We Can’t Paint

For its winter 2007 issue Canadian Art has dedicated most of its focus to Toronto, or as other Canadian’s like to call it: “T’ranna”. The feature I found the most interesting was “Cross-Country: Art professionals offer thoughts about Canada’s largest city and art scene”, an article which showcases opinions from gallery directors, curators, artists, and researchers.

A couple of years ago I was living in Toronto for my first year of university, I’ve since moved out of the city to save some money. I found, and still do find, that the local art scene is very strong, lots of funding, venues, collectors, blah, blah. However, I have to say that after reading the article I wasn’t that surprised by the comments, mostly views that depict a city of missed opportunities.

It is widely known that Toronto is considered one of the strongest art markets in Canada, but it’s strong in the most private way. When leafing through most international art magazines you will be hard pressed to find much Canadian content let alone Toronto content. The story is not so much the same in other art friendly cities across Canada such as Vancouver and recently Montreal, cities that seem to have embraced a relationship with the international arts community.

Yves Trépanier, TrépanierBaer Gallery in Calgary, Alberta:

When I look at my colleagues in Toronto, there isn’t anyone who’s representing international art at a high level commercially. I find it amazing that in the country’s largest city we don’t have a Lisson Gallery. What’s that about: is the market not there?

Sylvie Gilbert, Senior Curator, Walter Phillips Gallery and the Banff International Curatorial Institute in Banff, Alberta:

The Musée d’art contemporain de Montréal has a regular series of exhibitions by young Montreal or Quebec artists. They’re not always good shows, but there’s an attempt at that historybuilding. And that’s important, so that people have something to build on in 25 years. Just think about why American art is so important—it’s because they’ve been writing about it!

I think that this failing aspect of a well-structured and strong market such as Toronto may also have to do with its historical presence in the international art scene. For example, the Art Gallery of Ontario (which has been operating since 1900 and became known as the Art Gallery of Ontario in 1966) never feels as if it has a presence in Toronto and appears to be an institution that is continually going downhill.

René Blouin, Galerie René Blouin in Montréal, Quebec:

If there is any room for improvement [in Toronto] it is that there hasn’t been a major contemporary-art show at the Art Gallery of Ontario for a long time. Considering the place of contemporary art in Toronto, the AGO doesn’t reflect the dynamism of the community. Maybe they don’t know how to sell it or how to promote it. Or maybe it will change once the renovation is complete. I hope so.

Jeffrey Spalding, Director/Chief Curator, Art Gallery of Nova Scotia in Halifax, Nova Scotia:

Toronto has the population mass and the monetary resources to act within the world, yet Toronto institutions and magazines operate very locally. It’s been over a decade since any show at the Art Gallery of Ontario really shook me.

However, one must be fair and note that not everything is as grim and bleak as it seems. Other venues have for the most part been improving exhibitions in the city by showcasing international heavy hitters. There are also enough great commercial galleries, collectors and artists to make something happen on an international level.

Wayne Baerwaldt, Director/Curator, Illingworth Kerr Gallery, Alberta College of Art and Design in Calgary, Alberta:

The post-secondary institutions are really working: York University’s new gallery space, the University of Toronto’s Justina M. Barnicke Gallery with Barbara Fischer at the helm, Ryerson in the photography arena. These are guiding lights, curatorially and otherwise. Certainly Toronto’s a very dynamic place to be for contemporary art and there is a growing body of collectors, ranging from Ydessa Hendeles to Partners in Art, that really make a difference. Ydessa Hendeles’s collection and level of presentation, in particular, are unparalleled. That should be a benchmark and guiding light for other well-informed collectors. There should be seven Ydessa Hendeles–level foundations that are presenting incredible spaces for great art to be shown, whether it’s regional or international in scope. The resources are there.

Anthony Kiendl, Director, Plug In ICA in Winnipeg, Manitoba:

Overall Toronto’s a great place; there are so many diverse and interesting and wonderful artists and organizations. We’re lucky in Canada that the largest city is a cultural one, and that nationally speaking we have so many great mechanisms for staying in touch. It’s not perfect but a very diverse and supportive culture nationally, much more so than in the United States, for example.

Andrew Wright, Artist / Vice Chair, CAFKA (Contemporary Art Forum Kitchener and Area) in Waterloo, Ontario:

Still, I’m always amazed how much friggin’ great work comes out of Toronto and Ontario. And how much great art is in this country in general. It’s astounding. When I go to galleries in New York I just see crap in comparison. We need to recognize the amazing stuff that’s happening here and create an environment to let other people see that. But we all need to invest the money municipally and otherwise to make that happen.

So I guess for all it’s worth Toronto is, and can be, a great place for art and culture. Every city has its problems and, specifically for Canada in the international realm, art has always been its toughest sell. That can all change though. Look at London (UK) or Berlin, both cities were always in the shadow of New York and now they are major contenders. When push comes to shove Toronto needs to stop whispering and start shouting… that or a good kick in ass might work.