Field Trip Learnings from The Bank of Montreal's Corporate Art Collection and Aga Khan Museum

There are 5 responds need to do total.
300 words for each.
I have picked 3 examples from other people of each respond. Please do not copy it! Paraphrase and combine them together. Use them as resources.
The deadline is Dec 2nd 7pm, have hand it in on time.

Respond 1 

Person 1 

This field trip had opened my eyes to different avenues and perceptions of how art collections can be organized and presented. The BMO collection housed in the 68th floor of the gargantuan BMO building in Toronto contains a beautiful collection of a variety of art works, particularly from Canadian artists. When I initially entered the building, I was caught off guard by the number of men and women clad in business attire quickly pacing towards their next meeting. The feeling this new environment gave me was a sense of moving urgency, thus really curbed my expectations for the BMO collection.

Fortunately, my expectations were blown away. Thanks to the eloquent Dr. Dawn Cain whom not only guided us, but also curated the collection showcased us the history and work gone into the development of the entire floor. The effort and passion thrown into this collection really increased my admiration for Dr. Cain as it is awe inspiring to see how she developed this collection with very little resources and initial support.

Dr. Cain goes on to explain the methodologies and expectations she had when curating the collection. It was an interesting learning experience for me when she describes the general audience of the collection consisting of bankers, and clients. Her telling experience of those demographics really exemplifies the problems she would have faced in regard to curating an art collection in a corporate setting.

Utilizing space was really important when it came to the BMO collection. Dr Cain mentions that many of the works are rarely rotated due to keeping the general theme of the floor to be consistent. Its understandable since this is the only floor space where they are allowed to dedicate for artworks and is perfect example of curating a space with efficiency in mind. She really engages us the narratives and connections pieces have with some previous audience reaction.

While moving through the collection, one of my most notable memories was entering the dining room, witnessing the several tables with wine glasses, gold cutlery and warm lighting really set the tone of what general theme of a rich corporate company and what they are capable of with such high finances. On the topic of finance, it was a humbling experience to learn of the amount of money to maintain a collection of this size. Dr. Cain describing to us the expensive funds to maintain works really sets the tone of the added level of complexities of simply owning art pieces.

The artworks in the collection were beautiful the Emily Carr’s, Kent Monkman, and especially for me Matt Donovan’s Lego art. But my take away from this visit wasn’t purely the art, but the complexity of curating something of this size inside a corporate environment. Dr. Cain really guided my eyes towards the generals attitudes the corporate world has in regard to art. It was enlightening to know during the Q&A Dr. Cain and her colleagues were explaining the slow but progression of the corporate worlds expanding approach towards art in general and promoting the idea that art shouldn’t purely be looked at in a socioeconomic viewpoint, but instead as a cultural asset. The experiences I received from this trip were very humbling and I hope to see Dr. Cain succeed in her endeavours of expanding her knowledge and expertise to others, not just through BMO but through other corporate channels.

Person 2 

I had prescribed two seemingly indelible qualities of the BMO Corporate Collection before we had even walked through the door on Friday:

That the collection would be stifled by its environment, and that its curators would likewise find difficulty performing their jobs in such a setting.

These notions I took with me all the way up to floor sixty-eight, whereupon entering our first room, I'm pleased to say they were checked with the rest of our coats and bags. A corporate environment, in banking no less, provides a certain set of challenges that must weigh themselves against the ambitions of the gallery's constituent parts; and Dawn, as one part of the triumvirate vanguard attempting to remold the corporate culture of BMO, plays an excruciatingly pivotal role.

The gallery space itself stands alone as the most unique attribute of the Collection. Small dining and sitting rooms run between each other with long hallways, buttressed by large picture windows facing the exterior façade. A combination of natural and and artificial light mixed throughout each space, and the art ran along the walls of this high-rise 'gallery' irregularly. Just before the largest meeting rooms lie the gallery proper, featuring one rectangular vestibular hallway filled wall-to-wall with the most recently acquired pieces.

(The light levels often contributed to a yellow-white slush that made the entranceways between room and hallways vastly different than areas even on meter past its source. Only one part of the space actually contained gallery-like light control. For this reason, Dawn explained that often objects in adjacent rooms required different placement and, at times, remediation strategies in and of themselves -- an interesting tidbit that only furthers the unique aspects of this environment).

The pieces themselves, too, crafted a complex image for the collection. Older pieces dating from 1817 when the collection, and bank, established themselves find themselves among 2019 acquisitions and likewise contemporary pieces. Oil paints and encaustics brush up with plastic LEGOs and acrylic fields, while the BMO Project Room crafts a modern microcosm of contemporary materials.

(Dawn featured Tree of Life by Lois Andison in the Project Room, which meshed mechanics with sincerity to create a striking conversation about states of 'being' -- had I the chance, I would certainly view it again).

Despite all of this however, the most surprising aspect of the visit -- and the space -- was its quality. The actual physical decoration (i.e. furniture, accessories, furnishings, etc.) melded beautifully with the concepts laid out by Dawn's curation. Her 'Cabinet of Curiosities' in the sitting room, completed with Inuit, Canadian, and otherwise contemporary works, contrasting with a sixty-year-old cabinet housing, sat beautifully next to neutral-colored sitting room furniture, an abundance of natural light, and large canvases and prints which flank each wall in parallel.

Sumptuous oil paintings, self referential in their portraiture, and adjacent archival documents, color walls and hallways with a chorus of corporate excellence, not without subtle protest by choice contemporary pieces. An unannounced Carr sits in a small dining room, romantic portraits of FN individuals sit with old corporate regalia and signs contemporary revolt, and all around the space flows into itself, despite itself.

Dawn spoke multiple times about the crafting of her space -- and truly the space should not be characterized as anyone else's but hers. Not in the sense of ownership, but in the notion of authority, which she touched upon during our question and answer session, in a corporate culture devoid of inherent respect for curatorial practice and outright appreciation for arts and culture. Only due to Dawn's seemingly tireless work, is that coldness warming to the idea of her space.

While entirely circumstantial, a bit of irony lies in the floor's cohabiting kitchen. It seems that all the staff in this space work vigorously to convince its patrons of consumption. Whether that be art or food, this floor presents itself on a Carrara-marble platter for the absolute discernment of its visitors.

Often Dawn mentioned 'corporate entitlement', 'corporate politics', and 'bottom lines'. My notebook is filled with 'vs.' symbols drawn up between facts of Dawn's employer and the curatorial practice she wishes to bring into the space.

If I had to select one word for this experience, contrast fits the bill; contrast between my expectations, contrast between environments. Contrast between Dawn and the space she continually exercises authority over despite encroachment by those who (in my eyes, improperly) feign such license.

Dawn has woven a comprehensive space out complex fibres resistant to narrative. Quilted and structured, the BMO Corporate Collection proves, despite itself, that art can truly exist anywhere, with the careful stimulation of its governing body, and the discerning eye to make its space a success.

If it wasn't clear from my description, I might as well state it plainly -- the Collection stands alone as one of my favorite artistic and cultural spaces I have been in my time studying in this industry, with all that to thank to the Curator which has allowed for so much. What a fantastic way to begin a study of curation and the gallery!

Person 3 

The Bank of Montreal's Corporate Art collection tour has dramatically expanded my understanding and though of curating not just in office environments but has also informed my understanding of curatorial practice in all unconventional spaces.

Dr. Dawn Cain has seamlessly incorporated the complexity, diversity and nature of contemporary art into the everyday commercial space. As someone who also works within a larger institution to present artwork (ARTSIDEOUT) I sympathize with her struggles to find spaces that can accommodate both business matters and preserve artworks. However, it is my belief that these challenges are what pushed Dr. Cain to think and work creatively within the space. One example of this is incorporating BMO's paintings of past presidents/CEO with abstract portraits of historical figures such as Marie Antoinette, Louis XVI King of France and The Swedish Lover. While the placement of the works is not to overly critical of the past presidents it does however change the way we perceive them, from the historical significance of these people to the differences in style and visual emphasis. These two sets of paintings create in (my opinion) one of the clearest and most well thought out dialogues between the corporate realm and contemporary art.

The crafting of dialogues was one of Dr. Cain’s main points throughout the whole tour. Not only did she curate engaging and complex narratives between works that explored meaningful topics, she has also created a dialogue between art and the “public”. The staff, foreign cliental and executive members of floor 68 that Dr. Cain is interacting though they are not the typical kind of public that we normally encounter, they make up the community at the first Canadian place and they are the ones who are the most often influenced by Dr. Cain’s work. It is also worth noting that she takes a very different approach when communicating some topics to the audience due to the restrictions of the institutions. For example, when communicating the racist and sexist portrayal of indigenous people Dr. Cain uses Kent Monkmon’s Emergence of a Legendto point out the historical injustices in the film and porn industry. Without explicitly stating it or visually commenting on these topics Dr. Cain is still drawing attention to the topic.

Unusual spaces can have unusual audiences and can use unusual practices, and that is what I think I really took away from this first trip. While studying and reading curatorial theory is important and enriches our understanding of the field, the field can also be wildly unpredictable. After all, Dr. Cain’s job didn’t exist 5 years ago, corporate banks are interested in housing contemporary, and fine art is being presented in history museums. Our curatorial practices need to evolve to suit the current landscape and Dr. Cain is one of the best examples of adaptable practices I’ve ever come across in my studies.

Respond 2 

Person 1 

The Aga Khan’s exhibition of Caravans of Gold, Fragments in Time: Art, Culture, and Exchange Across Medieval Saharan Africa can be truly described as mesmerizing. This exhibition can be interpreted as excelling on three levels: the first being its atmospheric display and design, secondly its comprehensive representation of syncretism, and thirdly the Aga Khan’s extension of the exhibition with the addition of a contemporary art display. 

The layout of the exhibition can be understood as contributing to the story-telling aspect of this exhibition. This winding path of the layout allows for viewers to understand the complex connections made by the curator across centuries and regions with these visually complementary objects in the specifically designed order that the curator wants them to be seen, as well as allows for a sufficient amount of space in order to avoid crowding. The exhibition wall space is also rich in colour and categorizes and differentiates its various sections through this utilization of colour. This colour categorization conveys clarity to viewers in regards to the subcategories of the overall syncretic theme of the exhibition. 

The exhibition can also be described as being designed to be interactive and physically and mentally stimulating through its various detailed audio visual clips available for audiences to delve into, as well as its archeological excavation sand pit, the lego building table, and the “create your own museum label” activity. These numerous interactive stations throughout the exhibition space evidently allows for both critical and creative thinking, as well as contributes to the overall enjoyment of this exhibition.

The context of the exhibition can be generally described as revealing the shared history of West Africa, North Africa, the Middle East, and Europe from the eighth to the sixteenth century. From Byzantium style ivory sculptures, intricate African textiles, and Arabic copies of the Qur’an, this exhibition successfully presents Medieval Saharan Africa as a diverse political, productive, and religious center of this period, while rewriting the Western stereotypical narrative of a politically and religiously primitive Africa who is only capable of producing raw materials. This exhibition can therefore be understood as presenting an array of complex objects, and contextualizing them in order to bring to light the rich and culturally diverse history of Africa within the Medieval world as well as within the Islamic World. 

The Aga Khan’s extension to Caravans of Gold with works by Canadian contemporary artist Ekow Nimako can ultimately be described as the cherry on top of this exhibition. Nimako’s Building Black: Civilizations, is presented to viewers at the very end of the Caravans of Gold exhibition to convey the artist’s contemporary response to this Medieval African Saharan history. The artists links his visionary concepts and aesthetics of Afrofuturism with Medieval Africa; as evident for example through the juxtaposition of the manipulation of this contemporary medium of lego as presenting various historical African motifs and narratives.  

In conclusion, I thoroughly enjoyed my visit to this exhibition at the Aga Khan. Through the exhibition’s successful execution in visual design, interaction, context, and its presentation of a contemporary response, the Aga Khan has peaked my interest in regards to Medieval Saharan African history and thoroughly educated me on its various levels of global and Islamic syncretism.

Person 2

The Caravans of Gold, Fragments in Time exhibition at the Aga Khan Museum created a new perspective on African history by changing the canon of medieval African culture. This exhibition breaks the typical narratives of African history which focused on neither slave-trading nor colonialism. The influence and role of medieval Africa which was often not mentioned in the canon of western history. I am very impressed by the effort and time devoted to present such a comprehensive and different picture of medieval western Africa to the public. Curators, archaeologist and art historian spent 8 years to put this exhibition on stage. This exhibition is educational, spectacular and very engaging at the same time. 

First of all, “Fragments in Time” is one of the highlights of the exhibition. In the making of the exhibition, they did not rely on textual sources because there were too little or none European travelers that went to Western Africa that sort of record in methods that the modern historical scholars approve. Therefore, they had to rely on archaeologic fragments which only showing the archaeologists' works to tell the story. The artifacts itself is the evidence of the West African’s contribution and participation in the trading all over Europe, the Middle East, and Asia. They put on objects that demonstrated trading evidence in Saharan and Silk trade routes. Gold and salt are some of the major trading objects as being one of the biggest gold reserves in the world. Intensive trading brings wealth to them. Caravans of Gold successfully introduce a different narrative of west Africa and let the artifacts proofs and speaks for themselves.  

It then brought us to is the “Archaeological Imagination” they emphasized. The “Foliate bowl” with stylized pong spray that comes from the Song Dynasty in China in the 12th century would be a good example of the process of archaeological imagination. The porcelain examined the trading of western Africa with China when Qingbai porcelain fragment and silk fragment were also found on the same site. Three objects were put in the same exhibiting glass. It was an intriguing experience having to see such a process of the archaeologist and linking up a small fragment of objects to unfold the story behind. 

At last, Ekow Nimako’s Afro-futurist art installation "Building Black: Civilizations” made a strong ending to the exhibition. His work of arts represented his perception of the civilization of Medieval and the future of Africa. Besides, the interactive area of lego building is a clever move to cultivate audience engagement. The exhibition as a whole reshaped the canon of world history and brought up the misconception of African culture and identity. It stimulates critical analysis and conversation of the past and future of Africa. The collective effort of curators, archaeologist and art historians in making such a groundbreaking show in contributing to expanding the understanding of the African civilization during the 8th-16th century is monumental. 

Person 3

The Caravans of Gold exhibition at the Aga Khan Museum showcases the importance of African in the trade networks in Europe and Asia.  It offers guests the opportunity to appreciate the uniqueness and beauty of their artwork, while understanding the investigative work done by scientists and art historians in the piecing together archaeological remains recently discovered in Sijilmasa, Tadmekka and Gao, items that span from the 8th to the 11th century.  Its an exhibition that required serious collaborative work from different experts to assemble a picture of a rich past.

“Caravans of Gold” is an evocative title the suggests a line of goods transported through the desert, packages plentiful of gold and riches.  “Fragments in Time” qualifies our expectations on the volume of actual gold held in the precinct.  Africa, rich source of this precious metal was pivotal in the expansion of medieval trade routes.  The superb value of this exhibition is in the ability of the art historians and other professionals in assembling a cohesive story that still leaves open passages for our own interpretation.

The importance of this continent is first displayed in a replica of a map that was drawn by Muhammad Al-Idrisi, traveller, as a gift to King Roger 11, in 1144.  In it, though with the south on the top, the vast African land mass takes almost half of the globe.  As we are guided into the galleries, the affluence of Africa in the middle ages is quickly established by the side-by-side display of salt and gold.  Entering the next section, we are introduced to the Blue Q’uran.  The trade routes and the expansion of Islam are two narratives that then start run in parallel in my mind.  The indigo leaf with the decorative cursive lettering in gold combines the aesthetical value with the sacred words.  It was a piece to admire for its visual impact but also for the skill required in the preparation of the materials.

From gold coins and coin moulds to glass shards, to ceramic and metal fragments to textiles, we start to uncover the complexity of the commercial interchange in the middle ages.  Salt, gold, indigo, cotton, silk, and porcelain goods mingle with Muslim, Catholic and original ethnic religious items. The display captures about four centuries of trade activity and cultural exchange, much of it documented by a most travelled Leo Africanus. 

We can visualize the extend of the African participation in the global trade network with the map painted by Spanish Abraham Cresques (1325-87) for the King of Aragon. Centrally pictured is Mansa Musa, King of the Mali Empire in the 14th century, a powerful Jeff Bezos of that time. Mansa Musa was in control of the movement of gold coming out of his empire (Anon., 2019).  The original map painted on parchment and mounted on wooden poles is currently held a the Bibliothèque National of France, Paris. Only with this medieval illustration of the lines that connect the different points of exchange do I start to comprehend the long tentacles of African wealth. It covers routes that go from the shores of the Atlantic to Northern Europe, to China and Rio Oro in Western Sahara (Berzock, 2019).

              Partnerships are important for enlarging the scope of an exhibition.  In this case, the curator was able to secure the loan of three antique sculptures.  Seated Man (copper, traces of arsenic, lead and tin, 13th-14th century), Bowman (copper allow, 14th-15th century) and Baby Elephant (bronze, 14th-15th century) are treasures of national Nigerian patrimony. This accomplishment demonstrates the close ties that the different cultural and artistic institutions need to develop and protect with each other and other governments.  Other products made with African ivory showcased were probably secured by the Aga Khan Museum, like the piece from the Malcove collection, Diptych leaf with Crucifixion, France, late 14th century, Ivory, University of Toronto Art Museum, M82.202.  It allows us to delve in the materiality of the artwork and the artistic expression that combines African and European worlds.

The final display of works by Ekow Nimakow was icing on the cake.  His LEGO® sculptures fascinated us all with the exquisite construction and detail shown in each of the pieces.  I will only attach the artist’s statement to read and relish, together with a picture of students admiring his work (see attachments). The work by Nimakow is about Black Africa, which reclaims ancestry to its origins. Extraordinary!

Caravans of Gold: Fragments in Time embodies the soul of art historical studies and showcases the product of teamwork between curatorial and scholarship professionals.  The Block Museum is partner to the Program of African Studies at Northwestern University, which provides the ground for close interaction between the two streams of study.  This exhibition, curated by Katherine Bickford Berzock (Block Museum of Art), elevates the standing of a somewhat ignored continent that is not always thought of as a major player in the world.  If the goal of a curator is to interpret, communicate, educate and inspire, I have personally felt well served in all those terms and grateful to have my curiosity spiked for further study.  At the end however, most important, is to find ways for people in all continents to better understand each other and to realize that our survival in this world depends on relying on each other.  Caravans of Gold is a formal invitation to do just that.

Respond 3

Person 1

Without conservators to maintain and protect art and artifacts, there would be no museums.  Headed by Maria Sullivan, the conservation crew at the Art Gallery of Ontario provided us with an insider’s guide to conservation, loans, and exhibit instillations.

The use of light in conservation was interesting as light is a part of daily life and one would not necessarily expect it in such a scientific process.  Light helps conservators examine the texture of a painting, UV shows where a previous restoration was made, and infrared enables them to see underneath the surface paint.  The photography room is even equipped for x-rays.

I found it illuminating to hear firsthand about what goes into the preparation of works for loans.  The AGO conservators make sure that each work is stable, in good condition, framed properly, and displayed properly. We saw examples of paintings by Kathleen Munn which are being prepared for an exhibit next year, which led to the revelation that the conservators ask for at least a years warning for less than 3 works and more than a year for more than 3.

Lisa Ellis, conservator of sculptures, presented us with a fascinating example of cross departmental collaboration.  A wooden sculpture of St. Sebastian, from 1470 Northern Europe, was soaked in an unspecified water incident. In the process of slowly drying the wood (using silica beads!) they not only used a massive CT scanner to gain insight to its condition, they also partnered up with a wood anatomist and OCAM.  Lisa even had a “fun guy” fungi expert collaborate with insight to where fungal molds originated from.

One thing that I had never thought of was how, exactly, a museum sets up their objects that weigh a ton or more.  John Williams provided us with the solution to this with his self describe job description being “museum world, industrial world”.  He has an Automotive Degree and uses his knowledge to do everything from creating tiny mounts for amulets to working gantry lifts and preparing a car for instillation. 

Overall, I learned a great deal about the life of conservators at the AGO and hope to use the titbits of conservation learned when studying artwork and visiting museums and galleries.

Person 2

As one of the international students, the visit of the AGO Conservation Lab allow me have an in-depth understanding about the art and related work that I have never experienced before.

To some extent, this tour has taught us the concept of artist not only limited to the people who can only drawing, or sculpturing, but need a more comprehensive skills and interdisciplinary capacities due to complicated artwork preservation and restoration of artwork. 

Before the AGO conservation lab tour, I was expected to see some of the artwork and different form of media art just like common time in any gallery or museum. But the truth is that Maria Sullivan help us understand that the concept of art is more than appreciate different masterpiece, but more detailed work behind each artwork. For instance, I understand that repairing an old work not only require the assistance from technology instrument like how to applied X-ray and other light to identify defect, but also need a team work from different specialties.

After the invasion of history and different environments, the artwork may need experts from fungus, wood, materials and art fields to design the best solutions and therefore resolve the potential issue before repair artwork. The integrity and artistry in the AGO Conservation Lab can be seen as their primary principles because all expert and artist need to ensure each work’s original appearance from both outside to inside.

The industrial elements in the lab is not purely served as sort of artistic style, but provide a solid practical use for the staff, because they have to advance with the times in exchange of more efficient and qualified job skills. In short, the visit of the AGO Conservation Lab teach me the value of art work as well as its significant meaning in the entire society.

Person 3

•             The AGO Conservation Lab
  Getting behind the scenes at the AGO conservation lab has been an absolute delight and a great privilege. It was very engaging to see the conservation process in person, especially at such a renowned artistic institution. The conservation department is a relatively compact team, tasked with a gargantuan task of preserving the entire AGO collection. They appear to perform this task with remarkable efficiency, superb organization and true passion. The staff brings together an extraordinarily varied set of experiences and talents with individual expertise in all aspects of the conservation process.
  The space occupied by the AGO conservation team is a curious blend of functionality and technicality, shrouded in a whiff of secrecy. The rooms are filled with artworks and equipment. Located away from the main halls, the conservation offices are well secured and isolated from the public and even from those AGO staff who do not have the right clearance.
  The sheer scope of objects that the conservation team works with may seem overwhelming. The range of materials and types of art not to mention the diverse scale of artworks requires the AGO team to exhibit remarkable ingenuity in accomplishing their tasks. The guided tour offered by the conservation team leader, Maria Sullivan, touched on the many facets of this exciting, never-boring and ever-evolving field. It is certainly one of the most exciting areas of the art world and one would be quite fortunate to be engaged in this field.
   P.S. Interestingly, upon the entry to the AGO conservation lab, I felt the rhythm of life to quiet down. As if there was an echo and calmness inside.  This unhurried ambiance comes in contrast to the high efficiency level of the various types of conservation (sculptures, paintings, prints, over-sized and small objects). As an afterthought,  haste and speed that so brazenly define today chaotically dynamic pace of life have no place in conservation. 
  
  

Respond 4

Person 1

Last week’s field trip to the City of Toronto Museums’ collection facility can be described as a truly incredible experience. This facility; as described by City Supervisor of Collections: Alexandra Avdichuk, can be defined as the storage space for the collections of Toronto’s ten museums. Within this collection is an array of objects ranging from historical to contemporary, and from uniquely odd to ordinarily conventional. It is Avdichuk and her team’s responsibility to manage the objects of this large collection while simultaneously and primarily adhering to their institutional mission.

 This mission is described by Avdichuk as their museum collection acting as memory tools. “We collect stories as well as objects”, Avdichuk conveyed. Therefore it is understood that the provenance of objects is of great importance to this mission. The collecting of provenance can be interpreted as equally important as the collecting of objects themselves in the sense that these individual histories convey cultural meanings and unique narratives that contribute to the construction of the larger comprehension of Toronto’s history. This mission is evidently interpreted as setting this institution apart from other major museums by connecting individuals on personal levels through the abundance of these individual narratives. 

This concise mission statement can be interpreted as allowing for the deaccessioning of objects by this institution to seem straightforward, but it is much more complicated than that. A major issue in regards to the deaccessioning of these items is that this facility is Government run and therefore must adhere to their regulations, as well as they also must submit all major decisions for Government approval. Another issue is the possibility that no other institution wants the various objects for deaccession, inherently there is always the solution of selling an object but this often receives some sort of scrutiny. Therefore it is safe to assume that deaccessioning is a tedious and often times a strenuous process for Avdichuk and her team, but one that must be done because as Alexandra Avdichuk stated “no one wants a lazy collection.”

During this trip I was intrigued most of all by our guide’s thoughts on accessibility of museum spaces. Avdichuk stated that she believes there is a need for a shift in museums as more than just spaces of spectacle, but as spaces of interaction. I wholeheartedly agree with this notion by Avdichuk and upon my asking of her opinion in regards to how this shift can occur, her answer was very appealing. She believes that this shift towards a more interactive museum space lies within the utilization of what she refers to as “living history collections”. Avdichuk defines this as a collection of historical objects (and/or replicas) from their given period that are not a part of a permanent collection. This therefore allows for physical handling and interaction of these objects by viewers. I believe this concept to be a very creative yet practical one that will allow for garnered interest in museum spaces from the public by allowing them to not only observe these spaces and objects, but to interact with them in order to receive a better comprehension in regards to how these spaces and objects historically functioned. 

Although the Toronto Museums lack communal recognition, I believe that creating and advertising these museum spaces as being interactive with its viewers in some sort of physical capacity would be a great marketing tool for this institution in attracting more interest from the general public. In conclusion, the days of wanting to view history from behind a velvet rope are coming to an end as a result of photography and the rise in museum databases, therefore in order to maintain social relevance museums must fulfill the single remaining desire of the public which is traditionally forbidden (as history is inherently studied at a distance): a physically immersive historical experience.

Person 2

The field trip to the warehouse of City of Toronto Museums was really surprised me because not only its huge collection, but its “behindhand” presentation style and management compare to other museums. 

After the field trip, I was rethink about the trip, including warehouse, collection, and the cultural development of the city of Toronto. What really interest me is that this place almost like a huge mirror that shows every steps of the development process of the Toronto. Despite to some of the collection shows “minor” value, this warehouse still shows a vast of valuable exhibits.

Alex once mentioned about the shortage of current operation from transition, and warehouse utilization. It is true that most people does not have a clear vision of the top ten museums in Toronto, but the conversation with Alex also displayed that it seems like majority of local citizens are lose sight of urban heritage, therefore becomes an vicious circle for both museums and cultural development.

Through the tour, I understand that the warehouse or museums need more capital support, which means they need to reconsider how to maximized interest with local community and government. For instance, establish some social program with local community and university, this can resolve the issue of short hands and extend popularity.

Simultaneously, I suggest the warehouse could re-profiling its interior structure by filtrate the most valuable collection in a fixed exhibition area. This strategy will help museum produce more attraction to the citizens.

However, what I am really thinking is the government-lead project to change people’s ideology from indifference to care about their own culture and history. Because even if the museum can conduct different marketing strategies, it still shows limitation and sustainability problem. Only change the over-all situation could help these museums embrace a more popular consequence after all.

Person 3

This was the most interesting field trip for me so far, I learned a new sub-division within the art historical realm – historical heritage house. The historical artefacts that are displayed at historical sites that are specific to the area, unlike other museums and galleries who display objects, arts in the institution’s context. The City of Toronto Museums Collection holds a large collection of artefacts that are or will be displayed at historical sites with their original contexts, and Alexandra Avidchuk – the collection manager had mesmerizingly walked us through the history, challenges and advantages in working for the City itself. 

What I learned from the stories told by Alex was that, there are different guidelines in working with collections like this, where merely the aesthetic of the object does not justify why it should be collected. Instead, the story behind the object and how that drew a connection to the mandate of the City of “living history objects” – something that talks about to an extent the story of the City of Toronto – it can be everyday life objects that do not seem to hold any significance at the time such as Tim Hortons Raptors Championship paper cups, but 50 years from now, having these objects collected will help in tracing back history of Toronto.  

With that being said, as much as taking in objects to “preserve” the living history of Toronto is a crucial aspect of the collection, the limited real estate and space is a serious issue that people like Alex will have to deal with every day. To make the decision of deaccessioning objects, artefacts so that the collection is relevant to the city and the capacity that the collection can take care of – one astounding example is the Lancaster Bomber plane. Even then, the complicated legal matter in deaccessioning an object take things out of Alex’s control as they need to be able to prove ownership of the artefact. My question is, what if they cannot, will that object be in the collection forever, and never get deaccessioned?  

All in all, in managing a large collection like this requires a lot of prioritization, even when finance and budget is not as much of a concerning issue when there is direct funding from the government comparing to other cultural organization. It is to fulfill the mandate of the organization, in this case, the City of Toronto, in preserving the cultural and heritage of the area even if it means to purchase a Canada Goose jacket.  

Respond 5

Person 1
Thomas Fisher Rare Book Library

     Why is the Thomas Fisher Rare Book Library (TFRBL) so special?  I would call it a sanctuary.  The sense that I was entering a special home was instant as my eyes went immediately upwards to look for the light that comes in indirectly from the ceiling edges, leading you to glance at the rows of books in bookshelves.  The sense of peace and protection is there.  It might be the silence, the dimmed lights, the idea that it is a place you don’t ever have to leave from because, why would you?  There is enough to browse, touch, read and reread.  There are enough books to keep you company for ever.

        A temporary exhibition about photography and photo book making is being exhibited in the lobby, until December 20. The Lumiere Press Archives: Photography and the Fine Press, tells the story of Michael Torosian and the art of book making. Torosian, a photographer himself, donated his archives to the Fisher Library in 2017.  This exhibition gave me the first glimpse of the artistic nature of making books, as the creative process is demonstrated in the videos offered in the iPads available.  From the selection of the font to the composition of the pages, positioning of the illustrations and the manual printing operation, the artisanal printing of books is a fascinating process.

        On November 8, John Shoesmith, Outreach Librarian, greeted us at the Library promptly at 10 am.  John, an book lover and gracious guide, quickly gave us the number of holdings they have, about 750,000 books.  It is much more than I expected.  In addition to the five floors seen above from the lobby, they have two underground levels where the collection continues. 

        The acquisition of books is an annual exercise, in addition to items that may come directly from donors.  The Library counts with an on-going budget, gift and trust funds, and the support of the Friends of the Fisher. The purpose is to ensure they can offer material for various research. It was good to know that we all have access to the collection.  I forgot to ask how or when they removed books out of circulation.  The issue of space is in my mind.

       The TFRBL differentiates itself from peer libraries by its distinctive collection.  Its value is not restricted to the unique nature of the books.  The collection holds books dating from 1787 BCE to today.  Except for a few special items, books can be requested for use in-house.  In a world were virtual catalogs are available at any terminal, the TFRNL celebrates materiality, the worth of the physical object itself.  The ability to touch a book that holds knowledge that has improved the lives of people or information that helps expand our intellectual growth is a benefit hard to find elsewhere.  I came home to look for our oldest book.  I found one of 1871, El Mundo y la Creacion Antes del Hombre II (The World and the Creations Before Men, Volume II), that came from my dad’s library.  I had not touched this book for years.  Now, I want to read it this weekend.

       In-house expert conservation is offered at TFRBL and most appropriate when books need to be preserved for as long as possible.  John presented a representative sample of the books they keep; from a Church missal from Bohemia from 1450s to a contemporary wing-shaped, very fragile poem book.  No gloves were required, and though counter-intuitive, it makes a lot of sense considering that we can be rougher with books when using gloves.  I hope everybody had clean hands.  I forgot to ask if it would be appropriate to have disinfectant liquid at the entrance of the reading room.

       Art can be transformative; I can say this from personal experience.  Book artistry is a newly (re)discovered artform for me.  I don’t always think about the book as an art object, except for literature, that is for its content.  When very young, I remember loving books for their illustrations.  My love for the written word came after as I was too restless to keep still when little.  I had forgotten how special it is to see non-traditional executions of book formats and how it combines so many different skills.  The exposure to these beautiful works is an inspiration.  It gave me a feeling of happiness, which can translate to a positive outlook in live and a sense that we are agents of change.  

              How can the collection be shared with wider audiences?  The more I learn, the more I get inspired and this makes me think about younger or other audiences.  I see an enormous potential of sharing the art of book making with children at school, which engages their artistic skill at all levels, visual, numerical and verbal. Reaching those in tender ages could encourage new talent to arise and foster more appreciation for books in a world that is becoming virtual.  How young are children allowed to visit the TFRBL?  Are there programs that teach book making in schools in Toronto, Canada?

        Donor Relations is an important field in the TFRBL and in the art world. Resources are always limited, and we need to find ways to use them most appropriately.  Finding people with kindred hearts and with good financial resources is key to ensuring the livelihood of this institution.  It requires a special expertise to be part of the donor relations team, the artist, librarian or curator may not always be the right person to deal directly with donors; it is a kind of diplomacy that requires special training.

        The Thomas Fisher Rare Book Library is a beautiful place and I feel very privileged to have been there.  I plan to return very soon and read from one of the illustrated Alice in Wonderland books.

Person 2

Last Friday’s visit to the Thomas Fisher Rare Book Library sadly marked the end of our class field trips. Although I’m sad that these group educational excursions have come to a close, this last trip was nothing short of incredible. Our librarian guide John Shoesmith was beyond insightful, and his interpretations of these works that he presented to the class thoroughly brought this variety of written works to life. The Thomas Fisher Rare Book Library is described by Shoesmith as the largest rare book library in Canada, that houses a vast variety of historical as well as contemporary works. Within Shoesmith’s introduction, he emphasized the accessibility of the library. He stressed that this is not a museum, but a library for people to use. Through the library’s simple registration process, its materials within reason are open to the public.

What I found most interesting was that although Shoesmith emphasizes the differentiation between this space from a museum, the library can be interpreted as resembling that kind of institutional space through its public exhibitions. According to Shoesmith the library holds three exhibitions per year that run for approximately three to four months each. Yet what makes these exhibitions more accessible in comparison to traditional museum practice is that the materials that are included within these exhibitions primarily come from the library itself. Shoesmith described the curating of these exhibitions as focusing on the strengths of their numerous collections. Therefore the materials that are put on display behind these glass frames can generally be accessed by the public from the library after their given exhibition time period.

The collection of works that Shoesmith selected to present to our class ranged from illuminated manuscripts from the fifteenth century, to contemporary artist books. The variety in the style and construction of these works; in reference to their given time periods, acted as a historiography in the art of bookmaking. Throughout Shoesmith’s presentation of these works, the development in the process and style from each work to the next conveyed a comprehensive understanding in regards to the transformation of bookmaking to become what we know it to be today. 

This comprehensive aspect is also achieved through the library’s collection of the provenance of their collected works. Shoesmith noted that the archival collection of materials alongside their works of focus are of great importance in understanding the author’s/artist’s creative processes. Therefore it is through the library’s extensive and dedicated collection practices with which it differentiates itself from its general counterparts. 

This field trip has truly opened my eyes in regards to how lucky I am as a student at the University of Toronto in regards to the source materials that are available to me. To have both physical and digital collections of written works available at my fingertips through the university’s extensive library network is something I have often taken for granted without much thought given, but now I have realized how thankful I am and how my scholarly research has become more refined and has truly benefited from this significant academic resource. I will most definitely be visiting the Thomas Fisher Rare Book Library again for future research.

Person 3

My first impression upon entering the Thomas Fisher Rare Book Library was that it looks like the child of Hogwarts and Unseen University’s libraries.  Moody lighting, a sense of utter quiet and stillness, looming levels of shelved stacked books, it all gave the impression of being in somewhere special.

John Shoesmith, Outreach Librarian, provided us with an introduction to the history of the Fisher library.  Founded in the 1950s, they moved into the building in the 1970s where they established the largest rare book collection in Canada.  Only one tenth of the collection is on display and all of it is closed stack.  Unlike what one would expect, gloves are not needed to handle most of the collection as there is a focus on the materiality of things.  The oldest object in the library is a Babylonian cuneiform tablet from 1787 BCE.  They hold three exhibits each year and planning is made up to three years in advance.

Despite being known as a rare book library, they collect contemporary books as well with the idea that, eventually, their copy might be the only one left outside of a private collection.  Canadian fiction is focused on more than American and they try to collect original manuscripts from authors such as Margaret Atwood.  John said that their mandate would be “collect for strength”, so they keep items relevant and beneficial to the library overall.

The highlight of the trip was getting to handle the books John brought out for the class.  Ranging from the 1400s to current, they represented various aspects of the library’s collection such as medical texts, theology, art, and fiction.  A copy of the Nuremberg Chronicles was my favourite as it comes up often in classes and I did not know there was an accessible copy in Toronto.

This was my favourite trip our class took as it tied in with my career plans and getting to talk with John after the tour was helpful.  Now that I know that most of the collection is open to public viewing, I will be going back outside of class to see more.