Toronto Outdoor Art Fair 2018,
Nathan Phillips Square
Archive for the ‘galleries’ Category
art at Nathan Phillips
Posted: July 9, 2018 in events, galleries, peopleTags: art, art fair, art show, artists, glass, images, looking, Nathan Phillips Quare, outdoors, paint, paintings, people, pictures, rust, sculpture, toaf2018, Toronto Outdoor Art Fair
Tinirrusiangit
Posted: June 30, 2018 in galleriesTags: AGO, art, art gallery, Cape Dorset, drawing, fish, fishing, Kenojuak Ashevak, Kinngait, owl, paintings, person, print making, ravens, stencil, stonecut, Tim Pitsiulak, whales
Tinirrusiangit is an Inuktitut word that means “their gifts” or “what they gave”. It is the name of the latest exhibit at the Art Gallery of Ontario features the work of two Inuit artists, Kenojuak Ashevak (1927-2013) and her nephew Tim Pitsiulak (1967-2016). Ashevak (1927-2013) was born in southern Baffin Island although she grew up on the land in the traditional, semi-nomadic hunting lifestyle, living in igloos and skin tents.
In the 1950’s she developed TB and ended up, against her will, in a hospital in Quebec City This was not a happy time in her life. She had just given birth when she was forcibly transferred; the baby was adopted by a neighbouring family. Several of Kenojuak’s children died while she was in the hospital. One of the ways of passing time at the hospital was making arts and crafts such as beading and doll making.
When she returned to Kinngait Nunavut (previously Cape Dorset), she learned printmaking. She was also one of the early members of the West Baffin Eskimo Collective which became Kinngait Studios.
Ashevak was the first internationally known Inuit artist. Her most famous piece, ‘The Enchanted Owl’ 1960, was used on a Canadian postage stamp in 1970 in honour of the Northwest Territories centennial. Owls were one of her favorite subjects.
below: Ravens and Owl, 1979, stonecut and stencil on paper, by Kenojuak Ashevak
below: Happy Little Owl, 1969, stonecut on paper, by Kenojuak Ashevak
below: Untitled, 2004-5, pencil and felt tip marker on paper, by Kenojuak Ashevak
Tim Pitsiulak, born in Kimmirut Nunavut, was a hunter and a painter. He started drawing as a young boy and although he tried carving and jewelry making, most of his artwork centers around depicting everyday life in drawings and paintings.
below: GoPro Hydrophone, 2016, pastel on black paper, by Tim Pitsiulak. Here, the artist (the hunter) throws a GoPro camera into the water to record the sounds and images of the animals in the water.
“What more could I ask for, than for people to notice what we have up here? This is the best thing about being and artist and a hunter.” Tim Pitsiulak quote on the wall at the AGO.
below: Swimming with Giants, 2015, by Tim Pitsiulak. Beluga whales swimming with a bowhead whale.
The exhibit continues until 12 August 2018
a Yorkville meander with Captain Canuck, Batman and a mountie or two
Posted: May 16, 2018 in galleries, locationsTags: Adrian Dingle, Alter Ego, Amyn Nasser, batman, bear, Brendan Meadows, Captain Canuck, Christopher Woodcock, church, city, City Obscure, clock, firehall, flag, Heliconian Hall, hoardings, ice fishing, Ipseity, Liss Gallery, Lomas Gallery, mannequins, mountie, music scene, Nelvana of the North, Nelvana of the Northern Lights, new york, park, Patrick Amiot, photographer, photography, photos, plaque, posters, sculpture, spring, Toronto Reference Library, tower, tpl, trees, urban
It’s still May and the CONTACT Photography Festival is still on so I am still trying to see as much as possible. Yesterday afternoon I went wandering in Yorkville where there is lots to see and do besides a couple of CONTACT exhibits.
below: Captain Canuck. I started with the TD Gallery at the Toronto Reference Library. It wasn’t that long ago that I was there (April I think) but the exhibit has changed. It is now ‘Alter Ego: Comics and Canadian Identity’. Isn’t Captain Canuck the most famous Canadian superhero? He first appeared in 1975.
below: Not so well known – The cover of the book ‘Nelvana of the Northern Lights’ by Adrian Dingle (1911-1974). Nelvana was Canada’s first female superhero; she first appeared in 1941, a few months before (American) Wonder Woman. Nelvana’s superpowers included turning invisible and traveling at the speed of light along a ray of the Northern Lights. According to Wikipedia, she “visited lost kingdoms under the ice, journeyed to other dimensions, and fought against the Axis Powers during World War II, eventually taking on the secret identity of secret agent Alana North. Her last adventure was published in 1947.
below: This structure was built in 1876 as a Carpenter Gothic Revival Style church – the Olivet Congregational Church. It has been the home of the Heliconian Club since 1923. This women only club was formed in 1909 and is still active today supporting women in the arts. There is a photo exhibit on there at the moment but viewing is by appointment only (it is a club not a gallery after all).
below: For CONTACT, the Lomas Gallery on Yorkville Ave is featuring a few large photos of cityscapes that are full of tall buildings. The one behind the red couch is ‘NoMad New York’ by Christopher Woodcock.
below: On the wall beside is ‘[a]DCLXI’ by Amyn Nasser.
below: It’s not a sculpture or a statue, but this red faced mannequin caught my eye. Maybe next time he’ll remember his sunscreen.
below: The clock tower of the Yorkville firehall. One side seems to missing its clock face.
below: Brendan Meadows’ black and white portraits hang on the walls of the Liss Gallery in an exhibit titled ‘Ipseity’. These were printed as silver gelatin selenium-toned lith prints by Bob Carnie from negatives made from digital images. The images were also manipulated with the Sabatier effect (solarization); this results in an image that is wholly or partially reversed in tone. Dark areas appear light or light areas appear dark.
below: Posters on hoardings add a little life at street level to the construction sites in the area. This set features businesses and sites in the area including the ROM.
below: Some colourful art deco style posters.
below: Prepared for anything! With a yellow duckie, handcuffs and binoculars, Batman and his Robin hand puppet prepare to take on the forces of evil! These are sculptures by Patrick Amiot.
below: Part of the Miraim Schiell gallery is devoted to Amiot’s work.
below: This large RCMP mountie and his dog stand behind the gallery.
below: Enjoying the wonderful spring afternoon on Cumberland.
below: Oh.. that second mountie that I alluded to in the title of this post – he was on the wall at the Alter Ego exhibit. This one. Just don’t call him Dudley Do-Right.
below: This is either ironic or sad. The first few lines of text say “In the the 1960s and 1970s, Yorkville village was the heart of Canada’s bohemian, counterculture community”. As I took this picture a new Bentley with dealer plates drove past. I looked around and the ‘counterculture’ of 40 to 50 years ago has been replaced by designer boutiques, high end stores, fine art galleries, and restaurants with linen napkins. Not a lot of music happening here. Full transcription is below.
“In the the 1960s and 1970s, Yorkville village was the heart of Canada’s bohemian, counterculture community. More than 40 clubs and coffee houses nightly featured folksingers-songwriters, including Ian & Sylvia, Gordon Lightfoot, Joni Mitchell, and Neil Young, who performed some of their first compositions in these smoky venues.
Yorkville’s first coffee house, Club 71, was opened by Werner Graeber in 1959. By 1964, Yorkville had become a nurturing environment not only for folk music, but also for pop, blues, and later, psychedelic rock. Hippies and teenagers flocked to these unlicensed venues, which offered an alternative to Yonge Street bars.
Yorkville was also home to three sound-recording studios, taping major acts such as The Guess Who, Lighthouse, and Ann Murray. With its vital role in fostering a wealth of talent, the Yorkville scene inspired a generation of songwriters and led to the rise of a new Canadian sound.”
paddling the Bentway
Posted: May 11, 2018 in construction, galleries, locationsTags: art, canoes, Carlo Cesta, construction, CONTACT, Dana Claxton, development, Embassy of Imagination, Forest of Canoes, fort york, Fountaingrove, images, Janice Qimirpik, Moe Kelly, Nestor Kruger, Ordnance Street, PA system, park, pictures, public space, railway, sculpture, snowmobile, Strachan Ave., tracks
… and vicinity
The Bentway is a new park being built under the Gardiner Expressway between Bathurst and Strachan. I walked it almost two years ago when the park was only in the planning stages. I thought that I’d take a look at it again the other day. Originally, it was supposed to be ready last summer so it’s a bit behind schedule. Surprised?
Walking south on Strachan from King, and whoa, there are changes happening here too. Cranes everywhere. Holes in the ground. How many people are employed in the construction industry in Toronto? in the GTA?
below: Looking eastward from Strachan Avenue, immediately south of King Street.
below: The view from a few metres farther south on Strachan. The metal grid covers the railway tracks and supports the retaining walls on either side. It also makes an interesting pattern. These tracks turn northward – they are used by the UP Express to the airport and GO trains to places like Georgetown and Barrie. There’s the CN Tower again – just in case you’re a CN Tower junkie like me. I can’t resist taking pictures of it, especially when I find new angles, new foregrounds.
below: Immediately south of the train tracks is Ordnance Street. Until recently it was a sleepy little dead end street of light industrials.
below: Ouch! Look at all those transformers on the poles.
below: The east end of Ordnance Street is at Strachan. It doesn’t actually end there, but continues on the west side as East Liberty Street. This is the eastern edge of Liberty Village.
Sorry, we haven’t got to the Bentway yet. If you are a Torontonian you should now have your bearings and know at least approximately where you are. Not far to go now. It’s a beautiful day and we’re walking slow!
The Ordnance Street development is on a triangle of land with one side as Strachan Avenue and the other two sides as railway lines.
below: You’ll have to take my word for it that the construction on Ordnance Street is just behind the bushes on the left. These are the tracks that run to the west and the bridge over the tracks is at Bathurst Street. By this time, the two sets of tracks have come together as they approach Union Station.
below: One of the first views of the Bentway. More construction. I was standing on Strachan when I took this picture. This is the beginnings of a new entrance to the Bentway – a large staircase down the hill from the street. The steps are wide to allow for multiple uses – a place to gather, a place for entertainment.
below: This end of the Bentway parallels Garrison Common. The Ordnance Street development can still be seen but there is also another structure being built on Garrison Common side of the railway tracks.
below: A closer look. It appears to be a ramp to a pedestrian/cycle bridge that will cross the tracks and join Ordnance Street to the Bentway, Fort York, and the streets/paths to the south. I also really like the billboards – one with graffiti and the other is empty.
below: The new rusty entrance to the Fort York Visitors Center
below: Just beyond the visitor’s center, the Bentway is closer to completion. There was a skating rink here this past winter.
below: Also here is an installation by Dana Claxton called ‘Forest of Canoes’. Colourful images of canoes on the concrete pillars. Light-wise, they are probably best seen in the morning but that’s not when I was there.
The Bentway follows the shoreline of Lake Ontario that existed before landfill was used to create a space for the railway lines. Canoes were once an essential means of transport. Now their images sit on concrete pillars that hold up the Gardiner Expressway where thousands of cars pass by every day.
below: In the bottom left corner of this picture is what looks like a bluish blob. My apologies to the artist for calling it a blob but I’ll blame it on the lack of light and therefore, the lack of detail, in the photo. This is another art piece. It is ‘Future Snowmachine in Kinngait (Colossus)’ by Janice Qimirpik, Moe Kelly, Embassy of Imagination, and PA System. Embassy of Imagination is a collaboration between PA System (Patrick Thompson and Alexa Hatanaka) and youth in the Cape Dorset community of Kinngait. This sculpture started with small playdough models of snowmobiles made by Qimirpik and Kelly. They were then scaled into a larger than life sculpture.
The next part of the Bentway is under construction and there is still no pedestrian crossing across Fort York Blvd and is passes diagonally under the Gardiner. There is (was?) one in the plan.
below: This sculpture is on the corner of Fort York Blvd and Grand Magazine Street. It is ‘Fountaingrove’ by Carlo Cesta and Nestor Kruger, 2014. It sits above the Garrison Creek Culvert that carries the now buried creek to the lake. Like the name states, it represents water in fountains. Of course there is a white crane hiding behind it.
below: Just west of Bathurst Street
below: Getting cosy. Condos rise up right beside the Gardiner Expressway. If you’ve driven across the Gardiner, you’ll know just how close some of the buildings are to the traffic. How useful is a balcony if it’s metres away from a highway and from all those cars and trucks? They keep being built and people keep buying them.
below: I couldn’t resist all the yellow and orange bits and pieces!
below: On the east side of Bathurst is the construction of a new Loblaws. It never ends does it?
This blog may have been a bit heavier on construction photos than you were expecting, especially since the title was about canoes. There was just so much work going on in that area that it was hard to avoid. The next time that I walk this area it will probably be totally different… unfortunately new buildings are a lot duller to look at than construction sites so there may not be many photos!
Max Dean’s “Still Moving”
Posted: May 6, 2018 in galleriesTags: automatons, bubbles, CONTACT, Contact photography festival, East Harbour, factory, Firstgulf, industrial, mannequins, Max Dean, men, soap, still moving, Unilever
Tucked away in part of the old Lever Brothers (then Unilever) soap factory there is a small exhibit now showing.
below: Follow the yellow caution tape to find the installation…..
below: This is the sight that greets you when you first walk into the room….. A large industrial sized funnel left behind when the factory was decommissioned dominates the room. A few figures stand on the other side of it.
below: Moving closer. Above the figures is a bubble making machine – how appropriate for a soap factory!
As it turns out, these figures – mannequins or automatons – were originally made back in the 1980’s as props for the Wilderness Adventure Ride at Ontario Place. When Ontario Place closed, these guys were abandoned.
below: He looks very intent on something. .. like destroying my camera if he could.
Toronto artist Max Dean rescued their remains, cleaned them up and brought them back to life.
below: … and into the 21st century. Playing Candy Crush to pass the time? Or checking his Tinder messages?
The Unilever factory site is now owned by First Gulf (a development company). Access is at 21 Don Roadway which also the DVP ramp from the Lakeshore. There is parking. Getting there by public transit is not easy as there is no access directly from the north (the railway tracks & DVP are in the way).
“Still Moving” continues until the 3rd of June.
A short CONTACT walkabout
Posted: May 5, 2018 in events, galleries, peopleTags: art, Brokkfield Place, Caroline Monnet, CONTACT, Contact Gallery, exterior, Felicity Hammond, Galleria, hoodies, John Edmonds, King St., Marleen Sleeuwits, Metro Hall, panels, people, photography, site, TIFF, wall
This little walk starts with the artwork of Marleen Sleeuwits and her ‘Not the Actual Site’ exhibit at Brookfield Place (Allan Lambert Galleria).
A short walk from Brookfield Place westward along King street towards Metro Hall….
where pictures from John Edmonds ‘Hoods’ series are on display (as are the people who walk past!).
Across the street from ‘Hoods’ is Caroline Monnet’s, ‘History shall speak for itself’. These photos are the south and west wall of TIFF.
Just a bit farther west (at Spadina) you can find a large purple hued image by Felicity Hammond on the north wall of 460 King St. West.
A few more smaller works by Felicity Hammond are in the Contact Gallery at 80 Spadina – the building immediately north of the parking lot where you can find the image above. The gallery glowed in pink and purple light.
below: Object shapes are cut outs from a thin sheet of acrylic on which photos were printed. These shapes are held up by clay blobs.
And that’s our tour for today!
Ryerson CONTACT
Posted: May 1, 2018 in events, galleriesTags: anishinabe, CONTACT, Devonian Square, newlandia: debaabaminaagwad, photography, rocks, Ryerson, Ryerson Image Centre, Scott Benesiinaabandan, Shelley Niro
May is CONTACT Photography month in Toronto and like in previous years, some galleries start the month early. One of these galleries is the Ryerson Image Centre. This year, in the main gallery they are featuring the work of Shelley Niro, the 2017 winner of the Scotiabank Photography Award. You may have seen some of her work at the AGO where her shirts series of photos is also on display. Outside the building, in Devonian Square, there are large colourful abstract images glued onto large rocks. These are the work of Scott Benesiinaabandan, a Montreal-based artist from the Obishikokaang Anishinabe First Nation.
below: First, the poster/sign at the entrance to the Ryerson Image Centre. The four images on the left are from Niro’s shirt series of pictures – the full series is shown inside the gallery. There is also a video from 2003 that features this woman and the T-shirts standing in this location.
below: A series of three photos framed together titled ‘Mohawk Worker’. It is one of a series of six triples called ‘This Land is Mime Land’ (Apparently there are 12 in the series, but only 6 are on display here). Each set in the series has an old sepia toned black and white photo in the center, a casual posed photo on the right (of the same woman in each), and a posed, hand coloured ‘parody’ photo on the left. In this case, she is dressed in working clothes and a hard hat, but she’s applying lipstick and has a small compact mirror in her left hand. Other works in this series include, ‘Love Me Tender’ with the woman dressed as Elvis, and ‘Final Frontier’ with the woman dressed in a Star Trek outfit.
below: One of another set of pictures. Hand painted black and white photos of these women posing (hamming it up) for the camera. They are on the yellow brick road, and like Dorothy on her way to see the Wizard, they are wearing red shoes. “Red Heels Hord” 1991. It, like a lot of her work, challenges the stereotypes and cliches of Native American women.
Shelley Niro was born in 1954 in Niagara Falls NY and grew up on the Six Nations of the Grand River Reserve near Brantford. She graduated from OCA and a masters in Fine Art from the University of Western Ontario.
below: Four photos from “Are You My Sister?” 1994. This is only part (4/12) of the series. The glass was very reflective so you can see the shirt series that was on the opposite wall. Like most of her work, the matte has been hand decorated. In this case, patterns are made with performations in the matte.
Scott Benesiinaabandan’s installation, ‘newlandia: debaabaminaagwad’ is in two parts. First, on the sidewalk in front of the statue of Egerton Ryerson, the man who founded the University, is an image that has been glued to the ground. Parts of that statue have been used in the making of the image – it’s not too easy to see in this photo, but the top part of the image is the same shape as the top of the statue of Ryerson. Maybe you can see the purple draped head and the outstretched arm. It’s like the statue has been draped with cloth and/or pictures. In fact, the images used to create this were taken from photographs that Benesiinaabandan took of three First Nations flags.
below: The other part of ‘newlandia: debaabaminaagwad’ consists of large images adhere to rocks in the square, taking on the texture of the rocks.
Both of these artist have their own websites:
1. Scott Benesiinaabandan
2. Shelley Niro
dots and lights, infinite souls
Posted: April 23, 2018 in galleriesTags: AGO, art, Art Gallery of Ontario, colours, dots, exhibit, infinite, infinity, LED, lights, mirrors, obliteration, paintings, patterns, reflections, staircase, Yayoi Kusama
Dots, dots, dots. Millions of dots? Dots and lights worth waiting for.
‘Infinity Mirrors’, Yayoi Kusama, AGO
Kusama’s polka-dot paintings were based on visual hallucinations she has experienced throughout her life, often based on “a miserable childhood as an unwanted child born of unloving parents.” These hallucinations often involve repeating patterns that engulf her field of vision, a process she refers to as “obliteration”. Painting has helped to keep her demons at bay, to obliterate her anxieties.
In 1968 she returned to Japan. In 1977 she checked herself into the Tokyo mental hospital where she has lived ever since. She has a studio where she works during the day but she returns to the hospital at night.
below: In an effort to keep the waiting times down, the AGO is letting three people at a time into the rooms. I’m not sure who the man is, but he seemed to put up with Joanne and I and our cameras! This was the first room in the exhibit and it was a bit of a let down – it was the only one that wasn’t impressive. Minor gripe – why not a mirror on the ceiling?
below: 30 seconds per visit. All timed – note the stopwatch!
below: Stars and planets into infinite. Small specks in the vastness of the universe. Obliteration of the self as we become just a very tiny, minuscule dot in the infinite of space. This exhibit is “The Souls of Millions of Light Years Away” and is made with hundreds of hanging LED lights.
below: The words on the wall say, “The souls of millions of light years away”. This is the line-up for the room above. It was one of the shorter lines.
Kusama was born in Japan in 1929 and trained originally in traditional Japanese painting. One of the only American painters that she knew of was Georgia O’Keefe, having seen her work in an art book. She wrote to Georgia O’Keefe asking for advice on how to break into the New York art world. In 1958 she moved to New York City where she became part of the avant-garde art scene. She was into pop art and hippie counterculture. She organized a series of anti-war public performances featuring naked people who were painted with brightly colored polka dots.
below: This room was fun especially since I got to spend a few seconds alone in it. Dancing with pink balls.
below: Looking into “Love Forever” – a small hexagonal box with some mirrors on the outside and two small windows (peepholes!) as seen from the outside. This structure/exhibit was first shown in 1966.
below: Looking in the window…. It’s amazing what can be done with mirrors and lights in a small space. Mirrors combined with the technology of LED lights that can change colours with computer controlled programs made for an impressive display. An endless repetition of patterns.
below: Same room, different colours
below: Obliteration Room – multicoloured stickers that people have added to an all white room with all white furniture and accessories like wine glasses and dog dishes. As more people pass through, the more colourful the room becomes. The dots make it difficult to see the details in the room. Can you tell what is on the table?
Kusama also paints and makes sculptures.
Thanks to Joanne of My Live Lived Full for playing with me!
a numbered hot take, in plastic
Posted: April 19, 2018 in galleriesTags: art, Bruce Eves, bumper stickers, cases, Clint Roenisch, containers, Daniel Faria gallery, Douglas Coupland, galleries, Niall McClelland, numbers, paint, paintings, plastic, Raw War, Robert Kananaj Gallery, slogan, St. Helens Ave., tsunami, work #901
A return to St. Helens Avenue and the galleries there.
A few galleries devoted to contemporary art can be found on St. Helens Ave. I know that I have mentioned some of their past exhibits in previous blog posts. Exhibits change and so back we go. The three exhibits that I saw today have little in common with each other. Three artists with different views; three men trying to turn their thoughts and ideas into something visual. The first gallery that I visited today is the Clint Roenisch Gallery where the exhibit is “Hot Takes, No Sax”, by Torontonian Niall McClelland. It will be there until 21st April.
From Wiktionary: “Noun[edit]. hot take (plural hot takes). A bold, broad, and subjective moral generalization on a situation, with little or no original analysis or insight, especially by a journalist.” Something written quickly and without much thought put into it. Although some people associate it with journalism, you could also apply it to a lot of things online – think about the comments section after a news article, or something on your facebook or twitter feed. Sometimes I think that that expression applies well to contemporary art – thrown together to provoke but not much actually went into it.
below: Running diagonally across the room is a line of trunks and metal cases that are covered with bumper stickers. On the wall are 4 images, each with a black and white background. The frames are covered with more bumper stickers. This is only part of the exhibit.
below: These are the three images on the wall in the photo above. The frame on one side of the image on the left has the names of four American politicians from the not so recent past – Nixon, Goldwater, McGovern, and Carter. Some of the images may be familiar to you as well.
below: More of the stickers. Is there a theme to them? How do these relate to hot takes? Which side is the artist on? “Urban farmer”, “When you sit down for dinner, thank a farmer”, “Impeach Trump”, “Give a hoot”, “The times they are a changin”, “Be green”, “Bio fuels: no war required”, “Who’s your farmer?”, “I’d rather be gardening”, “Nasty woman”, “Break the chains, shop at independent stores”, “Saving seed is a basic human need”, “Localvore”, “Whatever happens to the water, happens to the people”, “What is the proper way to fold an anarchist flag?”
Next is Douglas Coupland’s “Tsunami” at Daniel Faria Gallery, until 28th April. Trashy in a certain way. Coupland has collected, cleaned and painted various plastic containers and other disposable items he found along the shore in British Columbia. A number of the items probably crossed the Pacific Ocean after the earthquake and tsunami in Japan in 2011. Trash on display? We’ve all heard the expression “reduce, reuse, recycle” which may be facetious here? Is it too pretty to be a statement about the environmental impact of plastics?
below: The large gold piece is a collection of more debris that Coupland has amassed and painted. Another one, all in black, is on a different wall (not shown here).
This spring, Coupland will transform the Vancouver Aquarium into a vision of the Great Pacific Garbage Patch by filling aquarium tanks with some of the trash that Coupland has collected – by some I mean 20 tons of it. Twenty tons of found rubbish. Twenty tons of plastic and other debris. Jet streams will simulate ocean currents and the garbage will “float, bounce, disperse and gather along the tank, fragments flowing into one another like an overwhelming and exhausted assemblage”.
below: Tucked away in the back room of the gallery are four paintings like this, also by Douglas Coupland.
Part three is the exhibit “Raw War” by Bruce Eves that is on at the Robert Kananaj Gallery until 21st April. Eves was just given one of the 2018 Governor General’s Awards in Visual and Media Arts.
“taps into a zeitgeist fraught with peril”
below: Part of Work #901 by Bruce Eves. There are seven panels in total. Every hour for a week in February 2014 he took his heart rate. The numbers in the squares are his heart rate. It’s difficult to see in this picture, but each square also has the date and time. In addition, each panel is a day. Something happened on Friday February 14th at 16:00 to elevate his heart rate to 123 beats/minute!
Eves has also painted a sequence of numbers that are actually nine blood pressure readings. It was after he learned that he had a heart condition that Eves started using his health (and the monitoring thereof) as subject matter. A self-portrait based on data about oneself, so to speak. How his doctor sees him.
A few things to think about?
(P.S. My apologies for the title)
April slush, April sleet
Posted: April 16, 2018 in galleries, history, old buildings, peopleTags: aquatints, bus shelter, Carlos Marchiori, etchings, Gerard Lazare, King St., Maihyet Burton, people, rain, reference library, St. James cathedral, streetcar, subway, TD gallery, Toronto Revealed, TTC, umbrellas, Vernon Mould, weather
Well, that was quite a weekend. An April winter storm with snow, sleet, ice pellets, freezing rain, and even some just plain rain. The streets were icy and the sidewalks were slushy and wet. Chunks of ice have fallen off roofs, tree branches have broken off with the weight of the ice that formed on them. And then there was the wind that blew hard. Of course I went out!
below: Dressed in our April finery. Black parkas.
below: There is a small, but interesting, exhibit at the Toronto Reference Library at Yonge and Asquith that I wanted to see. It’s called ‘Toronto Revealed’ and it’s in the TD Gallery on the main floor. It features drawings and paintings of Toronto’s past.
below: One of the paintings in the exhibit is this one, ‘Cherry Street Hotel’ by Gerard Lazare (1978). The Cherry Street Hotel was built in 1890 at the corner of Cherry and Front Streets. It later became the Canary Restaurant (1965-2010). The building is still there but it stands empty.
below: There was a display of small artworks by Nicholas Hornyansky (1896-1965), including this one of St. James Cathedral (1938). Hornyansky was born in Hungary and immigrated to Canada in 1929. He is known for the etchings and aquatints (another print making technique) that he did of Toronto buildings and landscapes.
below: Most of the paintings were very realistic (documentary) except this one – a wacky view of Bloor Street looking west from Yonge towards Bay by Carlos Marchiori, painted in acrylic in 1976. Even then, it is fairly true to reality. The darker tower on the right is on the NW corner of Bloor and Yonge. Stollerys store (the low building on the SW corner) is long gone.
While I was at the library, I wandered around and took a few pictures of its vast open spaces. It was warm and dry! I was expecting to be told to put my camera away, but no one seemed to care.
below: Most were too busy working to notice.
below: One more picture from the ‘Toronto Revealed’ exhibit is this painting of the intersection of King and Jarvis by Vernon Mould. It was painted in 1979. Was gas really 20 cents a gallon in 1979? No! That was the year that prices went metric and a litre of gas was 20 cents. I came back to this picture because I chose to chase down that intersection to see what it looks like today.
below: Et voici, same intersection, approximately the same angle. There is now a building (with a Second Cup on the ground floor) where Mould would have stood. By the looks of it, the three storey brick building on the NE corner has been fixed up since 1979. So glad to see that it hasn’t been replaced by a glass condo tower!
below: I wanted to find out more about the building, so I googled Sportsman’s Shop and I found a wonderful old picture of it from the 1970’s, obviously taken before it was renovated. Apparently, it was fixed up in the early 1980s.

photo credit: Gary Switzer, source: Urban Toronto
below: The next photo was taken as I stood on the same corner of King and Jarvis, but pointing my camera in different direction – looking west on King towards St. James Cathedral. This is the eastern limit of the King Street streetcar project which is why the multicoloured barricades block part of the righthand westbound lane.
below: These women are waiting in the wrong place. Although the city changed the location of the streetcar stops along King Street, the bus shelters haven’t been moved yet. At least they were (sort of) out of the rain. They soon realized their mistake.
below: Looking back, the prerequisite photo of a TTC streetcar through a rainy day window.
It’s always better to end a blog post on a happy note, right? It may be a dream (I hope not!) but spring can’t be too far away. April showers bring May flowers, right? On my second warm up stop I saw this cheerful, hopeful drawing tacked to a wall. It was one of many on the wall, all the work of Maihyet Burton. They were at the Artscape building at the Distillery District.
below: Headed home again.
Don’t put away your boots and hats yet!





























![on a gallery wall, Lomas Gallery, a large photo, [a]DCLXI by Amyn Nasser of a wall of glass skyscrapers with lots of windows, on the wall beside is another photo in which Nasser's photo is reflected.](https://mcfcrandall.blog/wp-content/uploads/2018/05/blog_photo_reflected_another_photo.jpg?w=614&h=437)


































































































