of the award:
Saidye Bronfman Award is Canada's foremost distinction for excellence
in fine craft. The award was created by The Samuel and Saidye Bronfman
Family Foundation in1977 to honour Saidye Bronfman's 80th birthday
and recognize her strong personal interest in the decorative arts.
prize, now $25,000.00, is awarded annually to an exceptional Canadian
craftsperson. In addition, works by each recipient are acquired
by the Canadian Museum of Civilization for its permanent collection.
Candidates are nominated by their peers. Nominees are then reviewed
by a jury of craftspeople and enthusiasts who consider all aspects
of aesthetics including creativity, innovation and technical mastery.
award was created to demonstrate the wealth of artistic production
in craft media, to encourage and celebrate this talent, and to give
some of this work a permanent home in the collection of the Canadian
Museum of Civilization.
holds an important position at the crossroads of many different
fields including design, architecture, and the decorative arts.
The popularity of craft in the late 20th century is in contrast
to the century's increasing emphasis on technology.
current vitality of craft is part of a much larger realignment of
our artistic values, one that recognizes the value of functional
objects in other societies. The impact of globalization has been
that the more globally conscious we become, the more aware and protective
we are of our local identities.
the early decades of the 20th century, craft was often called "applied
arts". Fine art and craft were exhibited together, in venues
ranging from art galleries to agricultural fairs. As the century
progressed, the hierarchy of fine art increasingly made itself felt.
Handcrafts were separated from painting and sculpture even though
many exhibitors showed both fine art and craft. Fine craft continued
to be widely exhibited and to attract large audiences, but no public
collections of Canadian craft existed.
the mid-1960's, craft began finding it's way into museum collections
by default rather than intent. It wasn't until the mid-1970's that
curators began a conscious effort to collect this work for museum