The 5th floor is busy with The Culture: Hip Hop and Contemporary Art in the 21st Century in mid-installation. With every exhibition there are surprises – sometimes good, sometimes less good. One of the major works in the exhibition was too large to squeeze from the E.R. Wood Gallery into the Joey and Toby Tanenbaum Sculpture Atrium. Moby Dick (for Oscar Wilde, Oscar Romero y Oscar Grant) by William Cordova is a sculptural work made from a reclaimed police car and other materials. Instead of admitting defeat, the Logistics and Art Services and Conservation teams devised a new method to transport the work. Below are great pictures of the work propped up on its side on a custom cradle on its way to its intended destination on the 5th Floor. Thank you, all!
On Wednesday, the AGO Board of Trustees met in the Weston Family Learning Centre. We provided an overview of our current financial position (we are tracking to a balanced budget if we continue to keep things tight), shared recent developments in the Brand & Business and Education & Programming areas, and Dr. Julie Crooks presented on The Culture.
This week marked the 50th anniversary of the opening of the Henry Moore Sculpture Centre. We marked the occasion with programming and publicity, and it gave me a moment to reflect. It is a truly beautiful space, filled with monumental plaster sculptures, in an elegant gallery designed by Toronto architect John Parkin in partnership with Moore. Five decades later, it still feels contemporary.
Everyone has a story about the Moore Centre – it really does seem part of our museum and the city of Toronto. One of the paradoxes of the Moore sculptures is that while they look bold and monumental, they are actually extremely fragile. Lisa Ellis in Conservation spoke this week about how many of them are made of simple crude wood forms covered in chicken wire with a pretty thin layer of plaster.
Click here for more information from Adam Welch in Curatorial and Lisa Ellis about the Moore Centre.
I know many of you are hard at work installing and ramping up for the upcoming exhibition The Culture: Hip Hop and Contemporary Art in the 21st Century on the fifth floor. I have a feeling that it will be a popular exhibition for the holiday season.
In this presentation, Janne will showcase her art of photography and the unique personal meaning behind her works; for reference here is Janne’s website www.artjanne.com I first viewed Janne’s photography at Art Toronto last year and so thrilled to see her launch this important volunteer artist collective.
The AGO Volunteer Artist Collective initiative was born out of conversations I had with volunteers in the lounge and the incredible pool of creative talent we can highlight and showcase, as a community.
We, Holly, I and the artists, are excited to launch this initiative. Equally as Volunteer President, I’m so thrilled to see this idea come to life, and highlight the talents of so many of our volunteers, and what we create outside the gallery walls; as artists, our visions and mandates. This will give us all, volunteers over different days, shifts and placements, an opportunity to come together as a community.
We are excited to share that the Gallery’s Development Team, led by Associate Director Erin Thadani, has organized an exclusive talk for volunteers, in thanks for this year’s Volunteer Endowment Trust (VET) donation to support the upcoming exhibition Joyce Wieland: Heart On (opening June 2025).
Tuesday November 26
10:30am – 12:00pm
WFLC Seminar Room #1
Georgiana Uhlyarik, Fredrik S. Eaton Curator, Canadian Art, will be joining us for an illustrated talk on Wieland; she will be introduced by Michael and Sonja Koerner Director & CEO, Stephan Jost, who will share insights into the Gallery’s latest expansion, the Dani Reiss Modern and Contemporary Gallery.
With thanks also to the leadership of Barbara Glaser, your Volunteer President, in helping to coordinate this event.
Important: Please RSVP your attendance, (HERE: https://forms.gle/N31Tgsqyd9aKPJCc9) so we can ensure we have enough seating and refreshments for all.
We look forward to seeing you there!
Please note: with Jackman Hall closed for construction, we have no way to record this event, but we will happily send copies of the presentations for those who cannot attend. This is an in-person opportunity only (no Zoom).
In celebration of the 50th anniversary of the AGO’s Henry Moore Sculpture Centre, the City of Toronto is proclaiming Wednesday, November 13 as Henry Moore Day. The Sculpture Centre has always been among the most beloved spaces at the museum and the artworks have inspired generations of visitors. We will be acknowledging this milestone in a bunch of ways:
Check out this week’s dedicated volunteer blog post, with archival photos from Al Stanton-Hagan, AGO Archivist
Join Adam Welch, Lisa Ellis and James Copper, Henry Moore Foundation Lead Sculpture Conservator and Senior Technician, in conversation Wednesday November 13 at 7pm in Baillie Court
Share your photos and recollections of time spent with Henry Moore’s art on social media, using the hashtag #MooreMemories and tagging @AGOToronto
Thank you to those who are helping mark this significant anniversary. I am grateful to our predecessors who had the foresight to welcome Moore’s collection to the AGO for the people of Ontario to enjoy. It is truly among the highlights of the AGO’s holdings.
This coming Monday, November 11, is Remembrance Day. I encourage everyone to take a moment on Monday – if not before – for private reflection – whether it be viewing artwork, reading prose, or spending a contemplative moment in Grange Park.
Remembrance Day has been observed in Canada since the end of the First World War. It was a brutal war. I tend to reflect on WWI as well as the many conflicts and wars that continue today – particularly on the lives lost and all the people impacted by the senseless violence of war.
The Henry Moore Sculpture Centre was created to house the generous number of works artist Henry Moore (1898 – 1986) donated to the AGO between 1971 – 1974, which included 101 sculptures, 57 drawings, and 150 prints. This gift marked the AGO as home to the largest public collection Moore’s work, a title the Gallery continues to hold.
Incorporating natural light and reflective floors, Moore worked with Toronto architect John C. Parkin to design the 10,000 sq. foot exhibition space loved by visitors and staff alike. His vision for the Centre’s architecture was to make his works appear like they were floating on a pond.
It was also in 1974 that Large Two Forms (1966-1969) was installed at the corner of McCaul and Dundas. The sculpture was moved to Grange Park in 2017, becoming a favourite spot for park patrons to take a nap or eat their lunch in.
In celebration of the 50th anniversary of the Henry Moore Sculpture Centre, travel back in time through this selection of archival photographs documenting both the Centre’s opening and the ways visitors have engaged with it over the past five decades. Big thank you to Al Stanton-Hagan, AGO Archivist, for providing these photographs!
Want to learn more about Henry Moore’s longtime relationship with the AGO? Join Adam Welch, Associate Curator, Modern Art; Lisa Ellis Conservator, Sculpture and Decorative Arts; and James Cooper, Henry Moore Foundation Sculpture Conservator in conversation on Wednesday, November 13 at 7 pm.
(Please note: If you are an AGO member (with a membership card) – you can register online. Volunteers who are not members will need to book tickets in person (at the Welcome Desk) or by calling the Contact Centre at 416 979 6608).
First, I want to extend a big thank you to our capable team in the Contact Centre that has been fielding several hundred questions related to the recent ransomware attack. This is not easy work and they are doing it well.
Thank you also to all of you – staff and volunteers – who participated in our values focus groups, organized earlier this Fall by the Joint Working Committee (JWC). Your suggestions and opinions on how we evolve the culture of the AGO are extremely valuable. Members of the JWC are reviewing the values that came out of those focus groups and will develop a plan for how we best express these and bring them to life in our everyday work. We hope to put these values into practice and policy in early 2025.
A reminder that this weekend, Members enjoy early access to Light Years: The Phil Lind Gift. We also celebrate Pacita Abad with E&P events, including a Roundtable Conversation.
Finally, I want to acknowledge a sad loss for the AGO. Pat Munson passed away recently. He was a long-serving volunteer in the Marvin Gelber Print & Drawing Study Centre. I will miss his enthusiasm for the AGO and his habit of purchasing multiple boxes of donuts to share liberally.
Just last week we learned of the recent passing of AGO Marvin Gelber Print and Drawing Study Centre Volunteer, Pat Munson.
A sparkle and a smile, is how I would describe Pat Munson, fellow longtime volunteer; he always had that for everyone, that twinkle in his eye and the enthusiasm he had for sharing information and his knowledge. Be that on TMS training, which I learned from him, the work on the Print and Drawing library collection he spearheaded with us as a Committee team, his scheduling the volunteers which kept us all in order and aligned, his pleasant manner greeting our Print and Drawing visitors, to his hosting with his lovely wife Beth Horowitz the annual P&D pot luck party at their home, and further extended during the pandemic. The zoom calls Pat continued, where we gathered virtually and stayed connected during a time we were all isolating. On a lighter sweeter note, Pat’s love of Krispy Kreme doughnuts which he brought in dozens for us every month and we all shared our passion for sweets, our favourite “flavour” and chatter as the tight group we are over this decadent treat.
We are reminded of the treasures of life, and how much we cherish those dear to us in friendship and fellow colleagues. Pat was professional, kind, had a light nature and I shall miss him, his spirit and his visits with his beloved dog the adorable Picasso. He will forever be with us as he’s left such a legacy in Print and Drawings as a brilliant volunteer. In remembrance, we thank Pat with appreciation, respect and recognition for all he did for us personally and for the AGO as an institution.
With fond memories,
Barbara Glaser
AGO Volunteer President
A gathering of Print & Drawings volunteers, with Pat Munson, seated 3 from bottom left
Sharing as well, some remembrances from Pat’s fellow Print & Drawings volunteers –
“Pat was a key part of my volunteer life in the P&D Study Centre and became its anchor for me. He was always a joy to spend time and explore art with and I was sad when he left, and hoped he would return. I will carry his memory forward with warmth and gratitude for the time we shared together. A toast to a fine southern gentleman, Pat.” – shared by volunteer colleague, Ruth Hartman.
“Pat will be forever missed. No job was too great or too small to warrant his attention. Most important, he was a wonderful friend! We arrived in P&D on the same day. And for that, I was blessed.” – shared by volunteer colleague, Jane Smith.
“Pat Munson was extraordinary volunteer and friend to us all in P&D. We will miss his ideas and insights into what art was on view. His suggestions for visitors only came after he carefully questioned them on what prompted their visit to P&D. If the AGO had a video of Pat volunteering at Open Door it would become the one training session essential for any new volunteer to our team. Our monthly P&D meetings informed us what to expect with classes, researchers and visitors. But it was also a time to briefly bring up something new, and remind us that email also connects us. Pat’s creative suggestions, on everything from points of language to the specific name given to vault volunteers, made everyone think and smile. It is a reminder that anyone coming into P&D should not only have thoughtful experience but an enjoyable one. “– shared by volunteer colleague, Susan Davidson.
“Pat was always there, on top of everything, ready to help, a stronghold in P&D. When he saw a need, he quietly and efficiently took care of it. He re-organized the library; did heavy lifting in the vault; he took over all the volunteer sign-ups for different positions; he taught us TMS (the museum system database), classes; he hosted and arranged zooms during Covid & beyond; and more that I’ve forgotten. We all came to rely on him.
For me personally – When I needed a car, he sent me information, when I needed a walker, he sent me information and when I needed information on a long lost painting, he quickly found it.
He had a dry sense of humor which I appreciated. For example, when he & Beth were married, he showed us wedding pictures and then said “Beth looked beautiful, and I was CLEAN”! It was a privilege to have known & worked with Pat.”– shared by volunteer colleague, Cecile Freeman
“Pat was a person of high principles and integrity, possessing a compassionate heart and deep empathy. The Marvin Gelber Print and Drawing Study Centre at the AGO and its volunteer community mattered deeply to him, and he was driven by a strong sense of purpose in everything he contributed. Furthermore, his trust in the goodness of life was contagious, and his passing is a profound loss, reminding us of what truly matters in life and the preciousness of our shared humanity. We will carry his memory and the values he embodied within our community and in our hearts.” – shared by volunteer colleague Farzaneh Moallef
Pat, with fellow Print & Drawings volunteers and Associate Curator Alexa Greist
About a week ago the Association of Art Museum Directors (AAMD) met in Denver, Colorado. AAMD has just over 200 members representing art museums from Canada, Mexico and the United States. I had two main goals I wanted to achieve during my year as President of AAMD and I am pleased to share that we made real progress at our meetings at the Denver Art Museum (DAM).
The first goal was to get museums to endorse something called the Bizot Green Protocols, which basically change climate control standards in a way that is both safe for art and reduces how much energy museums use to heat and cool their buildings. It is pretty nerdy stuff, but it is one of the systemic changes we all need to make to reduce carbon use.
Over the past months, the AGO has partnered with other museums to lead this change and to get buy-in from the museums in North America. Many AGO staff created presentations and engaged with questions from other museums about how and why we should change how we do things.
My second goal was to have the entire AAMD membership read and gain a better understanding of The United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). Marcia Nickerson – who is of Mi’gmaq British ancestries with kinship ties to Acadia First Nation in Nova Scotia and a modern treaty negotiator – presented on UNDRIP and we then had a discussion about the opportunities and challenges of working together. It is a massive topic that will take time to fully grasp, but it was our effort to lay the groundwork for more understanding between museums and indigenous peoples. As you know, one of our goals is to lead global conversations and the meetings in Denver are part of this effort.
Finally, this weekend is an important milestone for the construction of the Dani Reiss Modern and Contemporary project. The outside foundation is almost completed, and a huge crane is scheduled to be erected on Saturday and Sunday. The crane will be the first sign for many members of the public that there is a major construction project underway. Behind the scenes, new foundations will be laid so a new freight elevator can be built over the coming two years. This freight elevator will allow us to move art from the loading dock directly onto any of the five floors of our expansion.
Hello volunteers, many of you have inquired about access to the AGO’s Pacita Abad exhibition launch video, posted on the blog earlier this Fall. Sadly, we do not have access to many of our artcloud hosted videos as a result of the cyberattack. In lieu, please see these videos for recommended viewing:
The Life and Work of League Alumna Pacita Abad with Victoria Sung
Summary: This talk is my favourite, with exhibition curator Victoria Sung (Sung curated the show at the Walker, which has now travelled here to the AGO). This talk is so thorough, beautifully illustrated and passionately delivered. It’s almost encyclopedic with great visuals, in depth-explanations of various themes, including: trapunto paintings, Abad’s early life, the immigrant experience, her hand-stitching technique, etc. Abad is an alumna of the Art Students League of New York. 34 minutes. WATCH HERE: https://www.youtube.com/watch?v=Qt7KArzxw4Y&t=1235s
Pacita Abad: Spirited Faces by Yvette Sitten
Summary: A more casual presentation (tv show rather than lecture), featuring journalist Yvette Sitten in conversation with Pacita Abad, at her home. You can feel Abad’s positivity, energy and enthusiasm in this video, which features a home tour. 8 minutes.
