Florine Stettheimer. A Model (Nude Self-Portrait), 1915. Oil on canvas, 48 1/4 x 68 1/4 in. (122.5 x 173.4 cm.), Framed: 49 5/8 x 68 1/4 in. (126 x 177 cm). Art Properties, Avery Architectural & Fine Arts Library, Columbia University, Gift of the Estate of Ettie Stettheimer, 1967.
Refined and witty, experimental and defiant, Florine Stettheimer is not a household name like her contemporary Georgia O’Keeffe, but she stands out as a unique figure in American art of the early 1900s. In her time she was acclaimed by artists, curators and critics, with Andy Warhol naming her his favourite artist.
Opening October 21, Florine Stettheimer: Painting Poetrymarks the first major exhibition of Stettheimer’s work in Canada. It’s organized by the AGO and the Jewish Museum, New York.
One of the themes in Guillermo del Toro: At Home with Monsters is Death and the Afterlife—an important point of contemplation in an exhibition chronicling del Toro’s fascination with the macabre, the horrific and the gothic. But over the past year, thoughts around death and the afterlife have permeated the real-life worlds of sci-fi and horror, as several major icons in those creative fields have recently passed away.
Fortunately, At Home with Monsters gives fans a glimpse into how these towering names in horror, illustration and film influenced one of the most inventive filmmakers of our time, Guillermo del Toro. We asked Jim Shedden, curator of At Home with Monsters, how they are represented in the exhibition.
This March, we’re presenting the phenomenon that has been winning rave reviews from audiences and selling out museums across the United States. Yayoi Kusama: Infinity Mirrors, the first survey exhibition to explore the evolution of the celebrated Japanese artist’s immersive infinity rooms, opens a three-month run at the AGO on March 3. After runaway successes in Washington, Seattle and Los Angeles – and in response to high demand – the Gallery will put a limited number of tickets on sale to AGO Members on December 12 and to the public on January 16.
Last week we announced that Julian Cox has been appointed our new Chief Curator. With 25 years of museum experience, the British-born Cox—who is currently the Chief Curator and Founding Curator of Photography for the Fine Arts Museums of San Francisco (FAMSF)—begins at the AGO in January 2018, pending approval of authorization to work in Canada. In his capacity as Chief Curator, Julian will also become the Gallery’s second Deputy Director, joining Alicia Vandermeer, Deputy Director and Chief Advancement Officer.
Have you ever had to resist your impulse to scream? In need of a stress reliever but also want to check out some cool art? We’ve got just the workshop for you!
Screaming in the Galleries is, well, exactly what it sounds like. And you get to do it in our latest exhibition, Guillermo del Toro: At Home with Monsters. We spoke to instructor Brendan Jensen to learn more about it.
A crowd at Mystical Landscapes: Masterpieces from Money, Van Gogh and more. Image courtesy of the AGO.
Happy birthday to us! Today marks the first anniversary of the AGOinsider. We’ve covered a lot of ground over the past year, sharing the details of exciting exhibitions and programming and delivering breaking news of major AGO announcements. We’ve revealed the secrets of custom cocktails at AGO Bistro and tempted you with holiday gift ideas at shopAGO. We’ve gone behind the scenes and introduced you to AGO staff and volunteers. Thanks for reading – we can’t wait to spend another year with you!
Meet Gordon. For the last eight years, he’s worked at the AGO as a visitor services representative, so you might recognize his smiling face at Membership Services or our ticket counter. He’s a major cinema buff with a particular affinity for the works of Guillermo del Toro. He’s been a fan since 1997, when he first saw Mimic. (Think about it—his fandom has been around for twenty years. If it were a person, it could legally drink and possess a driver’s license.)
Gordon recently talked to Laura Robb, the Interpretive Planner for Guillermo del Toro: At Home with Monsters, about what makes del Toro’s films so compelling and what film del Toro newbies should start with.
Ever wondered what a live brass band would sound like inside a large airy space like the AGO? No? Well we bet you’re wondering now.
Sandra Meigs, the Victoria-based recipient of the 2015 Gershon Iskowitz Prize at the AGO, returns to Toronto this fall with an immersive installation created specifically for the AGO titled Sandra Meigs:Room for Mystics (with Christopher Butterfield). Bringing together paintings, wall hangings, a sculptural mobile and a sound installation by composer Christopher Butterfield—and yes, a live brass trio—Room for Mystics opens at the AGO on October 19 and runs to January 14. Read the rest of this entry »
Did you hear? Last week we re-named our Canadian art department and appointed two curators to new positions. Now called the department of Canadian and Indigenous Art, the AGO has named Georgiana Uhlyarik its Fredrik S. Eaton Curator, Canadian Art (previously Associate Curator of Canadian Art) and Wanda Nanibush its Curator, Indigenous Art (formerly the Assistant Curator of Canadian and Indigenous Art).
Still from the video series A Dancer Is Not A Sculpture But A Sculpture Is A Dance, 2017/18. Dancer: Valerie Calam. Choreography: Valerie Calam and Diane Borsato. Sculpture: Large Two Forms, Henry Moore, 1966.
Every October, the art world gathers at the Metro Toronto Convention Centre for Canada’s leading international contemporary and modern art fair. Art Toronto, taking place from October 27–30, is a unique opportunity to meet artists, mingle with fellow art lovers and perhaps even discover an amazing work that you can’t live without. This year you can head to the west coast without leaving the city, as this year’s Art Toronto FOCUS project looks at the art scene in Los Angeles. Read the rest of this entry »