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Cityforms" Was Conceived to Help Us See,To Force Us to Look

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Cityforms INTRODUCTION FORMS.Around us the city forms. Toronto, muddy York, our now beloved Hogtown, has been forming around us for decades,evolving into the urban environment we inhabit today. We are conscious of the escalating skyline, the architectural masses which have forced our visual perceptions from the horizontal to the vertical, have inclined us to look skyward. But we are remarkably insensitive to the shapes down at our human level, the forms of the city which we encounter directly and daily. Wesleepwalk, oblivious to the everyday visual experiences which shape our thinking, form our outlook, invade our personal spaces. And the city forms which we most often ignore are those which have been consciously placed to enhance and stimulate our surroundings - sculpture - forms resulting from the human hand and imagination. For over a century, public sculpture has existed in Toronto, evolving from monuments to the monumental, from commemorative statues to ab• stracted volumes and masses, reflecting the growth of the city, the pro• gression of attitudes, the process of culture. Today, let us stop and 100k,Iet us "see"these forms created for the city. "Cityforms" was conceived to help us see,to force us to look. As the most extensive documentation of public sculpture in Toronto, "Cityforms" provides a unique opportunity to review the evolution of out• door sculpture in one of Canada'smajor cities, affording a valuable histor• ical perspective while at the same time issuing a challenge for the future. Scanty records exist on the history of the sculptures, echoing the general neglect accorded sculpture and sculptors over the past decades by the Toronto public. "Cityforms" is a concerted effort to correct this - to eradi• cate the neglect. The project documents not only the sculpture but the creators, the individuals who produced the forms. On the occasion of the 10th International Sculpture Conference, the world's largest gathering of sculptors, what more appropriate contribution by two major artists'organ• izations than an historical record in aid of a more creative future. For the message of "Cityforms" comes through loud and clear - an abundant legacy of public sculpture in Toronto is all around us but much remains to be done. Toronto is generously endowed with ideal settings for outdoor, public sculpture. Much of our contemporary architecture cries out for human expression, for works of the creative imagination to penetrate the sterility and awaken us. Toronto's hosting of the lOth International Sculpture Conference must spearhead a new era of awareness of the importance of our visual surroundings, a recognition that public sculpture is not an expendable frill but a necessity for an improved mode of living. Hopefully, 1978,Toronto's year of the sculptor, will engender an enthusiasm and awareness of public sculpture supported by corporations, government, and private individuals which will initiate a blossoming of sculpture throughout the ci ty and a rededication to standards of aesthetic excellence. Public art t? beginning to surface in Toronto. possibly it may be one factor that will keep our urban environment humanly habitable. At the very least it will make it visually bearable. To Alan Bakes who has single-handedly undertaken the "monumental" task of researching, compiling, writing, and designing "Cityforms" we owe a great debt of thanks. He has truly helped us to "see" the City forms. William J.S.Boyle Executiue Director Visual Arts Ontario Horizon, /964 - bronze, Waller Yarwood (h. 19/7) THE ARCHITECTSAND ARCHITECTURALSCULPTORS YOUR GUIDE TO CITYFORMS In several cases when an architect conceived the design, The purpose of this map is to record the outdoor sculpture as in the case of Ferguson and pomphrey's "Cenotaph", his within the City ofToronto, presenting to you a"permanent" conception was carried out by stonecutters or technicians survey exhibition of our sculptural development over a whose names have been lost. These architects have been century. indicated by an (a)after the name. Since sculpture represents a reflection of a society's pro• Where an architectural sculptor was commissioned, the gress and thought, "Cityforms" should not be used merely sculptor's name has been used. In this group do not miss as a tool for a tour of sculpture, but as an instrument of Ivan Reznikoff's "Crocodiles and Vermin" on Croft Chapter awareness of the growth of artistic thought from a pro• House,University College,University of Toronto. Murdered vincial colonial capital to a cosmopolitan centre. by a jealous rival, Reznikoff has become Canada's most Although this sculpture does not always represent the best famous ghost. work of some of the artists, to have attempted to go E.J.Lennox, architect of Toronto's old City Hall, wished his "indoors" would have been impossible, covering so vast a name to be perpetuated as the designer of this edifice. He field. Even so, although a serious attempt was made to therefore placed the letters of his name in the carvings document all the outdoor sculpture within the political around the upper portion of the building. They are huge boundaries of the City of Toronto, "Cityforms" should more and can easily be seen, concealed among the support accurately be termed "an attempted documentation of all stones. The letters are on the west side and his bust is outdoor sculpture ..." carved above the main entrance on Queen Street. (Note, KEY AREAS the only head not a caricature.) Around Queen's Park you find the monuments typical of HOW TO READ CITYFORMS most cities representing historical personalities and Listed alphabetically in bold type the name of the sculptor events of the past. Not always successful, these monu• is followed by his lifetime or period of activity. The number ments are often the only record of asculptor's work whose in bold type on the next line is the number of the sculpture name would be unknown to us otherwise. In this area you and corresponds to its location on the map. The italics on will find the first public outdoor sculpture that was erected the same line is the title or a general description of the in this city. It is an ambitious conception by Robert Reid piece and is followed by the year of execution by the and was unveiled in 1870.The monumental tour continues sculptor or when erected at its present location. When both down University Avenue representing a tradition that was years have been found, this is indicated by a (f). The next maintained well into the 20th century. line indicates the material used followed by the address Further north, at Davisville Ave. and Yonge St.,is an area or a description of the location of the work. known as Greenwin Place. Contrasting with the centre of Although the main purpose of "Cityforms" is to raise the the City, this area presents an exciting group of outdoor awareness and provide information on outdoor sculpture, sculpture by some of our leading contemporary sculptors. it will also provide a record for posterity of sculptors and Here you will find work by Henry Moore,Michael Hayden, their work that might otherwise be lost. Kosso Eloul and a particularly effective piece, "Red square" It is our hope that afoundation like "Cityforms" will be built by Vancouver sculptor Jim Willer. upon in the future, with additions, corrections and those To the west, in High park, are examples of the work of pieces missed due to human error. several sculptors whose work has gained international To hear of new discoveries will assure us that you have recognition. Particularly noteworthy is the work of Mark looked for works of sculpture outside public or private di Suvero of the U.SA.and Menashe Kadishman of Israel. buildings with greater delight and interest. After months of research, this will be a further reward to our efforts. Although they may not fall within these areas, several pieces should not be missed. These include Walter Let us now follow the statement of pioneer Canadian Allward's "War of 1812Memorial"(1906),Victoria Memorial sculptor Frances Loring, "For God'ssake look atsculpture." Square, Wellington St. W., John Fillion's "Torso" (1967), Alan Bakes 95St. Clair Ave. W.,Jacques Lipchitz's "Return of the Prodigal ViceChairman Son" (1931),99Yorkville Ave.,and Henry Moore's"Three Way Visual Arts Ontario Piece \2" (1966)in front of Toronto's City Hall. VicePresident Ontario Society of Artists j VISUAL ARTS ONTARIO ONTARIO SOCIETY OF ARTISTS Visual Arts Ontario was designed specifically to further the aware• One of the oldest art associations in North America. the Ontario nessand appreciation of the visual arts in Ontario,to unify and co• Society of Artists was founded in 1872and has subsequently been ordinate the efforts of artists and art associations throughout the actively involved in thedevelopment of visual arts in this Province. Province. It is an association of visual art organizations in Ontario In t876and 1900the Society founded the Ontario Collegeof Art and encompassing three categories of membership: eight profession• the Art Gallery of Ontario and in 1974was a founding member of al art associations, affiliate groups, and individuals, with a total Visual Arts Ontario. As well as member exhibitions, the Ontario membership of over 5.000artists, art educators and craftsmen. In Society of Artists holds yearly open exhibitions, providing a forum addition to providing administrative support and central co• for unknown and new talent to exhibit their work. Through its ordination for each autonomous member group and its pro• membership and exhibitions. the Ontario Society of Artists has grammes, Visual Arts Ontario initiates joint projects aimed at tried to reflect the balance of both new and established artists expanding the role of the visual arts in the cultural life of Ontario.
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