Reframing Her Nation: an interview with Maria Hupfield*

 

Image credit: Maria Hupfield From Pigment to Pantone and Back Again. 10ft x 20ft, Photo mural with latex paint,  2010

Interdisciplinary artist Maria Hupfield was commissioned by the Art Gallery of Alberta (AGA) to respond to the landscape exhibition titled "Reframing a Nation" (2010) curated from the AGA collection by Ruth Burns. Hupfield produced a wall sized monochromatic photo-mural, titled From Pigment to Pantone and Back, depicting her and her double in an artificial wilderness, caught in a moment of tension. She painted four stripes of colour directly onto the photo that reached across onto the gallery walls. Acknowledging traditions and history of both Western and Indigenous modes of landscape and identity representation, Hupfield creates a space for herself by moving freely between mediums such as photography and performance and working through the materiality of her artistic process.

On leave from her teaching position at Emily Carr Institute of Art and Design in Vancouver, Hupfield is currently working and living in New York City on a series of new projects.


Amy Fung: I first saw your work in the "Face the Nation" (2008) exhibitionat the AGA,  curated by Catherine Crowston, and this piece, From Pigment to Pantone and Back is a continuation from the exhibition? I am thinking of Trees from The Counterpoint Series.  Can you talk about your thoughts for the commission of From Pigment?

Maria Hupfield: Originally when this project came up, the work that was referenced did come from "Face the Nation", but it wasn’t the photo works. It was the mural East Wind Brings a New Day that references Tom Thomson’s West Wind.  I painted directly onto the walls and I was looking at the idea of landscapes and how that was connected to nationhood. So when the AGA was looking at their collection for "Reframing a Nation", Ruth thought of me and invited me to respond to the collection as a First Nations Person and set a context to frame how the works could be viewed. 
In the end I did this piece, From Pigment to Pantone and Back, where I combined both the photo-mural with a painting component from "Face the Nation."

AF:  The majority of works in “Reframing a Nation” are straight forward oil landscapes and they  present a view of the “Canadian wilderness” but your landscape is that of an urban wilderness. Can you talk about that?

MH: When I was invited to respond to the works, I wanted to complicate the issue of landscapes a little bit more. I found it ironic to be in an urban setting with all of these typically romanticized landscapes of the Canadian prairies on the walls. I knew I wanted to use an image that had an urban context. I drew upon the photo series in which I had documented public places where natural environments had been manipulated or controlled to affect how we engage with the natural world. The image that was used was taken from a front area of the Marriott Hotel in downtown Vancouver. I wanted it to look like a manicured artificial space that referenced the urban and then situated the two figures within it  . . .


*Read the full interview in the Winter 2011 Issue of BlackFlash.

Some Post-Ism Thoughts on Art and Feminism in the 21st Century*

Speaking plainly, I ask you: What exactly is feminism? For somebody in my generation (those born after 1977 or there about), Feminism ranges from being a human rights issue to being a dirty word. For many of my peers, post-feminism is easier to relate to, but no two minds can agree on what post-feminism actually means. So in looking at feminism in a post-ism age, how does this infinite fracture within feminism(s) reflect into our artistic practices?

There is certainly need for further inquiry when artists as wholly different as British sensationalist Tracey Emin and Australian post-colonialist Tracey Moffat can be lumped together simply because of anatomy. This was the case in a confusing guest lecture I attended some years ago at the University of Alberta. As an impressionable young student, I did not see any similarities between the works, but the discussion only wildly speculated on artistic intentions (oh, academia!).

Feminism is certainly a complicated animal. It has always been rooted in the personal, in the various realized experiences of the female body, unleashing the female self as a preface to social change. As a movement for rights and equality, feminism as we know it today has roots in the Victorian Era, which squarely places the foundation of feminism in the hands of an upper class sect, i.e. Christian and European. In the 20th century, feminism materialized as a global human rights issue and, like most human rights issues, there is still a long journey ahead. Feminism has grown and split into localized, nationalized, and racialized feminisms that speak to the multifaceted refractions of being a woman depending not only on ideological specificities, but also the colour of your skin and which area of the world you live in.

So how has any of this been reflected in the art world? Feminist art recently received a reprieve in the retrospective of WACK! curated by MoMA’s Connie Butler. The touring show traced feminist art through a predominantly historical lens and featured important, but mostly Caucasian artists that experimented with their bodies and sexualities. The show appeared as a time capsule of radical female artists, leaving me to wonder whether feminist art could still exist or whether it was a history lesson. Another exhibition, while lesser known but far more contemporary, was The Dunlop Gallery’s Pandora’s Box curated by Amanda Cachia. The international line up included the likes of Ghada Amer, Laylah Ali, Wangechi Mutu, and Kara Walker exploring issues of femininity without ever outwardly calling the show a feminist exhibition. In looking at the legacy of feminism in contemporary art history, there is no one certain style or philosophy, or even agreement as to who was and is a feminist, and that has certainly translated into diverse exhibitions and curatorial strategies too.

The one consistency is the under representation of women in galleries and museums. For decades, The Guerrilla Girls have been throwing up stats for years that show how drastically disparate the numbers are when it comes to women vs. men in the art world, and through it all the percentages have not improved. Sure, The Whitney Biennial for the first time in its 78-year history featured more women than men. As gender was not a defining issue in curatorial selection, was it then just mere coincidence? I’d love to say yes, but I know it to be untrue. Enrollment by women in art school have been steadily climbing, but where do all these young artists go after they graduate when women still make up less than 30% of most exhibition line ups? My generation who lives and operates in a post-ism world still can’t help but recognize this disparity, which leads to the bigger question of how we can be post-feminists when feminism itself has not exactly been resolved.

I don’t believe there to be a single answer, but acknowledging our experience and our history will only help inform us. My own turning point in rethinking feminism was through recently attending a lecture by Lucy R. Lippard on Eva Hesse entitled “Something Old, Something New: Eva Hesse Forty Years Later”. It’s been forty years since the New York Women’s Movement was founded and the key feminist exhibitions were first curated but as things were then as they are now: the definition of and identification with feminism is still not agreed upon and feminism in the art world still has a long way to go.

Lippard’s talk revealed that the ideas and influence of feminism are long from being mummified as footnotes. It was intriguing to hear her speak of Hesse’s works in terms such as the “female malaise” and “sensuous abstraction”, phrases that situate the work within a scope larger than any single artistic intention. Hesse herself never identified with feminism, though the burgeoning of must-read texts such as The Second Sex were certainly nearby; self-identification is only one piece of the much larger puzzle. Even if not named as feminist by the artist, can we not reclaim it as such?

Lippard then told an anecdote about speaking with her friend’s daughter. Lippard asked the independent young woman if she identified as a feminist, which for many these days is an awkward question at best. The younger woman said yes she did, that she stood up for herself and what she believed. Lippard corrected her by sharing that feminism is not about standing up for yourself, but standing up for other women.

To stand up for ourselves as well as for others has become a lost artform in a post-ism landscape, where individualism outshines us all. We may be beyond labels but, like Hesse or any artist who may or may not identify as a feminist, it is the reach of the work, and the pushing of limits and boundaries of one’s efforts, that makes art have an impact that rocks us to our undeniable cores.

At the end of her talk, Lippard shared a quote from Hesse that drifted along the lines of “life doesn’t last, art doesn’t last . . . ” but while we are here participating in both of these ephemeral states of expression, we may as well try to make it count for the better and for the next crop of post-individualists.

*First published and commissioned through MAWA.ca

Review: 12 Point Buck, Harcourt House Arts Centre*

Negotiating intricate relationships with nature, and citing the British cultural theorist Raymond Williams's description of 'nature' as "perhaps the most complext word in the language," the Lethbridge-based artists Leila Armstrong and Chai Duncan revel in the nostalgia of Canada's iconic wilderness.

Image credit: Leila Armstrong Ursus arctos horribilis 2008

Working under the name 12 Point Buck (a reference to the hunting term for shooting a prized male deer with a 12-point rack of antlers), Armstrong and Duncan engage in a dialogue that simultaneously criticizes how we mediate our relationships with nature and sentimentalizes how wilderness tropes are cherished in our culture . . .

*To read the review in full, pick up the Winter 2010/11 issue of Canadian Art