The art world’s most anticipated shows from upstarts and old masters
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Matty Matheson and Derek Dammann at the Hogtown Throwdown (Image: Renée Suen)
What do you get when you give eight chefs a Perth Pork pig, some beer and wine and an open-air venue to host an event? A throwdown, naturally. Tuesday night, The Group of 7 Chefs—Bertrand Alépée (The Tempered Chef), Chris Brown (The Stop), Mark Cutrara (Cowbell), Marc Dufour (Earth), Kevin McKenna (Globe and Earth), Matty Matheson (Parts and Labour) and Scott Vivian (Beast), sans regular Nick Liu (Gwailo)—were joined by “Deadly” Derek Dammann, until recently of Montreal’s DNA, at the Evergreen Brick Works’ Chimney Court to pack eight solid punches of swine-based plates. The chefs and guests, including Jeff Crump (Ancaster Mill), Tobey Nemeth (Edulis) and Ivy Knight (Swallow Foods), braved the sweltering heat to raise funds for the group’s trip to New York’s prestigious James Beard House in September (only a handful of Canadians have been extended the invitation to host a dinner there).
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Loyal councillors have defied him. His approval ratings have plummeted. And his powerful Conservative backers are nervous. How did it all go so wrong? The strange story of Rob Ford’s city hall
On Newstalk 1010, the sly strains of the Hollies hit “He Ain’t Heavy, He’s My Brother” offered the first clue. Then morning host Jerry Agar burst on the air with a surprise announcement: Rob Ford and his councillor sibling Doug were taking over the station’s Sunday afternoon talk-fest, The City. For the once-staid CFRB, landing the boisterous brother act that Margaret Atwood had puckishly dubbed the “twin Ford mayors” was clearly a coup, but that didn’t answer the more obvious question: why on earth would the Fords want to spend two more hours a week in front of an open microphone when they were hardly suffering from a lack of media exposure?
Rob Ford, after all, ranks as one of the most compelling and exhaustively chronicled figures in Canadian politics, adored and despised with equal gusto. His every pronouncement seems to turn into front-page fodder, his every grimace and belly scratch catalogued by rapt photographers. And who could forget the YouTube footage of comedian Mary Walsh arriving in his driveway, decked out with a velvet breastplate and a plastic sword?
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The (culinary) Group of Seven (Image: Mary Elizabeth Armstrong)
Monday, March 5
As a native Torontonian who has spent the better part of the past decade living in London, England, I get two questions on visits home: 1) Isn’t it expensive there? And 2) What do they think of us?
The answer to the first is, it isn’t too bad if you factor in cheap booze and avoid taking taxis. As for what the British think of us, the answer is, they don’t.
Of our many collective insecurities, the enduring Canadian obsession with how other cultures view us is by far the most cringingly parochial and self-defeating. And, as they like to say in London, it really gets on my tits. We’re like the anxious party guests sweating silently in the corner. Our palpable desperation to be liked precludes the very thing we want most, which is serious attention and respect from places more populated and historied than our own.
You can understand, then, the extreme trepidation with which I approached Painting Canada: Tom Thomson and the Group of Seven, an exhibit at the Dulwich Picture Gallery in South London. Yes, I was glad the Group of Seven had finally commanded a large-scale show in a major European gallery—and it is, without question, the group’s most important international exhibition to date. At the same time, I was determined not to be reduced to a state of slathering patriotic gratitude by the mere fact of its existence.
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ADDRESS: 388 Richmond St. West, Penthouse 4
NEIGHBOURHOOD: Waterfront Communities–The Island
AGENT: Steven Fudge, Bosley Real Estate
PRICE: $1,095,000
THE PLACE: A two-level penthouse in the Fashion District’s District Lofts community. Built by Context Developments and designed by ArchitectsAlliance, the 14-storey U-shaped twin towers won a bunch of awards, including the 2003 City of Toronto Architecture and Urban Design Award of Excellence and an Innovative Building Award from the Canada Mortgage and Housing Corporation.
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(Image: Jody Rogac)
Pink high heels. Heartthrob pink. These are dream shoes, shoes to break your heart. Shoes that are up to no good, shoes to dance their way into millennial visions or scuttle their way into nightmares. Tricky shoes. Trickster’s shoes. Kent Monkman’s shoes. He is painting them into the picture he’s working on as I watch, his fine-tip brush glowing with pink acrylic pigment. The figure in the picture who’s wearing those still-wet, kick-ass platforms is Miss Chief Eagle Testickle, a virtually naked bubble-butt hussy in a cascading feather headdress. I am watching Kent Monkman sitting in front of a canvas painting a picture in which Miss Chief Eagle Testickle, who looks remarkably like Kent Monkman, is also standing before an easel, putting the finishing touches on a canvas. Tricky.

Tom Thomson's Autumn Scene is part of the TDSB's collection
It turns out the Toronto District School Board has a pretty unbelievable collection of Canadian art worth millions. Unfortunately, the pieces have been sitting in a state of neglect in the dingy vault of a local high school because the TDSB has neither the funds nor the know-how to fix them up. Now, in an unprecedented partnership, the AGO and the TDSB are teaming up to get the collection restored and on display.
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