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On the home front: representing Canada at the Triennale di Milano, 1957Elder, Alan Craig 05 1900 (has links)
In 1957, Canada's National Industrial Design Council (NIDC) organized a
display for the Triennale di Milano, an international design exhibition in Milan.
This exhibit focused on the development of the "new town" of Kitimat by the
Aluminum Company of Canada (Alcan). Along with furnishings and
photographs taken of the workers' and guests' quarters were objects that had
received NIDC Design Awards. This display was one of many that represented a
revitalized Canadian identity to an international audience.
The Second World War had thrust Canada onto the international stage as an
autonomous nation. Through its development of social, economic and cultural
policies, the nation sought to extricate itself from its old world heritage and
differentiate itself from its continental partner. By featuring Canada's
"Aluminum City," the NIDC presented Canada as a modern nation that
encouraged new industry and technology. Simultaneously, the physical location
of Kitimat in the northern half of British Columbia enabled the designers to
utilize a traditional element of Canadian identity—the North—in new ways. The
landscape was now being civilized through the use of modern design and
technology, rather than conquered by force. Finally, the juxtaposition of a
photograph of a male Alcan worker, at the front of the display, with domestic
objects in the display allowed for a blurring of traditional gender binaries. No
longer a hard-hatted, hard-headed industrial worker; he was portrayed as a
sophisticated individual working in a modern technological sphere in a civilized
community. His presence signalled a rethinking of the contrasts between male
and female, producer and consumer, public and private.
Canada's display problematized these polarities and familiar elements of
national identity through its use of domestic objects and furniture. My thesis
investigates the suitability of blurring these traditional classifications in order to
form a visual representation of Canadian identity in the immediate postwar
period.
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On the home front: representing Canada at the Triennale di Milano, 1957Elder, Alan Craig 05 1900 (has links)
In 1957, Canada's National Industrial Design Council (NIDC) organized a
display for the Triennale di Milano, an international design exhibition in Milan.
This exhibit focused on the development of the "new town" of Kitimat by the
Aluminum Company of Canada (Alcan). Along with furnishings and
photographs taken of the workers' and guests' quarters were objects that had
received NIDC Design Awards. This display was one of many that represented a
revitalized Canadian identity to an international audience.
The Second World War had thrust Canada onto the international stage as an
autonomous nation. Through its development of social, economic and cultural
policies, the nation sought to extricate itself from its old world heritage and
differentiate itself from its continental partner. By featuring Canada's
"Aluminum City," the NIDC presented Canada as a modern nation that
encouraged new industry and technology. Simultaneously, the physical location
of Kitimat in the northern half of British Columbia enabled the designers to
utilize a traditional element of Canadian identity—the North—in new ways. The
landscape was now being civilized through the use of modern design and
technology, rather than conquered by force. Finally, the juxtaposition of a
photograph of a male Alcan worker, at the front of the display, with domestic
objects in the display allowed for a blurring of traditional gender binaries. No
longer a hard-hatted, hard-headed industrial worker; he was portrayed as a
sophisticated individual working in a modern technological sphere in a civilized
community. His presence signalled a rethinking of the contrasts between male
and female, producer and consumer, public and private.
Canada's display problematized these polarities and familiar elements of
national identity through its use of domestic objects and furniture. My thesis
investigates the suitability of blurring these traditional classifications in order to
form a visual representation of Canadian identity in the immediate postwar
period. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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