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building babel
Guest
The AGO Gehry exhibition opens the same day and runs to May 7th.
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adma
Guest
Snoopy Stationery!
[just in time for Valentine's Day]
[just in time for Valentine's Day]
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Darkstar416
Guest
More info about the Gehry AGO exhibit I found on the Toronto Instant Coffee list...
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AGO - Frank Gehry: Art + Architecture - Feb 18 - May 7
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Exploring the unique and dynamic sculptural style of one of the world’s most celebrated architects, the AGO’s new exhibition Frank Gehry: Art + Architecture will give the visitor a glimpse into the future of the AGO expansion project within the context of four Frank Gehry projects.
Organized by the AGO, and running from February 18 to May 7, the exhibition will feature models and site photographs of the Ray and Maria Stata Center, Boston (MIT); Millennium Park Music Pavilion and Great Lawn, Chicago; Walt Disney Concert Hall, LA; and the DZ Bank in Berlin. Along with working models generated through the design of the AGO’s expansion project, the exhibition will explore the impact of Gehry’s buildings on the surrounding communities. Audio/visual components featuring interviews and testimonials will illustrate the human quality of Gehry’s designs.
“Frank Gehry is an icon in both art and architecture and this exhibition will give visitors a unique opportunity to not only see his accomplishments, but get a real sense of what makes him different from any architect today,†said Matthew Teitelbaum, Michael and Sonja Koerner Director, and CEO of the Art Gallery of Ontario.
Best known for building curvaceous structures, Canadian-born Gehry has completed the design phase of the AGO expansion, his first project in Canada during his long and acclaimed career. The four other projects featured in this exhibition have all in some way influenced the AGO’s Transformation project.
“Frank Gehry: Art + Architecture will give visitors an insight into the workings of one of the greatest architects of the past century,†says Dennis Reid, the AGO’s director of collections and research and senior curator of Canadian art. “With Transformation AGO well underway, this exhibition will allow visitors to not only get a sense of what the AGO will become, but the creative process that inspired it.â€
Approaching his projects as sculptural works of art, Gehry has shattered conventional notions of what architecture should be. Inspired by paintings, sculptures and everyday objects, he uses light, texture and shape to incorporate his building seamlessly into the surrounding environment. Beyond the often glamorous structure, Gehry assesses the needs of its occupants, the function and the surrounding community, while addressing the aesthetic material and structural qualities of the building itself.
“Frank Gehry’s architectural beliefs are reflective of the environmental and architectural aspects SAS incorporated into the creation of its new Canadian headquarters,†said Carl Farrell, President, SAS Canada. “This shared vision of architecture designed around the needs of occupants, function and form has propelled our support for this exhibit and we are proud to sponsor the immense talent displayed in Frank Gehry: Art + Architecture.â€
The AGO is proud to recognize Lead Sponsor SAS Institute (Canada) Inc. for their generous support of Frank Gehry: Art + Architecture.
Frank Gehry: Art + Architecture is organized by the Art Gallery of Ontario and supported by the Canada Council for the Arts.
Transformation AGO is generously supported by the Government of Canada and the Province of Ontario through the Canada-Ontario Infrastructure Program
For media information or visuals, please call:
Matthew Ross, 416-979-6660, ext. 518, Matthew_Ross@ago.net
Carrie Shibinsky, 416-979-6660, ext. 403, Carrie_Shibinsky@ago.net
Antonietta Mirabelli, 416-979-6660, ext. 454, Antonietta_Mirabelli@ago.net
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building babel
Guest
If you like scribbly little doodles the U of T show is the one for you.
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BrianHawkins1
Guest
^ Actually, those "scribbly little doodles" were what convinced me that Gehry is an artist first and an architect second, corny as that may sound. He gave a talk at the convention centre a year or two ago, and showed a few slides of his *very* rough conceptual sketches for various projects. I found them quite beautiful and amazingly evocative of movement, flow, etc. for such simple, mostly abstract toss-offs. The huge scale of the projected images may have helped this effect along. That said, I saw either this current U of T exhibit or something similar at the Guggenheim in NY several years ago and found it generally a bit dull. The impression I came away with then, being a Gehry newbie, was that he was something of a one-trick pony. I don't think that anymore.
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building babel
Guest
The doodly little scribbles are a conduit to Gehry's mind, how he imagines, reimagines and shapes space, with the pen an extension of his evolving thoughts and a way of fixing them.
A quote I copied from one of his notebooks at the exhibition:
"I believe in architecture as a personal commentary on the state of affairs that is affected by the person making the architecture.
If the person making the architecture is a joiner he relates his work to a particular "ism". If he is a loner he fashions his own fantasies into buildings & it doesn't matter to me which one is as long as I like what one does.
I consider a preoccupation with nostalgia a decadent move. I believe in progress & to me that means exploration of the unknown. Scientists are my role models.
Like it or not we grow out of the past. So like it or not the past is part of our future. Just like breathing it is necessary & so far inescapable."
Admission to the exhibition includes a look at the Malcove Collection.
A quote I copied from one of his notebooks at the exhibition:
"I believe in architecture as a personal commentary on the state of affairs that is affected by the person making the architecture.
If the person making the architecture is a joiner he relates his work to a particular "ism". If he is a loner he fashions his own fantasies into buildings & it doesn't matter to me which one is as long as I like what one does.
I consider a preoccupation with nostalgia a decadent move. I believe in progress & to me that means exploration of the unknown. Scientists are my role models.
Like it or not we grow out of the past. So like it or not the past is part of our future. Just like breathing it is necessary & so far inescapable."
Admission to the exhibition includes a look at the Malcove Collection.
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BrianHawkins1
Guest
"If the person making the architecture is a joiner he relates his work to a particular "ism". If he is a loner he fashions his own fantasies into buildings"
Interesting. I wonder if this implies that he believes that "loners" are inherently apolitical? And whether or not he sees his own work this way, if he thinks of himself as a loner? Is 'believing in progress' a kind of "ism" to him, or not? That quotation seems to pique as many questions as it answers.
"scribbly little doodles"
"doodly little scribbles"
Well, which is it?
Interesting. I wonder if this implies that he believes that "loners" are inherently apolitical? And whether or not he sees his own work this way, if he thinks of himself as a loner? Is 'believing in progress' a kind of "ism" to him, or not? That quotation seems to pique as many questions as it answers.
"scribbly little doodles"
"doodly little scribbles"
Well, which is it?
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building babel
Guest
There are scrawly little sketches in the AGO show.
There are also video interviews and large working models. And an explanation of how Gehry's staff translate his wobbly little models into computer simulations by running a sensor over them to "read" the shape and translate it to another medium. A bit like a pantograph, or those measuring devices the Romans used to copy Classical Greek sculptures.
And the Simpsons video.
The combo platter, which includes the excellent David Milne exhibition, is quite filling and highly recommended.
There are also video interviews and large working models. And an explanation of how Gehry's staff translate his wobbly little models into computer simulations by running a sensor over them to "read" the shape and translate it to another medium. A bit like a pantograph, or those measuring devices the Romans used to copy Classical Greek sculptures.
And the Simpsons video.
The combo platter, which includes the excellent David Milne exhibition, is quite filling and highly recommended.
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interchange42
Guest
I came out of the Milne exhibition a much bigger fan than when I went in. It was a nice surprise to see it too.
(And the Gehry models are great fun.)
42
(And the Gehry models are great fun.)
42
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building babel
Guest
I stood really close to some of the Milnes, and took a good look at the surface of the paper.
I moved my eyes slowly along the path of the dry, linear brush strokes and dashes of colour. I felt like I was retracing each brushstroke. It was like "becoming" the artist because, to a degree, you can figure out the sequence in which he applied the colours to the paper, and sense the arm motion it took to produce each twist, blotch or line.
Unlike most watercolourists, who mix their paints and run them together in wet pools of colour, Milne had a distinctive dry brush technique. Van Gogh produced a large body of pen and ink drawings and you can do the same with them - let your eyes retrace the steps he took, the sequence of lines that made up the completed drawing.
Even parts of his paintings that Milne filled in with flat colour are not really "solid" colour. You can still see the twisting daubs of paint that make them up, and maybe get close to sequencing them.
Because of this open and visible technique, I think Milne involves the viewer in his paintings more than many other artists in Canada did at that time. He was an innovator in tune to the changing attitudes of the modern age towards transparency and technique.
I moved my eyes slowly along the path of the dry, linear brush strokes and dashes of colour. I felt like I was retracing each brushstroke. It was like "becoming" the artist because, to a degree, you can figure out the sequence in which he applied the colours to the paper, and sense the arm motion it took to produce each twist, blotch or line.
Unlike most watercolourists, who mix their paints and run them together in wet pools of colour, Milne had a distinctive dry brush technique. Van Gogh produced a large body of pen and ink drawings and you can do the same with them - let your eyes retrace the steps he took, the sequence of lines that made up the completed drawing.
Even parts of his paintings that Milne filled in with flat colour are not really "solid" colour. You can still see the twisting daubs of paint that make them up, and maybe get close to sequencing them.
Because of this open and visible technique, I think Milne involves the viewer in his paintings more than many other artists in Canada did at that time. He was an innovator in tune to the changing attitudes of the modern age towards transparency and technique.
B
building babel
Guest
... and talking of great Canadian artists, I see that Tom Hodgson died a few days ago. A member of the influential 1950's Painters Eleven, he taught at OCA from 1968 to 1973. As well as being a visual artist, he was an author and Olympic canoeist. Another member of the Eleven, Kazuo Nakamura, had a retrospective at the AGO last year. Another one is gone.
Tom and the other young Canadian artists of the 1950's hacked their way out of the thickets of pine trees and twisted undergrowth sown by the Group of Seven many years before, which threatened to cast shadows so long people thought they'd never see their way to something beyond. The Eleven were as much a part of the post-WW2 Modernist movement as the architects we occasionally celebrate here.
Babel the Art Student went to an art student party at Tom's place some 30 years ago. Tom lived on one of those Little Italy streets, Crawford maybe, I forget which. There was an indoor swimming pool where we expected his kitchen to be, and a little sauna. We all got drunk, got naked, got wet, and got rather sweaty in the little sweat room. Some guys tried to win a toaster, I recall.
Tom and the other young Canadian artists of the 1950's hacked their way out of the thickets of pine trees and twisted undergrowth sown by the Group of Seven many years before, which threatened to cast shadows so long people thought they'd never see their way to something beyond. The Eleven were as much a part of the post-WW2 Modernist movement as the architects we occasionally celebrate here.
Babel the Art Student went to an art student party at Tom's place some 30 years ago. Tom lived on one of those Little Italy streets, Crawford maybe, I forget which. There was an indoor swimming pool where we expected his kitchen to be, and a little sauna. We all got drunk, got naked, got wet, and got rather sweaty in the little sweat room. Some guys tried to win a toaster, I recall.
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building babel
Guest
Correction. Tom's house, where the OCA boys and girls frolicked so freely was on Shaw Street.
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cdl42
Guest
Where on Shaw would that be?
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building babel
Guest
If I recall, the east side. It was a heterosexual art student orgy, so I kinda blanked most of it out.