Document generated on 09/26/2021 2:59 p.m. Espace Sculpture Joe Fafard The Bronze Years Paula Gustafson Sculpture / Nature Number 38, Winter 1996–1997 URI: https://id.erudit.org/iderudit/9803ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this article Gustafson, P. (1996). Joe Fafard: The Bronze Years. Espace Sculpture, (38), 32–34. Tous droits réservés © Le Centre de diffusion 3D, 1996 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ n the Prairies, cows are ubiqui­ tous reference points. In a flat­ tened landscape punctuated only by occasional bursts of trees, the Oslow-moving figures of cows serve as landmarks; something to look at, some­ thing to measure against sky and horizon. Paula Gustafson Perhaps that's why, again and again, inter­ nationally acclaimed sculptor Joe Fafard has used cows as both a method for work- ng and metaphor that keeps his imagery firmly planted on familiar terrain. The sixth of twelve children born to a French-Canadian Catholic farming family in Ste. Marthe, Saskatchewan, a small vil­ lage founded by his grandparents near the Manitoba border, Fafard grew up within the milieu of a dynamic but geographical­ ly and linguistically isolated community where his father ran the general store. At 21 he enrolled at the University of Manitoba. He earned a Bachelor of Fine Arts degree in 1966, and a MFA from Pennsylvania State Col­ lege in 1968. Returning home, he taught sculpture for six years at the University of Saskatchewan in Re- gina. In 1974, disgusted with the elitism of university politics and particularly the art department's emphasis on Greenbergian mod­ ernism— and aware of his need to accommodate his own growing fami­ ly— he relocated to the nearby town of Pense and set up a sculpture studio. Ex­ cept for a brief teaching session in 1980 at the University of California at Davis, he remained in Pense for the next 12 years. Recognizing this circular journey, from the close-knit life of a rural village to the big, nasty world of academia and then back to a small Prairie town, is inte­ gral to understanding Fafard as an outsid­ er, self-alienated from mainstream art. His journey is evident in the subjects he has consistently chosen to sculpt: the people of Pense; his artist friends; famous artists such as Picasso, Van Gogh, Cézanne, and Matisse—and cows. Joe Fafard, Sam I, 1993. Described variously as a populist and a Stainless steel, painted, regional artist—and sometimes mytholo- 7/10. 13,7 x 13 cm. gized as the poor farm boy who escapes Collection of the artist. from the sticks, gets educated, comes Photo: Courtesy The Montreal Museum of Fine home, and suddenly becomes a national Arts. art hero—Fafard is all and none of these. ESPACE 31 HIVER /WINTER 1996-1997 A more critical factor in Fafard's career de self as Elvis Presley, Vincent Van Gogh, muscle and the bone structure and the velopment was that, in the 1970s, the Uni­ and other famous people—and the si­ way the hide can be seen to contain all versity of Saskatchewan's Regina campus multaneous explosion of ceramic acti­ those juices. Working on bones and vol­ was reverberating from the influence of vism in and around Calgary, Banff, and umes and experimenting with glazes is an U.S. ceramicist David Gilhooly, who the Archie Bray Foundation in Montana abstract problem, as abstract as any sculp­ taught there betweenl 969-1971. Gilhooly, —all fostered a climate of individualism ture." acclaimed for his sybaritic and sensuous that gave permission to employ clay in With typical dry humor, Fafard ex­ Joe Fafard, The Posture, Fred Frog sculptures which poked fun at the service of social commentary. Gil- panded on his continuing use of cows to I984-I98S. Bronze. 7 American consumerism, was also a major hooly's frogs satirized hedonistic human explore spatial ideas in a Border Cross­ units. 140 x 290 x 150 influence in the career of Fafard's buddy foibles in disrespectful and often sexually ings interview with Robert Fulford focus­ cm each. The Cadillac and fellow University of Saskatchewan ce­ explicit tableaux. Arneson reflected the Fairview Corporation sing on the artists' 10-year survey Limited. Photo: ramics instructor Vic Cicansky, who had "me" decade's self-interest, first express­ exhibition Cows and Other Luminaries Courtesy The worked as a teaching assistant for Gilhooly ing personal emotional anxieties in self- shown in 1987 at the Mendel Art Gallery Montreal Museum of at the University of California at Davis. portraiture, then slyly using his own in Saskatoon and the Dunlop Gallery in Fine Arts. The relationship between these three visage to caricature well-known person­ men, and their working connections to alities and artists (a form of parody which Regina: "Generally the hotbed of ceramic innovation in Cali Andy Warhol was then reinventing in the cow has been...a motif for fornia, spearheaded by the now legen­ silkscreen format). solving sculptural problems. It's a totally dary Peter Voulkos and Paul Soldner, Fafard made his first cows in 1969. In elastic thing that you can stretch in one augmented by Robert Arneson's highly an interview published in Time magazine direction or the other, and you'll never publicized antics surrounding his life- in 1973, he explained that he chose cows find cow critics complain, either. They'll size ceramic bust series portraying him- "because I like their big, hulking size, the never comment. Human beings are not so ESPACE 3 I HIVER /WINTER 1996-1997 ! t Joe Fafard. My Picasso. 1981. Clay, glazed and painted. 46,1 x 26.3 x 33,5 cm. Collection of the artist. Photo: Courtesy The Montreal Museum of Fine Arts. new life and to go further than I've gone Clarence, like the screen-prints Fafard oc­ before with it." casionally turns his hand to, can be repro­ Given licence to play with clay's mod­ duced in larger editions. elling qualities, Fafard had fashioned per­ Now one of Canada's best known and ceptive folk art sculptures of friends and respected sculptors, Fafard, 54, hasn't townsfolk. In 1980, he created his first lost any of his edginess about art world <*f f^> V? foreshortened ceramic portrait of someone pretentions. In conversation he is almost outside his immediate circle. It was a flat- dismissive about past successes, prefer­ headed depiction of Clement Greenberg. ring to talk about future work he has He subsequently produced three more been commissioned to make and uneasi­ versions of the New York art critic who ly suggesting he hopes he "can last". promulgated the lockstep march toward Sending his sculptures off to exhibitions, flat painting. Pleased with the irony of us­ he says, gives him a chance to sweep out ing the humble "craft" materiality of clay the studio. I to critique high art's icons, Fafard pro­ Joe Fafard: The Bronze Years duced a series of cows in telescoped per­ The Montreal Museum of Fine Arts spective. As exercises in perceptual November 21, 1996-February 16, 1997 distortion, these ceramic sculptures of, for instance, resting bulls viewed from the L'auteure commente notamment les "années de rear, set Fafard on a path leading directly bronze" dans la production de Joe Fafard, dont les to the current exhibition, The Bronze célèbres vaches conçues par l'artiste qui, dans le Years, at The Montreal Museum of Fine paysage des plaines canadiennes, constituent des Arts. points de repère marquants ponctuant l'espace sans The bronze-casting foundry built by fin qui s'étale entre le ciel et l'horizon. Au milieu de la Fafard in Pense in 1985 released him décennie soixante-dix, après quelques années from the structural limitations and un­ consacrées à l'enseignement, Fafard délaisse le milieu certainties of constructing clay sculp­ artistique de l'université, qu'il juge trop élitiste, et tures, and provided another opportunity to collaborate with his long-time friend aménage un atelier de sculpture dans un petit village Vic Cicansky (who, coincidentally, is des Prairies. Cette double expérience du cadre also one of 12 children). While bronze universitaire et de la vie rurale aura une influence casting and patinating presented a new déterminante dans l'oeuvre de l'artiste qui, tantôt set of problems to be solved, the metal sculpte des portraits de gens qui lui sont proches permitted a delicacy that both Cicansky (villageois, amis), tantôt de grands maîtres de and Fafard relish. Although their work is l'histoire de l'art comme Van Gogh, Picasso, ou very different — Cicansky's imagery re­ Matisse, et tantôt des... vaches, à partir de 1969. Des mains rooted in Funk and Folk — they vaches qui, pour lui, constituent un motif permettant often participate in joint exhibitions and d'aborder et d'expérimenter les problèmes de la maintain what they call "a friendly com­ sculpture. petition" that keeps each other on their Le bronze apparaît au milieu des années quatre-vingt toes. et lui sert à développer d'autres voies qui s'avèrent More recently, since the installation of impossibles en céramique. Qualifié parfois d'artiste elastic: they fight back." laser-cutting equipment in his studio (not régionaliste et populiste, parfois d'humble garçon de Earlier in the conversation with Ful- to mention the six technicians he has ferme qui aurait quitté son patelin en vue de ford, Fafard had explained that he didn't trained over the years to help him), Faf­ set problems for himself; he discovered ard's oeuvre has again expanded to in­ s'instruire et d'acquérir une reconnaissance them.