Formed in Toronto in 1969, the trio of artists known as General Idea developed a body of work
focused on the construction of Active identities and elaborate mythologies parodying the popular
myths of art and the artist: the artist as genius, celebrity and avant-garde rebel. It is often said
that General Idea's work is at its core an inquiry into art's methods of production, dissemination
and reception - an example of the tendency in Western art of the 1960s and '70s towards the
dematerialization of the art object and the critique of art's institutions. In this thesis, I argue that
General Idea's work also demands to be seen on a broader level, as an exploration of artifice and
the manipulation of conventional codes in everyday life. I maintain that, above and beyond their
critical interest in art and pop culture, G.I.'s project was to reveal and question the most
fundamental social conventions of all: gender and identity.
Through their use of pseudonyms, Active identities, pageants and performances, General Idea
invite us to consider the masks we wear, the poses we assume and the identities we perform even
in our most banal moments, through bodily gestures, speech acts and the manipulation of surfaces.
A project like The 1971 Miss General Idea Pageant - staged at a time when normative gender
roles and sexual identities were being called into question by the Gay Liberation Movement and
the feminist movement - suggests an awareness on the part of General Idea of the constructed
nature of identity and gender (a notion later popularized in academic discourse and cultural
practice of the 1980s and '90s).
General Idea's artistic collaboration spanned more than twenty-five years, but it is the period from
the early 1970s to the mid-'80s that constitutes the focus of this thesis. I argue that the
boundaries separating masculine and feminine, straight and gay, fact and fiction, are complicated
and challenged most effectively in the first two phases of their collaboration. The first phase is
typically described as General Idea's "conceptual" phase because of the ephemeral, idea-based
nature of the work. It can be said to begin with The 1971 Miss General Idea Pageant and end
with the symbolic arson of The 1984 Miss General Idea Pavillion in 1977. The second phase,
marked by a proliferation of poodle imagery in a variety of media, followed hot on the heels of the
torching of the Pavillion and continued until the mid-1980s. Although the shift from
"conceptual" art to a more material art object necessarily entails a shift in strategies of
representation, I argue that both phases of artistic production rely on visual and verbal signifying
practices broadly defined as Camp. At a time when it had fallen out of favour as a viable form of
self-expression in politicized gay communities, Camp was taken up by General Idea as both a
critical tool and a key to attaining visibility - a ticket to ride and a strategic kick in the ass of the
dominant order. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/12735 |
| Date | 05 1900 |
| Creators | Varela, Isabela C. |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 18219537 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
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