If it isn’t obvious by now, Guillermo del Toro has taken over the AGO! To celebrate Guillermo del Toro: At Home with Monsters, the entire Gallery is immersing itself in the fantastic and frightful. An exhibition of the collected works of the famed filmmaker and self-proclaimed superfan wouldn’t be complete without an accompanying film series. We have not one, but two (!) film series happening in Jackman Hall this October. Read the rest of this entry »
We all remember the afternoon energy crash after a full day of high school. Good news: the AGO has a very special pick-me-up. Teens aged 14–18 can develop their artmaking skills, build portfolios and channel their creative energy into a special Integrated Studio Program designed just for their age group, with activities ranging from life-drawing to sound art.
Francisco de Goya. A way of flying (Modo de volar), Plate 13 from “Los Proverbios”, c. 1819 – 1824. Etching, aquatint, lavis, burnisher, drypoint and burin on paper, 24.2 x 35.1 cm. Gift of The Robert Tanenbaum Family Trust, 1999.
It’s that time of year again! For one night only you can be an art-goer from dusk to dawn with Nuit Blanche Toronto 2017, experiencing installations and performances by some of Toronto’s most inspired artists – and all for free.
When Katy Chey applied for the role of exhibition designer at the AGO, she knew she wanted to work on one exhibition in particular: Guillermo del Toro: At Home with Monsters. And once you experience the show after it opens on September 30, you’ll understand why. This installation goes far beyond what we’re used to. Chey and the project team behind At Home with Monsters have turned the entire Sam & Ayala Zacks Pavilion gallery space into the otherworldly, gothic home called Bleak House – a re-creation of del Toro’s famed residence in Los Angeles.
Guillermo del Toro famously had to buy a second house to store his collection of art, comics and massive libraries of books – and frankly, we get it. When the temperatures begin to cool in late September, there’s an undeniable urge to put on a sweater, grab a warm drink, and surround yourself with the printed word (or just an e-reader, if that’s your thing).
That’s why we recommend hitting up Word on the Street, the annual mega-sized book fair, taking place this Sunday, September 24 at the Harbourfront Centre. Over 200 Canadian authors will be doing readings throughout the day (some even taking place on a tall ship). There’s a slam poetry performance and a line-up of panel discussions, and families have their own literary and storytelling-themed activities. But the big draw is Canada’s biggest literary marketplace, with over 250 book, comics and magazine vendors, including independent authors and bigger Canadian publishers.
The AGO is getting into the Halloween spirit early with the opening of our fall exhibition Guillermo del Toro: At Home with Monsters. Inspired by all things macabre, supernatural and obsessive, we’ve put together a series of talks and a very special First Thursday – headlined by electro-pop provocateur, Peaches!
Every. Now. Then: Reframing Nationhood is the AGO’s much-acclaimed response to Canada’s sesquicentennial celebrations of 2017. Instead of joining in the celebration, the exhibition engages in a more critical conversation about whose history is told where and when, whose voices have been marginalized or left out completely, and what myths about Canadian identity continue to reverberate in our culture.
Co-curated by Andrew Hunter, Fredrik S. Eaton Curator, Canadian Art, and artist Anique Jordan, the exhibition was born out of conversations with Canadian artists, over 50 of whom are represented in Every. Now. Then. Naturally, those conversations are now bursting out of the AGO walls. They’re landing in two Toronto communities in a project called The Public, organized by Jordan.
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.
When Florine Stettheimer: Painting Poetryopened at the Jewish Museum in New York earlier this year, it was the first major retrospective of her work seen in that city in over 20 years. Apparently the art world couldn’t have been more ready for it! Effusive praise for the rarely shown artist and the show poured in from the New York papers. The exhibition is on view there until September 24, but shortly after that it will hop the border to come directly to the AGO for what will be the first-ever Stettheimer retrospective in Canada, opening on October 21.