There is absolutely nothing I can say about Henry Moore's and Francis Bacon's work that hasn't been said far more clearly and cogently by others better schooled in the art produced by England's Moore and the Anglo-Irish Bacon. What I can say, however, is go to the AGO and see this exhibit - put on with England's Ashmolean Museum - as it promises to be another quite exemplary show, if a tiny bit less exemplary than two previous exhibits: Abstract Expressionism featuring the work of such stellar artists as Mark Rothko (whose work, with that of Jules Olitski, makes me giddy), Jackson Pollock, de Kooning and others, and The Great Upheaval Masterpieces from the Guggenheim 1910-1918 that display the genius of Picasso, Mondrian, Matisse and others.
Of course, what is emphatically not exemplary is what the AGO will charge to see this new exhibit. I no longer look at the price of tickets for AGO presentations, COC performances and the like because I know I can't afford them - which is insulting, at least implicitly. All of Hogtown's big deal cultural institutions are funded in very large part by the taxpayer, but unless Joe Taxpayer can stump up the admission charge, in effect a surtax, he (or she) won't be admitted to the hallowed halls of great art. That's a disgraceful state of affairs and politicians and curators should be ashamed of themselves.
But back to Moore and Bacon. Most people won't know that Henry Moore had a brother who emigrated to Toronto many years ago, and it's one of the reasons why the sculptor gave so much of his art to the AGO and why Hogtown is graced with The Archer and other outstanding pieces. This being Hogtown, in the early 70s City Hall and Queen's Park dithered and dithered but eventually accepted Moore's gift. As for Bacon, I have a tenuous connection to the artist - very, very tenuous. A family friend, who ran a fine arts printing business in London, England, was one of Bacon's long time boozing companions - the painter's drinking was nothing short of heroic - so I have wondered if this family friend had a Bacon painting or two tucked away somewhere and if so where they ended up.
The exhibit runs from April 5 to July 20.
Of course, what is emphatically not exemplary is what the AGO will charge to see this new exhibit. I no longer look at the price of tickets for AGO presentations, COC performances and the like because I know I can't afford them - which is insulting, at least implicitly. All of Hogtown's big deal cultural institutions are funded in very large part by the taxpayer, but unless Joe Taxpayer can stump up the admission charge, in effect a surtax, he (or she) won't be admitted to the hallowed halls of great art. That's a disgraceful state of affairs and politicians and curators should be ashamed of themselves.
But back to Moore and Bacon. Most people won't know that Henry Moore had a brother who emigrated to Toronto many years ago, and it's one of the reasons why the sculptor gave so much of his art to the AGO and why Hogtown is graced with The Archer and other outstanding pieces. This being Hogtown, in the early 70s City Hall and Queen's Park dithered and dithered but eventually accepted Moore's gift. As for Bacon, I have a tenuous connection to the artist - very, very tenuous. A family friend, who ran a fine arts printing business in London, England, was one of Bacon's long time boozing companions - the painter's drinking was nothing short of heroic - so I have wondered if this family friend had a Bacon painting or two tucked away somewhere and if so where they ended up.
The exhibit runs from April 5 to July 20.
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