July 30th, 2017

hasui hirakawa morning

An afternoon of Kulcher

So, as I wandered directionless away from the Georgia O'Keeffe exhibit, I came upon the Canadiana galleries. Once past the puce-wall-papered Victoriana room, where oils crowd in three and four tiers to recall the Academy's favoured display method, we revert to the more breathable 'spacious white walls with one or two paintings only' mode. An Emily Carr, a Group of Seven, and on the right-hand wall Norval Morrisseau's eye-drawing Man Changing into Thunderbird.

And I followed them along towards the entry to the next room- turned my head a fraction to the right and jumped: my god there's a wolf in the middle of the room!! Not, of course: it's the outline of a wolf in metal, but definitely not what one expects. I went round the corner to look at it closer and MY GOD there's ANOTHER wolf!! staring at the first wolf from fifteen feet away. Those two distinct starts of surprise don't happen on a second visit, but they were definitely a highlight of the first.

It's John McEwen's The Distinctive Line Between One Subject and Another. I noted the name this afternoon at the AGO, assuming I wasn't allowed to take photographs, then googled on my phone. It turns out there aren't many photos of it online. Maybe it has an alternative title somewhere? But luckily one of my fave bloggers, Walking Woman, whom I fell out of touch with a while ago, devotes a whole entry to that room, including the Rita Letendre painting I wouldn't mind owning. (Letendre is also having a retrospective at the AGO, also with paintings not available online, most of which to me look like highways to somewhere or shores of some lake.) Iceland Penny seems to be a docent or something at the AGO; maybe I shall run into her there.

ETA: or no, I won't. Stopped reading her because now she lives in Vancouver, alas.
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