An Artful Visit at the AGO

Jungen's Couch Monster outside the AGO

This morning I went to the Art Gallery of Ontario (AGO) just as it opened at 10.30am and there was a line-up just to get in! Lots of eager art lovers keen to check it out. Admission for the day is C$30, but an annual pass is $40...

The museum is 480,000 sq ft, making it one of the largest art museums in North America, and the second-largest after the Royal Ontario Museum.

Oil sketches by the Group of Seven artists

It seems the AGO has no problems filling the space, as donors like Ken Thomson, who was one of Canada's richest men, donated many pieces of art, and in one room we got a small sampler of his taste in art (eclectic, fun, unique).

The museum also has quite the extensive collection of Group of Seven paintings. Not only finished paintings were presented, but alongside were many oil sketches, probably done in situ. These small works give viewers an idea of how the artist made the composition slightly or drastically differently, and that their impressionist style was already in these oil sketches. The colours seem to be quite similar.

There are a few paintings by Emily Carr that are scattered throughout the AGO too, but obviously not as big a collection as the Vancouver Art Gallery.

Riopelle's colourful, textural work

It was annoying though that captions were not placed with each work -- there was a large brochure in each gallery for visitors to use as a reference. Perhaps individually captioning them was seen as too busy, but the VAG does place it on the side so people can easily find the captions.

There was also a fantastic large square canvas by Jean-Paul Riopelle called Chevreuse II, where oil paint was scraped around the canvas to create new shades as well as textures. It looked extremely complicated but also chaotic and dynamism. Quite amazing that forgers think it's not hard to copy his style.

For something very different, there was a small contemporary exhibition of South Asian artist Ranbir Sidhu's three sculptures in a show called No Limits. He uses polished stainless steel as his medium to create his vision, hence "no limits". One called Fortress of Memory are 21 intricate cutout sculptures of an image of the Dastar Bunga, a style of turban whose name translates as "towering fortress" in Persian and Punjabi. 

Sidhu's Fortress of Memory

Another one looks like a futuristic, spiky-looking asteroid with blinking LED lights inside of it called Asteroid 3033 XI. 

Something in the AGO's permanent exhibition is Japanese artist Yayoi Kusama's Infinity Mirrored Room -- Let's Survive Forever. We had to wait for an attendant to let us in (maximum of four people), and before we went into the room we had to leave our bags outside. We were told we only had one minute to look around.

Inside the mirrored room were many silver balls, and after taking a video of the small room, time was almost up. The attendant asked, "Did you look in the column in the middle?" She had told us to be careful of the column when we went inside.

No we hadn't! We took a quick look to see ourselves mirrored inside more silver balls inside the mirrored column! It did indeed go on, forever.

Immersed in Kusama's mirrors

As we waited to go in, there was a video interview of Kusama and she talked about how she fought with her parents about her desire to become an artist. Her older sister had married well, into a family that was successful in business and why couldn't Kusama do the same?

She rebelled and refused to do any such thing and became even more obsessed with painting...

Outside the AGO is a curious sculpture by Aboriginal artist Brian Jungen. I love his work because he takes everyday objects and turns them into frighteningly beautiful things, like dinosaur-like creatures out of white plastic lawn chairs, or Nike basketball shoes into Aboriginal-like masks.

The AGO bronze piece is called Couch Monster, where he was inspired by Jumbo, a captive circus elephant who was killed by a train in St. Thomas, Ontario in 1885. Jungen called the work "couch monster" because capturing and training an elephant for the circus involves breaking the animal's will and spirit. 

As a result it is no longer an elephant, but a monster created by humans for their own entertainment. So Jungen's prototype involved reconfiguring couches to create the animal, balancing on a ball.

It's an arresting image, but also so thought-provoking.

Review: Under The White Gaze

Cheung examines how people of colour are portrayed in media

I just finished reading a thought-provoking book, especially for journalists and media outlets. Called Under The White Gaze, it's written by former Tyee reporter Christopher Cheung, who previously worked at Metro and the Vancouver Courier.

He grew up in a multicultural neighbourhood, went to school with classmates with different backgrounds, and then wondered why people who were not white were not covered in mainstream media in Vancouver. 

As a journalist Cheung tried to rectify the situation, only to encounter many issues. When he tried to specifically do stories about Chinese people, they would downplay their achievements and not think they should be covered in the media, or found mainstream media would only cover different cultures through their holidays, such as Chinese New Year, Nowruz, Diwali, and so on.

It reminds me of the years when I worked at CBC Radio and I was tasked with producing the programming for the Chinese New Year show. There were expectations of what my managers wanted, and what the Chinese community was hoping would be covered in the show. And how do you make it sound fresh the following year, when the same topics are covered, like the symbolism of the food eaten, the tradition of wearing red and the meaning behind "Gung Hei Fat Choy!"

In Under The White Gaze, Cheung explains that even though he as a person of colour may report on a topic through a cultural lens, ultimately it's white editors who decide how people of ethnic backgrounds are portrayed in the media, which can verge on being racist. Hence the white gaze...

Cheung uses a lot of examples in the media, from the CBC, to Maclean's, to the Toronto Star, the Globe and Mail, and community papers to illustrate his points. Why are ethnic restaurants usually described as "hole-in-the wall", or "hidden gem", or when interviewing someone for whom English is not their first language, why is their broken English literally written out?

In one early chapter he talks about "darlings" and "deviants". Darlings are model minorities, immigrants who come to Canada and work extremely hard to succeed. The polar opposite are deviants, people of colour who give their community a bad name, such as those arrested for trafficking drugs, or convicted for murder.

Another situation is when words in a culture are equated to an English or western word. My father likes to describe jellyfish as "rubber bands", or baked char siu buns as "Chinese hamburgers". Other examples are banh mi is called described as a "Vietnamese sandwich", but then they are sometimes called banh mi sandwiches which is redundant, or dim sum being equated to Chinese tapas, which it definitely is not!

The book makes the reader think about stories they have read on people of colour and how they were portrayed; it also forces journalists to think carefully about how they should cover cultural topics in the future.

In Hong Kong, non-Chinese communities, particularly Indians, Pakistanis, Filipinos and Indonesians should be covered more in the media, and with more sensitivity. For the most part, it's as if they don't exist, unless an employer severely mistreats their domestic helper and is dragged to court. There are many successful professional Filipinos in the city, while many Indian families have long roots in Hong Kong.

Under The White Gaze leaves a lot for the reader to consider, and in particular journalists who want to do a better job of covering their communities, which are becoming even more multicultural. In general we need more understanding of others, giving people the opportunity to speak in their own words with context, and report on them in a sensitive way. That will help all of us understand and appreciate each other even more.

The Endurance Test for a Discount

Yes the line stretched back all the way to the blue sculpture!

It's that time again when cosmetics giant Estee Lauder holds a warehouse sale for four days at Canada Place in downtown Vancouver. 

The last two years I went the line was not too crazy, but this year was completely insane, partly because it was all over social media advertising the sale.

This was where I stood around 9.10am

On Thursday the first day, I arrived just after 9am to see a massive line outside Canada Place that snaked across to the new convention centre down to the waterfront. Don't these people need to work?! It was also chilly too, but thankfully not raining.

There were over two hundred people in front of me, mostly women, or women who brought extremely patient boyfriends. 

At first the line moved periodically which was good, and by just after 9.30am I reached the front where a South Asian "security guard" stamped our hand with a circular stamp. From there we were allowed to go into Canada Place and walk towards the end where our hand was checked for a stamp and then we entered a room with a giant line that weaved back and forth seven times.

This was when things were stagnant, as only a few people at a time were allowed to go into the actual sale area. 

The dreaded weaving line at 9.36am

Most people were glued to their phones to pass the time, and only a handful of people like me brought reading material. Soon it was 10am, 10.30am, 10.45am, and my legs were tired from standing and not moving much. What was also annoying was there were occasional announcements telling people not to sit on the floor... 

Finally by 11.15am I was able to get into the sale area. Armed with a cloth bag provided for shoppers, I quickly scanned the rows of tables, which had a lot of make-up, from lipstick to foundation, concealer and then skincare. Finally found what I was looking for -- Advanced Night Repair at a fraction of the cost. 

100ml bottles were priced at C$48 (C$321 for 115ml), compared to the $80 last year. Lots of Chinese women were interested in buying the product as well. There were also two 100ml bottles packaged in boxes that I've seen sold in duty-free shops in airports. Here they were over $120 -- but why buy that when you can get two bottles for $96?

Rows of excess cosmetics, skincare, hair products

Mission accomplished, I went over the tables from the beginning again to make sure I didn't miss anything; some South Asian women sat on the floor with things they had accumulated; some Persian women were on video calls with friends, going over what they had managed to snag; others carried as many box sets of Clinique they could carry.

By the time I paid and got out of Canada Place, it was 12 noon and I was tired and hungry! Never did I think it would take me over two hours to get in. After this experience I don't think I will wait in line for a sale like that again, especially since I only wanted to buy one product!

Changing Face of Canada is Asian

More immigrants make up the Canadian population

Statistics Canada has unveiled its latest population figures and 8.3 million people or 23 percent of the national population were either immigrants or permanent residents from 2016 to 2021.

This percentage tops the previous record of 22.3 percent in 1921.

Metro Vancouver has 54 percent visible minorities

Asian-born immigrants were the largest ethnic group at 62 percent last year, compared to only 12.1 percent in 1971. India was the source of most of the Asian immigrants, contributing 18.6 percent of the total number arriving between 2016 to 2021.

They were followed by those from the Philippines at 11.4 percent, and then China at 8.9 percent. Part of the drop of Chinese immigrants could be because of Covid-19 pandemic restrictions that prevented many people from leaving, and also China making it harder for people to move money out, thus hampering their exit plans.

When it comes to Metro Vancouver, 54 percent identify as visible minorities, compared to 49 percent five years ago.

The largest non-white ethnic groups are Chinese at 19.6 percent of the population, and South Asian at 14.2 percent, and Filipino at 5.5 percent. 

Richmond has over 80 percent visible minorities

When analysed further, Richmond has the highest proportion of people who are visible minorities at 80.3 percent, followed by Burnaby, Surrey, Coquitlam and then Vancouver at 54.5 percent. 

This national census also gave people the opportunity to identify themselves as from Hong Kong as opposed to just China, and that number is 8,560 in Metro Vancouver. Also interestingly there seems to be some 12,000 more Chinese women than men in the 25-40 age group. One urban planner suggests perhaps it's because of astronaut families with husbands back in Asia.

However, there is much chatter post-National Congress that many businessmen in China have either left or are leaving, and with conscription in Russia, we could see more Chinese and Russians landing on our shores...