Toronto Through My Lens

Category: Sculptures (Page 4 of 8)

Northrop Frye Statue at Victoria College

For more than half a century, renowned literary critic Northrop Frye made Victoria College at the University of Toronto his intellectual home: he graduated with a Bachelor of Arts in English and Philosophy, taught English to students from 1939 to 1991, and wrote such influential works as Fearful Symmetry and Anatomy of Criticism. This bronze sculpture – located near Northrop Frye Hall on the Victoria College campus – shows the esteemed professor in a state of contentment, surrounded by beloved books.

The life-size statue was created by artists Darren Byers and Fred Harrison. The figure is a modified version of a sculpture in Frye’s hometown of Moncton, New Brunswick.

The artists adapted the statue so it reflected Frye’s time at U of T and in Toronto: among his stack of books is a class planner, and in his right hand is his wife Helen Kemp Frye’s sketch of a party. The book he holds contains images of an angel, the Leviathan and the divine creator, which allude to his religious background and to poet William Blake – whose work is the focus of Fearful Symmetry.

“Untitled (Toronto Lamp Posts)”

In the Canary District on Front Street East there resides a chaotic sculpture by artist Tadashi Kawamata.

Untitled (Toronto Lamp Posts) is a twelve-metre-high tower that contrasts with the geometry of the condos, street lines and organized public space of Front Street in the West Don Lands.

To make this piece, a selection of lamp posts was sourced from various yards and depots and the artist worked in an organic way, selecting on the spot which post would go where, to create the effect he intended.

The sculpture, which invites pedestrians into its centre, is an accumulation of lampposts that appear to hold themselves together as Mikado sticks just before they fall. At night, the lamps are lit with energy-efficient bulbs, creating a bright internal volume.

The sculpture was commissioned by Waterfront Toronto and installed in 2015.

“Cloaked Presence”

In front of the condo The Gloucester on Yonge at 3 Gloucester Street (corner of Yonge Street and Gloucester Street), there is a fairly new sculpture entitled Cloaked Presence.

Created by American artist Albert Paley in 2021, the piece was commissioned by the developer Concord Adex as part of its Percent for Public Art Program for Private Development. In Toronto, this “percent for public art policy” states that 1% of capital project costs on private development projects go towards public art. A fantastic concept, I think, and it really gets new art and sculpture out front of most of the new condos.

Here’s a short video showing how the piece was assembled in front of its new home at The Gloucester on Yonge condo:

“Megaptera”

Located at 121 King Street West, this sculpture is entitled Megaptera, and was created by Transylvanian-born artist George Schmerholz. Megaptera novaeangliae is the scientific name of humpback whales, the name translating to Great Wings.

The humpback whale here is depicted with her calf. The sculpture was carved from a single block of granite, called “Prairie Green”, which was sourced from Riviere à Pierre, Quebec. The sculpture, dedicated on May 18, 1993, weighs 43,000 pounds and took 1.5 years to create.

“No Shoes”

I don’t often say this about sculptures or artwork I come across in the city, but this one leaves me cold and uninspired. Created by artist Mark di Suvero, this piece is entitled No Shoes and is located in Corktown Common in the Canary District.

The work does have quite a history. No Shoes was commissioned for the International Sculpture Symposium in Toronto in 1967. That year, Mark di Suvero was a rising star in the international art scene. He was part of a group of artists invited to participate in the Toronto International Sculpture Symposium – an event held to celebrate Canada’s centennial. He created two sculptures in High Park: No Shoes, situated by the woods at the bottom of a hill and the towering Flower Power, which rested at the top of the same hill (you can check out my earlier post on Flower Power here). After a lengthy 2012 restoration overseen by di Suvero himself, No Shoes was moved to Corktown Common in June 2013.

If you’re interested, there is an extensive article here on Mark Di Suvero and the creation, history and rejuvenation of No Shoes.

“Cracked Wheat”

Sitting in front of the Gardiner Museum at 111 Queen’s Park is a curious ceramic and bronze sculpture entitled Cracked Wheat. Created by artist Shary Boyle in 2018, this quirky and cracked flask-shaped vase stands tenuously on two little gold legs.

The gold cracks serve as an homage to the 16th century Japanese tradition of Kintsugi, the art of repairing broken pottery with lacquer mixed with powdered gold. The tradition celebrates breakage and repair as part of an object’s history. This detail is a tribute to the Kintsugi collection at the Gardiner Museum, a place that is known for showcasing craftsmanship and quality from all over the world, in addition to commenting on colonialism and object valuation.

In contrast, the Canadian Wheat pattern on the front of the vase is a nod to mass-produced tableware designs that were made popular in the 1960s, work that would not likely be on display at the Gardiner Museum. Here, Shary Boyle has aspired to create a work that speaks to the universality of ceramics and show us what they can teach us about our history.1

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“Dreaming”

Installed in 2020, Dreaming is a fairly new creation residing at the Richmond-Adelaide Centre, 100 Adelaide Street West. Spanish artist Jaume Plensa is known for creating large-scale public art installations in major cities, including New York, London, Singapore, Tokyo, and now Toronto.

Dreaming is 3 storeys high and was commissioned by the Oxford Properties Group Inc. in 2016. The artwork alters the area’s streetscape and anchors a reimagined public plaza called The Terrace at Oxford’s Richmond-Adelaide Centre. The piece is a cast stone portrait created with white marble and resin, installed on top of a base that serves as a public bench to encourage the public to enjoy the outdoor public space.

This portrait of a young girl with her eyes closed in quiet contemplation was created with the intention of passersby looking inward. Plensa’s vision is for the art to act as a metaphor for humanity’s dreams for the future and for a shared human experience; a concept needed now more than ever before.

As you circle the piece, an optical sensation occurs and the effect messes with your mind and visual senses. Seen from the viewer’s left, the work’s proportions and dimension seem as they should be. As you circle around your right side Dreaming seems to suddenly narrow and it becomes evident how flat the work is in actuality. Viewed directly from the back, Dreaming appears as a small sliver of material.

Dreaming, as it appears from the rear

Here is a short video of the artist speaking about his vision and creation of Dreaming, and the efforts to install the work in the Richmond-Adelaide Centre:

Click here if you’d like to visit the artist’s web page.

“The Water Guardians”

On the Front Street Promenade in the Canary district there resides an interesting sculpture entitled The Water Guardians. Created by Toronto artists Jennifer Marman and Daniel Borins, the painted steel and concrete piece was installed in 2015.

The Water Guardians is an integrated artwork, landscape design and play project. It depicts three towering abstract figures, keeping watch over a stylized river made of recycled rubberized play surface, which flows underneath them. The riverway runs on the same axis as Front Street (east to west within the artwork site) and is punctuated by green mounds of rubberized play surface.

Statues & Monuments of Queen’s Park

It was a sunny Sunday (finally!) this past weekend, so I opted for a little wander through Queen’s Park to shoot a few of the statues, monuments and memorials there.

Tribute to Salome Bey, Canada’s Queen of the Blues

Not in Queen’s Park but this utility box on my way there caught my eye. In front of 2 Grosvenor Street, west of Yonge Street is “Tribute to Salome Bey, Canada’s Queen of the Blues” by Adrian Hayles, mounted in 2021. If the style looks familiar, this DJ/artist/muralist has done numerous murals in the city. In 2016, Adrian took 8 weeks to paint a 22 storey Downtown Yonge BIA music mural on the north wall of 423 Yonge Street, just south of College Street. The next year, he painted the south wall of the same building, continuing the musical theme. Adrian also painted a substantial mural on Reggae Lane in the Oakwood Avenue/Eglinton Avenue West area.

Hours of the Day Monument
Whitney Plaza, 23 Queens Park Crescent East


Ontario Police Memorial
Whitney Plaza, 23 Queen’s Park Crescent East


Lieutenant-Colonel John Graves Simcoe Monument

Lieutenant-Colonel John Graves Simcoe 1752-1806, First Lieutenant-Governor of Upper Canada, 1791-1796. Founder of the City of Toronto July 30th 1793.

Northwest Rebellion Monument


Ontario Veteran’s Memorial
Queen’s Park, 100 Wellesley Street West


Afghanistan Memorial
Queen’s Park, 100 Wellesley Street West


Danger

Someone at Queen’s Park has a sense of humour

Robert Raikes

This bronze statue of Robert Raikes was executed by the sculptor Sir Thomas Brock in 1930. Raikes was often regarded as being the founder of Sunday schools. This statue was first erected in Great Britain in July 1880 and replicas where installed in Gloucester (1929) and then in Toronto.

Dr. Norman Bethune
1890-1939


Cannons at the Legislative Assembly

At the entrance to the Legislature there are two Russian cannons that were captured by the British during the Crimean war and sent to Toronto as a gift.

Queen Victoria Monument
Queen’s Park, 100 Wellesley Street West

Installed in 1902, this bronze statue of Queen Victoria on a stone pedestal was designed by Mario Raggi.

Post One Monument
Queen’s Park, 100 Wellesley Street West

To celebrate Canada’s centennial in 1967, a bronze map of the country was installed. It features surveyor tools and a time capsule to be opened in 2067.

Mackenzie-Papineau Battalion Monument

This monument to the Mackenzie-Papineau Battalion, erected on the grounds of the Ontario provincial legislature in Toronto in 1995, was the first to commemorate Canadian involvement in International Brigades of the Spanish Civil War. Approximately 1500 Canadians volunteered to fight for the Republican cause, many out of ideological motives and class convictions underpinned by the experience of the Great Depression. They were often forced to make the long and arduous journey to Spain independently, since in 1937 the Canadian government had forbidden the involvement of its citizens in the Spanish Civil War through the passing of the Foreign Enlistment Act. Initially a number volunteered with the American Abraham Lincoln Brigade, but the substantial number of Canadian volunteers would ultimately lead to the formation of a separate battalion, named after two leaders of the unsuccessful Canadian rebellions against the British Crown in 1837-38.

Makeshift Memorial

Pairs of shoes have been placed in front of Queen’s Park as part of a makeshift memorial in response to the discovery of 215 children whose remains were found at the site of a former residential school in Kamloops, British Columbia.

Plaque: King George V’s Silver Jubilee

Installed in 1935, this plaque commemorates the Silver Jubilee of King George V. Time and tide have taken its toll on the inscription and it’s difficult to see, but the text reads: “This tree was planted by James Simpson, Esq., Mayor of Toronto, on the occasion of the celebration of the Twenty-Fifth anniversary of the accession of King George the Fifth to the throne. May 6th 1935”.

Whatever…

“Still Dancing”

Is it a whiskey still? A droplet of liquid? A man and woman dancing?

Myself, I’ll go with the idea of a whiskey still. The sculpture in question – Still Dancing – is by artist and creator Dennis Oppenheim. He describes Still Dancing as a “combination of sculpture, architecture and theatre”.

Installed in the Distillery District in 2009, the piece seems to be an acknowledgement of the Distillery’s brewing/distilling past (if you go with the interpretation of the piece as a whiskey still, that is).

The installation is quite large – the top of the copper apparatus reaches almost 40 feet in height.

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