SOMETHING TO MAKE YOU SMILE

Throwback Thursday | Emma Puddicombe

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We’ve all heard at some point the snarky comment, “Take a picture, it’ll last longer.” Well, here are a few times I am so thankful a camera was present. Some moments are just too amazing to not capture, and these are moments I could look at all day. In difficult times it’s important to find something that brings a smile to your face, and these photos are sure to do that. 

Canada. Department of National Defence / Library and Archives Canada / PA-134093 

Able Seaman Daniel Ralph with the mascot of the patrol vessel Allaverdy, of the Fishermen’s Reserve, Esquimalt, British Columbia, 8 November 1941. A tiny cat sitting in a sailor’s cap is too cute a photo to not keep! The juxtaposition of a cat being on a ship is what really makes this photo stand out in the first place. However, the fun fact behind it is that cats were regular pets aboard naval ships in wartimes. They were highly valued for their rat-catching abilities and many felines were brought aboard ships to fight against rodents who would spread diseases and infest the crew’s rations.

CWM ARCHIVES / ARCHIVES DU MCG: Photo Archives 52A 4 29.60 / 20030014-220

See! Cats everywhere! Here we have a photograph of a ship’s kitten named Tiny sitting in its hammock below deck with a sailor in the background. The cat's hammock is marked "TINY MX-0001".

Source 

Penguins going for a stroll with a keeper at the London zoo in the 1930s. I only recently came across this photo, but it never fails to make me smile when I see it. Perhaps it’s the absolute trust the zookeeper has in the penguins, and faith that they will not run away. Or maybe it’s the thought of these wild animals just toddling along down the road with their little waddle. Especially now, it reminds me of the Chicago Shedd Aquarium’s decision to let their penguins roam free while the premises are closed to the public. Check it out on Twitter!

George Metcalf Archival Collection Canadian War Museum 20020173-001 

Members of the Royal Canadian Air Force’s 414 Squadron are greeted on a runway by their loyal mascot. Man’s best friend, right? Just like cats, dogs were often adopted as mascots during wartimes. They were meant to bring up the spirits of soldiers during hard times and provide comfort, something they are still good for today. Don’t forget! Monday, April 20th to Sunday, April 26th is Museum Week this year, so if you want to recreate a photo like the Canadian War Museum did last year, try this one! 

Photo Courtesy of Emma Puddicombe 

Paul Puddicombe (Left), my dad’s father, with his best friend Scrivens (Right) in London’s Trafalgar Square surrounded by pigeons. The sheer abundance of pigeons at their feet, and the fact that neither they nor the two men above them are all thrown by the situation, really makes this photo great. Even more interesting is the fact that this location was once well known for being swarmed by feral pigeons 24/7! They harbored no fear for humans, and eventually “Can I feed the pigeons?” became a serious question for those planning their summer vacations in this area. 

Photo Courtesy of Emma Puddicombe

Albert Frederick Gurr, my mom’s grandfather, with his cat (one of many). In times of great stress, animals have been known to calm those around them simply by being there. This cat seems to be very comfortable where he is, just perched on the shoulder of his owner. No matter what your stance is in the age-old debate “Which is better, cats or dog?” you must admit that this cat is pretty chill.

Through these tough times, it's important to remember that not everything needs to be taken seriously. Take some time to find little things that make you smile just because they do! 

A PORTRAIT OF A CITY: IMAGES OF ISTANBUL AT THE AGA KHAN MUSEUM

EXHIBITION REVIEWS

BY: MADELINE SMOLARZ

After hearing about the Aga Khan Museum’s exciting first year of existence from afar, I was finally able to pay it a visit this month. Fortunately, the day I chose happened to be the first day the new temporary exhibition “A City Transformed: Images of Istanbul Then and Now” was open! I found it to be an excellent show with many features of a successful exhibition.

The Aga Khan Museum glowing in the sunset. Photo Credit: Madeline Smolarz.

There are no photographs allowed in the exhibition space which struck me as ironic as it is an exhibition of photography after all, but of course, I acquiesced as any respectful museum-goer should. Instead of taking my own, I have done my best to provide appropriate images to entice you to make the trip out to the Museum to see this stunning exhibition for yourself.

Walk with me through each section of "Images of Istanbul" and allow your mental portrait of the city to develop.

The entrance into "Images of Istanbul" on the second floor of the Museum. Photo Credit: Madeline Smolarz.

“Architectural Heritage and Urban Landmarks”

After walking through a foyer-like area that displayed portraits of Istanbul’s photography pioneers such as Vassilaki Kargopoulo, some of the sultans who patronized them, and an early portable travel camera called a Reisekamera, I entered the room where the historic obsession with the stylistic differences in the local architecture became apparent. It can be difficult to make old photos of buildings interesting, but the diversity of the subjects chosen - the Hagia Sophia, a palace, Byzantine-era walls, the waterfront, fortresses, cemeteries, fountains, and more - held my interest. Closed imperial albums sit behind glass, their covers resplendent with rich colour and texture. The iPads subtly embedded in the table beside them happily allow you to digitally turn their pages and see what is inside.

“The Glorification of Istanbul: Panoramas”

Two lengthy, mirror-image panoramas feature prominently in this section of the exhibition. One was taken last year, while the other is 120 years old, but both were taken from the same medieval stone edifice called the Galata Tower in Istanbul. Positioning the photos closely together allows for a direct comparison between the skyline they present. The human landscape of the city and its waterfront has changed quite a great deal. However, nearly all of the mosques and historic architecture remain, some even partially obscured by scaffolding that I hope indicates restoration. The Museum provided little interpretive text, but I appreciated the chance to make my own observations, and many visitors were held captive by the panoramas for several minutes. They are truly breathtaking.

The main image used for the exhibition. Source: The Aga Khan Museum.

“Glimpses Into Everyday Life”

Against the backdrop of a massive, enlarged panorama covering the entire wall of the narrow walkway that allows visitors to gaze down into the permanent exhibition area below, a parade of striking images offer an intimate look into quotidian experiences in Istanbul at the advent of photography. I especially enjoyed the inclusion of stereoscopes and stereoscopic photos, which offered a way to help visitors of all ages to engage with the photographs. Who wouldn’t want to see how past generations made 3D images?

“Murat Germen: Contemporary Photographs of Istanbul”

In Murat Germen’s Istanbul, the past and present literally collide in the many “muta-morphosis” images he has created by horizontally compressing panoramas of the city. I’ve personally never seen anything like these photographs, and this method suits Germen’s purposes perfectly. He expresses a kind of cautionary tale about the effects of rapid growth in an ancient city by evoking the collision of ideas, people, buildings, and time. A series of impressive, unconstricted modern panoramas also by Germen are also displayed as an antithetical contrast, and a selection of historic panoramic albums remind visitors of the origins of this photography practise in the sprawling metropolis.

One of Germen's visually arresting "muta-morphosis" photographs. Source: The Aga Khan Museum.

“A City Transformed: Images of Istanbul Then and Now” will be open from February 6, 2016 - June 26, 2016 and is located on the second floor of the Aga Khan Museum. I hope you go visit, and if you do, share your thoughts in the comments!

AIMIA | AGO PHOTOGRAPHY PRIZE 2015: AN EXHIBITION OF FINALISTS

EXHIBITION REVIEWS

BY: MADELINE SMOLARZ

Editor's Note:

The air is cooler, pumpkin spice has re-emerged, school has started once again, and those cozy socks suddenly look oh-so-tempting. Not only is autumn just around the corner, but Musings is officially back! I have the great pleasure to write the first official regular schedule post of the 2015/2016 academic year and to welcome you, dear reader, and all of our wonderful contributors to another season of creative and thought-provoking columns on our favourite topic: museums. Three second-year students and nine first-year students have joined the Musings team this year - congratulations to you all.

Last Wednesday, the Art Gallery of Ontario (AGO) welcomed the public to gather in Walker Court for a free drink and introduced the city to its newest artistic installation: the Aimia | AGO Photography Prize 2015 Exhibition.

The work of the four photographers who are finalists in the competition can be found in a large temporary exhibition space on the second floor of the AGO, the same space that until recently housed Emily Carr’s breathtaking landscapes. The images from Germany’s Annette Kelm, Hito Steyerl also of Germany, Canadian Owen Kydd, and Dave Jordano from the United States quickly captured my attention and imagination just as much as Carr had. The white walls, pebbled cement floor, clean lines, and industrial feel of the entire space created few distractions, which allowed me to focus solely on the images.

The entrance to the Aimia | AGO Photography Prize exhibition. Photo Credit: Madeline Smolarz.

The Competitors

Kelm’s blatantly fabricated subject arrangements, simple yet bright, brought to mind the power of consumerism and capitalism. Steyerl’s laughter-inducing “How Not to Be Seen: A F*cking Didactic Educational .MOV File” (sorry, I won’t publish an expletive, even for the sake of art!) examines how we see and are seen by recalling vintage educational films. The “durational” photographs of Owen Kydd reminded me of magical moving images of Harry Potter by blurring the line between film and photography. Finally, Jordano’s stark and straightforward urban portraits of Detroit’s people and their strength in the face of struggle provoked conversation and lingering stares from many visitors. I thoroughly enjoyed the presence of such a surprising diversity of mediums that pushed the boundaries of photography far beyond what the word usually brings to mind, and I overheard similar remarks from other visitors.

Visitors ranging in age from stroller-bound to elderly enjoying Jordano's photographs. Photo Credit: Madeline Smolarz.

The Setting

Each artist had a distinct room to themselves, distinguishable from one another only by a descriptive text panel, the work on the walls and in Steyerl’s case, an architectural environment that enclosed a darkened room in which the artist’s film played. I found that "evening the playing field" in this way ensured that one artist did not have an advantage over another in terms of the setting their artwork was in. However, Steyerl’s video was so loud that it could be heard in Kelm and Kydd’s rooms, and sound from the “Get to Know the Artists” video playing in a corner opposite Jordano’s room bled into his space too. I was only initially bothered by these auditory elements, but I wonder whether other visitors found it consistently disturbing. I appreciated the reflective timeline that revisited past years of the competition, which was first called the “Grange Prize” and has evolved to offer international residencies to winners (since 2013) and scholarships to several art students (since 2014). Clearly, Aimia and the AGO are striving to offer even more benefits to winners while also encouraging up-and-coming talent. This demonstration of progress depicts an institution that is forward thinking and interested in growth, a nice touch by the exhibition organizers.

A friend of mine learning about the history of the Prize in the exhibition. Photo Credit: Madeline Smolarz.

You Can Vote!

Voting stations are located at either end of the exhibition, one screen at the beginning that starts with Kelm’s images and two at the exit into the Galleria Italia in case some visitors pass through the exhibition the opposite way. During opening night, I was pleased to see so many interested visitors that they were actually forming sizeable lines in order to vote. The reception was both public and free to make a bold statement about the nature of the exhibition and the competition itself; the public is needed for it to be successful, so the doors of the AGO were thrown wide open in welcome. I found the inclusion of this interactive voting component, - which makes a longer-term, significant impact than most other standard interactives by affecting the competition’s outcome - very compelling.

The two interactive components were a video / reading area featuring all of the artists and the voting stations themselves.
Photo Credit: Madeline Smolarz.

A Final Thought & Lingering Questions

I’ve seen a few competition exhibitions in my day, and the biggest takeaway from this one for me was how it did a wonderful job of letting the works stand alone and giving the audience equal opportunities to get to know each artist and their competition entries.

Have you been to the exhibition yet? Did the exhibition affect who you voted for and why / why not? What do you think could bias visitors in a competition setting like the Aimia | AGO Photography Prize Exhibition? Please share your ideas below; I would love to hear what you think!

BURN WITH DESIRE

MUSEUM MONDAYS

BY ALEXANDRA JEFFERY

Hey y'all!

For the last Museum Monday I'll write, unless I get gainful employment writing semi-interesting blog posts exclusively on Mondays I thought I would talk about an exhibit I just saw.

On until April 5 (quick act now, one day only, SUNDAY, SUNDAY, SUNDAY) is Burn with Desire: Photography and Glamour, curated by Gaelle Morel, at the Ryerson Image Centre. The exhibition uses a variety of media to demonstrate the role of photography in defining celebrity and glamour since the early 20th century.

Burn with Desire Exhibit at RIC. Photograph from Carole's Tips.

The show features uses photographs from Ryerson's Black Star Collection:

"Assembled over a period of eighty years at the Black Star photo agency in New York City, the photographs in the Black Star Collection describe the personalities, events and conflicts of the twentieth century[...]The Black Star Collection at Ryerson University includes more than a quarter of a million photographs created by more than 6,000 different image-makers, many of them acknowledged as individuals who helped define picture journalism as it evolved throughout the twentieth century."

I was actually a little bit more interested in the history of the Black Star collection than I was the exhibition... though I thought the exhibition was really good.

Manfred Linus, Untitled [Marilyn Monroe], date and location unknown.
The Black Star Collection, Ryerson Image Centre.

 The Image centre also linked the other exhibitions in the centre with Burn with Desire, currently there is an exhibit titled Anti-Glamour: Portraits of Women, a case of 20th century costume jewellery from the collection of Carole Tanenbaum, a video installation of Alex Prager's short films commissioned by the New York  Times titled A Touch of Evil.

Selection of pieces from Fabulous Fakes by Carole Tanenbaum, from the 50's and early 60's.
Photograph from Carole's Tips

CAPTURING 'CHANGING NEW YORK': THE LIFE AND WORK OF BERENICE ABBOTT

WALK OF FAME

BY: KATIE METHOT

Two years ago I stumbled upon an exhibition of Berenice Abbott photographs at the Art Gallery of Ontario. Knowing nothing about this photographer, I wandered into the exhibition and was blown away by the work displayed. After visiting the exhibition I wanted to learn more about the life of the woman who had captured these beautiful images. What I ended up learning about Abbott was that she was a risk taker. She travelled, took chances, and followed her passions to achieve success as an artist. After growing up in Springfield, Ohio, Abbott moved to Greenwich Village in 1918 where she became involved with a group of political activists and artists. After nearly dying during the Spanish Flu pandemic, Abbott recovered from her illness and travelled to Europe.

Pike and Henry Streets, Manhattan. 1936 (Source: New York Public Library) 

In Paris, Abbott found a job as a darkroom assistant for none-other than the famed surrealist photographer, Man Ray. After realizing his assistant had real artistic talent, Man Ray encouraged Abbott to take her own photographs in his studio. This work culminated in her first solo exhibition and led to opening her own studio.

Jacob Heymann, Butcher Shop, New York City. 1938 (Source: MoMA)

After returning to New York City, Abbott rekindled her love of Manhattan and its boroughs. At this point, the work of Eugène Atget inspired her style of photography. Atget was a French photographer who had focused on capturing images of Paris before modernism changed the architectural landscape. Abbott had photographed Atget, shortly before he died. She later published posthumous books of his photographs, which he received much acclaim for. 

Penn Station, Interior, Manhattan. (Source: New York Public Library)

Similar to the documentary style of photography practiced by Atget, Abbott began wandering around New York and photographing life in the city. As signs of modernism took over, Abbott documented the changing commercial, social, and cultural facets of the city in her project "Changing New York". Her 'flâneur' style of photography continues to be compelling and offers a unique historical perspective on life in New York during the 1930s.

If you are interested in seeing some of Berenice Abbott's work, it is currently on display in the exhibition “Sign, Sign, Everywhere a Sign” at the Justina M. Barnicke Gallery.

“Sign, Sign Everywhere a Sign” is on display at both the Justina M. Barnicke Gallery and the University of Toronto Art Centre until March 7^th

THIRTEEN AWESOME HISTORIC PHOTOS OF MUSEUM VISITORS

THROWBACK THURSDAY

BY: JAIME CLIFTON-ROSS

Since we discuss the visitor experience so much in class, I thought I'd share some delightful black and white photographs of museum visitors from the 1930's to the 1990's. Be sure to check out our Pinterest page for more lovely photographs!

Pssst.....scroll to the bottom to see my favourite photo! Also, tweet us your favourite historic photos of museums @musingsmmst! ENJOY!


1. Francis Schlowsky, Les Jumelles et Degas, ca.1990

2. Alécio de Andrade, At the Louvre, 1968.

3. Alécio de Andrade, At the Louvre, 1990.

4. Friedrich Seidenstücker, Two Girls, Bismarck Memorial Berlin, 1930.

5. A Saturday Morning Class in the Laidlaw Gallery, Art Gallery of Toronto (AGO), 1930s. 

6. Alfred Eisenstaedt, Tourists at the Louvre, ca. 1950.

7. Alécio de Andrade, At the Louvre, 1969.

8. Alécio de Andrade, At the Louvre, 1993.

9. Eve Arnold, Silvana Mangano, 1956.

10. Alécio de Andrade, At the Louvre, 1993.

11. Elliott Erwitt, Looking at the Frick Collection, New York, 1969.

12. Herb Slodounik, Peeking through the vents at the San Francisco Museum of Art, prior to the 1970's.

13. Alécio de Andrade, At the Louvre, 1990.

INTERLOVE: A DOCUMENTARY PHOTOGRAPHY PROJECT

RESEARCH COLUMN

BY: JENNIFER RODRIGUES

Annie, a Catholic, was teaching in Malaysia at an international school when she met Sunder, a practicing Hindu. Both of their families have embraced the fact that they are together in an interfaith relationship and are enjoying the opportunity to learn more about their differences. - Interlovepoject.com pic, November 7, 2014.

I am the project manager of a recently launched documentary photography project, INTERLOVE, founded by Canadian Photographer and creator of Cosmopolis Toronto, Colin Boyd Shafer.

The goal of the project is to show love is happening in complex situations here and Canada, and we aim to show this by photographing and sharing the stories of 100 interfaith couples across Canada. In order to achieve this goal we’ve launched a crowdfunding campaign on indiegogo. If we surpass our funding goal, we will produce a documentary about the project and an exhibition. You can read the first five moving love stories on our website.

Based on stories we’ve from heard friends, stories on the news, and what we’ve learnt through research, we have found that interfaith relationships is still very much difficult topic to discuss for many people and faith communities. In many countries around the world, it is not safe to have interfaith relationships, and in many the topic is not open for discussion.

It is this need to break down barriers and create a civil dialogue that nurtures and supports the social good that drives this project. We want to show how couples learn to celebrate and cherish their differences rather than squabble over them. We want create a critical dialogue about the complexities of interfaith relationships, while celebrating how people with differing beliefs come together in love in Canada.

Editor's Note: Jennifer Rodrigues is a second year MMSt student who graduated from the University of Waterloo with a degree in Anthropology. In addition to INTERLOVE, she has also worked as the Sponsorship Coordinator for Cosmopolis Toronto. If you are a Museum Studies student engaged in research for a work, volunteer, or school project that you would like to share, please contact Robin Nelson.

PHOTOGRAPHIC COLLECTIONS - LET'S GET VISUAL

MUSEUM MONDAY
BY ALEXANDRA JEFFERY

New British immigrant to Canada having a bottle of Coca-Cola and a cigarette,
1947, Archives of Ontario (I0002997.jpg)

It's no secret that we are living in a world that is primarily visual; the things that grab our attention are often bright, colourful and loud. Photographic collections have the same impact in archives; they represent some of the most accessible parts of the collections. Archives (and museums) have a really fantastic resource at their finger-tips (in my humble opinion). So, for this Museum Monday, I thought I might post a list of some interesting photograph collections!

1. The City of Toronto Archives has a collection of their favorite photographs, but they also have the photographic collection of Ellis Wiley. This particular collection contains photographs from 1945-1993 of many different areas of Toronto like Kensington and St. Lawrence Market, Ontario Place, the CN Tower…

EDIT: the City of Toronto Archives also has a pretty awesome Flickr page, if you want to see a fair number of photographs without having to search in their database.

St. Lawrence Market, Ellis Wiley fonds (Fonds 124), File 12

Campbell House, Ellis Wiley fonds (Fonds 124), File 2

Ontario Place, Ellis Wiley fonds (Fonds 124), File 9

2. The New York City Department of Records has a collection of Police Department and Criminal Prosecution photographs. The website includes a disclaimer, and I’ll put one here too, be aware that there are photographs that include some graphic images such as homicide crime scene photographs.

Street view, gun in street, political posters in windows, 1916-20 (pde_0127)

George Marthens mugshots #67095, 1916-20 (pde_0390)

Front view of house with door open and footprints in snow, 1916-20 (pde_0187)

3. The McCord Museum has a collection of William Notman photographs. During Notman’s career he “built up the largest photographic business in North America” with 7 permanent studios in Canada at one point or another. Notman's business was held by his family until 1935 when Willam Notman’s son Charles sold the business.

Foot race, Dawson City, about 1900 (MP-0000.2360.36), McCord Museum

Ice shove, Commissioners Street, Montreal, QC about 1884
(VIEW-1498), McCord Museum

Quebec Bridge, Quebec City, QC, 1917(?) (VIEW-6191), McCord Museum

4. The Glenbow Museum has a large photographic collection as well, including photos related to my favorite subject: agricultural labour.

Children picking sugar beets in field, Raymond, Alberta, September 1953
Glenbow Archives (NA-4510-191)

Men model women's clothes in fashion show, Calgary Alberta
Glenbow Archives (NA-5600-7229a)

Threshing crew, Southern Alberta, Glenbow Archives (NA-4548-2)

5. The Toronto Reference Library was just donated a huge collection of photographs (1900-1999) from the Toronto Star. The collection is in the Baldwin Collection of Canadiana. The library has not digitized the collection yet, although I’m not sure if that will even be part of the plan for the collection. However, the Toronto Star did do an online gallery of the highlights of the collection.

Gordie Howe with sons Mark and Marty, February 27, 1976
Toronto Star, Dick Darrell

Queen Elizabeth II with Pierre Trudeau, October 15, 1977
Toronto Star, Jeff Goode

Woman on corner of Bay St. and Front St., March 4, 1985
Toronto Star, Tony Bock