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Lancette Arts Journal |
Art
Reviews |
Winter/Spring 2002 |
By Alidë Kohlhaas
Can anyone recall the terrible fuss that Torontonians made in 1966 when Henry Moore's Archer was placed in front of New City Hall? These days the late sculptor is no longer viewed as a radical figure. Some might even call his work old-fashioned, which of course, it is not. There is a strength and vitality to what he has created that cannot be denied.
When Moore gave 300 of his works to the Art Gallery of Ontario in 1974, some Canadian artists felt compelled to demand that the AGO should give them equal space in their expanded facilities. It really makes one feel embarrassed to think that this could have happened. But, one now has to say, both the citizens of Toronto and of the art community have matured to accept that the master deserves a decent home in this city.
With this in mind, the AGO, as part of its centennial projects—it turned 100 years old in 2001—has created a new space for its extensive collection that by now has grown to 900 pieces. It is an exciting space. The large pieces are set out in a far more pleasing manner, in a far larger gallery. The small works have been placed in attractive display cases, as have various objects of inspiration . . .
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