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Indisciplined Ceramic Outhouses and Blob-Like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass

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Indisciplined Ceramic Outhouses and Blob-Like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-8-2020 9:30 AM Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass Julia Krueger, The University of Western Ontario Supervisor: Robertson, Kirsty M., The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in Art and Visual Culture © Julia Krueger 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Krueger, Julia, "Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass" (2020). Electronic Thesis and Dissertation Repository. 7197. https://ir.lib.uwo.ca/etd/7197 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The field of craft has been dominated by debates surrounding types of objects and material, how-tos, lists, and genealogies, and today there is an increasing turn towards craft theories which do not necessarily address an object. This study brings the object back into craft discourse. “Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass” is an object- inspired study of the work and craft-related practices of Victor Cicansky (Saskatchewan), Ione Thorkelsson (Manitoba), Marty Kaufman (Alberta), Altaglass (Alberta), and Mireille Perron (Alberta). Part one of this dissertation focuses on Cicansky and part two focuses on glass. The second chapter in each part is a resonant response to the first. Chapter one spans Cicansky’s career. Through selected objects and metaphors, it argues Cicansky has always been and continues to be a materially driven craftsperson. Chapter two begins with an absent object and investigates the contributing role of the domestic towards its absence which in turn reframes the understandings of a number of Cicansky’s early ceramic works. In the third chapter, Roger Caillois’ theory of vertiginous play is used to investigate why studio glass blowing developed when it did on the Prairies. This chapter also questions and problematizes the division between studio- and factory-blown glass. The final chapter examines Perron’s exhibition The Anatomy of a Glass Menagerie: Altaglass (Nickle Galleries, Calgary, AB, 2019) in relation to chapter three’s discussions on vertiginous play and to Koen Vanderstukken’s writings on glass and virtuality. Jules David Prown’s methodological approach to the study of objects—a hybrid of material culture and art history—grounds this study and each object-inspired chapter. Informed by material culture studies and craft theory, the four chapters each adopt an indisciplined line of inquiry by focusing on specific objects, materials, and processes and their associated imposed limits in the context of the rich history of craft, ceramics, and glass. This study provides a framework for examining Prairie craft that moves beyond biography, genealogy, art history, and how-to descriptions as it is discipline specific and object-inspired. i Keywords craft, Prairie craft, Canadian craft, ceramics, craft theory, glassblowing, studio glass, factory glass, indisciplined approach, object-inspired, material culture, virtuality, ilinx, vertiginous play, Altaglass, Victor Cicansky, Ione Thorkelsson, Marty Kaufman, Mireille Perron ii Summary for Lay Audience In the 1970s in Manitoba, Saskatchewan, and Alberta, ramshackle miniature ceramic outhouses started appearing in group exhibitions and blob-like glass bunnies occupied countless coffee tables. The raucous ceramic sculptures populated with donkeys, food, classical figures, and local characters broke so many of the “rules” associated with well made pottery and ceramics while the kitschy, somewhat old fashioned glass knickknacks were nothing like the spontaneous, organic-looking glass objects coming out of university ceramic departments and newly established glass blowing studios such Ione Thorkelsson’s studio in southern Manitoba. The outhouses were sculpted by Regina Clay ceramist Victor Cicansky who had recently returned to Saskatchewan after completing graduate work at the University of California, Davis, and the glass bunnies were made by the Medicine Hat, Alberta company Altaglass. “Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass” closely examines these curious objects and culturally and historically situates them within Canadian craft discourse. This study examines the work and craft-related practices of Altaglass, Cicansky, Marty Kaufman (Alberta), Mireille Perron (Alberta) and Thorkelsson. Part one reframes Cicansky’s entire career in relation to craft’s ever-evolving definition and argues the importance of the domestic to his early ceramic work. The second part of this dissertation proposes a way to study and approach the history of studio glass blowing that is grounded in the act of blowing itself. This approach makes room for both factory- and studio-made glass within the history of Prairie craft. Objects are brought back into these discourses and histories, and this study provides a framework for examining Prairie craft that moves beyond biography, genealogy, art history, and how-to descriptions as it is discipline specific and object-inspired. iii Acknowledgements I would like to thank a number of people for their generous help with “Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass.” For their supervisory help, I would like to thank Drs. Kirsty Robertson, Shelley McKellar, Joy James, and Bridget Elliot. Dr. James provided insightful comments for all the chapters of which I am very grateful. Her positive encouragement and feedback kept me going. Dr. Elliot supervised the beginning of my research and introduced me to the importance of domesticity and the interior to craft. She provided valuable feedback for chapter three and fostered an enthusiasm within me for modern craft and interior design. In 2011, I had the opportunity to take the history course HIS9834B History of Things: An Introduction to Material Culture taught by Dr. McKellar. This course introduced me to material culture studies and how it relates to history, art, and craft, and satisfied my search for object-centered scholarship. During the course, Dr. McKellar also impressed upon me the importance of grounding one’s work with a solid methodological foundation which, thanks to her, I continue to strive to do with every project I embark upon. Finally, I cannot thank Dr. Robertson enough as she took over supervising my studies after Dr. Elliot retired. Her knowledge of craft, textiles, and museum studies has been instrumental to my research, and her careful and critical reading of this material has pushed me deeper into my subject. When I felt like quitting, she pushed me forward, and without her strong, steady, and patient support, I would have given up long ago. I deeply appreciate all of my supervisors’ continued, patient support. Their combined pedagogy and critical engagement with my work has made me a better researcher, writer, curator, and teacher. Thank you to each of you; I am a changed person because of you. In addition, for serving on my supervisory committee I would like to thank Dr. Lindsay Bell, Dr. Charles Barteet, Dr. Victoria Wolff and Dr. Elaine Cheasley Paterson. Your comments and questions were thought provoking and not only improved this text but will impact my future thinking as well. I must also extend a general thank you to the entire Visual Arts Department at Western University for their ongoing support over the years. I will continue to have nothing but fond memories of my time in London as it iv broadened my life experiences and thinking as a researcher. Thanks must also go to the SSHRC Doctoral Fellowship program and the Ontario Graduate Scholarship Program who funded this research. This project would not have been possible without the generous support of the artists themselves: Victor Cicansky, Mireille Perron, Marty Kaufman, Ione Thorkelson and Robert Held. They have all answered numerous emails and telephone calls and invited me into their studios and homes for extended casual conversations. Their generosity in sharing images and archival documents with me is much appreciated. I consider myself very lucky to have had the opportunity to learn from these individuals. Many times, after sharing tea at the kitchen table with these strong creatives, I come away seeing the world differently, noticing small things I never saw before, and being in the world in a new way. The support of the following institutions and people made this project possible by generously sharing information with me, helping with copyright or providing me with publication and presentation opportunities: Erin Wilson (Canadian Museum of History), Jenni Utrera Barrientos (Esplanade Arts & Heritage Centre), Timothy McShane (Esplanade Musuem), Danielle E. Pucci (Boston Public Library), Lindsay Mitchell (City of Regina Archives), Gord Peteran, Martha Young (Canada Council Art Bank), Marc Courtemanche, Estate of Marilyn Levine, Estate of Jack
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