"Arts, Faculty of"@en . "Art History, Visual Art and Theory, Department of"@en . "DSpace"@en . "UBCV"@en . "Dawn, Leslie Allan"@en . "2009-09-22T01:44:36Z"@en . "2002"@en . "Doctor of Philosophy - PhD"@en . "University of British Columbia"@en . "This thesis examines the conflicted relationships between the construction of a national culture\r\nand identity located in landscape painting and the continuing presence of Native art and identity\r\nin Canada in the 1920s. It contends that the first was predicated on the assumed disappearance of\r\nthe second. The first of five case studies examines and questions the validation of the Group of\r\nSeven at the imperial centre: the British Empire Exhibitions held at Wembley in 1924 and 1925,\r\nfrom which Native presence was excluded. The critical responses, collected and republished in\r\nCanada, are analyzed to show the unspoken influences of British landscape traditions, the means\r\nby which Group paintings were used to re-territorialize the nation, and to destabilize the myth of\r\nan essential Canadian national consciousness. The first confrontation between Canadian native\r\nand Native art occurred when a small group of Northwest Coast carvings was included within a\r\nrelated exhibition in Paris in 1927. The French critical responses validated the Native pieces but\r\nwithheld recognition of the Group's works as national and modern. The reviews were collected\r\nbut suppressed. The third study examines the work of the American artist Langdon Kihn. He\r\nwas employed by the Canadian National and Canadian Pacific Railways to work with the\r\nfolklorist/ethnologist Marius Barbeau in producing images of the Stoney in Alberta and Gitksan\r\nin British Columbia. His ambiguous works supported claims to Native presence and cultural\r\ncontinuity, which ran contrary to repressive government policies, but were critically disciplined\r\nto ensure a message of discontinuity. The fourth investigates a program to restore the poles of\r\nthe Gitksan, while changing their meaning to one signifying cultural decrepitude. Gitksan\r\nresistance testified to their agency, cultural continuity and identity. The fifth examines a program\r\nfostered by Barbeau to turn the Gitksan and their poles into the subjects of Canadian painting as\r\n\"background\" for the emerging nation's identity. This confrontation, which included Jackson,\r\nCarr and others, foregrounded all the problems. The exhibition which resulted in 1927\r\nunsuccessfully attempted to join Canadian native and Native art and effect closure on the\r\n\"narration of the nation\"."@en . "https://circle.library.ubc.ca/rest/handle/2429/12940?expand=metadata"@en . "28038446 bytes"@en . "application/pdf"@en . "HOW CANADA STOLE THE IDEA OF NATIVE ART: THE GROUP OF SEVEN AND IMAGES OF THE INDIAN IN THE 1920*S by LESLIE ALLAN DAWN B.A., University of Victoria, 1975 M . A., University of Victoria, 1981 M. A., University of British Columbia, 1982 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department of ArthHIilstory, Visual Art and Theory We accept this thesis as confirming to thexequired standard THE UNIVERSITY OF BRITISH COLUMBIA June 2001 \u00C2\u00A9 Leslie Allan Dawn, 2001 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Art\" Hisfanj f \ J t S U & i f CXMCi T%JUft