Saturday, September 16

OCADU, 100 McCaul St. Toronto, ON M5T 1W1

8:30 to 9:15



Welcoming remarks

9:30 to 10:15

Keynote address: Anton Reijners

12:00 to 1:00



Closing remarks

Session 9

Craft and Public Art

Conveners: Kathy Kranias, Ceramic artist/Educator/Researcher, and Lera Kotsyuba, Associate Editor, Studio Magazine

Adrien Lucca: Soleil de minuit

Soleil de minuit (2015-2017) is a permanent Glass Art installation in the metro station Place-D’Armes in Montréal, Québec, Canada.

Nicola Pezolet: Secular and Sacred Light in the Work of Jean-Paul Mousseau

At every stage of his long and prolific career, Québécois artist Jean-Paul Mousseau has been engaged with the integration of modern craft to architecture.

Lexie Owen: New Genres: Craft + Public Art

Both the fields of Craft and Public Art have seen renewal and expansion in the past two decades.

Susan Surette: Sturdy-Stone Ceramic Murals: the ups and downs of a “visually perceived environment”(Izumi Kyoshi, “Some Considerations on the Art of Architecture and Art in Architecture,” The Structurist 2  (1961,62): 51)

We all wait for elevators, expectantly eyeing the floor indicators above them – between inside and outside, up and down, we patiently or impatiently linger in the liminal space of an elevator lobby.

Session 10

Identity, Craft / Métiers d’art and Marketing – Part 1

Convener: Susan Surette, PhD, NSCAD University and Concordia University

Lisa Binkley: Marketing Reserve Craft at Agricultural Fairs in the Nineteenth Century

Agricultural Fairs have been used as a form of displaying government objectives and settlers’ achievements of colonial life since the mid-nineteenth century in Canada, inspired by the British Great Exhibition of the Works of Industry of all Nations, 1851.

Elaine C. Paterson: Tracing Craft: Labour, creativity, and sustainability in the Home Arts Movement

The late nineteenth-century Home Arts Movement was a network of craft guilds designed to provide sustainable creative work to craftspeople through national and international exhibitions and may be understood as an important historical antecedent to current concerns for art and labour.

Akycha Surette Dirty Words, “Money and Market”: The One of a Kind and Craft Professionalization

BFA Contemporary studio craft, among other things, is a commercial enterprise. For many studio craftspeople selling is not selling out, and sales are an acknowledged sign of professionalism within the Canadian studio craft community. 

Mia Hunt: Managing marginalised material in the craft marketplace

This paper highlights the work that goes into crafting the material and the message to market ceramics produced by marginalised women. 

Session 11

Identity, Craft / Métiers d’art and Marketing – Part 2

Convener: Susan Surette, PhD, NSCAD University and Concordia University

Shalini Sahoo and Imrana Shahryar: Reanimating the Indigenous Crafts

Indigenous craft tradition remains as the oldest and the most refined symbiosis of functionality, technology and aesthetics. It evolves over generations and constitutes to a living heirloom of a culture.

Elizabeth Kalbfleisch:  Celebration or Craftsploitation? Cultural Diplomacy, Marketing and Coast Salish Knitting

On December 26th, 2012, Justin Trudeau, then still vying for the Liberal Party leadership, met with Theresa Spence, Chief of the Attawaspiskat First Nation.

Shannon Black: Crafty impressions: Performing craft work on Instagram

Moving away from an exclusive focus on what photographs show to consider what photographs do, scholars suggest that photographs are spaces in which social relations, subject positions and identities are performed (Harrison 2002; Murray 2010; Rose 2010; Van Dijck 2008).

Dr. Sandra Alfoldy: Crafting Kindness

A grandmother in her rocker knitting a baby blanket. A father and son proudly holding up snifters of their carefully distilled whiskey in their strong, capable hands.

Crafting the Future: A National Craft Student Exhibition

What is the future of craft? How do today’s emerging makers navigate the historical, political, cultural, and social context of craft? With over 100 works by students from nine Canadian post-secondary craft programs, Crafting the Future: A National Student Exhibition, will examine these questions through innovative and engaging works in ceramics, fibre, furniture, glass, jewellery, textiles, metalsmithing, video and mixed materials. Juried and curated by Audrey Hudson, Dorie Millerson, and Robert Mitchell, this exhibition opens on September 16th at OCAD University and runs from September 11th-23rd, 2017.