Page 58 - Studio International - December 1967

TORONTO Nathan Phillips Square, covering an area of 12¾ Bush and Caro; the ISAACS GALLERY, an adventu-
rous set-up whose star is the sculpture Les Levine,
acres, was the scene of Sculpture 67, one of the city's
commentary by Centennial celebrations. Fifty-four native sculp- to be shown by Rowan soon in London; CARMEN
tors were chosen to submit 68 pieces of sculpture LAMMANNA, another way-out centre; DUNKELMANS,
Charles Spencer for the first national assembly of sculptural talent. a new gallery which has co-operated with Marl-
Dorothy Cameron, an energetic art propagandist borough and London Graphic Arts. These are the
(who two years ago was forced to close her gallery leading establishments, plus the MAZELOW GALLERY
after a show of modern erotica) included artists at the other end of Yonge Street, which handles
from outside Canada—David Partridge and Bill Harold Towne, the most versatile local talent.
Featherstone from England, and from New York, Michael Greenwood, who is able to compare
Robert Murray, Michael Snow, Ronald Bladen, Toronto and London, as well as other dealers like
Archie Miller and Les Levine. Unfortunately the Walter Moos, who travel regularly between the
show was closed some two weeks earlier than continents, confirmed the fantastic success of the
Art boom in a boom city announced, after a number of works were damaged Toronto galleries. There are, as yet, few interna-
by vandals. The National Gallery of Canada in tional collectors; but Canadian artists of any
Ottawa, which presented and financed the show, merit do exceptionally well, both through local
had cold feet when insurance companies refused pride and interest, and because their prices are
The quantity and quality of art often directly coverage for an open, unguarded site. Despite lower than American or British ones. New York is
relates to the material wealth and optimistic this setback, the collection proved a revelation. only a short air journey's distance away, and those
security enjoyed by a society. Elizabethan and Thousands of people attended daily and one who collect leading Americans, or even leading
Victorian England prove the point, as do Renais- observer described the sedate civic square as British shown in the States, prefer to make pur-
sance Florence, 17th century Holland and con- having a continuous carnival atmosphere. chases there. It has the same relationship to
temporary America. There are exceptions, but the The second Centennial art manifestation in Toronto as Paris had to London before the war.
rule seems valid. Toronto was an International Sculpture Sympo- This will eventually be broken down. Certainly
New money available for spending on art, a sium, backed by the City and the State and growing links are being established between
changing social structure in which position and Federation Governments. Largely the inspiration of London and Toronto and Montreal (which,
prestige may be acquired through civilized the sculptor Gerry Gladstone (who partly studied although French dominated, includes the WAD-
knowledge and possessions, are incalculable assets in London and exhibited at both the Molton and DINGTON GALLERIES, run by the brother of Victor
to a lively artistic scene. In Canada it is precisely Hamilton Galleries), the burden of organiza- Waddington of London, and handling Chat-
the newly rich middle-classes who provide backing tion and, to an extent, finance was borne by local worthy, Hitchens, Jack Yeats). Jack Bush and
for art, who were behind the events of this Centen- businessmen, who in turn persuaded industry to Caro, at the Mervish Gallery, are equally well
nial year, promoting the use of local artists in the supply materials and technical assistance. Twelve known in London. The Rowan-Isaacs link through
celebrations, forcing governments, municipalities, sculptors were invited from America, Britain, Les Levine will probably be expanded; Dunkel-
and public to be aware of their existence. Israel, Holland, as well as Canada. The British mans, during the recent British Week in Toronto,
I had no picture of what a boom city was like, entry was Dalwood and Schottlander, and ran a British collective chosen by the London
except for a few cinematic cliches; Toronto is Kadishman, representing Israel, can also be Graphic Arts; this year Jerrold Morris had a show
certainly one, you almost see it expanding before regarded as part of the London scene. Couzijn by Harold Cohen; Sorel Etrog, of the Moos
your eyes—squalid, 19th century streets turning came from Holland; Jason Seley, Frank Gallo, Gallery, and Harold Towne are both destined for
into fine boulevards or skyscraper ravines. The Len Lye and Mark di Suvero from the States; and London; the Mazelow Gallery which handles
standards of income and living are high—the from Canada William Koochin, Irving Burman, Towne will show Michael Ayrton; the POLLOCK
equivalent of comfortable British suburbans enjoy Armand Vaillancourt, and Pauta, an Eskimo. GALLERY specializes in British graphics by Hockney,
private swimming pools in Canada. Expansion and They each received an honorarium of $2,000, Hamilton, Jones, Paolozzi, Sedgely; and so on.
prosperity have also broken down po-faced Anglo- their return fares, accommodation for two months, The best known art figure (not artist) in Toronto
Saxon exclusivity; the city enjoys the exuberance, and materials and technical assistance. In return, is Sam Zacks, whose famous collection is indeed one
warmth and generosity of large Jewish, Italian, their sculptures remain on permanent exhibition of the sights of the city. The range and number of
Greek and Chinese communities. in High Park, on the banks of Lake Ontario. items is prodigious; as a survey of Twentieth
The fitting symbol of Toronto's economic and Other international symposia have usually taken Century Art it inevitably outshines the modest
artistic developments is the magnificent City Hall, place in remote parts of the host countries, the little ART GALLERY OF ONTARIO in Toronto (which
certainly the finest modern building I have seen final works left in isolated, often magnificent, has a few major old masters, and some nice
(apart from photographs). I can't imagine an splendour. Gladstone explained that Toronto Canadian things). Zacks is an example not only of
English city of the size (or any) having the courage, wanted the artists in the town, in close contact with taste and knowledge, but of how to buy wisely at
taste and money to erect a similar one—compare the population, from the Mayor downwards. the right time; as such he is a guide and pointer.
for effect Coventry Cathedral, the Swiss Cottage Indeed thousands visited High Park during the Of course this has been a special year, and the
Library, or the new Universities. And typical of the two month's operation. Centennial Celebrations have included above all
best kind of patronage, there was no false local I counted 17 galleries in Toronto, but by this EXPO 67, at Montreal. From the long-term art
pride. It was a Finn, the late Viljo Revell, who won time more may well have opened: Yorkville point of view this brought to Canada the talents of
the international competition. The building, in the Avenue, known locally as `Hippieville', and sur- leading architects and artists. Certainly Buckmin-
shape of two curved shields, dominating a huge rounding streets, a mixture of Carnaby Street, ster Fuller's American Dome, the German Tent and
piazza, was finished in September 1965 and has King's Road, Chelsea and Hampstead, contains Moshe Safdie's Habitat complex were the three
rapidly become the focal centre of the city. The the well known moos GALLERY, as well as minor most remarkable sights—and will undoubtedly
choice of Henry Moore for the only piece of aspirants; amid the gear shops, kinky emporiums influence Canadian architecture and town plan-
sculpture on the site was equally expansive, but a and discotheques, new art galleries open regularly. ning. Some local artists like the sculptor Gerald
nouveau-riche mistake, a kind of greed. True, no Nearby Bloor and Yonge Streets are the main Gladstone were able to work on an unprecedented
British municipality had commissioned our most gallery thoroughfares—here are the old established scale. Throughout Expo, works of art, from all
famous living artist, but this gesture from Toronto LAING GALLERY, run by Michael Greenwood parts of the world, from all periods, were lavishly
was misplaced. Moore's bronze Archer virtually (formerly of the Hanover Gallery in London) ; displayed—none more excitingly than in Man
disappears against these splendid proportions. JERROLD MORRIS; the DAVID MERVISH GALLERY, The Creator Pavilion, which held a breathtaking
This building, and its ceremonial piazza, the which specializes in Americans but also shows survey from pre-history to contemporary work.
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