fourONEsixSTYLE

I’ve been captivated by woodblock prints for sometime and finally made my way to the ROM Friday night to see their exhibit Drama & Desire: Japanese Paintings from the Floating World. This is the last weekend the exceptional collection is on display. While the pieces are predominantly from the early period, before colour technologies blossomed, it is a great starting point to learn about the art and history of Edo.

Before there was Tokyo, there was Edo, a scintillating place for artists, actors and musicians to celebrate life, sex and nature, oooh, and clothing, beautiful clothing. While in Tokyo I’d once seen a portrait, a slice of Edo, of several women floating around in a boat, drinking sake in lavish kimonos, celebrating the arrival of cherry blossoms and the changing seasons while monkeys performed and musicians played. If only I could be transported back in time to enjoy this rich and poetic culture.

This exhibit showed some screens and scrolls with similar scenes, women in colourful garbs fishing, lounging and smoking, with always a bit of nature peaking out of the background reminding you where the people were; beside each piece, a charming tale to help bring the art to life.

I’ll admit I was a bit dismayed that the ukiyo-e collection at the ROM, on loan from Boston, was missing some of the great masterpieces I’d expected. There were limited pieces from Hiroshige and Hokusai and only one true landscape piece, Hokusai’s Li Bai Admiring A Waterfall. It’s his prints that always strike me the most. While he’s well-known for The Great Wave, it’s his pieces with one solitary individual in the throws of nature that I’m especially drawn to, those that make you reflect on the power within yourself and aware of the delicate balance mankind shares with his surroundings.

Friday night’s Brassaii party kicked off the Contact Photography Festival exhibiting across Toronto until May 31st. Photographers Alex vs Alex set up a photo booth to get stills of the crowd as they entered, setting a bit of a red carpet vibe. Meanwhile Toronto’s most loved photobloggers were in full swing getting their snaps of the jumping crowd inside while others milled though large prints of Toronto strewn across Brassaii’s glossy white walls. CBC’s report on Contact finds fellow blogTO writer Jerrold Litwinenko inside before the show.

I Wear My Sunglasses at Night
Originally uploaded by 416style.

Billed as the largest outdoor art exhibition in North America, this weekend’s free exhibit at Nathan Phillips Square is sure to be packed with both novice and professional art collectors finding out what this city has to offer. The Toronto Outdoor Art Exhibition (or TOAE) showcases an impressive variety of media and design by local artists. Those exhibiting may be students or established pros, sculptors, photographers or silversmiths, either way, it’s an excellent chance to see so much in one place and meet the artists themselves. Rarely is there such an opportunity to find original artwork at the prices offered. It’s absolutely worth a look. Starts at 10am Friday, Saturday and Sunday and runs until the early evening.

space ship
Originally uploaded by steffiejupe.

Traveling through Scandinavia as a teen, I would see massive amounts of graffiti all along the major train routes. Click clak. Click clak. My eyes would be fixed on the art as I passed; one brief moment, one spontaenous message, one image burned in my memory. It made me happy and reassured. Then, I would come back to my home in this city and everything felt so bland, so constructed, lacking the color and life of more established cities.

A couple years into High School my friends started the Keele wall, seen here, behind the Midas garage in High Park. It inspired me, made me draw, take pictures, explore the city. It was also really cool that Midas let my friends spraypaint whatever they liked as long as they designed a Midas logo for the passing subway cars and commuters to see. The wall still flourishes today, its message always new and simple. In this image it’s a spaceship, and the word “sight”. Next month a new artist will cover the space.

Even though the trend toward grafitti covered walls has been increasing in popularity, the City of Toronto has been pushing for stricter measures against its proliferation. The message to commercial property owners is this: “Clean up the art or pay the painting bill that the city hands over and a potential fine.” The argument presented is that alleys and walls of spraypaint scare away tourists. But, which tourists?

At the same time as this crackdown, festivals around the city are supporting the art and bringing people into the city core to celebrate it. Harbourfront Centre sponsored a Beats, Breaks and Culture event which showcased grafitti-based art, as well as music. The Grafitti 416 expo is on this weekend at Portland and Queen, and Little X’s Getting Up Festival last weekend advertised grafitti demos as part of its allure. Even, City Hall was involved in one outdoor art exhibition held this summer on its grounds that featured some of Toronto’s grafitti artists.

Yet, grafitti still gets a bad rap. Sure, there are punks with no respect, tagging buildings they have no right to. My anger flared seeing 1930’s dance club Palais Royale tagged by some amateur, and now the Hotel Edgewater’s retro sign will never be the same.

So some people give it a bad name. They’re not artists in the same right. Parameters should be set, and business owners should have their say. The mayor’s little broom icon from his campaign bumper stickers refered to trash and not art, I thought. Mayor Miller should learn the difference. The rest of the city knows. As do I. When I’m on that subway train heading to Keele station, about to pass the wall, and I see several TTC riders looking out the window with curious eyes all lit up looking at the wall, it makes me proud, and reassured that art of many kinds has a place in a city of many cultures.