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Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics

June 4th, 2014

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Recorded: March 26, 2014, at the Art Gallery of Ontario
Duration: 01:29:05

In this podcast, hear AGO artist-in-residence Jim Munroe in conversation with artists Mark Connery, a Toronto-based comic and zine artist, and Jonathan Mak, a Toronto-based game developer, about their work, indie culture and how playfulness factors into their practices. Read the rest of this entry »

Listen: Brown Bag Lunch & Talk, with John Elderfield

March 17th, 2014

Why Matisse matters – and de Kooning, Bob Dylan and other great moderns

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Recorded: Jan. 17, 2014, in Baillie Court, Art Gallery of Ontario
Duration: 01:06:15

A leading authority on modern art, John Elderfield offers us an in-depth and insightful look at Henri Matisse and his ongoing relevance in contemporary art and culture. Elderfield brings a wealth of knowledge to this talk, as an independent curator and art historian, a consultant to Gagosian Gallery and as chief curator emeritus of Painting and Sculpture at the Museum of Modern Art, New York, where he directed more than 20 exhibitions, including Fauvism and its Affinities (1976), Kurt Schwitters (1985), de Kooning: A Retrospective (2011), and Henri Matisse: A Retrospective (1992).

This one-hour talk included a self-serve brown bag lunch of a sandwich and small pastry, created by the AGO’s culinary team.

The Brown Bag Lunch & Talk series is generously supported by

  • Maxine Granovsky Gluskin & Ira Gluskin

In association with

  • The Drawing Room

Listen: Meet the Artist, with Paul Graham

March 10th, 2014

Paul Graham, Untitled (Smoking girl in orange light)Paul Graham,
Untitled (Smoking girl in orange light), 1996–98, from the series end of an age.
Chromogenic print, 179.5 x 133.7 cm.
Gift of Alison and Alan Schwartz, 2000. 2000/1348 © Paul Graham; courtesy Pace Gallery and Pace/MacGill Gallery, New York.

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Recorded: Oct. 17, 2013, at Jackman Hall, Art Gallery of Ontario
Duration: 1:23:13

Paul Graham is a British photographer based in New York. Lauded as “a profound force for renewal of the deep photographic tradition of engagement with the world,” he was awarded the 2012 Hasselblad award for major achievements in photography.

In conjunction with the exhibition Light My Fire: Some Propositions about Portraits and Photography

Generously supported by Penny Rubinoff

Signature Partner, Photography Collection Program

A hands-on experience with the Thomson Collection

March 4th, 2014

The touchscreen recently installed in the Thomson Collection of European Art (Gallery 107). Photo by Craig Boyko/Art Gallery of Ontario.

The touchscreen recently installed in the Thomson Collection of European Art (Gallery 107). Photo by Craig Boyko/Art Gallery of Ontario.

The Thomson Collection of European Art at the Art Gallery of Ontario includes about 900 objects, mainly northern European sculpture and decorative arts dating from the early Middle Ages to the mid-19th century.

In addition to the collection’s cornerstone artwork, Peter Paul Rubens’ The Massacre of the Innocents, it has both sacred and secular objects including a renowned group of medieval and Baroque ivories, as well as fine examples of silver, Limoges enamel, boxwood carving, medieval manuscripts, carved portrait medallions and nearly 100 portrait miniatures from the 16th to the 19th centuries. It’s a varied collection that captures visitors’ interest, and they’ve told us that they want to know more.

Staff from our Digital Services department worked hard to create a new entry point to the Thomson Collection, in the form of an interactive touchscreen. You’ll find the screen close to the AGO’s entrance (Gallery 107), a room that also contains two paintings (from the Thomson Collection’s Canadian works), a ship model and a vitrine full of small objects from the European Collection.

These objects and paintings represent the Thomson Collection’s European, Canadian and Ship Model components, and each object has a story behind it and reason, including why Ken Thomson collected and appreciated it. In addition to getting an introduction to Thomson and the legacy of his collection, visitors can learn about the objects in depth by selecting them on the touchscreen. They are also directed to other spaces in the Gallery with more of the same kind of object.

Photo by Craig Boyko/Art Gallery of Ontario.

Photo by Craig Boyko/Art Gallery of Ontario.

How’d we do it?

The display screen is Microsoft’s 55-inch Perceptive Pixel touch display (learn more about it here). To get the project up and running, AGO photographers had to re-shoot each item using “focus stacking.” This process extends the depth of field in a shot (making more of it in sharp focus) without losing file data using multiple exposures and post-production software.

A folding knife with boxwood handle from the Thomson Collection of European Art. The image on the right — created using the photo-stacking technique — has an extended depth of field.

A folding knife with boxwood handle from the Thomson Collection of European Art. The image on the right — created using the photo-stacking technique — has an extended depth of field.

A shallow depth of field has always been an issue with macro photography. The objects included in the touchscreen project are almost all very small, so we adopted this photo merging or “stacking” software as a new approach. It allows the viewer to see these detailed objects more clearly than ever before.

What’s next? Our Digital team is full of ideas on how to make the experience even better, including enhanced way-finding and the ability to create personalized tours. We hope you’ll spend a few minutes with the touchscreen on your next visit. And if you’ve already had a chance to try it out, share your thoughts on the experience in the comments below.

Listen: Art & Ideas, A Bird’s Eye View on Art & Extinction

March 3rd, 2014

Sara Angelucci, Aviary (Male Passenger Pigeon/extinct), 2013
Sara Angelucci,
Aviary (Male Passenger Pigeon/extinct),
2013.
© 2013 Sara Angelucci.
Courtesy of the artist.
Sara Angelucci, Aviary (Female Passenger Pigeon/extinct), 2013
Sara Angelucci,
Aviary (Female Passenger Pigeon/extinct),
2013.
© 2013 Sara Angelucci.
Courtesy of the artist.

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Recorded: Jan. 15, 2014, at Jackman Hall, Art Gallery of Ontario
Duration: 01:31:16

Artist-in-residence Sara Angelucci; writer and historian Matthew Brower, Mark Peck, Royal Ontario Museum Ornithology Technician; and Bridget Stutchbury, author and Professor of Ornithology at York University, gathered to discuss the extinction and endangerment of North American birds as well as art and society’s relationship with the natural environment. The talk was moderated by the AGO’s curator of Canadian Art, Andrew Hunter.

Pigeon-less Pie, Sara Angelucci

The discussion was followed by a three-course meal served in FRANK restaurant, specially prepared by executive chef Jeff Dueck in consultation with Sara Angelucci. The main dish featured a vegetarian “pigeon-less” pie to mark the 100th anniversary of the extinction of the passenger pigeon. The passenger pigeon, formerly one of the most abundant birds in North America, was pushed to extinction in 1914 due to habitat destruction and over hunting. Dinner and dessert were each paired with a choice of white or red Ontario wine.

 

Speaker Bios

Sara Angelucci is a Toronto-based visual artist who works primarily with photography, video and audio, exploring vernacular archival materials such as home movies, snap-shots and vintage portraits and their limited ability to convey the exact sense of a lived experience. Working with these images Angelucci seeks to reposition them in the present, shedding light on their broader context and histories outside of the frame.

Matthew Brower is a lecturer in Museum Studies in the Faculty of Information at the University of Toronto. He writes on issues in animal studies, the history and theory of photography and contemporary art. He is the Author of Developing Animals: Wildlife and Early American Photography (University of Minnesota Press 2010). He has curated exhibitions in historical and contemporary art including Mieke Bal: Nothing is Missing, Gord Peteran: Recent Works, The Brothel Without Walls, Suzy Lake: Political Poetics, and Collective Identity │Occupied Spaces.

Mark Peck is the Collection Manager in Ornithology, Department of Natural History, Royal Ontario Museum (ROM) in Toronto. He is also involved in museum exhibits and programs and field research in South America, New Jersey and the Hudson Bay Lowlands of northern Ontario. In addition, he is the coordinator of the Ontario Nest Records Scheme, the ROM liaison for the Ontario Bird Records Committee and the program director for the Toronto Ornithological Club. In his off hours he is an avid bird photographer, traveling extensively for both his profession and his hobby. He has authored or coauthored numerous scientific and popular articles on birds and hundreds of his images have been published in books, magazines and on websites. Mark has been with the ROM since 1983.

Bridget Stutchbury is a professor in the Department of Biology at York University, Toronto. She completed her M.Sc. at Queen’s University and her PhD at Yale and was a postdoctoral fellow at the Smithsonian Institution. Since the 1980s, she has studied migratory songbirds to understand their behaviour, ecology and conservation. Her current research focuses on studying the incredible migration journeys of songbirds to help halt the severe declines in many species. She serves on the board of Wildlife Preservation Canada and is the author of Silence of the Songbirds (2007) and The Bird Detective (2010).

Listen: Meet the Artists, with Sara Angelucci, Spring Hurlbut & Marla Hlady

February 24th, 2014

Spring Hurlbut, Peewee #3 (crown)

Spring Hurlbut,

Peewee #3 (crown),

28 1/2 x 32 1/2 inches,

ultrachrome digital print,

edition of 7

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Recorded: Jan. 8, 2014, at Jackman Hall, Art Gallery of Ontario
Duration: 1:13:47

This talk features former artist-in-residence Sara Angelucci in conversation with artists Spring Hurlbut and Marla Hlady about their work, points of convergence and departure.

Sara Angelucci (born Hamilton, Ont.) is a Toronto-based visual artist who works primarily with photography, video and audio, exploring vernacular archival materials such as home movies, snap-shots and vintage portraits and their limited ability to convey the exact sense of a lived experience. Working with these images Angelucci seeks to reposition them in the present, shedding light on their broader context and histories outside of the frame.

Spring Hurlbut (born Toronto, Ont.) is a Toronto-based artist whose installations, sculptures and photography explore life, death and the human condition. Hurlbut, through her sculptures, which incorporate bone, egg shells, and claws, her photographs of human ash and her solemn monochrome portraits, encourages the acceptance of one’s own mortality and attempts to find the beauty in this inevitability.

Marla Hlady (born Edmonton, Alta.) lives and works in Toronto as a sound and kinetic sculpture artist, exploring ways of experiencing sound through spatial and social contexts. Hlady’s pieces deal with the nature of sound, often materializing it for viewers and reorienting their connection to everyday auditory experiences.

Listen: “21st-Century Art: Why Feminism Still (Really) Matters”

January 6th, 2014

On Jan. 2, 2014, artists Shary Boyle, Vanessa Dunn, Petra Collins and Aminah Sheikh got together on stage at AGO First Thursdays for a conversation entitled “21st-Century Art: Why Feminism Still (Really) Matters.” The talk was moderated by Nicola Spunt and presented by After School and Hazlitt. For those who couldn’t be here, an audio recording and links to media coverage:


Learn more about AGO First Thursdays and find out what’s on next month here.


What was contemporary art?

June 11th, 2013

Photo of Richard Meyer

Photo courtesy of Richard Meyer

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Recorded: Thursday May 9, 7 pm in Jackman Hall
Duration: 00:51:25

Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In this lecture, based on his recent book What Was Contemporary Art?, Art Historian Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.

Richard Meyer is the Robert and Ruth Halperin Professor in Art History at Stanford University. He is the author, most recently, of What Was Contemporary Art (MIT Press: 2013) and co-editor, with Catherine Lord, of Art and Queer Culture (Phaidon Press: 2013).

Richard Meyer’s talk is presented in assocation with the Joan & Martin Goldfarb Summer Institute in Visual Arts, produced by the Graduate Program in Visual Arts and the Graduate Program in Art History and Visual Culture, Faculty of Fine Arts, York University

 

Navigating a Gracious Cosmos: Faith and Creativity in 14th Century Florence

June 10th, 2013

Pacino Di Bonaguida, Leaf from the Laudario of Sant’ Agnese, around 1340

Pacino Di Bonaguida (active around 1303-1347), The Apparition of Saint Michael, Leaf from the Laudario of Sant’ Agnese, around 1340, tempera and gold leaf on parchment. The British Library, London (Add. Ms. 35254 B)

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Recorded: Wednesday, May 22, 7 pm in Jackman Hall
Duration: 01:32:53

Gilles Mongeau and Sasha Suda

Listen as Gilles Mongeau and Sasha Suda discuss the challenges faced by early Renaissance artists, like Dante and Pacino, whose efforts to depict their changing world precipitated a radical new visual language.

Gilles Mongeau is the Director, Master of Divinity and Associate Professor of Systematic Theology at Regis College in Toronto. Sasha Suda is the Art Gallery of Ontario’s assistant curator of European art.

See Lost in the Memory Palace through the eyes of a teenager

June 4th, 2013

After visiting the AGO and seeing Lost in the Memory Palace: Janet Cardiff and George Bures Miller, students from Cawthra Park Secondary School had to choose a work and record a 20-second response. Don Ball, head of visual arts at Cawthra, says the students were asked to move “beyond mere description.”

Experiment in F# Minor

The work:

Janet Cardiff & George Bures Miller, Experiment in F# Minor, 2013, mixed media interactive sound installation including 72 loudspeakers on two wooden worktables, 2.44 x 1.83m

Janet Cardiff & George Bures Miller, Experiment in F# Minor, 2013,
mixed media interactive sound installation including 72 loudspeakers on two wooden worktables, 2.44 x 1.83m

The response:
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