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Transformation AGO (5s, Gehry) COMPLETE

ART IN THE PARK: GRANGE PARK, THAT IS

The Art Gallery of Ontario's backyard is getting its groove back
NADJA SAYEJ

Special to The Globe and Mail

November 15, 2008

Like all good party hosts, the Art Gallery of Ontario has done a thorough job of tidying before throwing open its doors to the hordes who have come for the grand reopening. The AGO has even gone as far as cleaning up its own backyard.

Grange Park, which is owned by the AGO, has long been known as a shady place after dark - both literally and figuratively - where drug dealers do their business under cover of sparse street lighting. Even by day the place has its problems: Six dead trees were dragged out of the park earlier this week. The wading pool takes 4½ hours to drain and is surrounded by spikes and blocks to discourage skateboarding.

But the new Grange Park Advisory Committee has a proposal to revitalize the space and keep it maintained, in light of the AGO's renovations.

Come Dec. 8, the committee's first public meeting will reveal the plan for the park, which includes giving it a green kick and some creative soul to echo that of the art gallery and the neighbouring school, the Ontario College of Art and Design.

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"To match the extraordinary institution, it has to become an extraordinary park," said Councillor Adam Vaughan (Ward 20, Trinity-Spadina), co-chair of GPAC with Rupert Duchesne, the vice-president of the AGO board of trustees.

And they've just scored the bling to make it happen - the AGO was the prime fundraisers in getting $50,000 from the TD Friends of the Environment Foundation for GPAC, which pocketed it this

September.

The first goal is to make this upcoming summer the greenest one Grange Park has seen. A landscape architect company has already started planting, tagging trees and taking soil samples as part of an environmental assessment that started last month.

"We became more aware of Grange Park as we entered the expansion," said Bev Carret, the co-ordinator of GPAC and manager of government and community relations at the AGO. "It's going to attract more and more attention to Grange Park and we want it to look as beautiful as possible."

Graffiti will be maintained weekly and more streetlights will go up.

The grass will be replenished as well - which will certainly help the view from the AGO's new spiralling Barnacle Staircase, which looks out onto a sizable bald patch of lawn.

After bringing the park's health up to par, the second phase - which kicks off next winter - will reveal the artistic personality of Grange Park.

The plan envisions "interactive" abstract sculptures in the park that can be climbed and played on, inspired by the amorphous Henry Moore piece that graces the corner of McCaul and Dundas. Ken Greenberg, an architect and urban designer who is a consultant with GPAC, calls the new sculptures "play equipment."

"From the community point of view, we care about the park and now there is the need and opportunity," said Ralph Daley, a local resident and interim chair of the Grange Community Association, a new alliance that will launch with GPAC next month.

"From everything I see, I think we're going to have a successful, dramatic plan," he said. "We have an opportunity to revitalize a green oasis in the core of the city."
 
I vaguely recall someone mentioning [the AGO] would be the largest [art gallery in North America] after the expansion but that's hard to believe.

Yeah - that's wrong. The Metropolitan Museum of Art in New York and the Art Institute of Chicago (both of which have more ROM-like galleries as well) are massive comparatively, and the National Gallery of Art in Washington would be bigger too. The Museum of Fine Arts in Boston is another big one with a building campaign currently, while already big MoMA is planning yet another expansion too. I haven't even heard the AGO claim to be the biggest in Canada, so the National Gallery of Canada in Ottawa may be larger too, while Montreal's Musee des beaux-arts ain't petit.

Not that all of those that I have mentioned would necessarily be bigger, (and as I have said before, it is really difficult to find the figures) but you can rest assured that we now have a really big one, and that should be enough to keep nearly everyone happy.

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Yeah - that's wrong. The Metropolitan Museum of Art in New York and the Art Institute of Chicago (both of which have more ROM-like galleries as well) are massive comparatively, and the National Gallery of Art in Washington would be bigger too. The Museum of Fine Arts in Boston is another big one with a building campaign currently, while already big MoMA is planning yet another expansion too. I haven't even heard the AGO claim to be the biggest in Canada, so the National Gallery of Canada in Ottawa may be larger too, while Montreal's Musee des beaux-arts ain't petit.

Not that all of those that I have mentioned would necessarily be bigger, (and as I have said before, it is really difficult to find the figures) but you can rest assured that we now have a really big one, and that should be enough to keep nearly everyone happy.

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Size means nothing, the quality of the collection matters more. I'd rather take a small gallery with awesome collection like the Borghese Gallery in Rome over big, yet low quality collection like most of the art museums in the North America
 
The cancellation of the proposed National Portrait Gallery, the collapse of that artsy-fartsy-multi-culti-touchy-feely thing planned for the Sony Centre, the absence of a Metronome or a City of Toronto Museum - and goodness knows what other cultural projects have been proposed over the years - indicate how difficult it is to launch new cultural centre from scratch. The Canadian Opera Company had to wait over 50 years to get their custom-designed home built - and the National Ballet only rents the space from them. The Toronto film festival centre is still $50 million short of their fundraising goal, and the ROM still has to raise $35 million to pay off their reno.

Savvy billionaire Ken Thomson got an excellent deal by piggybacking his collection on the AGO, rather than building his own gallery. Half of the items on display there now are from his bequest. He's enriched their collection by adding depth to their Canadian 20th Century ( Milne, Kurelek, Group of Seven ), First Nations, and 19th Century ( whoa! hold the Kreighoffs ... ) and European holdings.

I like how the Lawren Harris gallery has been laid out. The large paintings on the north wall are geometric and semi-abstract - alternating shapes dominated by rising peaks and downward shafts of light; on the south wall are smaller sketch-like paintings that are softer, more painterly.

I don't like those wooden hand rails in the Morrice and Krieghoff galleries, but I fear we'll see more of them installed in due course. I think they're intended to keep the great unwashed away from the art rather than allow people to get up close to look at the brushwork and details.

I like the fact that the Thomson galleries provide information about the paintings in small booklets rather than on labels beside each work. It encourages the primacy of forming a direct emotional connection with the art first and foremost.

The Thomson ship model gallery isn't connected to the Inuit Visible Storage area - though you can see the one from the other through large plate glass windows. You have to go back upstairs and then downstairs again to move from one to the other - which is absurd.
 
Savvy billionaire Ken Thomson got an excellent deal by piggybacking his collection on the AGO, rather than building his own gallery. Half of the items on display there now are from his bequest. He's enriched their collection by adding depth to their Canadian 20th Century ( Milne, Kurelek, Group of Seven ), First Nations, and 19th Century ( whoa! hold the Kreighoffs ... ) and European holdings.

I think you need to learn the value of his collection before throwing word like 'piggybacking'. His collection easily worths more than any meager renovation AGO can conjure up. Any museum in the world would love to host his collection, especially with the Ruben's blockbuster. In this case AGO is so damn lucky to have Ken Thompson as the major donor
 
Almost the same shot taken 70 years apart. Notice the circular frames in the second image. It looks like each scene represents a province. Going from right to left, B.C., Alberta & Saskatchewan.


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ago.jpg
 
Before the reno, the Walker Court contained a typographic mural about native identity by German artist Lothar Baumgarten, and First Nations artist Robert Houle's response to it.

The Walker Court spiral staircase wasn't finished when I visited today, but I was told that it may open this weekend.

The wood panelling on the outside of the front entrance beneath the Galleria Italia isn't an extension of any panelling inside the building. Go inside, and the ceilings are typical drywall. An unadorned concrete ceiling out front, beneath the Galleria, would certainly have matched the columns better.

Thomson donated an art collection valued at $300 million and set up a $70 million endowment fund. In return, half of what's on display at one of the Province's leading cultural centres was his, and he didn't pay for the building to house it. Had he gone it alone he would have had to acquire land, get an architect, build it, staff the place, maintain the building, and ensure that it was run according to his wishes - so he got an excelent deal. Local cultural institutions have, for decades, accepted art and artifacts donated by members of the public, and they encourage people to include such institutions in their estate planning. Donors - and I don't think Thomson was any different from the average person in this regard - realize that it's smarter to piggyback on an existing institution than to go it alone and try to build and administer their own museums or charitable trusts. As recent Toronto history shows, getting a brand new cultural entity up and running is an enormously difficult undertaking.
 
I think you need to learn the value of his collection before throwing word like 'piggybacking'. His collection easily worths more than any meager renovation AGO can conjure up. Any museum in the world would love to host his collection, especially with the Ruben's blockbuster. In this case AGO is so damn lucky to have Ken Thompson as the major donor


I won't speak for Shocker but I'm pretty sure he does in fact understand the value of the Thomson contribution. I'm not quite sure why you take a negative tone. I have heard nothing but praise, and rightly so, for Ken Thomson's astonishingly generous gift, and it certainly makes more sense to take advantage of the physical facilities at the AGO, whether existing or new, not to mention curatorial expertise, etc.

I am glad that I did not try to brave the crowds on the weekend. I look forward to taking some time soon, on a quiet weekday, and being able to absorb this wonderful new facility in an atmosphere of relative peace and quiet.
 
Thomson donated an art collection valued at $300 million and set up a $70 million endowment fund. In return, half of what's on display at one of the Province's leading cultural centres was his, and he didn't pay for the building to house it. Had he gone it alone he would have had to acquire land, get an architect, build it, staff the place, maintain the building, and ensure that it was run according to his wishes - so he got an excelent deal.

This is all true, AND he got a huge tax receipt for his donation.
 
overall ranking in NA

AGO looks fantastic and like it is an unique and original building which is refreshing.

On the subject of size, I am not sure where it stands now, but won't the Weston gift for the western end increase the total further?
 
As far as overall size goes, the recently announced Westin gift will increase the total in the near future. BTW, now that the AGO has opened and the Bell Lightbox doesn't open until 2010, is there a bit of a drought for the next year? When does the Blackstar Gallery open? What is next?
 
I won't speak for Shocker but I'm pretty sure he does in fact understand the value of the Thomson contribution. I'm not quite sure why you take a negative tone. I have heard nothing but praise, and rightly so, for Ken Thomson's astonishingly generous gift, and it certainly makes more sense to take advantage of the physical facilities at the AGO, whether existing or new, not to mention curatorial expertise, etc.

I am glad that I did not try to brave the crowds on the weekend. I look forward to taking some time soon, on a quiet weekday, and being able to absorb this wonderful new facility in an atmosphere of relative peace and quiet.

well the way he said it as if Ken Thompson needs AGO more than AGO needs him or his family. He said it as if Ken Thompson couldn't afford to build his own gallery with his own name on it in any place, any city, any country of his choosing.
 
Thomson donated an art collection valued at $300 million and set up a $70 million endowment fund. In return, half of what's on display at one of the Province's leading cultural centres was his, and he didn't pay for the building to house it. Had he gone it alone he would have had to acquire land, get an architect, build it, staff the place, maintain the building, and ensure that it was run according to his wishes - so he got an excelent deal. Local cultural institutions have, for decades, accepted art and artifacts donated by members of the public, and they encourage people to include such institutions in their estate planning. Donors - and I don't think Thomson was any different from the average person in this regard - realize that it's smarter to piggyback on an existing institution than to go it alone and try to build and administer their own museums or charitable trusts. As recent Toronto history shows, getting a brand new cultural entity up and running is an enormously difficult undertaking.

he didn't have to do all that...he could convert one of his mansions into a small prestigious art gallery and tag his name on it (see The Frick Collection, or Isabella Gardner museum)
 

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