Delay of game…

As promised a review of the AGO, in a condensed form of course. The AGO is in many ways an incredible institution. The building, the art, and the people make it a wonderful place to visit and more importantly to be a part of. (Emphasis on public partnership and participation!) Though I tried, and I knew I would fail, I was unable avoid a comparison between the AGO and the ROM, so bear with me for a second.

Though each museum set out to achieve different things in very different ways, the AGO succeeds far more thoroughly than the ROM at meeting its own objectives. If the ROM was attempting a “renaissance” – a rebirth of learning and culture, they have failed. If they were attempting to make an international statement with little more than a building and a world class collection then they have succeeded. Where the ROM has failed, and this is of course its main failure, is in the design of a museum for people. A museum ought not to be the place where “objects go to die”, but rather a place where ideas are shared and circulate freely as mediated through a collection of objects. [End Rant...]

The AGO is lovely, it is wood rather than metal, it is clean lines and curves rather than jagged edges and dark recesses. (Modernist sensibilities much?) It chooses to let light in rather than block it out, something conservators must cringe about. Besides the Frank Gehry building in all its splendor, one of the most important developments at the AGO has been to bring out a far greater percentage of the permanent collection than ever before, yet this development is also my first concern. Whether it be through a token gesture of open-storage in the sub-street level concourse of Inuit Art, shame, or through the twenty plus galleries dedicated to the Thomson collection, an overly grand commemoration of the principal donor(?)- see also his ship models display, many questions remain.

But despite a few things I object to, perhaps “object” is too strong a word, some things that merely cause me to raise an eyebrow and wonder…the AGO is seemingly set for clear albeit challenging seas (pun intended).

In my next post I will go into detail about some of the successes of the museum’s curatorial and collection choices, as well as a review of its small cafeteria below “Frank’s”. A man’s got to eat after all…

If you are interested, a show I curated will be viewable at add-art.org on Dec 4th, which is in about 25 minutes.

After the hype: The AGO week 2

Rather than face the onslaught of people who last weekend must have rushed to the Art Gallery of Ontario for its grand re-opening I have decided to visit approximately a week after inauguration. The Frank Gehry expansion is the latest major expansion at the AGO, but by all means this is not the first time the AGO has “transformed” itself. Since 1911 the AGO has undergone numerous site expansions, renovations, and of course new constructions. If my memory servers I’m pretty sure this is phase 4 for the AGO, definitely one of the largest and most visible changes, but no less important than previous steps in its development. If you are curious you can travel back in time and follow the developments of the AGO (formerly the Art Gallery of Toronto…did you know that?) here.

On November 14th, Torontoist.com visited, reviewed, and documented their take on the new AGO. Rather than reiterate the content, visit and be sure to check out the pics!

As a recent lapsed member of the ROM I have high hopes for the AGO which I will be visiting tomorrow, who knows, they might even get a new member out of me! Rather than contrast with what I view as the ROMs failed attempt to recreate itself, I’m going to try to objectively appreciate each as a distinct take on the two extremes of the Toronto museum scene. I’m going to let the building, art, and ideas talk for themselves and report back once I’ve digested it all! To be continued…

Old work, new Masters

So last night I checked out a show by a friend of mine who is attending OCAD’s Masters of Fine Arts in Criticism & Curatorial Practice (I joke that they are one “c” short of the CCCP). It was a fresh show introducing some interesting artists and some great work in a small white-cube space.

It is being held at the OCAD Graduate Exhibition Space (205 Richmond St. W) from November 11-22, 2008 and I invite you to check it out.

Flyer

Although there is nothing mind-blowingly new about the art there is one piece which really stands out and literally draws you in.

I strongly recommend going into the Fort! Yes the fort! Cardboard, bean-bag chairs, books on art criticism, plants, a sky-light, fun!

For your ipod: Fort Minor – Where’d you go?

The Setup

Welcome to the first post on Curator in a quandary. Just a quick post to present work by Adrianne Rubenstein which will be featured on add-art.org as of December 4th 2008. Please head over and check it out!

From the Yellow Series

From the Q Series

Since graduating from NSCAD and moving to Toronto, Canada in May 2006, Adrianne Rubenstein’s practice has centered on exploring the connections between humans and honeybees, their intelligence, machine-like architecture and their unique ability to communicate. Her work is an attempt to give form and a creative twist to the connections, perceptions, and distinctive character of an insect we almost always take for granted.

In the 1800s, the invention of the Langstroth hive with its removable shelves made it possible to harvest honey without harming the brood, thus making way for contemporary beekeeping and the mass production of food. This practice has made way for industrial agriculture and beekeeping companies that manage thousands of hives primarily for the pollination of cash crops. Rubenstein’s work involves direct contact and observation of honeybees, and explores how bees perceive their surroundings and their relationship with us.

“Bees are a mystery, sure they can be studied and explained, but they also provoke a meditative space where it’s just the idea that counts.”

For this show, eight bodies of work are presented, each unique, yet a part of a larger whole. Whether it is through the distinct use of colour, space, texture or style, each work offers a glimpse into an artist’s take on the language of bees and their continued elusive and mysterious nature.