Savvy billionaire Ken Thomson got an excellent deal by piggybacking his collection on the AGO, rather than building his own gallery. Half of the items on display there now are from his bequest. He's enriched their collection by adding depth to their Canadian 20th Century ( Milne, Kurelek, Group of Seven ), First Nations, and 19th Century ( whoa! hold the Kreighoffs ... ) and European holdings.
Although it's too late to declare 'one room too many Krieghoffs' because that's just not going to change, I am now hoping that the AGO will continue to grow so that the Thomson Collection ends up as a smaller percentage of the total gallery space. I'd like to see a reworking of the Sam & Alaya Zacks exhibition galleries, the loading docks below them, and the parking lot between the AGO and OCAD completely reworked next. Significant space could be added in that area - not that I would expect anything for another decade.
I like how the Lawren Harris gallery has been laid out. The large paintings on the north wall are geometric and semi-abstract - alternating shapes dominated by rising peaks and downward shafts of light; on the south wall are smaller sketch-like paintings that are softer, more painterly.
I have been able to spend more time in Thomson's Harris gallery now, and while my appreciation for it has grown, I still like the more varied presentation of Harris's work in the AGO's Canadian galleries better.
I don't like those wooden hand rails in the Morrice and Krieghoff galleries, but I fear we'll see more of them installed in due course. I think they're intended to keep the great unwashed away from the art rather than allow people to get up close to look at the brushwork and details.
Well, you and I do not agree on that. The only thing that I think the elbow rails hinder someone from doing is licking those paintings. Otherwise I found the rails inviting, and took them time to gaze deeply into some of the works while propped up in front of them.
I like the fact that the Thomson galleries provide information about the paintings in small booklets rather than on labels beside each work. It encourages the primacy of forming a direct emotional connection with the art first and foremost.
It is a similar situation in many galleries there, and I agree that it is better not to have people crowding up to the side of the painting to read the labels: having a guide in hand is much better.
The Thomson ship model gallery isn't connected to the Inuit Visible Storage area - though you can see the one from the other through large plate glass windows. You have to go back upstairs and then downstairs again to move from one to the other - which is absurd.
Well, the two aren't thematically connected, so does there have to be a direct path between them? The Inuit Visible Storage area is outside the "Fare paid area", so connecting the two would be difficult. Maybe the Inuit sculpture will all be moved during my next expansion phase, as mentioned above...
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