Spacing Associate editor Shawn Micallef is the Blogger-in-Residence at the Art Gallery of Ontario’s Art Matters blog in anticipation of the grand re-opening of the new AGO. He will be cross-posting some of the entries here on Spacing Toronto. To comment on this post, click here and head over to Art Matters.
The temporary protective box around Two Large Forms, the Henry Moore sculpture that has sat at Dundas and McCaul since 1973, has been removed and the piece is again a familiar part of the city. It was moved to the south a few meters to accommodate the new addition but it will likely again fall into its roll as either: a nice piece of abstract sculpture for art lovers; a strange playground slide for children; or something OCAD students can lean up against when making out after a late night class. I often wonder if Moore knew that his piece would become a sort of art-ambassador, introducing people to abstract forms who might not otherwise go into the the AGO and see the rest of the collection — or maybe many did after seeing this piece.
Toronto has a long relationship with Henry Moore that was mostly happy (the AGO houses the biggest public collection of Moore’s work in the world) but was sometimes contentious (as during the fight in the 1960s to install “The Archer” in front of New City Hall — quite a few people just didn’t want public money used on art — sounds familiar?). This role this piece plays reminds me of the Picasso sculpture found in the Daley Civic Center plaza in Chicago. A bit puzzling when first installed, but quickly becoming a loved part of the urban landscape, and one kids can play on. Two Large Forms at the AGO is a bit of a tease though — we can’t climb on any of his pieces inside, even though some of them seem to be asking for it.
