The Undeniable Grande Dame of Craft

Spring/Summer 2008 edition of Studio Magazine, Craft Ontario

On February 23, 2008, at Harbourfront Centre, on a crisp, clear, cold day, one of Canada’s greats, Jean Johnson C.M. retired.  Many still do not believe it is true!  But yes, indeed, after a long and illustrious career in the arts this Grande Dame has decided to slow down!  After her successful symposium, Crafting New Traditions: Canadian Innovators and Influences had wrapped up on a high note, Jean was honoured and fêted by her peers, friends, family and colleagues.

Harbourfront Centre presented her with a Life-Long Ticket to any event, anytime; supporters contributed, as well, to a fund to name a seat in her honour at the Premier Dance Theatre (renamed the Fleck Dance Theatre) and The Canadian Crafts Federation presented her with the Robert Jekyll Award for lifetime achievement.  All were fitting tributes to this remarkable woman.

Jean Johnson C.M. is a pioneer.  Across Canada and beyond our shores, she is acknowledged as one of the seminal figures in Canadian contemporary craft.  Her career, professional and volunteer spans 65 years and has been one of tireless, dedication to furthering and promoting the field.

Jean was born in Toronto on January 31, 1924, the eldest daughter of Samuel James McMaster and Janet Marguerite Leach McMaster.  Her father represented labour on the Board of the Toronto Transit Commission during the 1930s.  She had a younger brother Robert Owen and a sister Caroline Yvonne (McMaster) Green. Jean was married in 1951 to Charles (Chuck) Thomas Johnson, a refrigeration/air conditioning engineer in Caracas, Venezuela.  During her ten years in Venezuela she learned Spanish, retaining fluency to this day; painted the landscape and began an abiding interest in botanical drawing.  Her daughter Anne was born in 1956, in Vancouver. Jean and her husband separated in June 1961 and she returned with Anne to Toronto.

From childhood, Jean wanted to be an artist and grew up in a socially active home with parents dedicated to reforming the world.  Not surprisingly she entered into an art career.  She graduated at age 18 from the four year art course at Northern Secondary School in 1942, during the Second World War.  She loves to tell that her first “art-job” was re-drawing the American comic-book superhero, Captain Marvel for the Canadian public; along with other young Canadian hopefuls, such as Harold Town.  She recalls that time fondly and proudly proclaims they drew with number two sable brushes and ink!

The ensuing 35 years were filled with several pursuits related to the field of arts.  Jean said, “I rarely say no to an experience, a job, or project, and have never worried too much about salary, the cafeteria or other amenities!  My participation is based on the potential to make something exciting, new and important happen.”

Upon returning in 1961 to Canada from Venezuela, Jean was asked if she’d be interested in running a new art gallery located on Merton Street in Toronto.  As always, Jean was up for the challenge and for the next 10 years was curator at Merton Gallery, where she represented and supported the careers of several of Canada’s notable craftspeople; among them Kai Chan, David H. Kaye, Joanna Staniszkis and Viktor Tinkl.

Jean left Merton Gallery and was hired by the Ontario College of Art [+ Design].  She was founding manager of the retail shop, Design Department Store; prepared a study of the art collections of 100 companies as background material for the new college wing fund-raising campaign and compiled a report on OCA’s, Gallery 76. In 1975 as a member of the Steering Committee for International Women’s Year, Johnson helped facilitate an important exhibition by artists at the Art Gallery of Harbourfront, Women and the Arts that included Joyce Wieland, Jo Manning, Judith Currelly, and others.

While volunteering for the Association of Registered Interior Designers of Ontario (ARIDO) 1975-1979, Jean coordinated production and installation of key commission works including: fabric panels for patient corridors and a large tapestry by Joanna Staniszkis at Sunnybrook Hospital and a mobile by Quebec artist, Micheline Beauchemin for North York city hall.

It was the accumulation of this extensive experience that brought her to the attention of Harbourfront [Centre] and she was hired by Anita Aarons in 1979 to run the Craft Studio, embarking on what she calls ‘the crowning achievement’ of her career.  Jean saw the rich potential of the Craft Studio’s artist-in-residence programme and with determination and vision transformed it into a highly sought after destination for Canadian graduates.  She introduced a resource library and a volunteer advisory committee who provided critical mentorship.

Many of Canada’s best craft artists were/are involved with Harbourfront Centre either as artists-in-residence or participants in exhibitions and events.  Encouraging international exchange was tremendously important to Jean and the crème de la crème of the fine craft world were invited to lecture and give master classes.  Jean organized major conferences and events often sharing speakers with other institutions.  She curated and facilitated exhibitions at Harbourfront Centre and for other organizations.  She inaugurated International Creators (lecture series); Designed by Commission (collaborations between art, craft and architecture) and established The Festival of Craft and Design (for 10 years one of Toronto’s premiere craft fairs).  Jean was a driving force behind turning the Craft Studio into a major centre for contemporary craft with an international reputation.

In 1991 she became Craft Projects Manager.  She presented a three day conference, Exploring Contemporary Craft History, Theory and Critical Writing, bringing forward-thinking national and international curators, critics and craftspeople to discuss current craft issues – culminating in a book by the same name co-published with Coach House Books.

Jean’s concluding role at Harbourfront Centre was as Manager, Special Craft Initiatives.  The ground breaking symposium and publication, Crafting New Traditions: Canadian Innovators and Influences, celebrating and documenting the careers of prominent Canadian craft pioneers was her final achievement.  A fitting jewel for her crown!

Jean has taken as her motto ‘aim for the stars, reach the treetops!’ She has captured a star or two in her day.

• 2000 The Ontario College of Art and Design, Honourary Fellowship
• 1999 NSCAD University; Honourary Doctorate
• 1993 Government of Canada – Member of the Order of Canada
• 1992 Canadian Craft Federation – Lifetime Honourary Member
Government of Canada – Lescarbot Award, Ministry of Communications, Ottawa
• 1984 The Ontario Crafts Council – John Mather Award and Lifetime Membership

Jean has sat on numerous boards, volunteered on committees, and is sought after as a juror.  She recently established, through the Ontario Crafts Council, the Craft Curatorial Award to honour curatorial excellence in crafts in Ontario.

Jean’s hero is British icon, William Morris (1834-96), craftsman, designer, writer, typographer, and socialist. She considers Morris a man-ahead-of-his-time.  It is not surprising she was President of the William Morris Society of Canada and served on various committees.  Jean literally stands behind her convictions and boasts a personal collection that reflects her unwavering love for craft.  Like her hero Morris, she firmly believes one’s life can be enhanced and transformed by engagement with handmade objects.

Jean remains active, influential and devoted to the field of Canadian contemporary craft.  Her indefatigable spirit and vision shaped and mentored me.  Although the term Grande Dame of Craft is said affectionately, it is indeed, not too far from the truth!

Melanie Egan
Head of Craft
Harbourfront Centre 2008