AGO – Ripple Effects

The Art Gallery of Ontario, AGO, is a must-see whenever I visit Toronto. Not only because I’m a Frank Gehry fan who never gets tired of looking at the centre spiral staircase in there, but the exhibits are always intriguing and thought-provoking. Spent a few days in Toronto last week and this time, I was much gratified to view the current show at AGO: “Francis Bacon, Henry Moore: Terror and Beauty”.

Terror and Beauty, the motif resonates with the idea of Wabi-sabi. I’ve explored visually the notion of Wabi-sabi before. Two seemingly incompatible states juxtaposed against each other, beauty and sadness.

“You can’t be more horrific than life itself” says a quote from Francis Bacon on the AGO’s Artist page. The exhibits speak to that by extracting from the horrors of WWII and other forms of human sufferings and struggles depicted in the works of these two 20th century Irish/English artists who were contemporaries of each other.

The exhibit is a wealth of surrealist works from Bacon, and sculptures and drawings from Moore. But I was particularly captivated by the WWII items. While Moore is well-known for his abstract sculptures of the human body in larger than life poses, here’s a rare chance to see his more personal, wartime drawings.

Going home one evening in 1940, as he entered a London subway station, Moore discovered crowds of people sleeping on the platform to take shelter from an impending German air strike, the Blitz. He was taken aback by what he saw and his later drawing was a ghastly interpretation:

Photo Source: http://www.tate.org.uk/art/artworks/moore-tube-shelter-perspective-n05709

That’s Moore’s view of the underground subway station used as impromptu bomb shelter. But what was it really like in those tube stations? That’s when I was totally captivated by the photos of the renowned photojournalist Bill Brandt displayed alongside Moore’s shelter drawings.

Rather than horrific depictions, I was utterly surprised by the actual photographs by Brandt, who acted as official war photographer. His noir and darkened perspective is haunting and yet, full of mystique and beauty.

What I saw was an opposite interpretation of the subway scene: rather than terror, I saw resilience. Indeed, the London populace came out in droves to seek shelter in the subway, a much safer haven than their own homes. What I saw in many of Brandt’s photographs was the strong sense of ‘life goes on’.

Two photographs in the exhibition will forever remain in my mind.

First is the Liverpool Street Underground Station Shelter during an air raid in November, 1940. The photograph shows a family sleeping soundly, bedding against the grooves in between the steel structures of the tunnel. But look more carefully, there’s even a bunk and blanket for a doll beside the child. They all look peaceful and calm.

For the archive in my mind, let me call this photo: “The Doll in the Subway”

The second picture by Brandt is in the Elephant and Castle London Underground Station Shelter. Here, people sleeping on the crowded platform while taking shelter from German air raids during the Blitz.

But look how they were dressed in. The mid-heel pump the woman in the foreground was wearing caught my attention. Looks like she was dressed for work. Blitz or no Blitz, after she woke in the morning, she had to go to work. Life as usual.

In my mental archive, this photo will now be entitled “The Mid-heel Pump”.

What more, after civilians had crowded into the subway stations against government’s advice, the officials had to respond with helpful measures by installing chemical toilets, first aid facilities, and providing drinks, while the people created their own entertainment. With all due respect to the victims of the Blitz, the resilience and adaptability of the Londoners are most inspiring.

After I stepped out of AGO, I wanted to go back in to take a more careful look at the exhibits again. But that was not feasible so I had to write this post from memory (no photos of the exhibits were allowed) and from some online digging. Glad to have found these two memorable images from the Imperial War Museum website. Thanks to AGO, these two historic photos will remain in my mental archive for a long, long time.

CLICK HERE to see 9 Incredible photos of the London Underground as Bomb Shelter.

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There are several interesting facts about the AGO. That it is situated in Toronto’s Chinatown is an example of the vibrant cultural mix an urban centre can sustain. And in multicultural Canada, that sits well indeed. These are the buildings right across from the front entrance of the AGO on Dundas Street:

On the upper floor of the building to the left, the four characters indicate it’s the “United Chinese Drama Society”. The main floor is a French Café. The building to the right is home to a Chinese clan association. And the barber shop below… oh, what does it matter.

And across the street, spanning one full block from Beverley to McCaul, adjacent the Ontario College of Art and Design is the Art Gallery of Ontario:

The AGO originally began as The Art Museum of Toronto in 1900. Its first home was The Grange, a Georgian Mansion built in 1817. The last hundred years saw several stages of expansion. In 2008, the Gallery received a major facelift. The prominent architect Frank Gehry brought the AGO into a new phase, and to finally contribute to the Canadian architectural landscape with his first design in Canada. And what an approparite choice. According to the AGO guide who led our tour, Gehry was born right here on this street some blocks away. He holds fond childhood memories of the area, particularly the AGO.

At the back, one can see the very postmodern juxtaposition of the old Georgian Mansion The Grange with the new Gehry-designed AGO:

But the outside does not prepare one for what is installed within. I was amazed many times over as I explored the gallery spaces. Photography was not allowed in the exhibits areas. So I’ve only captured the general interiors, and they are breathtaking, elegant and exquisite:

I love the contemporary light wood contours placed against the classical styling. The overall color scheme is soothing and relaxing, without the austerity of some art galleries and museums. Natural light is plentiful as it is let in through the glass ceiling. Light and shadows play out in an interesting way:

The central spiral stairwell is the main attraction. It is made of B.C. douglas fir, light, fluid, swirls gracefully down from the top. As I made my way down, every step I took offered me a new perspective. An inspiration in itself:

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And finally we were shown this magnificent design, right against the glass inside the front of the building:

Unlike Gehry’s other more showy works of bending metals, the AGO is decidedly unpretentious, curving wood against arches, blending nature with art, art with architecture, and architecture with an urban neighborhood.

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Tag: AGO

AGO Exhibition: Terror And Beauty

Art Gallery of Ontario