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Lancette Arts Journal |
Art
Reviews |
Winter/Spring 2002 |
By Alidė 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 projectsit turned 100 years old in 2001has 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 that once were part of Moore's own studio. Many items of natural materialsbones, shells, etc.show how the sculptor incorporated these shapes into his work, yet created totally different original works, not imitations.
The multi-room sculptor centre is also an interactive space. There are phones over which one can hear Moore talk about his art, and television screens that allow one to view him at work. The video and audio portions of this new centre come from the archives of CBC Radio and Television. If one feels like it, there is even material provided for sketching the works.
The centre is a place where one can be fully involved, or where one can spent time of quiet, of tranquility. It is the visitor's own choice. From them moment one enters the centre one is greeted by the voice of the artist coming from the television screen. One walks up a ramp, at the end of which the lights focus on a huge photograph of Moore' s Standing Figure (1950) in this natural setting on an estate in Scotland. This is how Moore always wanted to see his work. He made his sculptures for the outdoors.
Once up the ramp one enters the first room of the centre, where most of the interactive spaces are provided.
What follows are random shots of the various rooms, activities and displays. These will need no description. Just enjoy.
Copyright © 2002-8 CamKohl Arts Productions