Hang out with a troupe of dancing newsboys
Based on a real-life 19th-century newsboy strike, Disney’s blockbuster musical Newsies follows a group of vagrant kids who sell copies of the New York World to survive in the city. When the rag’s greedy publisher slashes the newsies’ measly wages, they go on strike and eventually publish a paper of their own. The show features a triumphantly brassy score co-written by Alan Menken (of Beauty and the Beast and Little Mermaid fame). Wednesday, July 8 to Aug. 30. $35–$130. Ed Mirvish Theatre, 244 Victoria St., 416-872-1212, mirvish.com.
Hang out with a troupe of dancing newsboys
Go on a late-night sampling spree
The twinkly Stop Night Market returns for its fourth annual carnival of sno-cones and small plates. For $100, you get unlimited access to food from practically every hot restaurant in the city, including Rose and Sons, Branca, Libretto, Geraldine and Bar Fancy, plus libations from local wineries and breweries and live music from indie bands. It’s as much an art show as a food fest: the carts are customized by design studios like Brothers Dressler and Raw. Tuesday, June 16 and Wednesday, June 17. $100. 181 Sterling Rd., nightmarket.thestop.org.
What it is: A major renovation of OCAD U’s Rosalie Sharp Pavilion, on the southeast corner of Dundas and McCaul streets. The building, currently offices, would be transformed into a study and exhibition space with street-facing LED displays to project student artwork out through its windows.
On a frigid February evening, 2,500 partygoers descended on the Art Gallery of Ontario for First Thursdays, the museum’s monthly late-night party. This edition, celebrating a massive new exhibit devoted to the street-turned-pop artist Jean-Michel Basquiat, had sold out in under an hour. It featured panel discussions, food stalls, cheap cocktails and a performance from the hip hop DJ (and Basquiat contemporary) Grandmaster Flash. While the tipsy throng swirled in a frenzy under Frank Gehry’s spiral staircase, nightclub reps lurked outside the gallery, greeting passersby with flyers for upcoming events. “I tried to get a ticket for weeks, and this is the closest I’m going to get,” one told me. I asked if she’d ever hustled outside a museum before. “I go where the party is,” she said. “And this is the hottest party in town.”
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A product of New York’s punk scene, the Brooklyn artist Jean-Michel Basquiat quickly jumped from the street to the gallery circuit in his late teens, creating shambolic, irreverent works of art until his death from a drug overdose at age 27. His paintings and drawings are deliberately jumbled and messy—colours smudge and swirl, shaky penmanship overlaps childish doodles, ideas are rooted then abandoned halfway. But there’s anger beneath the chaos. Every work confronts poverty, racism and power—the uncomfortable issues that separated the realms the artist straddled. Now’s The Time, the AGO’s new exhibition, is the first Canadian retrospective for Basquiat, featuring 85 of his most iconic—and iconoclastic—pieces.
Feb. 7–May 10. $16.50–$25 (includes general admission). Art Gallery of Ontario, 317 Dundas St. W., 416-979-6648, ago.net.
Art Spiegelman never wanted a retrospective. “It feels like walking around among a bunch of tombstones,” he recently pronounced. It’s no surprise the famously anti-establishment cartoonist would be ambivalent about hanging his work in museum halls: he’s a cultural heretic who got his start scribbling satirical cartoons in the early ’70s as part of an underground comics ring in San Francisco. In 1991, he completed his Pulitzer-winning Maus, a disturbing parable based on his father’s experience in the Holocaust, that reimagined the Jews as mice and the Nazis as cats.
Just as Spiegelman inadvertently elevated comic books into literature, he also transformed cartoons into high art. His new AGO show, which opens on Saturday, documents every stage of his creative trajectory: his earliest comic strips, the discarded drafts of his 1993 New Yorker cover depicting a Hasidic man kissing a black woman, and studies for a stained glass panel he designed for his alma mater, New York’s High School of Art and Design. Most affecting is the section dedicated to Maus, plastered with character studies and family artifacts, where a sound system plays recordings of Spiegelman interviewing his father. Click through the gallery for a look at some of his most iconic comics.
Dec. 20 to Mar 15. Included with general admission, $19.50. Art Gallery of Ontario, 317 Dundas, St. W., 416-979-6648, ago.net.
Last winter, the AGO announced that it would be using an undisclosed sum of Weston-family money to upgrade Grange Park, a lovely but neglected patch of public space located in the gallery’s backyard. Vancouver’s PFS Studio (best known locally for Sherbourne Common) has been working on the landscape design ever since. The video above, released by the AGO two weeks ago, shows a 3D rendering of the latest version of the proposed revamp. Everything is looking pretty good (that is, aside from all the creepy, slo-mo, computer generated park people). Flowerbeds, new trees, attractively curvaceous concrete benches and a prominent water feature give the park a more distinctive look without ruining its relative peace and seclusion, and some new playground equipment offers something for the kids. The makeover is scheduled for completion in late 2015.
The title of Suzy Lake’s AGO retrospective, Introducing Suzy Lake, is a peculiar one, because the revered Toronto-based artist should require no introduction. After moving to Montreal from Detroit in the 1960s, Lake began using photography, video and performance art to explore themes of gender, identity and body politics. Her iconic, poignant work—much of it self-portraiture—has since been featured in hundreds of exhibitions. This past spring, the Globe and Mail called her a “national treasure.” Introducing Suzy Lake will trace Lake’s career in images, “from age six to 66,” through Detroit’s civil rights movement, her early work in Montreal and her success in Toronto. The exhibition will feature 50-odd previously shown works, as well as a handful of new pieces.
Wed. Nov. 5–March 22. Nov. 12 public opening. Included with general admission. The Art Gallery of Ontario, 317 Dundas St. W., 416-979-6648, ago.net.
We thought it was a mirage last fall when we saw Claire Danes and Hugh Dancy having dinner at Woodlot, basking in a beatific glow. Then we spotted them again, walking with their baby down Queen West, and caught Danes head-bobbing to Arcade Fire at the ACC. Danes and Dancy are new Torontonians, living several months of the year here while Dancy films his CityTV series Hannibal, a prequel to Silence of the Lambs. Apart from being the grisliest show on television—in one scene, Dr. Lecter, played by the hollow-cheeked Danish actor Mads Mikkelsen, sews together a pile of naked, still-twitching victims—it’s also thrilling and suspenseful, beloved by critics and obsessively anatomized online. Hannibal is one of several Toronto shows contributing to the box’s golden age. Among the new crop of hits is Orphan Black, the creepy Space sci-fi series about a troupe of clones, which films all over the GTA and sells out auditoriums at ComiCon. On CTV, Reign, a moony, Toronto-shot soap about Mary Queen of Scots’ teenage love life, has amassed a rabid fan base who call themselves Loyal Royals. And then there’s The Strain, an apocalyptic vampire show from weirdo director Guillermo del Toro, which films near Queen and Church. (Del Toro loves shooting in Toronto so much that he’s made his last three projects here, including 2013’s Mama and Pacific Rim, and next year’s Crimson Peak, a haunted house story starring Jessica Chastain, Tom Hiddleston and Mia Wasikowska.) The Strain is the summer’s most anticipated series, set to debut in July on FX, a network that’s rivalling HBO in quality cable programming. Toronto’s TV industry is finally something we can brag about: last year, TV productions poured nearly $730 million into the local economy. Spotting Claire Danes at the AGO is just an added perk.
In this edition of The Weekender, a massive pillow fight, a festival of silent film and three more things to do in Toronto this weekend.
Pillow Fight Toronto 2014 (FREE!)
The annual Newmindspace pillow fight returns. Hundreds of participants will gather in Nathan Phillips Square to beat the stuffing out of one another with pillows from home, in celebration of International Pillow Fight Day. The theme of this year’s brawl is “superheroes versus villains,” and costumes are encouraged. But take note: feather pillows are banned (they make a mess). Apr. 5. Free. Nathan Phillips Square, facebook.com
Slideshow: a preview of “Francis Bacon and Henry Moore: Terror and Beauty,” the AGO’s new fleshy, figurative exhibition
With its latest exhibition, “Francis Bacon and Henry Moore: Terror and Beauty,” the Art Gallery of Ontario is offering visitors two shows in one. The first Canadian exhibition of Irish-born British painter Francis Bacon’s work will be merged with the AGO’s own collection of works by English sculptor Henry Moore.
Born in Dublin in 1909, Bacon’s work was defined by its bleak, figurative approach to the human body. A kind of proto-David Cronenberg, Bacon seemed to regard human flesh as infinitely malleable—fit to be twisted and warped into all manner of abnormal configurations. His work prods the corporeality of human nature, like a lonely bachelor poking at freezer-burned hot dogs thawing in the sink. Bacon treats humanity as though it consists of little more than sacks of misshapen meat. (It’s fitting that some of his paintings share screen space with Michael Keaton’s rapacious, cyborg-building CEO in the new Robocop remake.)
Though the two never worked together, Henry Moore’s figurative sculptures provide a nice counterpoint to Bacon’s work, exploring similar themes in marble and bronze. The AGO’s exhibit calls attention to the aesthetic continuities tying the two artists together. Finally, a chance for anyone sick of beauty to take in a little horror and repugnance!
Here are some photos of the exhibition. It opens on April 5 and runs until July 20.
Grange Park is one of Toronto’s hidden gems. It’s surrounded by inspiring architectural sights—Frank Gehry’s AGO to the north, Will Alsop’s Sharp Centre for Design to the east—and it’s the end point of the John Street corridor, which leads down through the heart of Toronto’s entertainment district, all the way to Rogers Centre and the CN Tower. Even so, the park itself has never been particularly impressive. Owned by the AGO but operated by the city, the space consists of a couple hectares of grass, trees and benches. It’s a hangout for OCAD students and dog walkers.
On Thursday, the AGO announced that W. Galen Weston, food-industry magnate and father of Loblaws-commercial-guy-and-actual-Loblaw-executive Galen Weston, is donating an unspecified sum of money toward sprucing Grange Park up. “Grange Park has a cherished place in my family’s history,” Weston is quoted as saying in a press release. “It is just steps away from the original Weston Bakery where my grandfather lived and worked both baking and delivering the bread.”
The AGO says the money is being used to retain Greg Smallenberg, of Vancouver’s PFS Studio, to work up a landscape design for the park. Smallenberg’s firm is probably best known in Toronto for designing Sherbourne Common, a combination park/stormwater treatment facility at Sherbourne Street and Queens Quay East. That park is characterized by wide, grassy spaces interspersed with water features, a skating rink, a playground and a pavilion. The public won’t know what’s in store for the Grange until Smallenberg and the AGO start announcing details, but we can only hope the change ends up being for the better.
In this edition of The Long Weekender, an all-nude burlesque show, a kiddie art gallery takeover, and four more things to do in Toronto this weekend.
Worn Journal Presents: Heartbreak Karaoke
The recently dumped or generally love-averse can set emotions free this Valentine’s Day by belting Celine Dion ballads to a room of fellow commiserators. Put on by the crew at Worn Journal, all proceeds will go to the production of the magazine. Feb. 14. General Admission $7, or $5 for those dressed in red or pink. Monarch Tavern, 12 Clinton St., facebook.com
Slideshow: a preview of Elevated, the AGO’s new exhibition of contemporary art that’s opening this week
Seeing walls loaded with works by big-name, canonical artists from the early part of the 20th century is a great thing, and the Art Gallery of Ontario has plenty of that going at the moment. But there’s also something to be said for exposing oneself to artwork of a more recent vintage. That’s where the gallery’s upcoming exhibition, Elevated: Contemporary Art in the AGO Tower, comes in.
Opening on January 29, Elevated will consist of art made since 1970, much of it newly acquired by the AGO. Among the works on display will be photos by Anne Collier, who is known for her images of found objects. Another piece, an installation by Cuban artist Wilfredo Prieto titled One, will consist of an enormous pile of fake diamonds, with precisely one real diamond somewhere in the mix.
Here are some images of those works, as well as others that will be on view as part of the exhibition.
Art Gallery of Ontario
317 Dundas St. W. (at McCaul St.), 416-979-6634
For a truly magnificent celebration, Frank Gehry’s transformed AGO offers an awe-inspiring event space. On the third floor of the south tower, the 7,200-square-foot Baillie Court affords panoramic city views on one end and overlooks the gallery’s iconic spiral staircase on the other. Designed in modern glass and Douglas fir, the room can be divided as needed and seats up to 300. Executive chef Anne Yarymowich works with couples on customized menus, and a small army of professional event staff ensures the experience is as effortless as it is unique. Baillie Court rental includes a one-year membership to the AGO for the newlyweds. The Walker Court is available to rent outside of gallery hours in conjunction with a reception in Baillie Court.