Oaag Tour: Robert McLaughlin Gallery

After the disappointment at the Station Gallery, I was seriously worried about the caliber of the rest of the galleries in the east end but the Robert McLaughlin Gallery in the Shwa totally pulled through.  More than pull through, actually.  That place did almost everything right.  And yet for some reason, I had an immensely hard time writing this review.  Maybe it is because I’m so used to writing negative reviews for galleries that when a place really wows me, I’m completely out of words.  Now I have a bit of a backlog of galleries to write about.

The stern exterior of the building reminded me of the Vari hall in York University and as I am quite comforted by school settings built in the late 90s, I absolutely loved the faint smell of academia that it incited.  Tudor, however, didn’t like it because, as he puts it, it looks like it is in Oshawa. I have to admit that the RMG’s neighbouring buildings aren’t so nice or … intact.

The interior was where the real party was happening.  Arthur Erickson, the architect, was a genius.  This is a picture of the main hall.  I love the high ceilings and the natural light.

But the real delight was in the curation.  All the pieces were perfectly spaced out to give the most effective rhythm to your viewing.  Nothing was too lonely or too cluttered.

They managed even a claustiphobic place such as the above hallway well.

Another delectation was the witty transitions from room to room.   Around every corner, there was a suprise, a new way to look at a piece’s structure and context and relationship with the all-powerful building.  And there was always just enough information accompanying each piece so you never felt lost.

You really do get the sense that the gallery welcomes you.  Chairs and benches can be found where they ought to be and clever little nooks with lovely armchairs can be found to soak in a dazzlingly stormy “Moving Up Under Starter’s Orders October Meeting” by Munnings.

Best of all, there was no security so I wander as I pleased.

About the collections:  obviously the parties involved had good taste and good sense.  collec’ tion, n., the main collection,  showed the gallery’s strongest and most diverse pieces in the main room.  The collection was so well parsed that dman well near all the pieces shown turned into my immediate favourite.  Things that popped out include William Blair Bruce’s “Old Tree”, Rayread’s “Tide 22″, Jill Henderson’s “Show Business”, Joyce Wieland’s “Doublecrash”, Paterson Evan’s “Lifestream with Time Intervals” and, of course, the usual Canadiana favourites – Carmichael, Milne, Carr and Jackson.

“Automatic Work” by Alexandra Luke and JWG MacDonald was abstract at its most cognitive but also at its most predictable.

I enjoyed Hysteria and the Body only because of an inside joke between me, Tudor and Jan Sterbak’ “Sulking Room”.  I have a tendency to block out sexist experiences.

Colleen Wolstenholm’s collection was by far the best.  I loved “Traid”.  Who knew that white hijabs looked positively scifi?  ”The Fuck” was very cute and “Camera Cameo” was pure LOL.   My only wish was for “Spill” to be interactive.  I really wanted to roll those over sized Prozac pills around.

The only real disappointment in the whole affair was the gift shop and the rentals.  With all the effort the RMG put into its urbane appearance, I really don’t see why its gift shop and rental gallery sells the contents of a county fair.  I did buy a really darling teapot shaped like an elephant though.

… the ratings

(1) Environment:

Attractiveness of space: 10/10
Use of space: 9.5/10
Maintenance of space: 10/10
Element of Surprise: 10/10
(2) Curating

Effectiveness of Display: 10/10
Consistency of Display: 10/10
Attractiveness of Display: 10/10

(3) Exhibition

Effectiveness of Exhibition : 9/10

Average: 9.81/10 -worth the drive to Oshawa

I hung out with the Bell Beavers at the front of the place.