Latest news with #Expo'67
Calgary Herald
3 days ago
- Business
- Calgary Herald
White: Downtown West End undergoing transformation to an urban village
The 'in' word in city building these days is 'transformation' or 'transformative.' You will see it being used when it comes to Arts Commons' expansion and renovation plans, and the Glenbow Museum's transformation into the JR Shaw Arts Centre. It has also been associated with the city of Calgary's 'office to residential' conversions, which hopefully will transform downtown Calgary into a more attractive place for Calgarians to live. Article content Perhaps the biggest transformation in Calgary these days is what is happening in Downtown West End, the blocks west of 6th Street to 14th Street S.W. and from the Bow River to 9th Avenue S.W. By my count, there are at least 10 major 'community enhancing' projects either under construction or in the works that have the potential to transform it into a vibrant urban village. Let's have a look. Article content Article content Article content Toggle full screen modePrevious Gallery Image Next Gallery ImageToggle gallery captions View All 4 Photos 1 of 4 Article content Article content The majority of Calgary's downtown office conversions are within a few blocks of downtown's 8th Avenue S.W. corridor that is an important pedestrian link for those living in the Beltline to walk into downtown and access the LRT station, Bow River and other downtown amenities. The city has plans to enhance this important pedestrian corridor from the Bow River to 17th Avenue. There are eight conversions to residential and one to a hotel, which will hopefully add 1,500 more people living in downtown's west end. Will this be enough to transform it into an urban village? Only time will tell. Article content Article content Contemporary Calgary has major expansion plans for its building (formerly the Centennial Planetarium) as well as plans to create an art park between the gallery and the 4th Avenue freeway. It might even include the relocation of the Family of Man sculpture. The 21-foot tall, thin dancing figures would be a great gateway to the gallery and art park next to the former planetarium building, which coincidentally was also a 1967 Centennial project. Article content Backstory: After Expo '67 was over, the piece was auctioned off and Calgary businessman Maxwell Cummings purchased it and gifted it to the city. The city decided to place the figures on the lawn in front of the now empty Calgary Board of Education Building as part of a failed 1960s downtown revitalization scheme. Ironically, the sculptures are part of the Calgary Board of Education's logo even though its head office is now in the Beltline.
Toronto Star
03-05-2025
- Entertainment
- Toronto Star
How Toronto's art scene grew from ‘barren ground' to cultural powerhouse in the 1960s
In the 1960s, Toronto's art scene came into its own. What had been a quiet, largely conservative city became a place of creative risk-taking, shaped by a growing network of artists, galleries and critics. Harry Malcolmson was one of them, writing about the city's transformation as it unfolded. In his new book, 'Scene: How the 1960s Transformed Canadian Art,' out now from University of Toronto Press, Malcolmson reflects on the decade through the lens of his own experience as a critic for the Toronto Telegram, Saturday Night, and the Toronto Star. He traces how a generation of artists, curators, gallerists and fellow writers helped turn Toronto from a sleepy provincial outpost into a hub of artistic experimentation and ambition. Malcolmson incorporates memories, historical research, and his own contemporaneous columns in 'Scene' to show how this moment came to be. The result is a comprehensive and captivating peek at a cultural renaissance that reshaped not only Toronto, but Canadian art at large. ARTICLE CONTINUES BELOW Now in his 90s, Malcolmson spoke about his experience of the scene, its impact, and the legacy of the '60s. EN-LIFE-MALCOMSON The cover of 'Scene: How the 1960s Transformed Canadian Art,' Harry Malcolmson's new book reflecting on a decade that reshaped Toronto's art world. Uploaded by: Osborne, Mir Supplied How did the book come together? It emerged with the recognition that the '60s were unique. I also came across a phrase that I use in the book: that 'a lack of criticism is a conspiracy of silence against the artists.' I felt a moral obligation to the era and its artists. What do you think contributed to the scene coming together? There were a number of factors. It was a period in which patriotism became manifest, expressed in Toronto in the new City Hall, and of course in Expo '67. This was driven by the prosperity of the period, and the realization that the Depression was not coming back. The country could feel positive about its future. The issue then is: how was the society to demonstrate all of that? As I suggest in the book, it adopted art as a vehicle to articulate and demonstrate its modernness. Toronto was no longer tainted by the forms, orders, puritanism, and the church establishment. Prime Minister Pierre Trudeau and Margaret Sinclair dance together at a National Art Gallery Ball in Ottawa in 1969. The National Art Gallery symbolized the growing importance of the arts in defining Canadian identity during a time of cultural and political optimism. FILE Canadian Press You enrolled at the University of Toronto in the mid-'50s. Can you talk about your first encounters with art in the city? Coming from St. Catharines, it was an extremely different environment. I was overwhelmed by the city and the arts opportunities. Occasionally, I would look in on the Laing Gallery on Yonge Street. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The Toronto of the time was intensely Anglo-Saxon. The development of the arts generally was facilitated, initiated by individuals who came from England. They developed the Stratford Festival, the Ballet, the Opera. Visual Arts How this Toronto artist creates massive abstract art pieces on the frozen surface of Lake Ontario Richie Assaly They were not interested in what was happening in the United States, like the emergence of abstract expressionism. In fact, there was a lot of antagonism toward the United States. An important shift was the influx of immigrants in the '50s and '60s, which created a very different ambiance in the scene. In particular, Jewish immigrants had a degree of sophistication. This was exemplified by Sam Zacks (the prominent art collector whose collection of 147 20th-century paintings and sculptures was donated to the AGO, including work by Picasso, Rodin, and Matisse.) The Zacks' collection was focused on European modernism and proved influential to other collectors. In the 1960s, David Mirvish was a central figure in Toronto's art scene, though his gallery's heavy emphasis on American artists sparked controversy. As Harry Malcolmson reflects in his book, Mirvish's close ties to U.S. cultural figures like critic Clement Greenberg led some to view his gallery as 'an outpost of US cultural imperialism.' Spremo, Boris As a law student, you were asked by the Toronto Telegram to become its art critic. At the time, you had no formal training in art or art history. Why do you think they approached you? ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW I think I was just around in the middle of this explosion. Between 1950 and 1960, there were just two galleries, Laing and the Roberts. But by the mid-'60s, eight galleries had opened. I was caught up in it, going around to the galleries and talking about art with others. When the Telegram was looking for a writer, I guess the arts editor asked around. I think he was kind of desperate, since there were not many people interested in writing about this new art. There was an explosion of arts coverage along with the galleries. The Telegram was a bit of a poor cousin compared to the other newspapers. At the time, The Star was in every home. It was the newspaper of the public and it had the biggest budget; they could send me to Venice and Vancouver. The Globe & Mail was very Anglo-Saxon and had national news and business. There was also Saturday Night, and on television, 'This Week Has Seven Days.' Each tried to keep up with the changing culture, since it was the carrier of Canadian pride. In his new book 'Scene: How the 1960s Transformed Canadian Art,' Harry Malcolmson reflects on the artists, critics, and gallerists who helped shape Toronto's artistic renaissance. Nick Lachance Toronto Star Could you feel that pride and excitement about the changes that were happening? Yes, absolutely I was feeling the excitement. It was self-fulfilling, self-generating. People were very emotionally involved. It separated them from their parents' generation. It also differentiated them from other people — there was a 'hip' kind of sense about it. What is not to be forgotten is the influence of The Beatles. They were so different, with their foppishness, their casualness. They were enormously influential. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW In politics, too, there was a spirit of positive thinking, with figures like Tommy Douglas and the adoption of Medicare. The building of a new City Hall in the 1960s was, as critic Harry Malcolmson writes, one of the ways Toronto expressed its growing sense of national pride and modern identity. In 'Scene: How the 1960s Transformed Canadian Art,' Malcolmson traces how landmarks like this paralleled a cultural awakening that reshaped the city's once-conservative arts scene. James, Norman You write that certain cracks began to emerge in the scene, many of them having to do with Canadian identity. The flashpoint became the issue of Americanism and the American effect, which centred around (gallerist) David Mirvish, (artist) Jack Bush, and (critic) Clement Greenberg. Visual Arts A drawing by Inuit artist Annie Pootoogook has been named one of the best artworks of the 21st century Briony Smith (Mirvish Gallery, Malcolmson writes, was 'increasingly identified as an outpost of US cultural imperialism' because it showed so much American art. Clement Greenberg, the most influential American critic of the postwar period, was said to be in the ear of both Mirvish and Jack Bush, who some accused of blindly following Greenberg's prescriptions.) This underscored the question of the distinctiveness of Canadian art. A lot of my motivation was to establish, to make visible the continuity of Canadian art, its unique character over the century. For example, one continuous thread between the country's past and present is the emphasis on land, from Indigenous culture to the Group of Seven and beyond. By the end of the '60s, you were practicing law full-time. What was your relationship with the arts scene in Toronto in the subsequent years? ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Ann and I still went to the galleries and sustained our interest in them, but I wasn't that much involved anymore in itself. I began to work for the Ontario Securities Commission, and we also began collecting more seriously. Later, we got caught up in photography. We went down to Jane Corkin's gallery to see the photographs that she had, and we couldn't believe how fabulous the historic photographs from the 20th century were. We got rid of all our paintings and bought photographs. It changed our lives. We went on to collect work from every significant period in the history of photography. (In 2014, the Malcolmson's donated their collection to the AGO.) Gta This beloved Toronto vintage shop turns 50. Inside the Kensington Market institution that's been turning 'garbage' into treasures for decades Dhriti Gupta Special to the Star Looking back, what is your assessment of the scene? Did it live up to its promises? A lot of the art, and some of the artists, have not stood the test of time. Great artists did emerge, and I think the two greatest to come from the '60s were Alex Colville and Michael Snow. I was also a champion of Les Levine, Ian Baxter, and Jack Bush. However, when I look back, I think the two most significant accomplishments were the transformation of the Art Gallery of Toronto and the National Gallery in Canada from virtually nothing to becoming serious, mature, independent institutions. That, I think, is the greatest accomplishment of the '60s. This interview has been condensed for brevity and clarity.
New York Times
04-04-2025
- Entertainment
- New York Times
A Designer Who Thrived in the Serenity of Lapland
In the early 1960s, Lisa Ponti, an Italian artist and journalist, who was the daughter of the designer Gio Ponti, paid a visit to the vacation home of her friends Tapio Wirkkala and Rut Bryk. This was no small journey. Her hosts, married designers based in Helsinki, summered with their children, Sami and Maaria, in the northernmost part of Finnish Lapland. The property lacked plumbing, electricity and even road access. The approach at that time was by boat in summer and by a sled pulled by reindeer over a frozen lake in winter. If the climate 165 miles above the Arctic Circle turned out to be colder than expected, visitors could hardly drop by a department store and pick up a sweater. But Maaria Wirkkala, an artist, who is now 71, recalled that when her father saw the contents of Ms. Ponti's bags, he pointed to item after item with the refrain, 'Not necessary … not necessary.' Clockwise from upper left: original farmhouse, known as the "Old House"; bed built by Mr. Wirkkala; view from the Old House; and interior of the "Big House" that was added to the property. Credit... Rauno Traskelin His love of extremity is a theme of 'Tapio Wirkkala: The Sculptor of Ultima Thule,' an exhibition of 300 of his works that opens April 5 at the Tokyo Station Gallery, before traveling to other sites in Japan. Placing the designer in the context of the remote northern region that bewitched him, the show marks the 110th anniversary of his birth and the 40th anniversary of his death. Its title refers to two of Mr. Wirkkala's best-known creations — glassware called Ultima Thule that seems to drip with icicles (released in 1968, it continues to be produced by the Finnish company Iittala), and a 30-foot-long carved wood sculpture also called Ultima Thule, a name that has referred since antiquity to remote northern lands. That art piece, which was made for the Finnish pavilion at Expo '67 in Montreal, represents nature swirling and gouging the earth. Image Mr. Wirkkala at the Old House. A sleigh is propped up next to him. Credit... Maaria Wirkkala Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
Yahoo
12-03-2025
- Business
- Yahoo
HOW A 50-YEAR-OLD BIRKS CAMPAIGN IS STILL RELEVANT
MONTREAL, QC, March 12, 2025 /CNW/ - Nearly 50 years ago, Birks, Canada's leading designer of fine jewellery, bridal jewellery and gifts, took out full page advertisements in Canadian newspapers across the country to mark Canada Day, celebrating national pride and the company's Canadian heritage. Birks, which was founded in 1879, has been a part of celebrating Canadians' special moments for over 145 years. Last week, on March 5th, Birks felt it was the right moment to reprint this message of Canadian pride, hope and unity. The copy from the original advertisement stated, "We are too young not to be enchanted with what's ahead. Not naïve enough to be unaware of growing pains. And certainly not so old that we consider every setback a mortal blow. Our future is exciting because it is built on the kind of dialogue which must inevitably become constructive and progressive. Let us all look upon his moment as a gift to widen our ability to understand…. and broaden our capacity to think as big as the country in which we live." A new tag line was added, "Together with you, proudly Canadian, now and always". Birks also developed a companion video which was posted on their social media platforms, focusing on Canadian heritage – Hockey, Expo '67, Canadian Olympic athletes, Canada's 150th birthday and the beauty of the Canadian landscape, which has always served as the inspiration for Birks' jewellery designs. "As a proud Canadian company, we feel it is important to state our values and stand with all Canadians," said Katie Reusch, Birks Senior Director, Marketing and Communications. The campaign has tapped into a wellspring of national pride, receiving nearly 1 million views on social media so far. "It is so inspiring to read the comments people have shared that reflect an inspired and unified Canada. That as a country, we believe in a strong future." Some of the comments posted on Birks' social media include: "When my mother was graduating university in the 1930s, her parents wanted to give her a special piece of jewellery. They lived in rural Manitoba, but they had a catalogue from Birks. The store in Winnipeg sent them two sets to choose from! All on an honour system. They chose an absolutely stunning necklace and bracelet with green and blue stones that she wore on every special occasion, and multiple generations since have worn on our wedding days." "Thank-you for reposting. My late uncle's 1928 signet ring, my late mother's 1946 diamond ring and wedding band, my 1980 wedding band-all Birks. Thank-you. I wear them with pride." "We have a deep affection for Canada, a country that fills us with pride and joy. The beautiful landscapes, diverse cultures, and welcoming communities make us proud to call ourselves Canadian. With its iconic maple leaf and rich heritage, Canada holds a special place in our hearts." In response to the outpouring of national pride, Birks is planning on relaunching their iconic maple leaf collection, with a broach expected to launch in the spring. About Birks Established in 1879, Birks (Birks Group Inc.) is Canada's leading designer of fine jewellery, bridal jewellery and gifts, available in Canada at Maison Birks stores and online at and at luxury jewellery retailers across the United States, Europe and the United Kingdom. A beloved national treasure and a coveted symbol of Canadian luxury, Birks jewellery is recognized for incomparable quality and the delight brought to its beholders. The iconic Birks Blue Box has proudly been part of Canadians' special moments for over 145 years. Additional information can be found at and @birks. For more information, please contact OverCat: Audrey Hyams Romoff, ahr@ Policicchio, tp@ SOURCE Birks Group Inc. View original content to download multimedia: Sign in to access your portfolio
