LET'S TAKE A WALK: SIX OUTDOOR HERITAGE SPACES IN TORONTO

Heritage Moments | Madison Carmichael 

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One of the greatest surprises of completing the MMST program in Toronto was the city itself. I grew up in Mississauga, which is about forty minutes – depending on the traffic – from downtown Toronto. The suburban child’s mind easily paints an urban jungle paved from tip to toe in concrete and crowned with shining skyscrapers too tall to fathom. What that little kid misses, and what I was thrilled to discover, was the amount of heritage embedded within the city, outdoors and indoors, old and new. And so I thought, what with spring (hopefully) on its way, I'd take a leaf out of a fellow editor's book and set out on a long walk across Toronto to shine a light on some of the city’s fantastic outdoor heritage spaces and sites.

Ah, the CN Tower. Our favourite example of Brutalist architecture. Photograph courtesy of Madison Carmichael. 

1. The University of Toronto

This one is perhaps a given, but there is something to be said for the St. George campus at the University of Toronto. The University, founded in 1827, contains a whole slew of architectural styles from Gothic to Brutalist (looking at you, Robarts) to Victorian. It’s easy to read the long history of the University in the Philosopher’s Walk, the Soldiers’ Tower, and the 50 heritage buildings which are scattered across the campus.

A postcard from 1903. Even then, they were keen to highlight their older buildings. (Source)

2. The Beltline Trail

The Beltline Trail is what remains of a short-lived commuter railway from the 1890s. In the 1890s, it seemed as though Toronto was on the cusp of a suburban boom, and so the businessmen who formed the Belt Line Railway sought to capitalize on these future commuters. The Railway operated with a similar ethos as it would seem the GO Transit and other such rapid transit currently do: to connect the suburbs of Toronto to the downtown core. The Belt Line only operated for two years between 1892 and 1894, but to this day, Torontonians continue to use its right-of-way, albeit very differently. The Kay Gardner Beltline Park, which is the most notable enduring stretch of the Railway, is frequently used by runners, walkers, and cyclists. You can even spot the site of one of the original Belt Line stations or follow one of Toronto’s Discovery Walks.

The "Yonge Station" of the Belt Line Railway as it currently stands. Photograph courtesy of Madison Carmichael. 

3. Mount Pleasant Cemetery

Said Discovery Walk will also bring you to Mount Pleasant Cemetery. As one of Canada’s most historic cemeteries, Mount Pleasant has operated in Toronto since 1876. The cemetery houses a unique sort of heritage, one found in epitaphs and mausoleums, as well as in the sculptures and memorials found throughout the grounds. Mount Pleasant has several running and walking routes for you to try, if you’re up for exploring; and while you do, you can enjoy the cemetery’s abundance of trees, flower gardens, and wildlife – namely birds.

The many tombstone and memorials of Mount Pleasant are also indicative of Victorian burial practices and symbols. Check out that urn - and if you look closely, you can see a small veil draped over it. Photograph courtesy of Madison Carmichael. 

4. High Park

High Park is a park that knows how to multitask. In the century and a bit since the park was handed over to the City of Toronto, it’s acquired a pool, a zoo, playgrounds, and tennis courts, in addition to the open spaces frequently utilized by Torontonians for picnics, walks, etcetera. The park also contains Colborne Lodge, which is currently closed, but was originally owned by John and Jemima Howard, who deeded High Park to the City in 1873. A walking visitor can also enjoy the gardens and waterfront along Grenadier Pond. And of course, High Park is known for its cherry blossoms, which are set to bloom in the coming months, so look forward to that.

A shot of High Park. (Source)

5. Humber River

The Humber River was designated as a Canadian Heritage River in 1999, but it has a much longer history of human settlement, going back thousands of years. Presently, you can take the City’s Discovery Walk beginning around the Old Mill Subway station to explore its rich, multifaceted heritage, beginning the with the Old Mill and Old Mill Bridge. The Old Mill, dating to 1793, was part of Toronto’s first industrial buildings and helped to build Fort York. The walk then takes you to the Toronto Carrying Place Trail, which was used by Indigenous peoples for millennia as a trade route between Lake Ontario and lakes further north. The Humber River, Valley, and Marshes are also home to a variety of wildlife such as migratory birds and butterflies.

A more historic Humber River. And a cow. (Source)

Now something a little more current. See what I did there. (Source)

6. Distillery District

While the Distillery District is more generally known for its Christmas Market, the District is also a wonderful example of Toronto’s industrial heritage. It’s also a National Historic Site. Formed of more than 40 buildings, the Distillery District functioned as the Gooderham and Worts Distillery from 1859 to 1900. Gooderham and Worts largely produced whisky, and its location on the side of the Canadian National Railway mainline ensured its commercial success. The District is considered the largest and best-preserved collection of Victorian industrial architecture in North America, and in the past few decades the District has transformed into a pedestrian-oriented area filled with shops, art galleries, theatres, coffeehouses, and restaurants. While much of that is closed at present, the Distillery District is certainly worth a walk – for the buildings, if nothing else.

The Distillery District is worth a visit any time of the year! (Source)

For those keen to explore outdoor Toronto in the upcoming warmer months, I’d advise checking out the City of Toronto’s Discovery Walks and all the fantastic walking tours listed here! They cover far more than I’ve listed here, which gives you some indication as to just how much there is in the city to discover. Best of luck out there, and stay safe! 

2020 UNIVERSITY OF TORONTO SHELLEY PETERSON STUDENT ART EXHIBITION: A MEETING PLACE FOR STUDENT ARTISTS

Heritage Moments | Carly Wolowich and Muskoka Dittmar-McCallum

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The University of Toronto Shelley Peterson Student Art Exhibition (SPSAE) is a space for exchange. An annual exhibition which celebrates the artistic excellence of University of Toronto’s tri-campus undergraduate Visual Studies students, the 2020 SPSAE offers a meeting place for students to voice ideas through their diverse artistic practice.

Originally founded by the University of Toronto’s 32nd Chancellor, David Peterson, the exhibition was an opportunity to support and exhibit the works of student artists at the University of Toronto’s St. George Campus. The exhibition—named for Shelley Peterson, an artist, author, performer, businesswoman, and the spouse of David Peterson—has continued after Petersons’ retirement, evolving from an intimate event hosted in the Chancellor’s Office at Convocation Hall to a gallery-based exhibition at the Art Museum. As curators for this year’s exhibition, our aim is to not only honour Peterson’s legacy but also cultivate new approaches to exhibiting student art.

An inquiry into contemporary art forms, the exhibition brings together works by Jasaña Alleyne, Meech Boakye, Chantel Briana Campbell, Jasmine Canaviri, Regina Caeli Dela Cruz, Gian Lorenzo Giannone, Yara Matta, Sean Morello, Liam Mullen, Purvi Qadri, sameda, Beenish Shahab, Isabella Varrasso, Jessica Velasco, Zi Yan Bai, Lana Yuan, and Agnes Zeng. The 2020 SPSAE offers nuanced reflections on contemporary issues both locally and globally. Texts, images, and stories have been transformed by these artists into installations and interventions that address themes of identity, cultural belonging, and displacement. All the artists offer gestures of questioning, of exploration, and of disturbance, inviting viewers to question the space they occupy. The exhibition abandons the traditional role of the spectator, as visitors are greeted with a multi-sensory experience and encouraged to participate with the art.

Beenish Shahab, They All Look Alike, 2019. 18x24. One of Four Photo Paper Prints. Image Courtesy of the Artist. 

Artist Beenish Shahab, a Pakistani-Canadian multidisciplinary artist, currently studying at the University of Toronto Scarborough, innovatively challenges racial stereotypes in They All Look Alike. Working with the concept of identity, challenging Western ideologies with her perspectives and experiences of South Asian culture, Shahab draws inspiration from artists like Shirin Neshat and Maria Qamar. In her sculptural photography-based project, the artist physically weaves together images of two people from the same race. Shahab’s work “examines cross-race effect, where members of one race might metaphorically perceive that members of another race all look alike” by photographing eight students from the University of Toronto who have experienced the effects of the cross-race phenomenon. 

Jessica Velasco, Statements, 2019-Ongoing. 180x120. Ink on Paper. Image Courtesy of the Artist. 

Statements, is an ongoing series by Jessica Velasco, a student from the University of Toronto Mississauga campus. Velasco notes, “being mixed race or interethnic often invites micro transgressional racism. These comments are just “subtle” enough that most who offend don’t even realize that they are doing it”. ​Statements​ explores the racist micro-transgressions that the artist has experienced throughout their life to visually assert the absurdity of “subtle racism” and just how often it occurs in today’s society, even to white-representing interethnic people. Velasco will activate this work with a performance piece, Hindi ako nagsasalita ng Tagalog, on the opening night of the exhibition.

Liam Mullen, Flat, 2019. Installation. Image Courtesy of the Artist. 

An artist and student from the University of Toronto St. George campus, Liam Mullen, experiments with photography and personal narrative. Flat​, looks to compress original pictures to create an aura-less image by way of creating a reproduced reality in a repeated pattern that obscures narrative offers an insight into the tragedy of reproduction as a means of stripping away detail in a picture. Flat is a twenty-first century reply to the writings of cultural theorist Walter Benjamin. The installation is composed of heirloom negatives, an Epson printer, and 8 ½ by 11’’ printer paper. Mullen’s work is often accompanied with a documentary video which records his installation process.

The above works are only three of the seventeen works activated in the University of Toronto Art Centre. The exhibition displays a variety of media, including; photography, works on canvas, kinetic sculpture, film, participatory art, performance art and more. Works are displayed unconventionally as they are installed on the floor, hung from the ceiling, and camouflaged into the architecture of the gallery space. Collectively, the artworks on display present current representations of contemporary art practice from across Toronto.

The University of Toronto Shelley Peterson Student Art Exhibition is projected to open April 16th and run until May 17th 2020. Due to the national response to COVID-19, the exhibition reception and opening date may change. Please consult Art Museum’s website for current information.

THE ASK: WELCOMING ALUMNI HOME AT UNIVERSITY OF TORONTO LIBRARIES

(Fun)draising | Samantha Summers

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Unlike the University of Toronto, its faculties, and its colleges, University of Toronto Libraries (UTL) has no alumni. For those of you who have yet to receive an email from your undergraduate institution asking for a donation, universities often rely on their graduates for some portion of their fundraising. Alumni are a majority of donors for academic institutions, and from annual drives to major gifts and planned giving, these institutions mark them out as a primary audience for their donor campaigns. Unlike the rest of these UofT institutions and divisions, however, UTL does not have official alumni. They have no master list of past students which they can tap into in the same way that UofT, its faculties, and its colleges do. And yet, UTL directly contributes to the journey of every single UofT student. Even if you have never walked into Robarts, your online readings, the research for your papers, and the majority of the study spaces you occupy all exist courtesy of UTL.

Robarts Library, in all its peacock-esque glory. (Source.)

So what is the biggest challenge facing Michael Cassabon, the newly-minted Director of Advancement for UTL?

It’s how to make the ask. For those in the field (development, fundraising, advancement, whatever you choose to call it), “the ask” is the moment when an organization asks a potential donor for support. It is carefully planned, generally with months to years of research and preparation involved. It is catered to its recipient, from groups to individuals. “The ask” is a key step in any fundraising campaign.

When you’re an academic institution with no official alumni, however, the question of how to make contact with your past users looms large.

Now, UTL has a history of making successful asks. They accounted for 8% of UofT’s Boundless campaign, the most successful fundraising campaign in Canadian history. They have the ability to develop UTL resources not just with money, but also with gifts in kind. The construction of the Robarts Common is a success story unto itself.

UofT's Boundless campaign was an historic success. (Source.) 

But how can UTL mobilize all their unofficial alumni? Cassabon is convinced that it all comes down to highlighting the mark UTL makes on every student, whether or not they realize that this is the case. An addition challenge UTL faces is that Cassabon’s team consists of only four people, meaning that they don’t have the personpower to seek out donors individually. Through clever campaigns they must convince donors to come to them, and this means tapping into real stories which highlight the important impact UTL has on students.

The trick in any institution, I learn from Cassabon, is to identify who has the stories. Narrative is a powerful way to bring a community together in a shared goal, something he has seen throughout his career. Here at UTL, the keepers of those stories and the mediators of students' experiences of UTL, are librarians, archives, and front-line staff. Centering the work they do is integral to the ask, and essential to demonstrating to alumni that it is worth it for them to return to the UTL community to make their mark as donors.

What is next for UTL? Well, another campaign, the ongoing development of the Robarts Common, and of course, the weaving of compelling stories to welcome alumni home.

RISKY BEHAVIOUR IS 'STICKING TO THE STATUS QUO': CLIMATE STRIKES AND MUSEUM FUTURES WITH DOUGLAS WORTS

Museums on Earth | Defne Inceoglu

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Illustration courtesy of Defne Inceoglu.

On September 27th 2019, people around the world gathered and rallied for action on the global climate crisis.

Simultaneously, Museum Studies alumni, faculty members and students were celebrating the 50th year as a program with the Unconference. (Read Jordan Fee’s in-depth summary of the day here). It was emphasized to us in the morning that if any attendees wished to leave to join the march at Queen’s Park - just a stone’s throw from campus - were encouraged to do so. So, many of us did- joining the crowds to return to the conference later in the afternoon.

The city was a-buzz with thousands upon thousands streaming into the Queen’s Park area. Folks of all ages gathered to voice their concerns about the climbing and alarming climate crisis that is plaguing many people around the planet both geographically and psychologically. Image courtesy of Defne Inceoglu.

In keeping up with the themes of both the conference, the conversations around museum risk-taking, climate change and the future action (or inaction) of museums, I had the opportunity to invite alumnus Douglas Worts to join in and speak with me briefly on these very poignant issues.

Image courtesy of Defne Inceoglu.

A bit about Worts:

Worts graduated the Museum Studies program in 1982, going on to work at the AGO as an Educator in the Adult Programs department. Worts introduced the practice of integrated audience research into the exhibit development process – with a focus on exploring experimental interpretive strategies. Through his work, he became a founding member of the US-based Visitor Studies Association. In 1997, his focus shifted from individual visitors to how museums could help catalyze meaningful cultural impacts and adaptation in a fast-changing world – specifically related to local/global sustainability.

Worts’ current project is WorldViews Consulting as a culture and sustainability expert. Worts also consults on the ‘Sustainability Task Force’ for the American Association for State and Local History. Read Worts’ full bio here.

I: You attended the climate strike in Toronto. Can you speak a bit about your experience during this strike? What were some positive things you took away from this?

W: The enthusiasm of the youth leaders and their willingness to step up and become voices in this moment, has been inspiring to me. Joining in the march was pretty amazing! I had no idea how many tens of thousands of people were there - but there were lot of people! Part of me was thrilled to hear the chanting and singing and the strength that comes from large groups of people. I kept hearing the refrain “Climate Justice Now!” and I wondered, how many people in the crowd would be able to describe what that phrase meant to them. I knew that it was important that large numbers needed to make a loud noise.

A Google Maps screenshot of Queen's Park and College Street. The protestors shut down the roads and created congestion in the city; evidence of a massive turnout. Courtesy of Defne Inceoglu.

(con't) But the next day, the leaders needed to be able to move forward with:

- An understanding of what Climate Justice actually requires
- The causes and impacts of current climate change trends
- The leverage points across our society where change must happen in order to affect the climate change trends (because these trends are symptoms of much larger, cultural dysfunction).

In my view the drivers of climate change, as well as social and economic inequity, are rooted deep in the values, behaviours and structures upon which our economic, social, political and legal systems are based. These are in fact the core of our cultural reality - and yet not even discussed by this thing we call the ‘cultural sector’. Given the global scale of existing museum networks, our sector has the ability to re-tool itself to become catalysts of cultural change and adaptation. And yet, this really doesn’t even seem to be on the table in museological circles.

Toronto Climate Strike. Image courtesy of Defne Inceoglu.

I: Going off of the theme of the Unconference, “risk-taking”, what do you feel is the most important, yet risky, change we must make in our institutions?

W: As for the idea of "risk" - there is altogether too much focus on 'risk-taking’ as an attribute of ‘excellence’. I certainly have witnessed directors talk about ‘risk’ as a brand characteristic. To me, this kind of thinking is mostly marketing hyperbole and a misunderstanding of the notion of risk. There are risks associated with absolutely everything.


At this point in time, the ‘risky’ behaviour is sticking with the status quo.

We know that human overconsumption, unconscious systems, greed, self-interest, wastefulness are all attributes of the status quo. Perhaps the most serious risk that museums can take is to remain committed to their three historical pillars - buildings, collections and exhibits. It seems so obvious to me that buildings, collections and exhibits are strategies in the service of catalyzing public value. Yet few museums truly plan for, or measure, the catalyzing of public value. I see this absence of planning as being risky behaviour, because the potential for negative consequences is very high.

Museums, for me, embody the potential for generating ‘the place of the muses’, which is not fundamentally a physical place - but a psychological and social space. The muses belong everywhere where our living culture is playing it self out hopefully in adaptive ways. Risk must be consciously calculated in order to maximize the potential for adaptive impacts and minimize non-adaptive impacts. Risk assessment is fundamental and central to what all parts of our society must be doing. Museums could be helping to catalyze these processes across society, but it will require significant internal transformation of the historical and existing assumptions about the core goals, activities, and measures of success of museums.

What are some other things you would like Musings readers to know about you?

I taught Museum Education in the MMSt program from about 1991 to 1996 and have been guest lecturing in the program across my entire career. In 2014, I had the honour of being the first Research Fellow in Museum Studies at the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico.
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The future of the museums' role in participating in, teaching and pursuing climate action is a sentiment that must be pushed further than our current efforts as museum professionals. It will not be easy, it will not be quick and it will not be without growing pains and resistance. However, we can now see the public, our potential and probable audiences, rallying all over the world for action. Is this the sign of change to come? Can we begin to pick up the pieces of what needs to be fixed, or should we rebuild it all together? Keeping these important questions in our minds as we go forward will be paramount to the ability to incite real institutional change. The challenge will be, as Worts mentioned, internal transformations to our mandates, missions and values that will reflect response versus reflection.

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This interview has been edited for length and clarity.

REACHING OUT; REACHING IN: ALUMNI CHECK-IN

Alumni Check-In | Elizabeth Cytko

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University College and King's Circle. Photo courtesy of Elizabeth Cytko

As a new museum studies student, starting this degree can be overwhelming. A few of the things occupying your time include: learning all the theory, discovering free food events, project management, the names of your cohort and participating in extracurricular activities (and yes I am going to pretend riding the TTC counts as extracurricular.)

One of the first things you learn is that there are a lot more jobs in the museum industry than is “advertised” in popular culture. So many jobs, so little time, and how do you even begin to discover the pros and cons of each one?!

Being a student gives you a secret super power, which I suggest you use – Student Status.

via GIPHY

 Professional interviews are one of the best ways to make connections, make new friends, and discover potential paths for your career. Student status means having an excuse as to why you want to reach out to professionals in the field, and ask them what their job is about.

I know this from personal experience. For the past 9 months I have had the privilege to interview alumni from the Museum Studies program. This means I reached out to persons (who often I had never met before!) to ask them what life is like after graduation. The alumni have been friendly, gracious, and eager to share their experience.

Human impact on environment comes in all sorts of forms. Museum preservation is beyond objects, and includes complicated discussions. For example, how could a museum professional raise awareness for the need to preserve native prairie landscapes? Canola Field, Alberta. Photo courtesy of Elizabeth Cytko

Initially, what I had felt to be rather scary and intimidating has turned into a column I look forward to initiating. Who can I ask next? What exciting things are happening out in the field? Even though these alumni are across the continent and working in different museums, many of their concerns are shared. Through interviews, themes such as the environment, decolonization and technology are all repeated again and again. My eyes have been opened to the fact that the museum community is tight knit and comes together to work on some of the most complicated issues.

Some of the alumni have even thrown down challenges for the museum professionals (new and old) to tackle.

Kate Wolforth asks us to consider the waste of exhibitions, and what happens to the signage, packaging, and materials used afterwards. Is it justifiable that so much ends up in the dump?

Roderick MacLean asks how historic sites (and museums in general) can adapt to the longer visitor seasons due to global warming. Will it be the new trend to hire past the Summer season, into the Fall?

And Deborah Robichaud tasks new professionals to incorporate environmental scans into their daily practice, and ask “What are the big issues in the world and how do they affect museums?”

I am excited to present you the new interviews in this upcoming semester, and I hope that you too are inspired to reach out to the alumni network. Remember, in a few short years, you will be an alumnus, and a nervous student might reach out to you!


If you want to reach out to me, feel free to!

elizabeth.cytko@mail.utoronto.ca

REUNITING WITH RISK: A DAY AT THE MMST50 UNCONFERENCE

Letter from the Editor | Jordan Fee 

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In 1969, a small group of students gathered in the Royal Ontario Museum as part of a new program offered by the University of Toronto. The program itself was named Museum Studies, and it sought to prepare a new generation of museologists through direct, hands-on training in a cultural institution. Little did they know that 50 years later, this small, specialized program would grow into a thriving community of alumni that stretches across the globe.

The Official Logo of the MMSt50 Conference

Last week, the Museum Studies program celebrated its 50th anniversary in the Claude T. Bissel building, which has housed the program since the year 2006. Students and professionals of all ages were invited to engage with one another in a series of workshops and discussions in the Inforum. 

Although everyone was happy to be in such an enthusiastic group, the conference was not fluffy or wistful. Rather than simply using this occasion as a platform for blind optimism, the MMSt50 committee – led by alumni Melissa Smith – chose to center this special day around the topic of risk. More specifically, the event attempted to shed light on how museums can become more open to risk, and how we as museum professionals can create environments where risk is encouraged.

Faculty Dean Wendy Duff addresses the crowd at the beginning of the Unconference.
Photograph courtesy of Jordan Fee.

To begin the day, participants engaged in a series of discussions about the definition of risk, which was followed by a rapid-fire series of discussions, each of which were led by a specific museum professional. These facilitators came from a wide variety of backgrounds, from historic houses, to municipal government, to the world of business and marketing. Cheryl Blackman, Director of Museum and Heritage Services for the City of Toronto, brought some incredible energy to these discussions, encouraging all of the participants to surround themselves with people who they can trust. It seems like taking risks becomes much easier when you can rely on your team for advice, support and hard work.

There were also commentators who chose to speak about risks not only facing museums, but also the human population at large. The MMSt50 celebration took place on the same day as the Global Climate strike, which saw an unbelievable turnout in Toronto. Doug Worts, who bills himself as a Culture and Sustainability Expert, took to the floor to ask pressing questions, such as “What cultural impacts are museums trying to achieve?” and “How might we change our actions to make a greater impact outside of our institutions?” 

A group of students, alumni and faculty members discuss risk at the roundtable.
Photograph courtesy of Jordan Fee.

As the day went on, more and more people got in touch with one another, and became more comfortable with bringing new ideas to the table. A group exercise led by Cara Krmpotich,  Director of the Museum Studies program, asked the group to make commitments about the kinds of risks that they would take after returning to their respective places of work. More importantly, this exercise asked other people in the room to commit their own time and resources to helping others in the room to take risks. This led to an extensive conversation about precarious work in museums, support groups and professional development events. There was an exciting energy pulsating in this room, and it was quite apparent that new bonds were being formed as we spoke. 

To cap off this exciting day, Katherine Ott, curator at the National Museum of American History, gave an incredible talk about risk, inclusion, power and memory in museums. Some of the most impactful statements made by Ott were related to museums as places of healing, therapy and wellbeing for those who have experienced past traumas. 

Katherine Ott at the Royal Ontario.
Photograph courtesy of Jordan Fee.

In keeping with the theme of risk, Ott was careful not to spare words about the brutal nature of the world today. The lecture was inspiring in a way that few others can be. In the end, this talk reminded us that we are all much more powerful when we support one another, and that we can make a difference if we pool our resources. In the words of Katherine Ott: “Just be your beautiful selves! We’re all in this together.”

MANAGEMENT SKILLS, ENVIRONMENTAL SCANNING AND GOSSIP: ALUMNI CHECK-IN WITH DEBORAH ROBICHAUD

Alumni Check-In | Elizabeth Cytko

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Photo courtesy of Deborah Robichaud.

Deborah Robichaud graduated in 1980, in class 12 of what was then called the Master of Museology program at the University of Toronto. She has had a long and diverse career including acting as the Director of the Musée acadien, Director of Information and Extension Services at the Canadian Conservation Institute (CCI), and Regional Manager of Arts, Culture and Heritage for the Department of Canadian Heritage. She is currently retired and working on her own personal projects, including keeping on top of current museum trends. We conducted our interview over the telephone.

What was the Museology program like when you were a student?

A lot of our main museology courses were done at the ROM and we were encouraged to explore. We had a little bit of money in a petty cash type thing. Our Director at the time was David Newlands and I would go up to him and say “Hi! I would like to do this!”which he would let me do. Nobody else was using that little fund, it had to be related to our program. I got to see lots of things using it. I think one time we went to Detroit with a group from the AGO to visit a Turner exhibit. It was a day trip there and back, so it [included] bus fare and lunch.

How has the program changed from when you were a student?

When we took Museum Studies it was really to learn about how to do things. When we got out into the real world there was still a lot to be learned. At the very end of the course we had taken all this theory and done a little bit of practice. Then they realized we had no management skills! So we did a three day intensive management class – MBO- Managing By Objective – they brought in a management guru and then they sent us off into the world with three days of management skills. In many cases, we did not know how to run the business and we were expected to step into that type of a role.

Also, the discussion of community engagement, transparency, inclusiveness, and diversity of cultures is different now. None of that was talked about when we were there [at UofT]. If you look back between then and now those are some of the differences.

What are some of the greatest risks you have taken in your career?

Moving from museum work to the government was probably the biggest challenge for me because it’s a whole different world. It took a while to move from a curatorial role to the public servant role. There was no manual. For example, there’s a different way to write a letter in government than as a curator when you’re writing to another museum to find out about a particular artifact. Bringing your content skills to a government system you learn a lot through osmosis, trial and error. In the grants contribution world, you could be someone who knows a lot about grants and contributions but know nothing about the discipline. We often brought people into government who knew a lot about the discipline that we were giving grants for, but not about the government process. Unless you have both sides you don’t have a balanced team. You have people coming in from the non-government side wanting to help the community, but you still have government rules to follow. That was probably my biggest risk and also in a sense a bit of a regret because I could only live vicariously through other people’s projects. You knew somebody else would have success with an exhibition, and you think, “Great! The government enabled this by giving them money.” As a result, I did research projects and exhibitions throughout my career, not a lot, but the ones I did were the ones I really wanted to do and I continue to do that since I’ve retired.

What was one of your failures, or missteps, that turned into a great learning experience?

One of the things I learned really early is when you’re in a new job you think, “Oh I have this” and then all of a sudden something blindsides you. Then you realize, “Wow I didn’t really understand that at all.” When you think you’ve got it, you need to stop and have another reflection on whether you’ve looked at everything.

Another thing I learned is you can only repeat gossip if you’ve heard it three times from three different sources who are not related. The one time I didn’t do that (I didn’t get into trouble or anything) I was like darn, I should have followed my rule! But usually by the time you get it from three different sources everybody knows it anyways. This has served me well.


What advice would you give to museum professionals entering the sector today?

Environmental scanning. You should question, “What are the big issues in the world and how do they affect museums?” Changes in the world affect funding programs.

It’s about statues (such as with John A MacDonald) and a more open museum where you have more physical accessibility. With the #MeToo movement how do you incorporate that into a museum? Everybody in the museum world needs to be looking beyond the horizon on an ongoing basis. See the big trends, how they may affect your world and have a strategy already in place.

This interview has been edited for length and clarity.

5 HIDDEN SPOTS ON CAMPUS TO RELAX

THE GRAD SCHOOL GUIDE

BY: LAETITIA DANDAVINO-TARDIF

Sometimes, we all need to relax, especially when the semester kicks in. It is important to keep a balance between your studies and your wellness. The University of Toronto’s St. George campus has wonderful and magical quiet places to study, relax or disconnect. You just have to know where to find them! Here are some of my favourite hidden gems around the campus where I like to escape as I am completing my Masters.

1. Terrence Donnelly Centre’s Indoor Bamboo Garden

160 College St, Toronto, ON M5S 3E2

The Terrence Donnelly Centre for Cellular and Biomolecular Research building, opened in 2005, has one of the only indoor green spaces at the University of Toronto. The Bamboo Garden is the ideal place to go to find a moment of peace. There are benches on the various patio levels where you can relax, eat your lunch or chat with friends.  The Bamboo Garden remains little known across the student body, so make sure to check it out!

A post shared by V I C T O R I A J. W (@victorirory) on Jan 29, 2018 at 8:51am PST

2. University College’s Quadrangle

15 King’s College Circle, Toronto, Ontario M5S 3H7

University College’s Quadrangle is a serene haven minutes away from the Faculty of Information. Surrounded by the beautiful medieval-inspired 1850s University College building, this green space is my favourite on campus as it feels like I enter in another era. I enjoy grabbing a coffee at Diabolo’s Cafe (as listed in my previous Grad School Guide article) and sitting in the Quad to eat my lunch, read a book or let my mind wander. As you are there, I recommend visiting the latest exhibition of the nearby University of Toronto Art Centre!

A post shared by Alexandra (@alexandrakazia) on Jul 5, 2017 at 4:24pm PDT

3. Rotman School of Management’s Rooftop Terrace

5th floor, 105 St George St, Toronto, ON M5S 3E6

You might have been wondering what is in that glass building in from of the Faculty of Information. The Rotman School of Management offers many services such as a coffee shop, a cafeteria and the Milt Harris Library. But my favourite part of this building is its green rooftop patio. Located on the same floor as the library, the patio offers you one of the best views of Toronto from campus. The only inconvenience is that the Wi-Fi is quite weak outside. However, why not enjoy some time really disconnected!

A post shared by ger z (@uneimagejusteoujusteuneimage) on May 9, 2018 at 1:13pm PDT

4. Philosopher’s Walk

Access on Bloor St W. through the Queen Alexandra Gates (between the Royal Ontario Museum and the Royal Conservatory of Music).

While Philosopher’s Walk is mostly used as a shortcut between Bloor St. W. and Hoskin Ave., away from cars, it is an ideal place to go reflect (as its name indicates). With many benches along the way, I enjoy sitting down there to read a book, and sometimes, listen to the music practices coming out from the Faculty of Music building, which is just beside! This park is as scenic throughout all seasons (Fall being my favourite one).

A post shared by Allana (@solostris) on May 22, 2018 at 12:24pm PDT

5. Innis Cafe's Patio

2 Sussex Ave, Toronto, ON M5S 1J5

Another neighbour to the Faculty of Information is Innis College. The Innis Café has a lovely hidden rooftop patio that is yet to be known! You, certainly, will not feel on campus when you head up there. This patio does not only have comfortable seating, but it is small, intimate and secluded. You can grab a lunch on the first floor or use the microwave to heat up your own.

A post shared by AnnyYu42 (@annyyu42) on Sep 27, 2017 at 9:55am PDT

BONUS: Hart House

7 Hart House Circle Road, Toronto, ON M5S 3H3

Hart House, as a whole, is my number one place on campus. This cultural hub doesn’t only offer many activities (such as Get Crafty or Board Game Cafe), workshops, theatre plays and fitness classes, but it is a beautiful building that makes you feel like in Harry Potter. It has so many rooms and quiet corners where you can go relax (and even take a nap!), such as the Reading Room and the Library. If you do not know what to do, there is always something going on or for you to do at Hart House, day and night.

A post shared by Brett Snyder (@brett_snyder) on Jun 7, 2018 at 9:46am PDT

As you can see, there is so much to explore around the University of Toronto. I hope these places may become sources of inspiration as you are completing various research papers throughout your degree. Also, to complement with your Masters of Museum Studies, I suggest learning more about the history of these sites as each and every one of them captures an essence of the University of Toronto. Finally, as this is only a handful of what the campus has to offer, I recommend wondering around to discover your own gem to unwind and let your mind escape.

8 BEST CAFES NEAR THE UNIVERSITY OF TORONTO

THE GRAD SCHOOL GUIDE

BY: LAETITIA DANDAVINO-TARDIF

During the school year, we get caught up with our studies and often end up hiding between the stacks at Robarts Library. I recommend changing up your work environment and taking a coffee break to have a team meeting or a chat with friends! Here is a list of my favourite coffee shops to go in between classes to get a boost of caffeine.

All within walking distance of campus, what I appreciate about these locations is that they offer great coffee (obviously!) and have free Wi-Fi! Some are quiet and ideal to study, while others, more busy, are sources of inspiration thanks to their lovely décor and atmosphere.

Within a 5-minute walk: 

L’Espresso Bar Mercurio
321 Bloor St W, Toronto, ON M5S 1S5

This café is perfect for a chat with friends or for a team meeting as they have a bookable private room. Yet, it is less ideal for long hours of study. I usually grab something to eat with my coffee as they have a great meal selection. The best part is that they offer 20% off on food with your student ID!

A post shared by sydney bradshaw (@sydneyalena) on Jul 8, 2017 at 10:36am PDT

b Espresso Bar
273 Bloor St W, Toronto, ON M5S 1W2

This charming hidden gem is located in the Royal Conservatory of Music’s Atrium. With a lot of light coming in through the roof, this is an ideal location to study. I like to admire the architecture of the old building while enjoying my coffee.

A post shared by Matt (@elusivewords) on Feb 8, 2018 at 10:20am PST

Diabolos’ Coffee Bar
15 King's College Cir, Toronto, ON M5S 3H7

This hard-to-find student-run café is located in the Junior Common Room of University College. While it gets busy during lunch hour, there are always students studying at the large tables throughout the day. It also has a microwave to heat up your lunch. Fun fact: a friendly dog hangs out there sometimes!

A post shared by U of T Student Life (@uoftstudentlife) on Oct 23, 2017 at 8:09am PDT

Within a 10-minute walk: 

Café 059
1 Spadina Crescent, Toronto, ON M5S 2J5

This student-run café is located at the beautiful new University of Toronto’s Daniels Building. With very affordable coffee and baked goods, I enjoy staying in the lobby to study or taking my coffee with me to the Eberhard Zeidler Library There is also a microwave by this café if you want to heat up your lunch!

A post shared by laura jean marie (@laurajeanmarie) on Feb 18, 2018 at 5:29pm PST

Goldstruck Coffee
130 Cumberland St, Toronto, ON M5R 1A6

Tucked away in a half-basement in Yorkville, Goldstruck has dim lighting, is cozy, and is a great place to relax. With many tables and a larger one at the back, I enjoy that they each have an electric outlet to charge a computer.

A post shared by Eunice Villegas (@villegase_) on Feb 23, 2018 at 8:41am PST

Within a 20-minute walk: 

Jimmy’s Coffee (McCaul location)
166 McCaul St, Toronto, ON M5T 1W4

While Jimmy’s has many locations across Toronto, I like the one on McCaul because it is less crowded than the other locations, but still offers delicious coffee. I always try to grab the table hidden behind the fireplace, which is ideal for team meetings.

A post shared by Doris LW🕊 (@blissinlace) on Apr 8, 2018 at 12:24pm PDT

Café Pamenar
307 Augusta Ave, Toronto, ON M5T 2M2

Located in Kensington Market, this café is also a gallery with constantly changing photography exhibitions. When the weather is nice, I like to study on the café’s back patio (and the Wi-Fi reaches outside). However, as it turns into a bar at night, laptops are not allowed after 8 PM.

A post shared by Eat with Laetitia (@leti.eat) on Mar 29, 2018 at 3:06pm PDT

FIKA Cafe
28 Kensington Ave, Toronto, ON M5T 2J9

You might have heard of this café before or seen pictures of their famous book pages wall. The back room, with its large table, is ideal for working and is quite inspiring. However, in the heart of Kensington Market, it is often busy. If the weather is nice, you can work on their cozy patio (with Wi-Fi connection also available)!

A post shared by Laetitia (@letite) on Mar 8, 2018 at 6:37pm PST

Going to these cafés is also a great way to explore the city and make the most of your time in Toronto during your Masters of Museum Studies.

For more of my favorite places around Toronto, you can check my Instagram blog: @leti.eat.

Enjoy!

TOWERING EXHIBITS: BEYOND TRADITION ON CAMPUS (PART TWO)

BEYOND TRADITION

BY: AMY INTRATOR

Welcome back to Beyond Tradition on Campus, a series where I explore innovative museum spaces right here at the University of Toronto! In my second edition of this series, I am exploring the exhibition space in the Jackman Humanities Institute. My last edition focused on Talking Walls, located in the heart of UofT, so today I’m looking at a far less visible campus space.

The latest exhibit at the Jackman Humanities Institute is titled Morning Star, which seems pretty fitting given the exhibit’s location. In the exhibit, Morning Star (otherwise known as the planet Venus) acts as a symbol to explore Indigenous agency and renounce naïve impressions of reconciliation. On a more literal level, the exhibit is situated in the sky, or at least in a high-rise building. The Jackman Humanities Institute is located on the 10th floor of a high-rise building, and the exhibition space is also situated on the 10th floor, far higher than most exhibits on campus. 

Exterior shot of the Jackman Humanities building. Photo courtesy of Amy Intrator.

If you’re like me, you may have absolutely no idea what a humanities institute does. The Institute is described as creating networks for interactions between humanities scholars across different disciplines. The Institute’s interest in collaborative, interdisciplinary learning isn’t so different from a museum, but the Institute takes a more academic approach to collaboration through organizing seminars, lectures, fellowships. Every year the Institute’s programming revolves around a theme, and this year the theme is Indelible Violence: Shame, Reconciliation, and the Work of Apology. The theme also structures the Institute’s annual exhibition.

This year’s exhibit, Morning Star, is a collaborative effort between the Art Museum and the Jackman Humanities Institute. While most exhibition spaces on campus are located in high-traffic areas, the exhibition space in the Institute is more of a hidden treasure. The space is unusual as it is located on the 10th floor of a high-rise, but even within the space, the art is displayed differently than most campus exhibitions. Rather than visibly displayed artworks in one area, the artworks in the exhibition are dispersed across connected offices, seminar rooms, and lounges, and the pieces are often displayed on the periphery of the room. 

One of the exhibition spaces in the Jackman Humanities Institute. Photo courtesy of Amy Intrator.

The exhibit unfolds across various rooms and hallways, which transforms the process of passively viewing art into more of an exploration. Although the layout was a bit unexpected the first time I visited the space, I came to appreciate the unusual design. As I travelled between the lobby, the lounge, and a couple of the seminar rooms, I started to think about how the various artworks on display related to one another. Some of the pieces demand your attention, like Joi Arcand’s work, ēkāwiya nēpēwisi, a neon sign in Cree that translates to read “don’t be shy”.

Joi Arcand's piece, ēkāwiya nēpēwisi, on display at the Jackman Humanities Institute. Photo courtesy of Amy Intrator.

While Arcand’s piece hangs larger than life in the lounge of the 10th floor, other works are hidden in plain sight. The first time I visited the exhibit, I completely missed the Alex Janvier print. The print is tucked in a hallway off the main corridor, so it’s not exactly front-and-center. The semi-hidden art makes the viewing experience interesting, as you have to be hyper-aware of your surroundings or else you risk missing major pieces in the exhibit!

Image of the Alex Janvier print, Key to Everyone, semi-hidden in a hallway in the Jackman Humanities Institute. Photo courtesy of Amy Intrator.

The artwork within the Jackman Humanities Institute space really forced me to think about the relationship between the artworks on display. The exhibition wasn’t about asserting one curatorial voice, or presenting one representation of Indigenous identity today, but rather, the various artists with pieces on display seemed to be in conversation with one another. For me, the space was integral to bringing the artistic dialogue to life. The display of the artwork required me to explore the space more than I’m used to in a gallery, as there isn’t a linear pathway between the pieces, rather you have to explore the area and try to draw connections yourself.

My overarching question after exploring this campus space: Are campus exhibits better when they are extremely visible to all, or when they activate certain classroom environments? Luckily, at the University of Toronto, we have the best of both worlds, thanks to the numerous on-campus exhibitions.