KAZIMIR GLAZ, THE CENTRE FOR CONTEMPORARY ART AND THE PRINTMAKERS AT OPEN STUDIO AS TWO ASPECTS OF PRINTMAKING PRACTICE IN THE 1970S IN TORONTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY: ART AND ITS INSTITUTIONS BY ILONA JURKIEWICZ, BFA, HONOURS CARLETON UNIVERSITY OTTAWA, ONTARIO 1 DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87772-2 Our file Notre reference ISBN: 978-0-494-87772-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada ii TABLE OF CONTENTS CHAPTER PAGE ACKNOWLEDGMENTS iii ABSTRACT iv LIST OF FIGURES v INTRODUCTION 1 1. Printmaking Culture in Toronto from late 1960s to early 1970s 21 2. Kazimir GIaz and CCA's Initiatives in Printmaking, 1969 to 1980 46 3. Open Studio : First Decade of Printmaking, 1970 to 1980 79 CONCLUSION 113 APPENDIXES 117 FIGURES 124 BIBLIOGRAPHY 153 iii ACKNOWLEDGMENTS Firstly, I wish to acknowledge my appreciation to my thesis supervisors, Angela Carr and Brian Foss, for their encouragement, guidance and mentorship throughout various stages of this thesis. My sincere thanks are directed to Mr. Kazimir Glaz, for sharing the story of CCA, his complex biography, his printmaking experience and professional insights to promote my better grasp of the subject. I am grateful to the founders of Open Studio, Mr. Richard Sewell and Ms. Barbara Hall, and to Mr. Donald Holman, Open Studio's first master printer, who shared their printmaking stories, and directed me to valuable resources. I am also thankful to all the individuals who steered and supported my research; chiefly, to Diane Nemiroff for pointing out the importance of printmaking in relation to Kazimir Glaz's Canadian oeuvre and for granting CUAG's permission to reproduce CCA's prints. I wish to thank my son Jacob Jurkiewicz, a graduate of printmaking at OCAD University, for directing me to Open Studio, as an important site of printmaking in Toronto in the 1970s. My thanks also go to Open Studio's Director, Ms. Heather Webb for granting her permission to research the Archive, and to photograph and reproduce selected works. Finally, but most importantly, I wish to thank my husband, Zbigniew, for his meaningful and unwavering support of my graduate studies. iv ABSTRACT The thesis argues that emerging printmakers, as exemplified by Kazimir GIaz and the founders of Open Studio, Richard Sewell, Barbara Hall and Open Studio's first master printer, Donald Holman, played important roles in stimulating printmaking practices in Toronto during the 1970s, by bringing in international expertise and know-how and by putting them to work in a variety of contexts. Also, using the momentum created by Canada's economic prosperity, with the help of printmaking, these immigrant artists successfully negotiated their role in the Toronto arts milieu, in the Canadian society, and internationally. This thematic study of the two artist-run organizations (Glaz/Toronto Centre for Contemporary Art, and Open Studio), engaged in printmaking practices and dissemination of prints, is set against an overview of the developments of printmaking in the 1970s in Toronto in larger international and national cultural context. V LIST OF FIGURES Figure 1. Kazimir GIaz, In Search for Meaning in Silence, 1978, lithography print, Special Collection Toronto Reference Library. By permission from TRL. 2. Rick Evans, Two Lines, lithography print, (Toronto: CCA), 1977. Carleton University Art Gallery. By permission from CUAG. 3. Kazimir GIaz, Eclairage Rythmique, experimental print, 3D collage, 1967, private collection. By permission of the artist. 4. Kazimir GIaz, Esoteric, from a series of 12 lithographs on paper, printed by the artist, (Toronto: CCA), 1972. Special Collection, City of Toronto Reference Library and Archives. By permission of TRL. 5. Kazimir GIaz, Esoteric, from a series of 12 lithographs, printed by the artist, (Toronto: CCA), 1972. Special Collection, Toronto Reference Library and Archives. By permission of TRL. 6. Kazimir GIaz, Esoteric from a series of 12 lithographs on paper, printed by the artist, (Toronto: CCA), 1972. Special Collection, Toronto Reference Library and Archives. By permission of TRL. 7. Kazimir GIaz, Approach III Esoteric, 1974, from a series of 18 lithographs, printed by the artist, (Toronto: CCA), Special Collection, Toronto Reference Library and Archives. By permission of TRL. 8. Harold Klunder, Untitled, monoprint, paper, undated, CCA/GIaz File, AGO. 9. Anton Cetin, Universe I, 1972, intaglio print, CCA/GIaz File, AGO. 10. Jaroslav Hovadik, Triptych, 1972, intaglio print, CCA/GIaz File, AGO. 11. Kazimir GIaz, In Search for Meaning in Silence No 8, lithography print, 1977, (Toronto, TCCA, 1977), Carleton University Art Gallery. By permission of CUAG. 12. Kazimir GIaz, Esoteric 1 woodcut from The Essence series, 1974, private collection. By permission of the artist. 13. Jaan Reitav, Identity II, 1977, lithography print, (Toronto: CCA), Carleton University Art Gallery. By permission of CUAG. 14. Rick Evans, Two Lines, lithography print, (Toronto: CCA), 1977, Carleton University Art Gallery. By permission of CUAG. vi 15. Zbigniew Blazeje, Structures, lithography print, (Toronto: CCA), 1977. Carleton University Art Gallery. By permission of CUAG. 16. Daniel Wojdylo, Recorded Memory, lithography print, (Toronto: CCA), Carleton University Art Galler). By permission of CUAG. 17. Kazimir GIaz, Power of Silence from portfolio In Search for Meaning in Silence, lithography print, (Toronto: CCA), 1977, Carleton University Art Gallery. By permission of CUAG. 18. Kazimir GIaz, In Search for Meaning in Silence, 1977, printed by the artist (Toronto: CCA), Carleton University Art Gallery. By permission of CUAG. 19. Rita Letendre, Osani, 1978, serigraphy shop proof, printed by Donald Holman, Open Studio Archives, No 975. By permission of Open Studio. 20. Kazimir GIaz, from The Essence series, 1978, lithography print, paper collage, private collection. By permission of the artist. 21. Ruth Tulving, What is Man?, 1972, serigraphy shop proof, printed and published by the artist, Open Studio Archives No. 029. By permission of Open Studio. 22. Rita Letendre, Sharar, 1973, serigraphy shop proof, printed by Don Holman, published by the artist, Open Studio Archives, No. 078. By permission of Open Studio. 23. Richard Sewell, Untitled, serigraphy shop proof printed by the artist, 1975, Open Studio Archives. By permission of Open Studio. 24. Donald Holman, First Litho Print Pulled on Emil's Press!, 1973, lithography shop proof, Open Studio Archives, No. 055. By permission of Open Studio. 25. Barbara Hall, Untitled, serigraphy shop proof, c1976, printed by the artist, Open Studio Archives, No. 642. By permission of Open Studio. 26. William Kurelek, Schoolbound Children in Northern B.C., 1974, lithography shop proof, Open Studio Archives, No. 376. By permission of Open Studio. 27. Otis Tamasauskas, Loon, 1978, lithography shop proof, printed by the artist, Open Studio Archives, No. 973. By permission of Open Studio. 28. Graham Coughtry, Untitled, c1973, lithography shop proof, printed by Donald Holman, Open Studio Archives, No. 148. By permission of Open Studio. 29. Vera Frenkel, X-Window-Frame, 1975, lithography shop proof, printed by Donald Holman, published by Open Studio, Open Studio Archives, No. 500. By permission of Open Studio. 30. Yves Gaucher, Jericho 1,1978, lithography shop proof, printed by Don Holman, published by Open Studio, Open Studio Archives. By permission of Open Studio. 31. Kazimir GIaz, Essence series, 1978, collage: lithography and gouache, printed by the artist, private collection. By permission of the artist. vii APPENDIXES 1. Kazimir GIaz, Song to a Sun, woodcut, 70 x 51cm, 1956. Kazimir GIaz File, E. P. Taylor Library and Archives, AGO. 2. CCA exhibition ephemera. Kazimir GIaz File, E. P. Taylor Library and Archives, AGO. 3. CCA exhibition ephemera, E. P. Taylor Library and Archives, GIaz File, AGO. 4. A photograph of Kazimir GIaz in front of the Essence, Expanding Series, Installation of 50 lithographs 460 x 275 cm, Toronto : TCCA, 1981. By permission of the artist. 5. A copy of a poster/invitation to a lecture by Kazimir GIaz, 1986.TCCA ephemera, Kazimir GIaz Fonds, John M. Kelly Library and Archives, St. Michael's College, U of T. 6. A page from Open Studio's log book No 1.