With the presentation of Art Spiegelman’s CO-MIX: A Retrospective at the AGO, we’re aiming to highlight not just the significance of Spiegelman’s career, but also growing importance of comics as a defining cultural form in Toronto. Leading up to and during the exhibition’s run ― Dec. 20, 2014, to March 15, 2015 ― we’re using ArtMatters.ca to share voices from the comics scene in Toronto and beyond, as they discuss Spiegelman’s influence and the connections between his work and a wide variety of genres and art forms. Below, Canadian journalist/historian and Twitter essayistJeet Heer discusses Spiegelman’s seminal work Maus in relation to the structures and tropes of detective fiction.
About Jeet Heer
Jeet Heer is a Toronto based journalist who focuses on arts and culture. His articles have appeared in the National Post, Slate.com, the Boston Globe, The Walrus, the Literary Review of Canada, This Magazine, Books in Canada and Toro. He is also finishing a doctoral thesis at York University on the cultural politics of Little Orphan Annie. Heer is co-editor, with Kent Worcester, of Arguing Comics: Literary Masters on a Popular Medium (Jackson: University of Mississippi Press, 2004). With Chris Ware and Chris Oliveros, he is editing a series of volumes reprinting Frank King’s Gasoline Alley, two volumes of which have been published: Walt and Skeezix: Book One (Montréal: Drawn and Quarterly, 2005), Walt and Skeezix: Book Two (Drawn and Quarterly, 2006). He has written introductory essays to the following books: George Herriman’s Krazy and Ignatz 1935-1936 (Seattle: Fantagraphics, 2005), George Herriman’s Krazy and Ignatz 1939-1940 (Fantagraphics, 2007) and Clare Briggs’s Oh Skin-nay (Drawn and Quarterly, 2007).
“It’s the ordinary things that seem important to me.”
— Alex Colville
Our exhibition Alex Colville includes more than 100 works by the iconic Canadian painter. After seeing this body of work and getting acquainted with the artist’s unmistakable style and his sometimes haunting views of his own world, it’s easy to start seeing Colville’s unique perspective all around us. The exhibition’s curator and the AGO’s Fredrik S. Eaton Curator of Canadian Art, Andrew Hunter, has said that after spending considerable time with Colville’s art, he can’t help but encounter these moments, and he’s shared some of them on Instagram (see above slideshow). Visitors have also told and shown us that Colville’s work stays with them outside the Gallery walls.
To help celebrate the artist and his visual legacy, we want to see what Colville means to you. If you’re visiting the exhibition, take a photo with binoculars (supplied by us) in front of a Toward Prince Edward Island reproduction at the end of the exhibition, or show us a “Colville moment” from your world. Share the photo on Instagram or Twitter using the hashtag #ColvilleAGO, and we’ll post our favourites to our Facebook page. At the end of the exhibition in early January, we’ll conduct a random draw, the winner of which will receive a $100 AGO gift certificate redeemable at shopAGO or FRANK restaurant, or to spend on future admission or towards a membership.
We can’t wait to see your Colville moments! Questions? Leave them in the comments below.
Centuries later, with help from LG Canada, the Renaissance master’s drawings come alive at the AGO
Many of Michelangelo’s works were drawn on small tablets or scrolls, which makes it difficult for the human eye to fully appreciate his attention to detail and inexhaustible creativity. LG’s digital screens and content specially developed for the exhibition magnify five of these works through a video wall, offering visitors an immersive and interactive experience. In total, Michelangelo: Quest for Genius integrates 10 LG 4K and OLED panels, in addition to five LG tablets all helping to illustrate and extend the exhibition’s stories. In the video above, AGO interpretive planner David Wistow explains the value of bringing centuries-old art and cutting edge technology together in Quest for Genius.
Michelangelo: Quest for Genius runs now through Jan. 11, 2015. Search #MichelangeloAGO and #LGatAGO on Twitter to see more visitor comments about the exhibition, and visit michelangeloago.com for a deeper look at the art and themes.
Figure 1: Examples of modern (left) and historic glass.
By Katharine Whitman, Conservator, Photographs
Picture this: you’re in your grandfather’s ancestral home. Under a stack of dusty photo albums you discover a small book-like box with a tiny metal clasp. You open it and find a photograph of a man with familiar features sitting stiffly before a painted landscape. It dawns upon you that it must be some distant relative, perhaps your great, great grandfather. Upon closer inspection, you realize that the image is in fact printed on a sheet of glass and that glass is cracked in two. What do you do?
As the AGO’s conservator of photographs, I’ve spent the past 10 years facing very similar situations. I have conducted research and taught workshops on a much neglected part of photography: the conservation of photographs on glass. This includes ambrotypes, opaltypes, wet plate Collodion, gelatine silver on glass and a host of other processes, many of which are represented in the AGO’s photography collection.
One of the pressing concerns in photograph conservation is how to deal with broken photographs on glass. Should they be repaired? Can they be repaired? In trying to answer these questions, a conservator must consider a host of factors, including: when the photograph was produced, the nature of the glass used, what photographic process was used and the value (monetary, sentimental or cultural) of the piece.
Imagine you needed to repair a sheet of glass that had broken in two. The logical way to do it would be to lay the two fragments on a flat surface, butt them against each other and glue their edges. However, it’s often not that simple.
Figure 2: A side view of historic non-planar glass.
Due to the glass-making processes prior to 1950, the sheets of glass used in photographic processes were not truly flat. This “non-planar” glass poses problems for conservators. Figure 1 is a comparison of modern glass, on the left, and pre-1950 historic glass, on the right. A bank of ceiling-mounted fluorescent lights is reflected in their surfaces. The reflection on the modern glass is undistorted because the glass is flat and the reflection on the historic glass is distorted because the glass is slightly wavy. You may have seen windows of old houses that look wavy and noticed how distorted any reflections look; that effect occurs because the glass is non-planar (Figure 2). This poses problems when repairing broken photographs on glass because when laid flat, the shards cannot be aligned properly. With this in mind, an innovative solution had to be found to accomplish the reassembly of broken historic photographs. The whole point of most photographs is to be decipherable, and if a photograph on glass is not in one piece, it loses its meaning and its full impact on the viewer.
Figure 3: A vertical assembly setup.
The solution I determined, in association with the George Eastman House and the Corning Museum of Glass in Corning, New York, is an adaptation of a method created by Stephen Koob of the Corning Museum. It is the “vertical assembly” method, wherein the broken photograph on glass is assembled vertically, rather than horizontally. In this method, it is essential that the main shard is positioned perfectly aligned with gravity (Figure 3). Because glass is so brittle, it breaks very sharply. This results in a clean break, a shattering effect or a combination of the two. Vertical alignment ensures that the constant of gravity will pull the shards into position. This method of shard assembly is a completely new concept in photograph conservation.
There are many nuances to the repair of broken historic photographs on glass, and it takes a lot of experience and practice to master. If you have a broken photograph on glass it is best to contact the AGO conservation department for a referral to a conservator.
Curious about Conservation?
If you have a burning question about Conservation, leave a comment below. We’ll do our best to give you an answer in an upcoming Conservation Notes post.
Signature Partner of the AGO’s Conservation Program
By Brittany Reynolds, assistant, Recruitment, Training and Volunteer Programs
Touring the Aimia | AGO Photography Prize 2014 Exhibition.
Talking marketing with Angela Olano.
In the kitchen with Chef Renee.
Goofing around in the Kids' Gallery.
On Nov. 5, 2014, eight of our employees’ Grade 9 relatives joined us for the day and had the chance to see the variety of career opportunities here at the AGO.
The day kicked off with a tour of the Aimia | AGO Photography Prize 2014 Exhibition by project assistant Danielle St-Amour, where the students learned more about different styles of photography and the importance of the Prize at the AGO.
Then they met with marketing manager Angela Olano to discuss more about promoting AGO exhibitions, and they were tasked with creating a plan to advertise the AIMIA | AGO Photography Prize to their high school peers.
To end the morning, executive sous chef Renee Bellefeuille taught the students how to prepare profiteroles to make their very own chocolate éclairs. Students also had the chance to create their own menu that would include a starter and main course before their chocolate éclair dessert.
The afternoon’s activities included a vault tour by registrar Cindy Brouse and a tour of the conservation lab by sculpture and decorative arts conservator Lisa Ellis.
Last but certainly not least, the manager of our artist-in-residence and adult programs, Paola Poletto, spoke to students about the upcoming Jean-Michel Basquiat exhibition and the group brainstormed what types of youth programs would be appealing to students in their high schools.
Thank you to all who participated in the AGO’s Take Our Kids to Work Program! This year marked the 20th anniversary of the program, which was started by The Learning Partnership in 1994 and gives Grade 9 students a headstart on their future by helping them explore career options and connecting them directly with the world of work.
Search the hashtag #KidsToWork on Twitter and Instagram to see what happened at other workplaces this year.
How do you build community through art collecting? Ask Howard and Cindy Rachofsky. Together they have helped make Dallas a major centre for contemporary art, architecture and philanthropy. As the powerful agents behind the revitalization of the Dallas Museum of Art in 2012, the Rachofskys co-founded The Warehouse, turning what had been an abandoned industrial building into a world class art centre, complete with classrooms, a library and over 18,000 square feet of exhibition space. Over the years, their Richard Meier–designed home has become a community hub and a venue that embraces and promotes contemporary art throughout the city. It is also where the Rachofskys annually host TWO x TWO for AIDS and Art, an event that has raised more than $45 million for AIDS research and for contemporary art acquisitions at the Dallas Museum of Art. In the video above, they discuss their approach to collecting and their contributions to the DMA. Says Howard: “In making the gift, along with our friends, to the museum, gave us the additional responsibility of being curatorially smart and trying, while developing our own collection and responsibilities, recognizing that there are works of art that will ultimately be in a wonderful public institution and that will be in the company of other works in the museum. And therefore it’s the goal to make the museum’s collection as good as it can possibly be and as informative as it can be.”
On Nov. 6, the Rachofksys will share their passion for art and discuss the intersections between collecting, philanthropy and civic change in a Brown Bag Lunch & Talk at the AGO. Tickets are on sale now.
About Garvia Bailey
Garvia Bailey has been a broadcast journalist for more than 10 years and currently hosts Good Morning Toronto on JAZZ.FM91. She spent 10 years with the Canadian Broadcasting Corporation. She got her start in the world of independent film with the start up production company Channel Zero – telling stories of social unrest around the world and with the CBC, she served as the host of Canada Live and Radio 2 Top 20 on CBC Radio 2, Backstage Pass on CBC-TV, Big City Small World and was a contributor at cbcmusic.ca. Throughout her career in broadcasting she has turned the spotlight on emerging talent from across the GTA and has interviewed many celebrated international artists including Jimmy Cliff, Maestro Fresh Wes, Russell Peters, Melanie Fiona and M.I.A.
For the first time, the Aimia | AGO Photography Prize is bringing its talented finalists to the streets. The travelling Aimia | AGO Photography Prize Art Truck will feature video footage of the four shortlisted artists discussing their practices, offering a glimpse into their artwork and allowing visitors an opportunity to vote for who should win the $50,000 prize. Track the location of the Art Truck using the hashtag #ArtIsMoving or follow the Prize on Twitter @AimiaAGOPrize.
The Art Truck arrives in Toronto on Sept. 27, 2014, making its first stop at the Sony Centre for the Performing Arts on Front Street East and continues onto a number of locations across the city.
The Art Truck was created to break the Prize out of gallery walls and making it accessible by all who walk by. Voters will have the opportunity to win an expenses-paid trip to Toronto, a private tour with an AGO curator, dinner for two at the AGO’s FRANK restaurant, tickets to the exclusive winner announcement and 15,000 Aeroplan® Miles.
Making appearances at several key locations and festivals across Toronto, the Art Truck can be found at:
The Prize, co-presented by Aimia and the AGO, will award each of the four artists a six-week artist residency in Canada and will feature their work in an AGO exhibition, on now through Jan. 4, 2015. The winner will be chosen by public vote via the Prize’s website and Facebook page until Oct. 27, 2014 at 11:59 p.m. The winner will be announced on Oct. 29, 2014, at the AGO, and the Art Truck offers a unique way of voting by using iPads, so that all visitors to the truck can have their say.
The 2014 finalists are:
David Hartt (Canada);
Elad Lassry (Israel/USA);
Nandipha Mntambo (South Africa); and
Lisa Oppenheim (USA).
Search for #ArtIsMoving on Twitter to follow the Art Truck around town. For updates on the Prize, further details on the shortlisted artists and additional information, please visit AimiaAGOPhotographyPrize.com and follow @AimiaAGOPrize on Twitter.
Elicser and Other, Alexandra Park. Photo by Pascal Paquette.
Persue, Rush Lane. Photo by Pascal Paquette.
Poser, Rush Lane. Photo by Pascal Paquette.
Sohoe, Markham Street. Photo by Pascal Paquette.
Faile (New York), Bathurst Street. Photo by Pascal Paquette.
Art Child, on Adelaide Street just east of Bathurst. Photo by Pascal Paquette.
Birdo, Queen Street East. Photo by Pascal Paquette.
Bacon, near Ossington. Photo by Pascal Paquette.
Lexr and Evoke, Queen Street West. Photo by Pascal Paquette.
Rons, mobile piece (seen near Queen Street West and University Avenue. Photo by Cindy Blažević.
Aaron Li-Hill, Parkside Drive. Photo courtesy of the artist.
Wysper, Parkdale. Photo by Pascal Paquette.
Uber, Rush Lane. Photo by Pascal Paquette.
Jaroe, Adore and Bort, Rush Lane. Photo by Pascal Paquette.
Faith47 (Cape Town), Evergreen Brickworks. Photo by Pascal Paquette.
We handed over our Instagram account to Toronto artist Pascal Paquette last week, and from Sept. 10 to 13 he travelled around Toronto’s street and alleys capturing new street art and graffiti work, both commissioned and sanctioned, along with classic works from recent years. The 15 photos he shared with our followers are evidence of Toronto’s thriving street art community, which provides fertile ground for Toronto talent and attracts accomplished artists from around the world. Many thanks to Pascal for the tour and to all the artists who’ve brightened our city’s streets with these projects.
Pascal Paquette is primarily a fine art painter, and also uses street art, graffiti and photography in his site-specific projects. His art has been exhibited, commissioned and published internationally and locally, notably at the Museum of Contemporary Canadian Art (MOCCA) and the AGO in 2012, when he and Sean Martindale presented their collaborative installation NOW. He lives in Toronto, Canada, and posts to Instagram at @pascalpaquette.