Showing posts with label Campbell House. Show all posts
Showing posts with label Campbell House. Show all posts

11 November 2019

LEST WE FORGET: HOW WE WILL REMEMBER

Muse News | Michelle Wright


In honour of our past, present and future soldiers, today’s article will take pause to look at Remembrance Day and how you can pay your respects to their sacrifice. This year marks the 100th anniversary of Remembrance Day.
 
War memorial
War Memorial by Wiborg. Source
Last year marked the 100th anniversary of the signing of the armistice between the Allies and Germany in Compiègne, France, marking the end of hostilities of the First World War. This armistice took effect “at the 11th hour of the 11th day of the 11th month” and on November 11, 1919 the first annual Armistice Day Ceremony was observed at Buckingham Palace. During World War II many countries changed the name to Remembrance Day. Ceremonies happen today all over the world in honour of the brave men and women who gave their lives and those who continue to serve in areas of conflict.

But where do these ceremonies take place? They happen at cenotaphs, in schools, community centers and parks, but they also take place in museums. Museums that first come to mind are military or war museums, for example the Canadian War Museum in Ottawa, which has events all day today. There is a growing concern that once the generation who can remember the war firsthand pass on, how will their stories be told and how do we preserve them? Museums call upon those who remember and their descendants to help tell stories. Two examples of this are right here in Toronto at the Mackenzie House Museum and the Spadina House Museum, with another coming to Museums of Mississauga in September 2020.

From now until January 31, 2020 the Mackenzie House will host the exhibition Eaton’s Goes to War: Family, Memory & Meaning. The exhibition shows the lives of some of the 3327 employees of the T. Eaton Company from Toronto and Winnipeg who enlisted in World War I. John Craig Eaton, the president of the company, offered to pay his employees wages to enlist. Each time one of these employees did so, their photo was taken and displayed in the Toronto store. About 2000 photographs of these men survive and are preserved in an online gallery created by the Archives of Ontario. Last year, a call was put out to the public to visit the collection and share personal stories of these soldiers and their families. The response was overwhelming and the museum could not display all of them, however the Archives of Ontario are working to publicize them through their stories online.

Eaton's Goes to War, Mackenzie House Museum. Source.
Today from 1:00 pm - 3:00 pm the Spadina House Museum is hosting a pop-up museum-style event, inviting the public to bring mementos and stories about conflict to share them with others. This type of event is an invitation to the public to become a part of the museum. All are welcome, even if they do not have a keepsake or story. Following the event, there will be a special tour of the Spadina House’s involvement in World War I, particularly Percy Austin's experiences as a solider and Margaret Constance Austin's experiences as a nurse.

Coming back to the GTA September 15 to December 15, 2020 the Museums of Mississauga will be host to the traveling exhibition called WAR Flowers. This exhibition made its way to Toronto  January 24 to March 16, 2018 at the Campbell House and was written about by Serena Yplaar & Amy Intrator as a Weekend Edition called INTERPRETATION IN BLOOM: WAR FLOWERS AT CAMPBELL HOUSE MUSEUM. The exhibition is a collection of letters and pressed flowers from Lieutenant-Colonel George Stephen Cantlie sent to his infant daughter Celia during World War I. Cantlie would pick a flower, no matter where he was on the front, whether it was a dandelion, rose, or a poppy, and press the flower to send to his daughter. The letters that accompanied them were often short with a small description of where the flower was from and he would sign it to his “Wee Celia”. The collection was passed to the Stewart Museum by Celia’s niece and has become the center of a multi-sensory experiences, telling this story along with that of ten other Canadians who were involved in the War. These stories show the ability to find beauty and hope, even in the darkest of times.

One of the original flowers featured in the WAR Flowers exhibit. Photo courtesy of Amy Intrator.

These three exhibitions are just the tip of the iceberg for what is going on today. For other ceremonies and events you can visit the Cit of Toronto, Ontario.ca, or google events near you.

I will leave you with some well known words;

In Flanders fields the poppies blow 
Between the crosses, row on row, 
That mark our place; and in the sky 
The larks, still bravely singing, fly 
Scarce heard amid the guns below. 

We are the Dead. Short days ago 
We lived, felt dawn, saw sunset glow, 
Loved and were loved, and now we lie, 
In Flanders fields. 

Take up our quarrel with the foe: 
To you from failing hands we throw 
The torch; be yours to hold it high. 
If ye break faith with us who die 
We shall not sleep, though poppies grow 
In Flanders fields. 
                                                       -In Flanders Fields, John McCrae 

6 March 2019

WORTH A THOUSAND WORDS

Exhibition Reviews | Maddy Howard


The beginning of February saw the opening of a new exhibition at the Royal Ontario Museum (ROM).

Being Japanese Canadian: Reflections on a Broken World  offers visitors a poignant, thought-provoking, and heartbreaking view into the injustices suffered by Japanese Canadians during the 1940s.

REIKO, ALBERTA 1945- Lillian Michiko Blakey. Photo courtesy of Maddy Howard.

Being Japanese Canadian features artworks from eight contemporary Japanese Canadian artists, whose works are interspersed throughout the Sigmund Samuel Gallery of Canada. These incredible artists are Lillian Michiko Blakey, David L. Hayashida, Emma Nishimura, Steven Nunoda, Laura Shintani, Norman Takeuchi, Marjene Matsunaga Turnbull, and Yvonne Wakabayashi.

These artists reflect on the exile, dispossession, and internment that 22,000 Japanese Canadians faced during the 1940s. From those who experienced the history first hand, to those who are still coming to grips with the experiences of their parents and grandparents, these installations provide visitors with an intensely emotional, and often overlooked, piece of Canadian history.

Ghostown & Ladder to the Moon- Steven Nunoda. Photo courtesy of Maddy Howard.
In a similar fashion to the Zodiac exhibition at the Gardiner Museum, Being Japanese Canadian is spread out within the Canadian gallery. This encourages visitors to confront these histories and stories within the larger narrative of Canadian history. Visitors can use a guide map that is on the entrance panel to find the artworks, or they can wander the gallery and find them on their own.

Interior Revisited- Norman Takeuchi. Photo courtesy of Maddy Howard. 
Located in the center of the gallery is a space where visitors can watch short video clips regarding the internment of Japanese Canadians, as well as flip through different books on the subject. I found this to be an excellent touch, as it gives visitors the chance to better educate themselves about the topic while in the space.

Also on display is the official acknowledgement from the Government of Canada to Japanese Canadians that the events of internment were wrong and unjust. Other objects from the 1940s, such as drawings, photographs, a cedar chest, and poetry are also on display to better articulate this awful piece of Canadian history.

The Reading Station. Photo courtesy of Maddy Howard.

The Enemy That Never Was. Photo courtesy of Maddy Howard.
And now time for a shameless plug-in. Laura Shintani and Lillian Michiko Blakey are also on display at my own exhibition at Campbell House Museum. This exhibition, as my capstone project for the Master of Museum Studies program, is entitled Redefining Home: A Story of Japanese Canadian Resettlement in Toronto. This project was put together by myself, Meghan Drascic-Gaudio and Hailey Graham.

This exhibition follows the story of Harold and Hana Kawasoe, a young Japanese Canadian couple who lived in the attic of Campbell House from 1948-1951. Redefining Home follows their story as they strove to make new lives in Toronto, and includes contemporary artwork from Lillian Michiko Blakey and Laura Shintani who reflect on their own experiences of being Japanese Canadian.

Redefining Home runs from March 1- April 1, 2019.

Original Artwork from Lillian Michiko Blakey. Photo courtesy of Maddy Howard.

Redefining Home. Photo courtesy of Maddy Howard. 
Being Japanese Canadian allows the artwork from these incredible artists to speak more than a thousand words. Each work speaks to a horrid history that is often overlooked, and encourages visitors to reflect on the generational ramifications that have come as a result of this great injustice. These artworks also ask visitors to reflect on what it means to be Canadian.

Being Japanese Canadian opened February 2, 2019 and is on display at the ROM until August 5, 2019.

Canadian Born, Alberta 1943- Lillian Michiko Blakey. Photo courtesy of Maddy Howard. 

25 March 2018

MMSt 2018: EXHIBITION PROJECTS PART II

RESEARCH COLUMN

BY: SERENA YPELAAR

Happy Sunday, readers! It's your friendly neighbourhood Editor-in-Chief again, with another installment of #MMSt2018 exhibition projects for your curious minds. Last weekend you got to hear about the ones that are opening first; this post will follow the same chronological structure and pick up where we left off.

So sit back, relax, and enjoy hearing more about our students' projects!


Temple of Fame: Staging Women's Roles (April 25-June 10, 2018)
Maeghan Jerry, Kara Isozaki, Sarah Kelly

Location: Aurora Museum & Archives, 22 Church Street, Aurora
Opening Reception: April 25th, 2018 5:30 pm - 8:30 pm

A century ago, the women of Aurora produced the Temple of Fame: A Pageant of Famous Women. The play featured historical and fictional female figures vying to be crowned by the Goddess of Fame. Our exhibition explores how the play illuminates the changing roles of women in 1918. Our project is a portion of larger centennial programming, which celebrates local women through a series of community events, including a remount of the play.

1918 production of Temple of Fame. Photo courtesy of the Aurora Museum & Archives.

Redefining Language in African Art Scholarship (April 30, 2018 –) 
Susan Jama
Working at Clara Thomas Archives & Special Collections! Photo courtesy
of Susan Jama. 

Location: Clara Thomas Archives & Special Collection, York University Libraries, Toronto

My digital exhibition, Redefining Language in African Art Scholarship, explores the history of language used to describe African art from colonial to post-colonial era. Redefining Language in African Art Scholarship reveals the transformative shift in African art literature written from the 1900s to 1980s.



Messages from the Mosaic (May 1, 2018 –)
Ellen (Mairead) Murphy, Zhuohua (Nicole) Yang

Location: Canadian Language Museum; messagesfromthemosaic.ca (digital exhibition)

Promotional image for the exhibition. Photo courtesy of
Ellen (Mairead) Murphy.
Our exhibition project is Messages from the Mosaic, a digital exhibition about the languages of Canada. Using text, infographics, and clickable elements, we want to curate a web exhibition that explores the history, trends, and challenges surrounding Canada’s transforming language mosaic. This is a bilingual exhibition (English and French) and will be launched in May 2018.




A Telepathic Book (May 5-15, 2018)
The Broadbent Sisters' Telepathic Book. Photo courtesy of
Broadbent Sisters and Robynne Redgrave, 2017. 
Aurora Cacioppo, Meagan Fillmore 

Location: Black Cat Art Space, 2186 Dundas St W, Toronto
Opening Reception: May 3, 2018, 6 pm (remarks at 7 pm) at Stephen Bulger Gallery, 1356 Dundas St W, Toronto

We are working with the Broadbent Sisters to translate the components of their sculptural photobook into an exhibition for CONTACT Photography Festival. For fourteen days, the artists used meditation to telepathically send and receive images to one another. Afterward, they revealed their photos to one another and found unbelievable connections! Using each day’s images, the artists produced A Telepathic Book, which displays these parallels while promoting meditative practice through its design.

Partners: The Broadbent Sisters


The History of the John Street Roundhouse: 1929 - Present (May 2, 2018 –)
Hannah Monkman, Abebe Mengesha, Alice Norton-Bell

Location: The Toronto Railway Museum, 255 Bremner Boulevard, Stall 17, Toronto
Opening Reception: TBD

Our project is to create a new entryway exhibit in the Toronto Railway Museum, which will set the tone for an upcoming museum-wide redesign. We’re exploring the rich history of Toronto’s rail lands from 1929 to the present day, looking specifically at the John Street Roundhouse where the exhibition will be located. Come learn the story of an area once dedicated to the railway, that’s now a bustling neighbourhood filled with iconic Toronto attractions!

The John Street Roundhouse in 1930. Photo courtesy of
Toronto Public Library Archives.

Anna taping up the exhibition space for Inner Spaces!
Photo courtesy of Kasey Ball. 
Inner Spaces (May 1-31, 2018)Cassy Kist, Anna Kawecka, Kasey Ball

Location: Ontario Science Centre, 770 Don Mills Rd., Toronto
Opening Reception: May 5th, time TBD

Our exhibit provides a brief glimpse under the microscope of research being done across Canada. Displaying images of cellular pathology captured in the lab, we hope to bring awareness to this amazing scientific work.






Collecting Moments: The Photographs of Dr. John E. Ackerman (May 17-June 13, 2018)
Charlotte Gagnier, Sarah Proulx

John E. Ackerman, Men outside Ackerman's Grocery Store ca.
1940s. Ontario Jewish Archives, Blankenstein Family Heritage
Centre, accession 2013-7-13. 
Location: Black Cat Artspace, 2186 Dundas Street West, Toronto
Exhibition Hours: Wednesday to Sunday, 12-7 pm
Opening Reception: May 17, 8-10 pm

Our exhibition consists of photographs reproduced from archival negatives taken by an accomplished amateur photographer, Dr. John E. Ackerman. We are very excited for the opportunity to work with such a rich collection, held by the Ontario Jewish Archives. The best part of fulfilling our role as curators has been looking through this beautiful collection of moments that portray the personal life of Dr. Ackerman as well as life in Toronto in the mid-20th century.


Lost and Found: Rediscovering Fragments of Old Toronto (May 2018-May 2019)
Hannah Hadfield, Tanya McCullough, Leora Bebko

Promotional image for Lost and Found. Photo courtesy of
Leora Bebko, 2018.
Location: Campbell House Museum, 160 Queen St. W., Toronto  
Opening Reception: May 17, 2018 – Panel Discussion from 6-7 pm, Reception from 7-9 pm

Our exhibition will feature six groupings of handcrafted carved stones salvaged by Rosa and Spencer Clark from iconic Toronto buildings in the postwar era. Positioned throughout the Campbell House Museum gardens and juxtaposed against the modern city landscape, we hope that our exhibition will inspire visitors to contemplate the city’s relationship to its heritage and imagine what the city will look like in another 50 years.


_______ 

Kudos to all these amazing groups and their fascinating exhibition projects - I'm looking forward to visiting them all. Be sure to check the exhibitions out in person at the openings or beyond! 

27 January 2018

INTERPRETATION IN BLOOM: WAR FLOWERS AT CAMPBELL HOUSE MUSEUM

WEEKEND EDITION

BY: SERENA YPELAAR & AMY INTRATOR

This past Tuesday, we had the privilege of attending the media preview for WAR Flowers - A Touring Art Exhibition at Campbell House Museum. The exhibition runs until March 25 and presents a fascinating new interpretation of the First World War through a century-old flower collection. Displayed alongside the work of multiple artists, WAR Flowers is a fresh take on a popular historical topic.

The exhibition is travelling across Canada, having already stopped at the Canadian War Museum in Ottawa. WAR Flowers was developed in a collaboration between filmmaker Viveka Melki and Alexander Reford, historian and Director of Les Jardins Metis/Reford Gardens in Grand-Métis, Quebec.

During World War I, Canadian soldier George Stephen Cantlie sent flowers home to his young daughter Celia in Montreal. A century later, the preserved blooms teach us how flowers can hold meaning, and more strikingly, how they embody the emotions that form the human experience of war.

Exterior of Campbell House Museum. Photo courtesy of Amy Intrator.

New Perspectives

Bringing a new perspective to Canadian involvement in the First World War may sound like a near-impossible task. From memorials, to museums, to history class, most Canadians are familiarized with our country’s monumental role in the war. WAR Flowers, however, manages to bring a new, human perspective to a familiar piece of history.

As the exhibition's curator, Viveka Melki explained that her background as a filmmaker partially informed the exhibition, but her perspective was also defined by her identity as an immigrant. Melki stated that she didn’t grow up with the same familiarity with Canadian history. Canadian icons like A.Y. Jackson and John McCrae have their place in the exhibit, but these figures are featured alongside Julia Drummond, Percival Molson, and other Canadians involved in the war effort.

The exhibit doesn’t rely on a familiarity with Canadian history. Rather, the exhibit reframes familiar and unfamiliar stories in a new light. The flowers featured in the exhibit are examined using floriography, a Victorian method of exploring emotion through flowers; this unusual approach allows new narratives and themes to emerge in the exhibit.

One of the original flowers featured in the WAR Flowers exhibit. Photo courtesy of Amy Intrator.

Integrating Art and Artifact:

The flowers from the archive of George Stephen Cantlie are some of the most striking pieces in the exhibit. Sent from Europe to Montreal during the First World War, the 100-year old collection is extremely valuable as one of the largest wartime flower collections. The flowers are important artifacts in their own right, but in the exhibit, each flower also becomes a way for multiple artists to explore themes related to war. For example, the poppy, which has often been viewed as a symbol of sleep, explores the theme of “Eternal Sleep.” The theme is addressed through a short anecdote about John McCrae, along with an optical crystal sculpture created by Mark Raynes Roberts, and a customized scent created by Alexandra Bachand.

The "Eternal Sleep" section of the WAR Flowers exhibit. Photo courtesy of Amy Intrator.

Each of the ten flowers in the exhibit inspired artists to come together and create thoughtful pieces reflecting on war. Melki said that she tried to let each artist “have their voice,” which is especially important in filmmaking. Melki described the process as four artists coming together to “make a statement,” and this comes across as the exhibit weaves together the four artists’ individual but complementary impressions of war. The artists' creations work harmoniously, but individually each of the pieces engages the viewer differently. For example, the optical crystal sculptures created by Mark Raynes Roberts are literally illuminated by the lighting in the exhibit, which gives each of the detailed sculptures an even greater sense of depth and emotion.


The crystal sculpture featured in the "Resolve to Win" section of the WAR Flowers exhibit. Photo courtesy of Amy Intrator.

Sensory Innovation

The exhibition uses scent and sound to captivate visitors. Individual alcoves - reminiscent of a gothic church's vaulted ceilings - feature each flower alongside stories of Canadian individuals involved with the war. We were transfixed by the individual scents Bachand created for each flower and its meaning, activated by pressing a button (see below)! This non-intrusive feature gave visitors the chance to engage directly with the experience; the use of scent is particularly evocative as it can trigger personal memories. Melki stated that the use of scent was important to her because it allows the exhibition to reach every visitor in a unique way. Given that smell is a powerful tool of remembrance, we found it fitting that WAR Flowers uses it to great advantage. 



The exhibition also uses sound to transport visitors, from a buoyant classical score to sound effects evoking a sense of conflict - the music shifts seamlessly, interspersed with bouts of silence that we didn't notice until the music started again. One of the most memorable sounds is the skylark, which Melki explained is the national bird of the First and Second World War for Canadians. Melki chose not to include sounds like gunfire, as these could be triggering to certain individuals. She therefore strikes a careful balance, setting the mood with great sensitivity. 

New Directions 

We were both engrossed in the various aspects of interpretation the WAR Flowers team synthesized to capture our interest and foster connections to the flower collection and the war stories. This multi-sensory exhibition demonstrates how exhibitions aren't merely the display of artifacts, but rather an experience inviting the visitor to engage emotionally with stories of real people. 

After its Toronto run, the exhibition will travel to the Visitor Education Centre at the Canadian National Vimy Memorial in France.