Wednesday April 23, 2014, 6:30 - 8 pm
Speaker: Susan Surette
Art, Design and Craft in Context Lecture Series
Co-presented by Craft Ontario
Ron Thom and the Allied Arts Lecture
During the 1960s and 1970s in Canada, ceramic murals played a significant role in architectural decoration as an “applied art,” fostered by the increasing professionalization of the studio pottery movement. The monumentality of these projects, usually executed for concrete modernist structures, inspired ceramicists who had been accustomed to working with functional, small-scale objects, often in home studios. With such large-scale projects they had an opportunity to leave very public authorial marks. Despite being unable to rely upon recent historical precedents or previous experience in clay mural making, this generation of men and women embraced the opportunity to boldly confront material, technique, design, workforce, and equipment challenges, with great faith in their ability to solve any problem. Were they naïve, foolhardy or did they just have moxy? This question will be considered by looking at: Jordi Bonet’s The End of Time, MacDonald Block, Toronto, 1966; Claude Vermette’s tile panels, St. Laurent Station, Montreal Metro, 1966; Maurice Savoie’s Eaton mural, Montreal, 1966; and the exterior and lobby murals of the Sturdy Stone Centre, Saskatoon.
Susan Surette, Concordia University (Professor in Art History), Ceramic Artist
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