Armand Ali’s Co-Op at the RMG

Armand Ali is a Grade 12 Co-Op student from Ajax High School who has been working with our curatorial team this winter. We were looking for a new work from our collection to hang in our elevator lobby space, and asked Armand to select one from the vault. He chose Arnaud Maggs’ Werner’s Nomenclature of Colours, 2005, due to his interest in colour theory and patterns.

Born in Montreal, Maggs trained as a graphic designer and worked as a commercial photographer in the 1960s. At the age of 47, he became a visual artist concentrating on photography and conceptualism. Maggs’ work often references historical documents and his interest in systems of classification.

This work is 2 of 13 plates referencing an 1821 book, Werner’s Nomenclature of Colours, used by Charles Darwin to observe, identify and catalogue nature in South America. The charts, organized according to colour terms, reflect a colonial view of the world.

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Armand Ali during his Co-Op placement

 

My name is Armand Ali, and I am a grade 12 student attending Ajax High School. I chose to do my Co-Op placement at the RMG because I wanted to work somewhere that was relevant to my interests. I am a young artist seeking to learn more about art, and the art world in general. Working at the gallery has given me insight to the day to day operations of an art gallery. Some of the things that I have had an opportunity to work on are: assisting with exhibition design and installation, database work, event setup, social media organization, along with assisting with merchandise management in the gift shop.

I have learnt many useful skills at the gallery, for example how a collections management database works, how to navigate through the vault, as well as how to install artwork. I’ve had the opportunity to do research on various artists, which gave me the chance to learn about contemporary and historical Canadian artists.

Most recently, the curatorial staff asked me to choose an artwork to put on display outside of the elevators. I chose two works by Arnaud Maggs. This was a thrilling experience for me because they gave me freedom to choose whatever I wanted, and I was in charge of not only the selection but preparing the space, and installing it myself. While doing research on Arnaud Maggs, I learnt some pretty interesting information about his work and his life.

It has been I wonderful experience working at the RMG. I have learnt a lot and the people here are very kind and enjoyable to work with.

The Curator’s View: Blockbusters

This post comes from the desk of Linda Jansma, Senior Curator at the RMG.

One of my colleagues at the gallery, forwarded the following quote to me:

people who favour these shows [blockbusters] are like people who prefer to see cut flowers arranged in rooms rather than go out into the garden and see what is growing there.

Why then are people still so attracted to only seeing cut flowers?

I visited two blockbuster exhibitions this past summer: Picasso: Masterpieces from the MusĂ©e National Picasso, Paris at the Art Gallery of Ontario and Van Gogh: Up Close at the National Gallery of Canada, and, just a few weeks ago, Frida and Diego: Passion, Politics, and Painting at the AGO. I had heard negative things about the Picasso exhibition, and, having gone to the MusĂ©e National Picasso in Paris many years ago, I understood those comments. What was “left” in Picasso’s estate was a lot of experimental work and some work, let’s be honest, that he couldn’t sell.

But the gallery was packed, of course; the name, being the primary draw. One of the best things about working in an art gallery is that, when I arrive early, I’m almost alone in the building—I can hear Ralph’s vacuum running somewhere… I get to experience the works of art alone, taking as much or as little time as I want. So, the crowds in blockbusters can make me grumpy.

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Pablo Picasso, Portrait of Dora Maar, 1937

I prepare myself for the swarm of people and look for the positive takeaway. In the case of Picasso, there were some superb mixed-media wall sculptures: cubism in 3D that I hadn’t really been expecting. There were also some really beautiful personal drawings.

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Vincent van Gogh, Giant Peacock Moth, 1889

Van Gogh, if possible, was even more crowded. There are advantages to being 5’11”, and seeing work over the top of people’s heads is one of them. I think I would have missed half of the exhibition if I were shorter. But the work was simply beautiful. Not the Doctor Gachet and vase fulls of sunflowers, or self-portraits with bandaged ears that people think of when they think of Van Gogh—but stunning landscapes and close cropped studies of nature. I love looking at how exhibitions like these are installed: butter yellow walls in one room and a light blue/grey wall in another; immaculate labeling—what more could one ask for? (Other than fewer people, of course!)

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Frida Kahlo, Self Portrait with Monkeys, 1947

The Frida and Diego exhibition was a Saturday excursion—with a week and a half left before the close of the exhibition, I didn’t have much choice. In this case, our 19 year old son joined us and watching him experience the work of these two Mexican artists and talking to him about his thoughts, brought an added dimension to this blockbuster. Kahlo’s work is beautifully detailed and trying to spend any amount of time in front of one work is challenging, to say the least, however, even a minute in front of these masterpieces is certainly worth it.

Leaving Van Gogh, we wandered into the exhibition Arnaud Maggs: Identification. A handful of people looking at the work of one of the country’s important senior artists (who passed away before Christmas): the recent recipient of the prestigious Scotiabank Photography Award and Governor General Award winner. Better numbers than the AGO, where we were the only ones in the beautifully curated, albeit smaller, exhibition of internationally renowned artist Michael Snow’s sculpture entitled: Objects of Vision. We were also almost completely on our own in the AGO’s Evan Penny: Re Figured exhibition that we spent time in after Frida and Diego (this third important senior Canadian artist was also new to our son, so spending quality time with the work was a bonus).

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Artist Evan Penny and Arial #2, 2006. (c) Evan Penny 2012

Will those who prefer cut flowers ever wander into the garden to look at the flowers in depth and take in the work of Maggs, Snow, and Penny? Isn’t that what presenting exhibitions like Van Gogh, Picasso, and Frida and Diego is supposed to foster—gallery goers who want to go beyond the blockbuster? The AGO and NGC did an admirable job of linking up three senior Canadian artists against four famous international ones. Now to get the crowds smelling the flowers from the garden, as well as the vase.