canada, 1850-1970, edited by Kristina Huneault and Janice Anderson, 3–54. Montreal: McGill-Queens University Press, 2012.
———. “The Canadian Women Artists History Initiative.” Journal of Canadian Art History 32, no. 2 (June 2011): 138–40.
———. Interview by Doug Dumais, September 26, 2018.
Huneault, Kristina, and Janice Anderson. “A Past as Rich as Our Futures Allow: A Genealogy of Feminist Art in Canada.” In Desire Change: Contemporary Feminist Art in Canada, edited by Heather Davis, 19–53. Montreal: McGill-Queen’s University Press, 2017.
Huneault, Kristina, and Janice Anderson, eds. Rethinking Professionalism: Women and Art in Canada, 1850-1970. Montreal: McGill-Queens University Press, 2012.
Huneault, Kristina, Janice Anderson, and Melinda Rinehart. “Canadian Women Artists History Initiative.” Canadian Women Artists History Initiative, October 15, 2007. https://cwahi.concordia.ca/.
Irigaray, Luce. “The Bodily Encounter with the Mother.” In The Irigaray Reader. Edited by Margaret Whitford, 34–47. Oxford: Basil Blackwell, 1991.
———. This Sex Which Is Not One. Translated by Catherine Porter and Carolyn Burke. Ithaca: Cornell University Press, 1985.
Jones, Amelia. “Tracing the Subject with Cindy Sherman.” In Cindy Sherman: Retrospective, edited by Amanda Cruz and Elizabeth A. T. Smith, 33–54. New York: Thames and Hudson, 1997.
Kashmere, Brett. “Cache Rules Everything Around Me.” Incite Journal of Experimental Media and Radical Aesthetics 2 (2010). http://www.incite-online.net/intro2.html.
Kracauer, Siegfried. “Photography.” In The Mass Ornament: Weimar Essays, edited and translated by Thomas Y. Levin, 47–64. Cambridge, Mass: Harvard University Press, 1995.
Lambert-Beatty, Carrie. “Make-Believe: Parafiction and Plausibility.” October 129 (2009): 51–84.
Laurence, Robin. “The Interventionist Archive: Carol Sawyer Invents Art History.” Border Crossings 37, no. 4 (December 2018): 88–93.
Leung, Godfre. “Revising Dada.” Canadian Art, March 28, 2018. https://canadianart.ca/features/revising-dada/.
Macfarlane, D.B. “Exhibition of Abstract Art Bewildering to Reporter.” Montreal Daily Star, December 9, 1949. Marcelle Ferron Artist File, Canadian Women Artists History Initiative, Concordia University.
“Martha Rosler, Semiotics of the Kitchen, 1975.” Museum of Modern Art, 2010. https://www.moma.org/collection/works/88937.
Morgan, Jennifer L. Laboring Women: Reproduction and Gender in New World Slavery. Philadelphia, PA: University of Pennsylvania Press, 2004.
Morineau, Camille. “A Pioneer of Monumental Sculpture.” In Niki de Saint Phalle: Outside-In, edited by Styze Steenstra, 88–92. Heerlen: Schunck, 2011.
Mouffe, Chantal. On the Political. London; New York: Routledge, 2005.
Nash, Mark. “Reality in the Age of Aesthetics.” Frieze 114 (April 2008): page numbers n.a. https://frieze.com/article/reality-age-aesthetics.
Niergarth, Kirk. “Julia Crawford and the Rules of the Game.” Journal of Canadian Art History 34, no. 2 (June 2013): 48–79.
Nutall, Sarah. “Literature and the Archive: The Biography of Texts.” In Refiguring the Archive, edited by Carolyn Hamilton, 283–300. Dordrecht; Boston: Kluwer Academic, 2002.
Orlan, Pierre Mac. “Preface to Atget: Photographe de Paris.” In Photography in the Modern Era: European Documents and Critical Writings, 1913-1940, edited by Christopher Phillips, translated by Robert Erich Wolf, page numbers n.a. New York: Metropolitan Museum of Art/Aperture, 1989.
Paikowsky, Sandra. “The Girls and the Grid: Montreal Women Abstract Painters in the 1950s and Early 1960s.” In Rethinking Professionalism: Women and Art in Canada, 1850-1970, edited by Kristina Huneault and Janice Anderson, 259–84. Montreal: McGill-Queens University Press, 2012.
Perry, Adele. “Beyond Biography, Beyond Canada.” Canadian Historical Review 98, no. 2 (June 2017): 321–37.
“Plausible, Adj. and n.” In Oxford English Dictionary Online. Oxford University Press. Accessed July 24, 2019. http://www.oed.com/view/Entry/145466.
Pollock, Griselda. Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. New York: Routledge, 1999.
Pollock, Griselda. “Virtuality, Aesthetics, Sexual Difference and the Exhibition: Towards the Virtual Feminist Museum.” In elles@centrepompidou: Women Artists in the Collections of the Musée National d’Art Moderne, edited by Camille Morineau, 322–29. Paris: Centre Georges Pompidou, 2009.
———. Vision and Difference: Feminism, Femininity and the Histories of Art. London and New York: Routledge, 1988.
“Provisional, Adj. and n.” In Oxford English Dictionary Online. Oxford University Press. Accessed July 24, 2019. http://www.oed.com/view/Entry/153485.
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2004.
“Re-Inventing the Diva: Western Front.” The Western Front. Accessed December 1, 2018. https://front.bc.ca/events/re-inventing-the-diva/.
Richardson, Matt. “Our Stories Have Never Been Told: Preliminary Thoughts on Black Lesbian Cultural Production as Historiography in The Watermelon Woman.” Black Camera, no. 2 (2011): 100-113.
Rosler, Martha. Semiotics of the Kitchen. YouTube Video, 1975. https://www.youtube.com/watch?v=oDUDzSDA8q0.
Rugh, Thomas F. “Emmy Hennings and the Emergence of Zurich Dada.” Woman’s Art Journal 2, no. 1 (1981): 1–6.
Salahub, Jennifer. “Hannah Maynard: Crafting Professional Identity.” In Rethinking Professionalism: Women and Art in Canada, 1850-1970, edited by Kristina Huneault and Janice Anderson, 135–67. Montreal: McGill-Queens University Press, 2012.
Sapir, Michal. “The Impossible Photograph: Hippolyte Bayard’s Self-Portrait as a Drowned Man.” MFS Modern Fiction Studies 40, no. 3 (September 1994): 619–29.
Sawyer, Carol. “Bringing Forgotten Women Artists Back to Light.” Canadian Art, January 16, 2016. https://canadianart.ca/features/bringing-forgotten-women-artists-back-to-light/.
———. “Introduction,” e-mail correspondence with author. August 25, 2018.
———. Interview by Doug Dumais, September 6, 2018.
———. “Natalie Brettschneider.” Carol Sawyer artist website. Accessed October 23, 2018, http://www.carolsawyer.net/work/natalie-brettschneider/.
Sobieszek, Robert A.Ghost in the Shell: Photography and the Human Soul, 1850-2000. Cambridge, Mass.: MIT Press, 1999.
Sontag, Susan. “Introduction.” In Hujar, Peter. Portraits in Life and Death. New York: Da Capo Press, 1976.
Scott, Joan W. “Gender: A Useful Category of Historical Analysis.” American Historical Review 91, no. 5 (December 1986): 1053-1075.
Scott, Joan W. The Fantasy of Feminist History. Durham: Duke University Press, 2011.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge, Mass: MIT Press, 2008.
Taunton, Carla. “Lori Blondeau: High-Tech Storytelling for Social Change.” Master’s Thesis, Carleton University, 2007.
von Ankum, Katharina. Women in the Metropolis: Gender and Modernity in Weimar Culture. Oakland, CA: University of California Press, 1997.
White, Hayden. “Storytelling: Historical and Ideological.” In The Fiction of Narrative: Essays on History, Literature, and Theory, 1957-2007, edited by Robert Doran, 273–93. Baltimore, MD: Johns Hopkins University Press, 2010.
———. “The Value of Narrativity in the Representation of Reality.” In On Narrative, edited by W. J. T. Mitchell, 3–23. Chicago: University of Chicago Press, 1981.
———. Figural Realism: Studies in the Mimesis Effect. Baltimore, MD: Johns Hopkins University Press, 2000.
Whitford, Margaret. Luce Irigaray: Philosophy in the Feminine. London: Routledge, 1991.
Zapperi, Giovanna. “Woman’s Reappearance: Rethinking the Archive in Contemporary Art—Feminist Perspectives.” Feminist Review 105 (2013): 21–47.
All items in Spectrum are protected by copyright, with all rights reserved. The use of items is governed by Spectrum's terms of access.

Repository Staff Only: item control page

Downloads per month over past year

Research related to the current document (at the CORE website)
- Research related to the current document (at the CORE website)
Back to top Back to top