dc.contributor.advisor	Crane, Jennifer	en_US
dc.contributor.committeeMember	Longman, Mary	en_US
dc.contributor.committeeMember	Bell, Keith	en_US
dc.contributor.committeeMember	Van Styvendale, Nancy	en_US
dc.creator	Farnan, Michael	en_US
dc.date.accessioned	2013-01-03T22:27:33Z
dc.date.available	2013-01-03T22:27:33Z
dc.date.created	2011-10	en_US
dc.date.issued	2011-10-31	en_US
dc.date.submitted	October 2011	en_US
dc.description.abstract	Michael Farnan’s The New Canadian Naturalist project serves as an investigation into the construction of the wilderness/nature narrative in Canada through an exploration of romantic ideas of the sublime and iconic images of ‘authentic’ identity such as the cowboy, forestry labourer, the beaver, historic photos, educational tools, and toys and media/advertising stereotypes. Moreover, by taking a closer look at nationalized ‘rites of passage’ such as camping, tree planting, learning to canoe and even high school bush parties and the ‘tribalism’ found at large outdoor music and culture festivals, this exhibition and thesis paper serve as an interrogation into the often deployed trope of ‘becoming animal’ in Canadian cultural representation as an attempt to challenge some of the enduring colonial legacies of our settler past. The NCN focuses on the narratives and ideologies championed by Canadian institutions such as our National Parks and museums representing dominant and ‘official’ histories. By engaging with the performance or staging of the particular moments and ideologies that take place within these culturally recognized spaces, the NCN becomes the embodied site for enactments of - and resistances to - these Canadian articulations of nature, gender, race, and nation. The history of representation The New Canadian Naturalist references is the familiarized and dominant Canadian ideology that says people can rediscover their authentic selves in rural and wilderness spaces. This thesis paper supports an exhibition that includes large-scale painting and drawing, multi- channel video work, as well as a medium format photographic project. Two performance works, The Beaver on the River, and the 3rd Annual Power Animal Party, aka the P.A.P. Smear, also took place in conjunction with the exhibition.	en_US
dc.identifier.uri	http://hdl.handle.net/10388/ETD-2011-10-188	en_US
dc.language.iso	eng	en_US
dc.subject	nature	en_US
dc.subject	wilderness	en_US
dc.subject	nationalism	en_US
dc.subject	canada	en_US
dc.subject	colonialism	en_US
dc.subject	postcolonial	en_US
dc.subject	appropriation	en_US
dc.subject	art	en_US
dc.subject	becoming animal	en_US
dc.subject	logging	en_US
dc.subject	tree planting	en_US
dc.subject	camping	en_US
dc.subject	national parks	en_US
dc.subject	museums	en_US
dc.subject	bison	en_US
dc.title	The New Canadian Naturalist	en_US
dc.type.genre	Thesis	en_US
dc.type.material	text	en_US
thesis.degree.department	Art and Art History	en_US
thesis.degree.discipline	Studio Art	en_US
thesis.degree.grantor	University of Saskatchewan	en_US
thesis.degree.level	Masters	en_US
thesis.degree.name	Master of Fine Arts (M.F.A.)	en_US

The New Canadian Naturalist

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