Katherine Knight (test)

8/18/2019 Katherine Knight (test)

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Statement for Promotion to Full Professor

• Professional Contribution and Standing Photographic Work Filmography • Teaching • Service • Summary

Submitted April 15, 2016


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Support documentation available on website www.katherineknight.ca

PHOTOGRAPHIC WORK

I came to photography as an undergraduate student at NSCAD in the late seventies through

an encounter with Robert Frank. Advised by Frank to leave school and make work, I travelled

by boat to the North Shore of Quebec and then to Labrador in the summer of 1979. These

experiences laid a methodological foundation for my practice. I embraced the camera as

a tool to locate my creative voice.

PROFESSIONAL STANDING AND CONTRIBUTION

My journey to Labrador helped me establish ways of working. A short stop in Cartwright,

Labrador resulted in a chance meeting with a woman called Blanche, an amateur folklorist living

at a subsistence level in a house with no indoor plumbing.

From this encounter I would create a five-part photo/text

work that paired her portrait with long exposures of land-

scapes taken at night. These images were accompanied

by cryptic aphorisms about the approaching winter.

This mix of daytime portrait, unsettling night images

and short texts functioned as opposites held in tension.

The portrait of Blanche is the anchor reference. Eccentric,

intelligent, resilient and courageous, Blanche attracted

me as an individual but also as a personification of human

struggle in a harsh landscape and a unique social context.

This early voyage by boat continues to reverberate in my practice. I retraced a segment

of this journey in 2002 in my work, “Navigate: Sorel to Harve Saint Pierre”. Again, in 2010

I set my documentary portrait of artist Wanda Koop on the freighter Birchglen travelling the St.

Lawrence. To travel by ship, to view the shore, document landscape and find stories populated

by idiosyncratic and courageous individuals are threads in all my photographs and films.

Blanche, 1979

Marguerite 1992

A similar theme of creative resistance underscores my work, “Marguerite,” which brings to life

a little known Canadian historical character.


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Touring Montreal convents in 1980 I found two portraits

of Marguerite Bourgeoys, Canada’s first un-cloistered

teaching nun. The first, a death portrait, painted by

Pierre Leber in 1700 depicts a fierce, determined

character. The second, more popular version, datesfrom the 1960’s when the Congregation Notre Dame

commissioned an update that rendered the stern

visage into a softer, rounder, happier countenance.

Giving voice to Leber’s Marguerite became my task.

The biography I imagined for Marguerite begins with

fact, “I am Marguerite” and ends with the metaphor,

“I am root black left after rain.” Poetic prose describes Marguerite’s experiences arriving in

Ville Marie in 1640 without official sanction to build a religious order in a context of patriarchal

resistance and physical hardship. To understand Marguerite, I staged a self-portrait. Wearing

the white cowl, and black headdress muffled sound and directed my gaze straight ahead. The

dark robes weighed on me. These physical sensations were important and resurfaced when

Sister Quigley took me into the Order’s crypt, filled with the remains of long dead sisters, and

said, “Don’t step off the path, the ground is uneven.” This phrase became an unspoken

mantra throughout the making of Marguerite.

Crypt of the Congregation Notre Dame, 1980

I became unconscious 1995

I approach archives and history as primary sources that are accurate yet open to interpretation.

Stories such as the 1891 sinking of the sternwheeler Victoria in London Ontario, allow me to

amass vivid details grounded in fact. Reaching back into history also allows me to fill in gaps

and to imagine new narratives. In the archives, I found a survivor’s report from the day,

WHY, from I became unconscious, 1995


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describing how he sunk to the river bottom, lost consciousness and would have drowned if not

saved. This triggered my project, “I became unconscious.” A key phrase taken from its original

context is both descriptive yet suggestive of the idea of creative release, a combination of risk

and trust.

Caribou Mottos 2009-ongoing

Researching existing archives attuned me to the potential of archives in waiting. I am always on

the lookout! In 2006, I encountered a century old house decorated salon style, floor to ceiling,

with 173 Victorian era needlepoint mottos. From this discovery, I went on to create a digital

database to share this living museum with others.

Caribou Motto #005

Boat 2015

I am currently developing a new body of photographic

work that explores model boats as historical artefacts

and as props in imagined scenes of maritime disaster

and activity. A tribute to a beloved dory, a memory of

passing ship, a mash-up of several ferries rolled into

one, these memories are examples of the sensorial

triggers that motivate model makers. The premise of,

“Boat,” is to visualize the allure of the model while also exploring material culture to tell stories.

Clayton’s Punt, 2015


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FILMOGRAPHY

I began to experiment with moving image in 1998 when I recreated a component of

“Marguerite,” as a short video with voice over. Then in 2002, I worked with cinematographer

Marcia Connolly to document buoys marking the entrance to Caribou Harbour, NS. We circled

the buoys at close range by boat to capture the constant movement and portray a bodily

connection to the sculptural buoys. A commissioned score by Rick Sacks layers the sound

of the bell buoy with ambient music achieving an orchestral fullness that ebbs and flows.

My involvement with the moving image grew when I began teaching large format lecture

classes at York University. Seeking Canadian art documentaries for my lectures, I realized

that few existed. More importantly I was ready to work with complex intersections of

narrative and image.

In 2006, I established a film production company, “Site Media Inc.,” and produced my first

broadcast documentary, a portrait of Inuit artist, Annie Pootoogook, directed by Marcia

Connolly. Working creatively with Connolly and Pootoogook was a turning point.

Statement on collaboration

The six films produced by my company, Site Media Inc. are the result of collaborations between

myself as writer, producer and filmmaker, David Craig as producer and Marcia Connolly as

filmmaker and cinematographer. Connolly and I work together in the field to gather the content.

My strength in driving projects organizationally and creatively determines the subject matter

while the look and feel of the final films reflects Connolly’s ability to achieve intimacy and visual

staging of the subject. The creative collaboration between Connolly and myself is a close one

and roles have shifted in formal responsibilities from film to film. Below is a summary of each

film and a clarification on the creative roles within each production


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Annie Pootoogook23 minutes, 2006

Link: https://vimeo.com/sitemedia/review/44538476/75dce417ea

Password: Pootoogook

A portrait of Inuit artist Annie Pootoogook shot in Kinngiat, Baffin Island and Toronto.

Producers: Katherine Knight and David Craig. Director: Marcia Connolly.Cinematographer: Marcia Connolly with additional camera Katherine Knight.

Synopsis and treatment: Katherine Knight. Broadcast: Bravo Canada, APTN, Knowledge.

Awards: nominated for Golden Sheaf Award, Yorkton Film festival

Pretend Not to See Me – the art of Colette Urban47.5 minutes, 2010

Link: https://vimeo.com/sitemedia/review/34593118/136055b3e6

Password: 20PNTSM12

Artist Colette Urban restages 12 career-defining performances at her remote farm in

western Newfoundland.

Producers: Katherine Knight and David Craig. Director: Katherine Knight, Cinematographer:

Marcia Connolly with additional camera Katherine Knight. Synopsis and treatment:

Katherine Knight.

Awards: Special Mention, Mid Length Documentary, Ecofilms Festival, Rhodos, Greece, 2010


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Spring & Arnaud52 minutes, 2013

Link: https://vimeo.com/sitemedia/review/64644918/a192fb0ba7

Password: Site2013

This work offers two distinctive portraits of artists Spring Hurlbut and Arnaud Maggs linked by

scenes exploring love and mortality.

Producer Katherine Knight, David Craig and Marcia Connolly. Director Katherine

Knight and Marcia Connolly. Cinematographer Marcia Connolly. Synopsis and treatment:

Katherine Knight. Broadcast on Knowledge, TVO, AVROTROS (Netherlands.) 22

festival screenings to date.

Awards: Top Ten Audience Choice Award, Hot Docs, Toronto, ON, 2013, Golden Hare Award,

Festival Temps D’Image, Filmes Sobre Arte, Lisbon, Portugal, 2015

Photograph by Marcia Connolly

Strange and Familiar: Architecture on Fogo Island

52 minutes, 2014

Link: https://vimeo.com/sitemedia/review/110596655/91ca319061

Password: 902strange

This record of the building of the Fogo Island Inn captures the stories of philanthropist Zita

Cobb, architect Todd Saunders and community members as the inn takes shape in this

traditional Newfoundland fishing community.


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Producers: Katherine Knight and David Craig. Director: Katherine Knight. Director:

Marcia Connolly. Cinematographer: Marcia Connolly. Synopsis and treatment: David Craig

and Katherine Knight. Broadcast on Knowledge, TVO, AVROTROS (Netherlands) and SVT

(Sweden) 40 festival screenings to date

Awards: Best Canadian Documentary, International Festival of Films on Art, Montreal, Quebec,

2015, Best Atlantic Documentary, Atlantic Film Festival 2015, Best Atlantic Cinematography

(Marcia Connolly), Atlantic Film Festival 2015.

TEACHING

Screenshot of course title from moodle online site for VISA 1000. Course Director Katherine Knight, Fall 2015

My teaching is focused on the development and delivery of photography curriculum. I am solely

responsible for black and white darkroom courses at the introductory level and intermediate level.

In 2014 I developed a hybrid BW course combining analog and digital methods. Alongside my

responsibilities for analog photography I regularly teach digital courses.

Teaching has shaped my professional life beyond the classroom. After several years using the

documentary series, Art 21 by PBS, I established Site Media Inc. in 2006 to produce films on

Canadian art and artists. While my accomplishments through Site Media are covered elsewhere

in this document, it is important to note the reciprocity I feel between teaching and film production.

The films I have directed, co directed or/and produced are integrated in the courses I teach and

are found in post secondary libraries worldwide.

In 2014 I began to incorporate York’s online teaching platform Moodle into my courses. Robust

moodle sites now underpin all my courses.

In 2014 I volunteered to take on, “VISA 1006 Photographic Experience,” a large format lecture

for approximately 200 non-majors. I was interested in experiencing the extreme pendulum

where creative content is delivered in a lecture with no hands on component.


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In 2015 I took over course development for,“VISA 1000 Critical Issues in the Studio.” This required

class for all incoming BFA majors introduces critical thinking and basic visual vocabulary.

Through development and delivery of VISA 1006 and VISA 1000 I have entered a new phrase

focused on the development of online content and resources. I am working actively with expertswithin York to test new online tools suited to studio teaching. In fall 2016 I was the first faculty

member at York to implement the Media Collection tool in beta form to create gallery assignments

for students. I have also been an early adapter of journals as a learning activity that steps

students through a weekly set of READ/WATCH/REFLECT/CREATE exercises. The screenshot

below from VISA 1000 illustrates the READ component of the weekly online classroom I have

designed. After completing these tasks, students move to the tasks outlined in each successive

tab in order to complete 1.5 of independent online work.

Four out of five of my 2015-16 courses integrate a weekly online classroom that steps students

through reviewing, reflecting and creating. In May 2016, I will share this teaching research and

experience at the conference, “Teaching in Focus.” My presentation will discuss the logistics of

implementing media galleries in small and large format classes. I will also review how the “book”

option in Moodle can act as a resource management tool for audiovisual resources. In the

coming years I look forward to further exploring online and blended learning and customizingtools to promote effective pedagogy.


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SERVICE

I have consistently served the Department of Visual Art, AMPD and York University through

administrative tasks and committee work. Though teaching in an area staffed with three full

time faculty, sick leaves and accommodations have often required me to take on the role of

area coordinator and provide leadership. Within photography, I am responsible for scheduling,organizing exhibitions, consulting on technical needs and trouble shooting student and

administrative concerns. As a member of the Department I complete portfolio reviews,

undertake recruitment visits to high schools and participate in department activities.

I have served on the Tenure and Promotion committees at the Faculty and Department level

and on the undergraduate and curriculum committees within Visual Arts. I have participated

on all Department program reviews by writing assessments of the photography area. I have

prepared briefs on curriculum visions and on space/equipment needs for photography.

I have undertaken major program reviews at the undergraduate and graduate level at Emily Carr,

Guelph University, Concordia and the University of Manitoba. I have served as an assessor on

insight grant applications for SSHRC and completed multiple T&P promotion file reviews for York

and other institutions.

SUMMARY

The past decade has been a period of intense work focused on film projects as well as maintain-

ing my teaching activities. Since the completion of my last film in 2014 I have returned to still

photography with renewed concentration. Ahead is a period of research, fieldwork and production

as I prepare a new body of work from my project “Boat”. This will also mark a return to exhibiting

my work in a gallery context.

My strengths as a professor developing and delivering curriculum has always been inspired and

informed by my commitment to my own creative practice. My achievements in the past decade

have invigorated my teaching and have provided the experience of working in multiple media and

varied platforms that informed my initiatives in developing curricula in the classroom as well asnew platforms such as Moodle.

Tallying my achievements over the past decade I believe I have established a new level in my

work both as an educator and artist. For this reason I confidently put forward my application for

full professorship with the firm conviction that I have and will continue to maintain a high standard

of achievement in my teaching and my creative practice.

Katherine Knight (test)

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