A. History of Art Scenes &

llllha�EverNappenedTo UEEN ST.WEST?

by Rosemary Donegan

With the coming of age of the Queen St. West scene, Toronto of the 1980's appears to have developed its own official 'art scene,' full of budding artistic potential and style. 1 "There's this vitality The scene not only focuses on music and the visual arts, but is also about the Queen St. associated with theatre, design, fashioq.,and the perennial favorites- West scene with its loose eating, drinking, and dancing. In recent years, the community has also ends. and. developed a consciousness of black, feminist, gay and lesbian issues. expeqmentat1on as While being promoted, eulogized restaurants � which responded to their people try to capture the and sarcasticallycritiqued by local media own needs and aesthetic concerns. How­ interests, the implicit assumption is that ever, it is the very success of the Queen sentiments of this time this is a first, although occasionally St. scene that may have already trans­ and place, and in the Yorkville in the dim-dark past of the formed Queen St. into a caricature of 1960s is noted. Meanwhile, the scene is itself, another conventional • tifestyle' best tradition of the arts, being massaged by local politicians for commercial venture. This has been it represents a break votes, assaulted by local moralists and accelerated in the last few years as a the police, and deciphered and number­ second wave of more capital intensive from the past.'' crunched by the planners; Baumol's businesses - commercial galleries, theory - that the arts are justified as a expensive restaurants and clothing stores creative lost leader for the local - has been established on the street. John Sewell restaurant and hotel industry. This phenomena is not limited to Queen The Globe and Mail The artists and musiciansof Queen St. West and can be observed in slightly August 27, 1986 engendered all this attention because different patterns on Blq�r West, the over the last 20 years they have King and Front area, and the Summer­ developed a network of institutions - hill area. galleries, bars, production and However, more threatening is the distribution co-ops, magazines and larger scale redevelopment of the area to

IO FUSE FAll/86 the south, the planned King St. West Communications Plan, which will in­ clude the new CBC Headquarters and Communities in Toronto the growing ubiquitous franchise fern­ barssurrounding Roy Thomson Hall and Ed Mirvish's Empire, between Simcoe and Peter Streets. All of these develop­ ments are directly connected to the Railway Lands, the Domed Stadium and the proposed Spadina I.RT. As the focus of the city moves west, the entire area from the Lakeshore to Dundas St., and as farwest as Dufferin, is in transition. Queen St. is also going through a shift determined by the generational aspectof the community, rather than by the crass economics of the real-estate world. The present community· could be loosely categorized into three generations, dif­ fering in artistic baggage, politics and priorities. The firstarrived on Queen St. in the 1960s, a second group in the mid­ to late 70s who are now in their 30s, and then a 3rd generation of young artists and students of the 1980s. It is always changing and shifting and is not a singular, hornogenous scene; but it is aging. The generation which originated the Queen St. scene is approaching mid­ age. Some have children, wages and salaries, and therefore more disposable income, and most are tired of cock­ roaches. The semi-public lifestyle in bars and after hours clubs has its limitations when you're coming up to 40. Their departureas residential tenants fromthe neighbourhood is having an immediate effecton the daily interaction and public life on the street and the area. The artist/ musicians and their cohorts - people who have worked and lived in the area for a number of years - are quite conscious of this process. Indeed, they are hardly able to ignore it. They grumbleabout escalating rents, tourists, teeny-boppers and up-towners taking over their local hang-outs. There is much lamenting forthe way it used to be; the authenticity and originality·of which are never clearly defined. Yet there is an implicit unspoken understanding of a community and its meaning. �

investigative articles. Rosemary Donegan looks at the gentrification of Queen Street W�st juxtaposed against the rise and fall of various artscommunities in Toronto from the end of the 19th century to the 1980s. Cameron Hotel, 1984 FALL/86 FUSE 1/ ------CUl TURA l HISTORY------

n ::r Defining an Arts .....= ...... Community The development of physical commu­ nities I neighbourhoods is panof the pro­ cess of coming to terms with the confu­ sion and complexity of urban life.People congregate around and develop their own mental maps of the city based on what areimp onantlocations forthem as individuals. In the city, one of the primary delinea­ tions of an arts commuruty 1s its geo­ graphy and physical location. Its location is defined by the larger urban economic frameworkand by real-estate values, core � Shoppers on Queen suburb pressures, the role of the civic St. West, 1986. The government, the market factorsaffecting corner of Queen St. the creative-cultural service industries, & Soho St. Wall and the specific age and architecture of murals by Barbara the neighbourhood. Klunder (above) and The production of the visual arts, RUNT (street level) especially traditional painting, sculpture, photography, is usually regarded as a private activity... the in­ This idea of community exists in the Village in the 1940s; to the firstflings of dividual creative act. What is unusual localhistorical mythology, although it is the local beats in the 1950s; and the about the 1970s and 1980s, specifically dependent upon who you talk to, and intensity of the 1960s in the Yonge I in the Queen St. area, is the develop­ when they arrivedin the area. Factually it Bloor /Yorkville area; this eventually ment of co-operative spaces, workshops, can be traced through primary source moves south down Spadina and Beverley audio-visual studios and performance material archived in the artist-run St. to Queen in the 1970s with expansion spaces. These production, exhibition centres. It is specificallythese artist-run continuing to the south and as far west as and distribution centres are more than non-profitinstitutions (and many small Dufferin in the 1980s. work spaces, but are in fact points at business ventures) which have been Second, to examine the reality and which the community of anises can forcedto relocate (some twice) in the last differencebetween an 'artscommunity': meet, exchange valuable information, 5 years, due to local real-estate pressures which is a process and product of people, make production contacts, or socialize. and a range of cutbacks in Federal arts work and ideas; and an 'arts scene': Both the traditional visual arts and the funding. In trying to understand the which is a phenomena engendered by newer related fields of video, perfor­ present process underwayon Queen St., the media, the art market and the real­ mance. and audio an require a public it is necessary to look at the street in a estate boom. socialcontext, �ithin which the implica- broader context to get beyond the in­ flated media hype and the impending doom of gentrification. First, as a geographic community in the city, it needs to be placed in an historicalperspective, as it is not the first arts community in Toronto, nor will it be the last. An artist's life in general hastwo imponant geographic focuses: the public gathering point and the point of produc­ tion. The formerincludes galleries, bars, restaurants; the latter is the place where as independ�nt producers they work - the studio, both electronic and easel. The first geographic focus of the "Toronto arts community in the late 19th century was the Bohemia of the Ade­ laide/Yonge St. area, the heyday of the art clubs, societies and the private studios of Toronto the Good; in the 1920s and 1930s this continued in the srudiosand galleries of Grenville St. and Early Queen St. Types, Phoebe St. Schoolyard (behind Queen St.), 1975 . .L to the folksy Bohemia of the Gerrard R: Peter Maccallum, Robert Roy, Peter Blendell, Ann Whitlock, John Dennison 12 FUSE FALL/86 ------CUl TUR Al HISTORY------

tions of the work ... its quality, signifi­ ideological framework that defines the The scale of the streetscape from cance, economic value... areestablished. culturaland social power of the ans com­ Beverley to Spadina Ave., especially the It is the response by the public and one's munity. extra widening from east of Soho Street own peer group that defines one as an To recognize the phenomena of a to Spadina, was part of the original plan 'artist' or as a 'musician,' and as a community or a scene externally, neces­ as laid out by William Baldwin in the member of the 'community.' sitates an abil.ity to 'read' its signs, codes 1820s when he designed Spadina Ave. Obviously, the essential element and meanings. It requires a certain north from Queen St. (then known as within the 1 artS community' is the pro­ amount of specific information and I or Lot St.) to the house on the hill, ducers - the visual artists, musicians, pre-conceived assumptionsof who's who Spadina. The increased width of the designers, and artisans. This is over-laid - what's where - and what the inter­ sidewalks gives the street a focus, which with the inter-related services. On the relationships are. differentiatesit fromthe norm in Toron­ one hand, there is the intellectual and to's grid pattern. economic infrastrucrureof the art world: The commercial and residential com­ the curators, critics, dealers, magazines, Queen Street'sSuccess position of Queen St. hasn't really and managers. On the other hand, there changed that much since the mid-19th arethe technical services:the copy shops, Queen Street is a centreof culturalactivity century. It has seen a fairly cyclical pat­ hardware stores, film laboratories, sound due to a complex inter-relationship of tern of working class immigrant com­ srudios, the stat house, typesetters and economics, ideas and physical-geographic munities, starting with the Irish, the printers. Finally there is a whole range of location. Finns, the Jewish communityon Spadina, associated bookstores, antique shops, The basic 19th century architecture of the Black district south of Queen out to street pedlars, second-hand clothing the two and three story store-fronts and Bathurst, and the post-World War II stores, design shops, restaurants and houses maintains a consistent wall to the Eastern Europeans. In the 1960s, Queen bars.All of these elements together form street. In summer the relationship bet­ St. contained a mixture of small stores, a geographic locale identifiable asan art ween the store frontsand the trees creates oftenrun by EasternEuropeans, light in­ scene. a sidewalk canopy that shelters the dusuial supply shops, bars and greasy Another pattern contains a much sidewalk and definesthe street. The sur­ spoons. more amorphous and mythological ele­ rounding streets are integrated into Tavern-hotels such as the Black Bull ment; the community as anetwork of in­ Queen, but due to the slowness of the - opened first in the 1850s - or the formation/interests which involves a streetcar, fast_-moving traffic tends to Cameron House - built in the mid high degree of self-recognition. Artists' avoid the street. This traffic passes 1890s - and the Horseshoe Tavern - reputations arepart of both the creation through the area on adjacent Adelaide, known forits country and western music and the consequence of the local com­ Richmondand Spadina. - were well established and had a com- munity. Internal recognition, based partlyon estimations of potential in the younger artists, begins the process of establishing individual credibility - which in turn helps to recreate the on­ going reality of an 'artS community.' This element of 'potential' is partof the developed consciousness of the contem­ porary artist's role, asthe artist'slifes tyle always has the possibility of becoming partof his/her status as an artist and ex- perimentalist. For the established artists in the com­ munity in their thinies and forties, reputations, seeded through an early peer andself-recognition phase,are now based firmly on a large body of work made visible through exhibition, the media, by recognition extended through I the peer jury system developed at :I Canada Council and adopted by provin­ cial arts councils, and finallythrough in­ ternational recognition and exhibitions. Within this community, a series of value judgements and successes/failures, takes place both in public - in the magazines, exhibitions, performances, screenings, lectures and discussions - and in private - in the bars,at -parties, at home. It is the over-lapping of this Twist Contest, Cabana Room, Spadina Hotel, 1979 complicated infrastructure and artistic FALL/86 FUSE 13 ------CUL TUR AL HIST OR Y------­ mitted, although not wealthy, clientele. along with US draftdodgers and entre­ It was not a slum, although the houses preneurs converged on the street because and stares were up to 150 yearsold, and of cheap rents. It was a shabby block with the area had never attracted the 19th two rag merchants, several craft shops, century wealth and grandeur of Jarvis and the Baldwin Street Photography and Sherbourne. Gallery. This small street was significant What attracted the artists, musicians forartists in the area, as was Kensington, and their cohorts to the area in the mid and the apartment studios on Spadina. 1960s was that it was cheap and cenual. Artists and musicians were originally It had photography labs, typesetters,. able to enter thearea on their own terms. copy shops, generous studio space in loft In the somewhat anonymous quality of buildings, and an accessible transit the area they didn't create much of a stir. system. It had a few inexpensive bars like They rarely displaced former residents as the Beverley, the Horseshoe, and later they tended to occupy non-residential the Spadina Hotel, where the music space. As well, apart froma few enclaves policies attracted groups of young musi­ like Alexandra Park and the Niagara cians fleeing Scarborough and Etobi· Housing Project, an unusual number of coke. The area was close to the Ontario the local working classhomes were owner as the Gerrard Village refers loosely to College of An, and many of the students occupied, which did mediate and slow the area west of Bay St. to Chestnut St. were already housed in the area. The the process. However, the pressure and included LaPlante, Hayter and AGO, although only a few blocks away, began to increase in the early 1980s and Elizabeth Sts. Originally part of The was not of major importance to the net­ continues, especially west of Bathurst Ward, by the 1930s the area was very working of anists in the area. One of the St., as bars, old shops, and restaurants mixed, with a residue of the earlier landmarks of the area was the Ryerson are snapped up as soon as they come on Jewish and Italian communities and a Building, a formal Gothic castle com­ the market. small and culturally isolated male manding the corner of John and Queen. Chinese community, to the south on Once the home of Ryerson Press, and Dundas and Elizabeth Sts. 2 later Trinity Square Video, A Space, the The Gerrard Street The Gerrard St. Village was not a Immigrant Women's Skills Centre, and Village single community, it was rather a geogra­ FUSE magazine, the building is now in phic, business and social phenomena,. the hands of CITY-TV. There are remarkable similarities bet­ that involved a series of interlocking communities of visual artists, dress­ The Baldwin St. area had developed ween the present Queen St. area and the in the late 1960s, when an influx of Gerrard St. Village, that developed in makers/milliners, jewellers, potters, an­ students from OAC, young out-of-town the 1930s, as geographic phenomena tique and book shops and a few specialty giftshops, which extended over a period .artists 'rrom the regions and Quebec, within the city. What came to _be known of 40 years from the 1920s, through the Depression, World War II up to the early 1960s. Similar to Queen St., the attrac­ tion of the area was the centrality and cheapness of the rents. As late as the 1960s, the shop· rents were often less than $100/month, compared to $300- $400 in Yorkville. The housing stock consisted of one and two-story stucco frame houses, built anywhere between 1820 and 1850, which were in serious disrepair. The Gerrard area was not prime real-estate investment in the 1920s and 1930s. What the area did have wasa number of public social gathering points, which was unusual for 'Orange Toronto.'

(Above) Rudy Renzius Studio, Gerrard St. West, 1934. A woodcut by W.F. Godfrey

(Left) Gerrard St. West & LaPlante Ave., 1940s.

14 FUSE FALL/86 ------c Ul TUR AL HIST OR Y------There were places like Angelo's with its reference to New York. Yet the irony of dispenses fromOttawa to Toronto paral­ Italian food,red-checked tablecloths and the situation was that there is a little lel galleries.) bottles available on the second floor, if street which crosses Queen St., which is A fair number of Queen's early busi­ you were discrete; or MaryJohn's, 'the' called Soho Square and always has been. nesses developed fromthe fringes of the social centre of the Village, where multi­ It was named after the London district music and an communities, begun by varnished travel posters covered the Soho, the 19th century Bohemian hang­ ex-art students and ex-actors turned walls, known forits butter tans, and the out. dealers, musicians turned bootleggers, fact that Alben Holmes would hand­ and staffedby video producers and out­ deliver meals on a tray in the neighbour­ of-work dancers. In turn, some busines· hood. Everybody from the Group of The Scene and/ or the ses have been able to maintain a com­ Seven, Steven Leacock, Ernest Heming­ mercial interest and a personal commit­ way to doctors from the nearby hospitals Community ment to supponand make space forlocal hung out there. There were a number of anists and their issues. Events like the blind-pigs in the area and bootleggers, It is through the media process that the Women's Cultural Building Festival; the like Sam, the Italian, at the corner store Queen St. anists and musicians have be­ recent Anti-Apartheid Pub Crawl, the at LaPlante and Gerrard. The Little Den-· come a marketable product - a commo­ Pages Anti-Censorship case; and exhibi­ mark on Bay St. wasfamous for its break­ dity. This packaging and self-conscious tions like Monumenta and the New City fasts and cleanliness. It is the public selling of the artists within the media is a of Sculpture, are the·public 'spectacles' places and popular stories which are recognition, albeit a very limited recog­ of this inter-relationship and arts scene. synonymous with the Gerrard St. Vil­ nition, of the anist's power as a cultural A strong identifying mark of Queen lage, and identifiedit to both the Village and intellectual sign-post. In analyzing St. in the 60s and 70s was the style of the residents and the rest of the city. 3 this process, the object is not to locate bars, restaurants and shops. The rule of and label the artists who have sold out. thumb had been: Don't over-renovate, The artists haven't sold out! In reality let the design evolve, maintain the his­ The Idea of Bohemia there are very fewpeople buying. On the torical context, add a few artistic other hand, the artists has been sold as· touches. But with the coming of the Identifying it as 'the Village' was com­ an idea, a lifestyle, a scene. Anists and 'scene,' 'chic' defined itself in over­ mon. Toronto anists drew their models musicians will not reap the profits from designed stores that arrogantly deny the and ideas about being an anist from the the situation; few own property in the local context. international metropoles. Montparnasse, neighbourhood. Rents are going up and Some older businesses have been Soho, Bloomsbury, Greenwich Village, good cheap places are impossible to find. astute in their dealings with the arts the East Village; these 'villages' kept It is property that is selling like hot cakes community. They have had to solve the alive a model and public concept of the - not paintings, records, sculpture, problem of how to cater to artists, their 'anist.' Principally Parisian in origin, the videos or magazines. tastes, friends and their need for jobs, nineteenth century concept of the 'Bo­ Attempting to arrive at a definitive while maintaining a basic cash flow... hemian' artist originated in and is mo­ historical chronology of the scene or the and artists by and large have a very delled on the Montparnasse of the Im­ community is difficult and somewhat limited disposable income. The Came­ pressionists and their experience and in­ premature at this time. Rather than see­ ron House forexample, retains their day terpretation of Haussmann's Paris.4 In ing it as achronological development of time clientele - the regulars ('the' the 1930s, New York's Greenwich Vil­ who came first or who's more authentic, authentic Queen St. types) - by serving lage would become another model, it is more informative to visualize it as a draft at set prices before 9 p.m. and which by the 1950s had become the MadameBlavatsky-like chan. A series of limits sales to bottles in the more chichi alter-ego and primary anistic tension for intersecting circles, composed of the hours of the evening. Or the Bamboo, Toronto anists. various specificscenes, visual ans,music, which will let virtually anybody have a All of this has a marked similarity to video, theatre, magazine publishing, benefit on the premises, allowing the the fairly recent kerfuffle with some commercial galleries, and the media. doorto go to the cause but always taking elements of the Queen St.. Business Although each group is inter-related in the bar profits. Association, which were pushing the the Queen St. milieu, they operate on The Queen St. business scene has an name Soho as an identification of the their own terms of reference, which are innate sense of opportunity. They were specific Queen St. area where the side­ defined by the largernational and inter­ sman enough to be in the right place at walk and street widens. Another group national factors.(For example, the union the right time; and with a small amount of local businesses and artists fought rate for cutters in a garment factory or of capital, some are making a fairly back to stop the obsequious colonial the amountof fundsthe Canada Council handsome profit for their work. � ======"At this moment the physiognomy of the Romanische Cafe began to change. The "artists" withdrew into the background, to become more and more a part of the furniture, while the bourgeois, represented by stock-exchange speculators, managers, film and theatre agents, literary-minded clerks, began to occupy the place - as a place of relaxation. For one of the most elementary and indispensable diversions of the citizen of a great metropolis, wedged, day in, day out, in the Walter Benjamin structure of his office and family amid an infinitely variegated social environment, A Berlin Chronicle is to plunge into another world, the more exotic the better." 1932

FAll/86 FUSE 15 ------CU l TUR A l HIST OR Y------

The Toronto Arcade, located on the east side of Yonge St. (note carriages seen through the open walkway) c. 1885, Artists studios were ...> on the 3rd _g :::; floor. ., c .,.. a: 0 :i

Bohemia at Adelaide names listed asartists are male, there is a Most clubs/societies of the period had continual presence of women who had a strong 'Bohemian' tone to their ac­ and Yonge Streets their own studios (10-20% ). tivities and antics, and in a day-to-day One of the major attractions at 39 manner were informal fraternal organi­ Located east of Yonge, on Adelaide, King St. Eastwould have been Norman zations. It is important to understand King and Toronto Sts., were the favourite & Fraser Photographers (on the present their role as artist-originated and self­ restaurants, exhibition rooms, clubs and site of the King EdwardHotel). It wasan determined organizations - which had studios of the visual artists, writers, archi­ important employer, having a sizeable formalized internal democratic struc­ tects and bon vivams of the Bohemian set staffof artists who touched up black and tures based on hierarchical peer judge­ of the 1880s and 90s. By 1885, Toronto white photos, painted backgrounds for ment. They were simultaneously mid­ St. and the immediate vicinity was the portraits and group montages, and dle-classin their aspirations, and tied in­ location of Toronto's architects, with the hand-tinted coloured photographs. Both to a professional system of recognition visual artists' studios being located on the mature artists, full-fledged Society and rewards among their peers. There 2nd and3rd floors of buildings on King, members, and young apprentices would are remarkable similarities between both Adelaide, Victoria and Toronto Sts.5 work labouriously retouching negatives the art clubs of the 1890s and the parallel From its opening in 1888, the Toronto andcolouring photographs. 7 Notman & gallery system of the 1980s, and the Arcade at 131-139 Yonge St. between Fraser's, Grip Ltd., and art goods shops juried society exhibition and the present Adelaide and Richmond, running east to such asArt Metropole, at 131 Yonge St. , peer jury system of the am councils. Victoria St., had as tenants a n Lmber of Matthews & Brothers, 95 Yonge St. and The only major exhibition outlets established artists: George Reic, Sidney Robert & Son (a direct antecedent of the were the year! y Royal Canadian Strickland Tully, William Cruikshank, present Roberts Gallery on Yonge St.) at Academy (RCA) and the Ontario Society MaryWrinch, Edmund Morris. The cen­ 79 King St. West would sell artists sup­ of Artists (OSA) exhibitions. Based on ual passage was3-1 I 2 storeys high with a plies and occasionally exhibit original art similar British societies, the OSA began peaked glass roof which provided natural work, but the number of exhibition in 1873 and held its first exhibition at light to the studios on the 3rd floor (a outlets wasseverely limited. Notman & Fraser'son King St. East.8 The precursor to the Eaton's Centre). At street RCA was officiallystarted by the Marquis level were 24 shops, with offices on the of Lorne, Governor-General and Queen 2nd floor, reached by an open balcony on The Clubs and Victoria's son-in-law, to foster the arts the central passage way. The arcade with and establish a National Gallery. 9 The its elegant' light-filled interior public Societies annual exhibition, held in the major walkway was a showpiece of the city. 6 centres of Montreal, Toronto and Ot­ Documentary evidence indicates that In the late 19th century, professional tawa, were juried by members, and any­ artists who could afford studios often oc­ recognition as an artist was defined by where from300-500 paintings would be cupied the same space for 10-20 years. In one's membership in art clubs and socie­ hung comer-to-corner, three to four the 1980s, the average length of occupa­ ties - where the public role of the artist deep on a wall. tion of studios is 3-5 years. Rents, at the was played out. From a contemporary As the societies were virtually the only rum of the century were in the range of perspective, they seem like rather odd outlets for exhibition work, their power $5.00 per month for a 2nd or 3rd floor men's clubs masquerading as formal and their structuring role within the arts room. Although the vast majority of organizations. community can't be underestimated. 16 FUSE FALL/86 ------CUL TUR AL HIST OR Y------

However, it was through locally or­ Lucius O'Brien, the first president of studio space off Yonge St., south of ganized art dubs that artists came the RCA, had lived in the Tudor style Bloor St. from1938-1943. There was also together regularly to work, discuss and house at 20 College West (presently Douglas Duncan's Picture Loan Society socialize.The clubs were the anistic and boarded up) during the 1880s-1890s. It on Charles St., which showed David social focus for the younger anists, who was thishouse on College, with an addi­ Milne, Paraskeva Clark and most could not afford a private studio and tion on the back at 23-27 Grenville St. members of the Canadian Group of were not full-time artists. that became the Jenkins' Art Gallery. Painters in the 1930s and 40s. The small The Toronto Art Students League was Jenkins' (which still stands on Grenville literary magazine Here and Now pub­ started in 1886 by a group of graphic ar­ St.) advertised itself as''Palatial Antique lished out of 76 Grenville for a few tists who wanted to draw directly from and Art Galleries, specializing in old years in the late 1940s. It worked with the live model. The League held exhibi­ English furnitureand pictures by old and writers like Ethel Wilson, James Reanev tions and published a yearly calendar il­ modern masters.'' The rather sumptious and P.K. Page and felt it had "achieved lustrated by its members. The first gallery space showed primarily local success at great sacrifice on the pan of a meetings were held at 56 King St. East private collections, occasionally exhibit­ small group of people responsible for its and later rooms were obtained jusqo the ing more established Canadian artists, production" (a familiar refrain in any south on Leader Lane and Wellington such as Homer Watson andJ.W. Beatty alternative magazine inCanada). St. West. The League's most important (artistswho pre-date the Group of Seven There were always framing shops and function was as an informal network of era). Malloney' s Art Gallery, down the craft studios in the Gerrard Village area, anises whomet monthly to submit com­ street in a converted duplex at 66 Gren­ but it is not until the 1950s that an actual positions for 'friendly discussion and ville, was where individual members of network of galleries appeared. Avrom criticism;' afterwards the Club would the Group of Seven exhibited. Isaacs opened his fuse framing shoo at spend the rest of the evening in relaxa­ WhenJenkins' closed the gallery,they 77 Hayter St. in 1950: the Greenwich tion and good cheer. opened the Jenkins' Studio Building Art Shop moved to 742 Bay St. in 1956 Across from the Toronto Public across the street at 18-22. It .is during and continues today at 832 Yonge St., as Library at Adelaide and Church, the the 1930s and 40s that the street would the Isaacs Gallery. The gallery was and Mahlstick Club appears to have been become known andidentified with paint­ still is integrally connected with the se­ slightly more energetic and jocular in its ers like Fred Varley, Yvonne McKague, cond generation of Toronto abstrac­ activities. It provided drawing from the Marion Long,Manly MacDonald and the tionists: Gordon Rayner, Dennis Burton, model - nude or costumed - three Joyce Wieland, Michael Snow and Gra­ sculptor Don Stewart �d photographer 11 nights a week, with a composition class John Steele. There wasthe Hayden Street ham Coughtry. The Greenwich was on Saturday evenings. The Saturday or "Studio Group," artists like Barker known for its backroom jazz sessions: it classeswere followed by a sing-song and Fairley, Aba Bayefslcy, Isabelle Reid, was the fust' home of the Artists' Jazz then an assault-at-arms with boxing, John Hall, who rented a communal Band, and the Contact Reading Series, fencing, singlesticks! 10 The club seemed to die a natural death around 1903 (perhaps from injuries suffered in club events?) and re-emerges in combination with members of the original Art Students League, as the Graphic Arts Club. The Graphic Am Club had studio space on Victoria St. and subsequently in the Toronto Arcade. A somewhat similar sketch club, the Little Billie, met at 27-29 King St. West in the 'Bohemian' precincts ofMcConkey's Palm Room and. would have their meals sent up to them. Galleries

It was not until the 1920s that Toronto would start to develop exhibition outlets outside the societies - and not until the 1940s when private galleries would scan to play a major role in the production of exhibitions. By the late 1920s Grenville St. wasthe nucleus of artists' studios in the city. Running for 2 short blocks west from Yonge St. to Elizabeth St., northof Col­ lege St., the street is now dominated by Women's College Hospital and various government office buildings, including Jenkins Antique and Art Galleries, Grenville St. presently being re-developed the Ontario Archives. as a condominium FALL/86 FUSE 11 ------CUL TUR AL HIST OR Y------

org�zed by Raymond Souster, a local poet. In 1956 Barry Kerneman opened the Gallery of Contemporary Art, on Ger­ rard, which showed the work of Allan Fleming, Kazuo Nakamura, Robert Hedrick and Tom Hodgson. Gradually the galleries moved to the Bloor /Yonge � > c, area. Dorothy Cameronopened the Here ? c, ;: and Now gallery, an important early 0 sculpture gallery on Yorkville and later Yonge St.; it was forced out of business f by obscenity charges, not dissimilar to the recent charges against Pages Book­ f store. The location was taken over by Carmen Lamana, who had previously had a framing shop in the area. What is imponant and different in the development of the Queen St. gal­ lery scene is that it was created and established by the artists. The anist-run spaces (now formally institutionalized as parallel galleries) developed· in the early . . 1970s: A Space, Open Studio, Trinity Elizabeth McGillivray Knowles in her studio she shared with Square Video, CEAC, Art Metropole, her husband Farquhar McGillivray Knowles, Toronto, 1900s. the Music Gallery, and later Gallery 76 tecture (a common continental Euro- (OCA funded), YYZ, Chromozone, pean phenomena). Mercer Union, ARC. Some similarities with the early story of the Group of 'between the non-profit artist-run spaces The Studio Seven, Tom Thomson and their patron of the 80s and the late 19th century an It is interesting to look at the role of the Dr. MacCallum. The building was con­ societies are wonh noting. They came studio as an historical phenomena and ceived on a non-profitbasis with 3113 of together for reasons of exhibitfon space, more specifically as a work site. Tradi­ the original financing from Dr. Mac­ art school experience, stylistic ideas, tionally, the studio waswhere the process Callum and 10/ 13th from Lawren S. political groupings, production needs, of artistic creation took place and there­ Harris, heir to the Harris family fonune and friendship. fore it assumeda metaphoric significance from the Massey-Harris farm implement It was withthe arrival of the commer­ in the iconography of the visual anise's company. cial galleries that the area took on official lifestyle. This canbe seen clearlyin docu­ Designed by Eden Smith and opened status as the an 'scene.' Some of these mentary photographs of the period which in 1914, the simple three story loft new galleries, like Ydessa's, S.L. Simp­ portray the self-conscious interaction of building still sits in its park setting. The son and David Bellman, were stanedby the anise's ideas, traditions and economic invididual studios constructed under dealers with private backers· and family realities. Turn of the century studio Harris' supervision, contain a large money. The second phase of this change photogi:aphs are not casual snapshots of studio space, a bedroom, kitchenette arrived with the centralization of estab­ the anise at work, but posed ceremonial and bathroom, with a high ceiling; a lished galleries at 80 Spadina; a number images, encoded with all the symbols of large expanse of windows, and a large of these had moved south from York­ the 'Bohemian' anise. Formal in tone, brick fireplace. Some of the earlytenants ville. Arrival of these commercial gal­ they are about bourgeois display and were: A.Y. Jackson and Tom Thomson, leries, increased notice from the public stage setting, which is acted out in the ex­ who shared a studio; Lawren Harris, media, and suddenly Queen St. was a otica of the Middle Eastand the Orient - J.E.H. MacDonald, J.W. Beatty, A. major centre of the an market, not just Persian carpets,draperies andso on. From Heming, Marion Long, Cunis William­ in Toronto, but nationally. a contemporary perspectivethe deliberate son and Yulia Biriukova. Tom Thom­ One of the attractions forthe galleries use of these photographs as ceremonial son, who had moved into the building and studios was the number of light­ images makes a fascinating contrast to the with a subsidy from Dr. MacCallum, industrial loft buildings in the area - chaotic mayhem of 1950s abstract expres­ later moved to a small carpenter's shack the scale of the interior space, high ceil­ sionists' studios or the cool immaculate behind the building. The building was ings, natural light - made available for asceticism of the formalists' or experi­ well known as aprivileged site withinthe appropriation by a weak and deteriorat­ mentalists' studios of the 80s. anists' community and much coveted as ing garment industry. Codifiedby New Two studios from this era are still a work space. York's Soho and East Village, the pre­ standing- the Studio Buildingand 'the The other studio that was to become a sent taste for large industrial scale ex­ Church.' The Studio Building at 25 major social and artistic centre in the city hibition space is panially connected to a Severn St., on the edge .of the Rosedale was.fondly known as 'the Church' and nostalgia fora rapidly passing industrial Valley Ravine (immediatelyto the eastas wasthe home and workplace of the sculp­ age and an intellectual attraction to the the Yonge St. subway emerges from the tors Frances Loring and Florence Wyle. concept of inhabiting abandoned archi- tunnel nonh of Bloor St.) is intenwined They met in 1910 at the Chicago Artln- /8 FUSE FALL/86 ------CUl TUR Al HIST OR Y------

stitute, moved to Toronto in 1912-13, One of the most fascinating patterns !aide area: the St. Charles Restaurant, and worked in a studio on Church in the that emerges from looking at the his­ the OSA Rooms, the Brown Betty Tea­ Adelaide I Yonge area, until they moved torical photographs and documents of room and at the Palm Room of Mc­ to the church schoolhouse at 110 Glen­ the period (circa 1900 around Adelaide Conkey' s on King St. West. In 1910, rose Ave. (near St. Clairand Mount Plea­ and Yonge St., the Gerrard Village of they moved to more permanent quarters sant Ave.) in 1920. "The Girls," as they the 1930s and 40s, the Queen St. scene on the upper floorof the Court House on were known, were no doubt lovers; al­ of the 1970s and 80s) is the. subtle, but Adelaide St. West (presently Adelaide though they never took a public stand, noticeable, shift in class identification Street Theatre). The major activities of their response to local gossip and in­ and economics of the artist. the. club were daily luncheons and a nuendo was "you can't go throughlife It is interesting to see the activities of monthly dinner with guest speakers such worrying about what the public is going the Art & Letters Club in this context. as W.B. Yeats, Rupert Brooke, and Sir to think.'' 13 The Arts & Letters Club was organized Wilfred Laurier. The most celebrated The Church was the scene of many over a series of meetings in 1907-08, in members of the club were the Group of Saturday night gatherings for friends, the Toronto Arcade. Its intention wasto Seven. The most famous photograph of musicians, local artists, the Group of develop ''By crossing the boundaries of the Group was taken at the Club at Seven and visiting dignitaries,like Emma the arts,to get rid of the illusion of artfor lunch. Members provided their own en­ Goldman and Robert Flaherty, the film­ the sake of artists.''The club, which in­ te'rcainment, either musical perfor- . maker. While neither the Studio Build­ cluded writers,poets, architects,painters, mances or story-telling. Such perfor­ ing or Wychwood Park played a visible musicians,academics andsome laymen, mances were customarily encouraged, as social role in the community, 'the was a sort of men's club which saw itself each table was supplied with 4 dozen Girl's' studio waswell-known as a Bohe­ as an intellectual and frolicsome social beer, 2 bottles of Scotch and 1 bottle of mian milieu and centre for parties and institution. 14 Rye. gatherings, for artists, their friends and The club held monthly meetings at a The Club moved in 1920 to its present their children. variety of locations in the Yonge I Ade- location of St. George's Hall at 14 Elm St., a rather elaborate Dutch Gothic building off Yonge St., south of Ger­ rard. The main hall was redesigned by Sproatt & Rolph, architects, who added Gothic windows and a huge central fire­ place. The other main decorations around the hall were large fabricated heraldic crests, based on puns that played with specificmembers names and attributes. The continuous· referencesto medieval ceremony and secret male societies, although very often humorous and mocking in tone, place the Club within the British tradition of men's clubs. From its beginnings in 1908, club membership was composed of the younger generation of painters,poets and writersof the early20th century who iden­ tified with Canada and saw it as a source of artistic inspiration. Yet, what appears to be somewhat strange for such an asso­ ciation is that it still sharedpremises with the St. George's Society and the Empire Club. The classposition of organizations such as the Arts & Letters Club - they were the fuzzy edge of the middle class - was white, male and predominantly Anglo-Saxon. Compare this to the situation of con­ temporary independent producers; they are obviously more economically margi­ nal now because they attempt to live on their incomes and bursaries as artists. The average self-employed artist's per 1 annum income is $6,391.00. ) The economy of the artist is further strained The Studio Building was designed & built as artists' live-in studios in 1913 by the factthat from1971 to 1981, there was a 244% increase in the number of FAll/86 FUSE 19 ------CUL TUR AL HIST OR Y------painters, sculptors and related anises in (which does not include photo­ Canada 16 graphers, video producers, etc.) It is definitely a growth labour force - not a growth economy. The contemporary anist's class identi­ fication is therefore more paradoxical than at the turn of the century. Disdain­ ing the middle class, the asceticsensibili­ ty of the experimentalist of the 1980s de­ mands a stance of social and aesthetic marginality. This ideological stance of marginality is lived out in the economic reality of most anists' lives. Yet at the same time the oppositional style is ex­ pected to push ahead at the leading edge of intellectual and creative society in direct relationship to the dominant classes and the cultural institutions.

Canadian Authors Dinner, Arts & Letters Club, Elm St., 1930s

Gossip, Information and Albert Franck gives an idea of the in­ information that provides its meaning tensity of the community and the com­ and significance. To a large extent, the and Identification plexity of people's memories. The story 'scene' exists in the talk about it, as goes that Fedio, a lampmaker, and his much as it does in any physical location. The ans community identifies itself in- wife, the sculptor Pauline Redsell, It is the process of identification, recog­ ternall y from a mixture of public roles - shared a shop I studio at 84 Gerrard. nition and self-consciousness, both at a exhibitions, magazines, dealers, jobs; an ar ar Fedio· installed loudspeakers outside the public andprivate level, that produces it. d the private roles - in the b s, p - as ar shop during the Christmas se on to at­ The • community' is also a construction ties with friends and lovers. A l ge pan an an an as tract shoppers, d starred playing - at of written d spoken l guage, created of this identification process is b ed on fullvol ume - either Mario Lanza Christ­ in private conversation, the mainstream what one could politely call informal in- mas carols or Russian military marching press and the alternate media. However, formation, mythology or simply gossip. songs, depending on which version of it is the individual and collective work of This is pan of the process of identifica- the story you hear. Franck, directlyacross the artistsan d musicians and the labour of tion, recognition and self-consciousness as an the street, w so upset that he installed the galleries, studios, p'roduction co-ops, that is inherent in both the 'scene' d his own loudspeakers and staned playing magazines and collectives that are the 'the community.' as ar an - at full volume - Wagner, Beethoven b ic infrastructure of the 'community.' A good e ly exam�le of � c be and Bach. The battle of the loudspeakers ar . found in H old Town s affectionate m- went on for weeks and was a source of an troduction to the book on Albert Fr ck, 17 tension and embarrassment in the neigh­ ar ar Queen Street and the the Toronto back y d painter of Gerr d bourhood, as the two men played out Village. "[They were] pan of the only their ego games. This would have been a Past real Bohemia Toronto had ever known, a real source of strife, tension and gossip in Village crowded with people totally ar an In asking the question what is to ar as the community· 40 ye s later it is unaw e of eccentricity a commodity." anecdote. become of Queen Street? - the simplest O an ar as ( ne could neve: �ay .this about Queen There are m y simil stories about and most cynical view would be b ed on St., where eEcentr1c1ty 1S often the status- Queen St.: the complicated scenario of recent experiences of urban gentrifica­ quo.) Charlie Pachter and his real-estate em- tion. The scenario is that the anises and Albert Franc� and his friends,who liv- pire; the dealers I curators who have musicians of Queen St., as marginal an ar an ar ed d worked m the ea d sh ed the never heard of 'conflictof interests;' the elements in the city, are playing out a experience of poverty, were a generation internecine. wars and reconciliations in process of urban gentrification, defined trying to break with the tedium of the various collectives; whether Isaacs by a larger urban economy of Domes, Toronto the Good. The stories defme and Carmen Lamanna are going to move parking lots and real-estate developers. and elaborate the local mythology. For south, etc .... If you delete the specific Artists move in - due to the low rents, as example, the often told sto�. of 0e names it isn't very interesting gossip, improve local real-estate values, then loudspeaker wars between Willie Fed10 but it is actually the infrastructure of the they are pressured out by the bourgeoisie M FUSE FALL/86 ------CUL TUR AL HIST OR y------

and developers who move in - rede­ sign, renovate, restore - and make money. Meanwhile the artists and musi­ cians are still looking fora cheap place to live. The history of Yorkville, primarily a music scene with craftspeople, bars, restaurants and hippies, in the mid- It. 1960s is a perfect example. By the early 1970s the street was completely rebuilt, physically and economically, and is now i the carriage trade of Toronto: designers, antique shops, night clubs and upscale mass tourism. Yet, if one looks at the historical ex­ amples pre-dating the 1960s, one sees Gerrard St. differentversions of 'village' stories. The West & Yonge I Adelaide arts community offers La Plante

an --- Ave., 1986 interesting contrast as it does not fit ��:T7- ;�� �� �� any of the contemporary economic and ; � 5 planning theories about an arts com­ "· munity. When the artists were hanging �w; .. ;,..,.,�."i.Ui%,.:.r ••• ,,,tt ,.,·,,1:;;;.,.;; . out in the studios in the Toronto Arcade All that remains of the original village There is also another economic pres­ in 1900, it was 'the' centre of the city. is "the one block of houses on the nonh sure in the Queen St. area. Like a wild The post office, registry office, coun side of Gerrard St. between Bay and La­ card, new investment money flooding house and some of the most imponant Plante. In retrospect, the death of Ger­ into Toronto fromHong Kong is throw­ office buildings were in the immediate rard Village was inevitable, due to both ing the usual market forcesinto disarray. area; it was not marginal. 18 Canadian real-estate pressure and the movement of In the faceof both these pressures, the artists at the t_urn of the century were generations and ideas. The greatest arts community is somewhat powerless. oriented to the middle classes. This is tragedy of the Village is not that it died There are,however, twoelements within most clearly seen in the location of their - because it lives on in other forms - the present community which give artists smdios, social clubs and exhibition halls but that it was demolished to be replaced some power. One is the presenc,e of the within the larger city. by two monster concrete cowers and non-profit cultural institutions which Gerrard Village, which Pierre Bunon parking lots - a very prosaic end for a they created; the other is the ability of called 'the Village that Refused to Die,' neighbourhood and community that the community to organize and act poli­ although continuously threatened from had been creative and productive. tically to affect issues of housing and ur­ the late 1940s, succumbed to the in- ban planning. evitable in the 1960s. The Toronto The community is defined by its own General Hospital, which owned the Queen Street and the institutions, fragileas they may be. The block bound by Gerrard, LaPlante and imponance of these parallelgalleries and Elizabeth, started to evict people in Future production houses should not be under­ 1963, in order to demolishthe houses to estimated. They were the essential ele­ make room fora parking lot. The tenants Queen St. is a potential victim of its own ment in creating the artists community organized a 100,000 name petition and success, as the larger patterns and pres­ in terms of geographical and political gained the suppon of the Toronto Plan­ sures of the economy of the city increas­ focus. They are integral and critical to ning Board. Jack Pollock, a local gallery ingly impact on it. As the 'scene' be­ the community asthey provide access to owner, as President of the GerrardStreet comes progressively recognized outside production and distribution of art work Village Association, pledged with nu­ its real or imagined borders, the pres­ and they are the sites for its public iden­ merousothers to sit in the streets to pre­ sure mounts to turn a higher profit, and tity. If they were to leave, either volun­ vent bulldozers from demolishing the it becomes an inevitable place for invest­ tarily or through economic pressures, the houses. Yet, in the end, they moved out ment by outside interests which have no entire community would fragment. fairly peacefully and the houses were historical or cultural commitment to the Through the cultural institutions demolished. area. These investors will naturally de­ which are artist-run, the power base Some of the former residents went to mand the higheSE possible rate of return, already exists. Members of A Space, Yorkville, which was starting to develop whether from retail or real-estate invest­ Trinity Square Video, YYZ, The Music with coffee houses, bars and boutiques. ment. This in turn requires a higher pro­ Gallery, Toronto Community Videotex, Pollock and a few other shops moved to fit per square foot, which leaves the AnMetropole and the Independent Ar­ Mirvish Village, where Ed Mirvish was food, bar and retail merchant with two tists Union are involved - on an on­ trying to artificially induce his own ver­ potential choices: sell a much higher going basisfor most of the groups - in sion of 'the Village.' Most of the young volume of goods while mairitaining low the development of political strategies or galleries had moved to the Yonge I Bloor prices, or sell fewer goods at much higher in real actions that have in some measure area, near the Pilot Tavern, the Bohe­ prices; the latter choice engendering the brought public and/or government at­ mian Embassy, the Riverboat.... carriage trade. tention to matters ranging from city FALL/86 FUSE 21 ------CUL TUR A l HIST OR Y------

housing problems or provincial censor­ also a potential solution, and have been a marginal economy - it is an outlet, as ship to the economic starus of the anist adopted as a strategy by video anisesand they say in the industry, a distribution nationally. filmmakers. point. And as the difficulty in main­ The essential elements of the Queen This raises the intricate question of taining a distribution system - a show­ St. community, then, are the infrastruc­ what to do about the (il)legal status of case to a major audience - is one of the ture of artist-run spaces, the mixture of loft-studios in the industrial zoned area. endemic· problems within Canadian cul­ small scale commercial operations, and The City's position, so far, arising out of ture, Queen St. should not be dismissed. low-cost residential accomodations. Even the need to address the larger questions The present Queen St. community, for if the idea of fighting for a 'locality' of industrial policy in the downtown all its recent pseudo glitz, is a focus for seems a bit odd and rather provincial, core, has been to avoid legalization in a culture and ideas that are locally rooted you have to decide what's imponant. For favour of a vague enforcement policy. and sometimes even locally controlled. if artistsI independent producers I musi­ However, the obvious solution, the What will prevent the community from cians believe a geographic community is legalization of lofts,does not offerartists being gobbled up will be the anists and important, they're going to have to or other marginal groups an answer to musicians community developing a definewhat they wantand make a claim the crisis of affordable housing because more conscious and public understand­ for it within urban politics. legalization would force loft spaces into ing of itself, its own needs within the city The second source of potential effec­ the general market; they would then be and acting on them. e tiveness is the ability of the community subject to the cost escalation that hasaf­ to act politically by developing and fected other desirable residential space. in With thanks to: Jody Berland, Robert Clark, defining its own interests. The issue of the downtown core. Without adequate Ross Inuin and Peter MacCallum. This article housing for artists in this community is rent controls and zoning protection, it is ispart of a larger historicalresearch project on part of a larger economic crisis within the precisely their 'illegality' that keeps lofts the history of artists' communitiesin Toronto. downtown core. That larger crisis a.ffects affordable, and it is anistswho are most Any further historical information or ideas all who arepoor and marginal - artists, willing and able to put up with the pre­ would be most welcomed. musicians, the working poor, single cariousness created by the questionable mothers, pensioners, ex-psychiatric pa­ legal status of the loft. Artists should RosemaryDonegan , a Canadian art tients, and immigrants. In this context, therefore approach this question with historiannoted for her work in cul­ anists are among the most skilled and some care. 19 tural policy and planning, has been able, socially and politically, organize Queen St. hasbeen a generative scene to active in the Toronto arts community to obtain the housing they need. The for a whole group of anists musicians I I for a number of years. She was cura· new Harbourfront studio co-op provides performers. It has been open to new tor of the exhibitionand author of the a potentially interesting, but perhaps talent, occasionally rewarding and some­ book Spadina Avenue, Douglas & limited, answer. Collective studios, times pretentiously Post-Modern. Al­ Macintyre, 1985. similar to the an clubs of the 1900s, are though the Queen St. arts community is 22 FUSE FALL/86 ------CUl TUR Al HIST OR Y------

(Above) Head-table at The Conference on The Conference on the Arts, Maison Dorie, 1961, FUTURE DEVELOPMENT ALONG QUEEN ST. WEST Toronto Mccaul St., north of Queen, west side: Beverley & Queen St., north east comer (left)The Group of Seven, lunching at the Arts Cityhome housing development (vacant lot) & Letters Club, 1920s. Left to Right: Varley, 140 assisted units, 10-12 storeys Japanese restaurant approved (owner may Jackson, Harris, Barker Fairley seek changes) (non-member), Johnston, Lis mer, MacDonald Mccaul St., north of Queen, east side: (absent, Carmichael) Artist non-profit housing co-op Soho & Queen, north west corner 20 units, 12 storeys (vacant lot) Retail development connected with fashion John St. & Queen, south east corner: industry CITY T.V. 2-3 storey Renovation of existing building Portland & Queen St., south west corner John St. & Stephanie St.: (vacant lot) Low rise housing development Development unknown 20 units Probably consisting of mixed housing and retail

ZONING IN QUEEN ST. WEST AREA

The area south of Queen St. from Simcoe to Dufferin is zoned for purposes. Restaurants (under 5,000 sq. ft.), banks, and other service retail outlets are permitted (plus existing non-conforming uses).

The area is presently the site of the garment industry, the film and recording industry, and increasingly the communications industry (publishing, etc.). This conforms to existing ci1y zoning, as an industrial area, new office/commercial or residential uses are not permitted.

FALL/86 FUSE 23 ------CUl TUR Al HIST OR Y------

NOTES 1Although this anicle focuses exclusively on Toronto, it does not mean to imply that it is the only ancommunity in Canada. It ou.rn.ines the popular notions about the art scene and the mctropolc and how they arc represented (i.e. a Saskatoon a.rt student would have a pre-conceived idea aboutQueen St. from the a.rt pressand massmedia). The article attempts to provide an alternative interpreta­ tion that is not purely Toronto-centric.

2Sce: John E. Zucchi, "Italian Hometown Settlements and the Development of an Italian Community in Toron­ to, 1875-1935;" Steven A. Speisman, "Sc.John's Shtcd: the Ward in 1911;" Dora Nipp. "The Chinese 1n Toron­ to;'' in Robert F. Harney. Gathen'ng Places: Peoples and Neighbourhood! of Toronto, 1834-1945, Multicultural History Socicry of Ontario, Toronto, 1985.

3B:i.sed on inter.·iews with: Avrom Isaacs. Sydney Kau, Nancy Meck Pocock, Allan Suddon. David Smith and Harold Town's Albert Franck: Keeper of the Lanes, Mc­ Clelland & St�·an. Toronto, 1974.

4r.J.Clark. The Painting ofModem ufe: Pariiinthe Art ofManet and hisFollowerJ, Thames & Hudson, London, 1985.

5Ncwton McTavish, ArsLonga, Ontario Publishing Co. Ltd., Toronto. 1938.

6wilfu.mDendy, Lost Toronto, OxfordUniversity Press, Toronto, 1978. pp. 153-155.

7 Ann Thomas. Canadian Painting and Photography, 1860-1900, McCord Museum, Montreal, 1979. pp. 26, 29. 8JoanMurray. The Ontario Society ofArlistJ: 100 Years, An Gallery of Ontario, 1972.

9Scc: Charles Hill, "To Build a National Gallery: The Royal Canadi2.0 Academy, 1880-1913," National Gallery of Canada, Otuwa, 1980 (broadshC'et).

lOScc William Colgate, Canadian Art, Its Onjin and De11elopment, The Ryerson Press, Toronto, 1943. Chapters 4, 5. 6.

11Barrie Hale. "Out of the Park: Modernist Painting in Toronto, 1950-1980," Pro11incialEssays. vol. 2, Toronto, 1985.

12Christine Boyanoski. The 1940s. A Decade ofPainting in Ontario, An Gallery of Ontario, Toronto, 1984.

l3Rcbecca Sisler, The Girls. Clarke. lnvin & Co., Toronto, 1972. pp. 26. 29.

14 Augusrus Bridle, "How the Club Came to Be," The Lamps. Dec. 1919, pp. 7-14.

l5Statistics Canada, 1981 Census Data in A Canadian Dictionary and Selected Statzstical Profile of Arts Employment, Canada Council. 1984.

l6Sce: ''Grov.-tll in Experienced Ans Labour Force by Oc­ cupation," Table 13. Profile ofthe VisualArts, Canada Council

l 7Harold Town. Albert Franck: Keeper ofthe LaneI, op. cit., and interviews mentioned in note 3. 18 Scc: Gunter &.id & Deryck Holdswonh, ''Building for City, Region and Nation. Office Development in Toron­

to, 1834-198-4." in Victor 1. Russell. Forging a Consen­ sus: Riston&.,/Essays on Toronto, University of Toronto Press. Toronto. 1984, pp. 281-282.

19The overall experience of New York artists, especially in the Sohoar�. was that once loftsbecame legalized and therefore were on the open market, rents skyrockcttcd and the artists could no longer afford to Live in the area. The former industrial tenants were also forced out, being The Pilot Tavern, a well-known artists' hangout at Yonge & Bloor in the 1950s unable to compete with Manhattffl residential rent rates. Sec also: New York City Planning Commission, Lofts: and 1960s. Balancing the lnequitieI, February, 1981.

...... � .. . ., . . . � ' - ; . - . .

24 FUSE FALL/86