Normalism and Legal Representation in Canadian Art
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In this thesis, I consider a 2014 Supreme Court hearing involving the National Gallery of Canada and CARFAC-RAAV, our nation's preeminent artists' advocacy group. It is my proposition that CARFAC-RAAV's success in the hearing, which legally required the National Gallery to pay mandatory minimum fees to exhibiting artists, is part of a process of reification of an artistic productivism. Theoretical considerations build toward this conclusion focusing on the study of the antithetical tendencies of the legal and artistic orders. I argue that the former is based on a predilection for continuity and permanence, the latter on reflexivity and a certain anomalistic acceptance of things anew. When these two orders meet in the event of the hearing, a juridical rigidity of value and vision finds mooring in the artistic field. In this case, law becomes one important sinew of normalism in the Canadian artistic field.
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Copyright © 2021 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner.
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- 2021
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