The Valley (Fall 2023 Issue)

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Dear reader, Firstly, I’d like to thank you for picking up and opening this magazine. Welcome to the fifth issue of our semesterly magazine, The Valley – a memory capsule and platform for community engagement! From exhibition and programming reviews to articles about stories from the art world, I’m very excited for you to read this issue and see what we’ve been up to and what’s more to come.

This semester, we welcomed a new gallery team: Niki Wickramasinghe (Exhibitions Curator), Shania Niu (Facilities Coordinator), and Vy Le (Volunteer Coordinator). Our team of four is excited to transform our small gallery space into more than just artworks on a wall, but into a community space!

We opened our year with Through — a duo photography exhibition by Debbie Fang and Zehua Zhang. Then, we partnered with the International Student Centre (ISC) in exhibiting the stories and artworks of international students through our audio-visual exhibition, Beyond Boundaries. We closed off the year with a collaborative project with the Arts, Culture, and Media Students Association (ACMSA) in Connecting Threads — an exhibition focusing on the theme of community.

One of the coolest things about helping artists showcase their works is inviting others to be a part of the experience. In making sure our projects run smoothly and successfully, one of the highlights so far is working with volunteers. They are an integral part of our gallery in helping us achieve our goals. Also, we hold receptions that celebrate either the opening or the closing of each exhibition. Here, we invite anyone and everyone to bond over artworks and enjoy each other’s company in our little gallery corner. So, the next time you see an exhibition, don’t be afraid to ask when the reception is!

We have a lot planned for the winter semester and we’re even more excited to share it with you. If this is your first time hearing about the gallery, please come visit us! If you knew about the gallery, thank you for your continuous support (you know who you are)!

See you at Gallery 1265!

Arthur

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On the internet, there is no shortage of problematic creators. From painters to authors to musicians to social media influencers, problematic creators are prolific. And yet, the content these problematic people leave behind are still enjoyed and consumed. Are consumers enjoying the content for the content’s sake or are they enjoying the art because they support the negativity spread by the art’s creator? I believe that we can enjoy an artist’s art without supporting said artist, however we must be aware of what their art says about them and be able to have accountability when the art causes real harm.

A factor that complicates the separation of art from artist is when the problematic artists are so interwoven with their art that they are responsible for creating or innovating their genre of art. One example of this is Salvador Dali. Salvador Dali’s art often depicts moments of in-betweenness, juxtapositions of what we expect from reality and the reality he portrays. However, this deconstruction of reality seems less to be an artistic extreme and more so an extension of his racist and fascist ideologies. In an unpublished letter he sent to André Breton, “The domination or submission to slavery of all the colored races could be possible, if all the whites united fanatically (qtd. in Massot 2022)” The sexual imagery in his paintings such as “The Great Masturbator” are even a dark reflection of his sexual obsession with lynchings – bordering on necrophilic, since he “[admits] to feeling real pleasure and considerable sexual excitement in reading about such things” (qtd. in Massot 2022). Here, I believe that we should not separate the art from its artist. Instead of ignoring his art entirely, I believe that his controversy adds further context to his paintings and reflects the historical time period in which they were made.

Similarly to Dali where his bigoted ideals are interweaved to his art, H.P. Lovecraft, writer of The Call of Cthulhu and creator of the cosmic horror genre, has been known to have many racist tendencies. His work often features racist depictions of people of colour from people of colour being in a villainous cult in The Call of Cthulhu to racist portrayals of Hispanic people in Cool Air. Despite this, his work remains very prevalent in the cosmic horror genre and in works beyond it as seen in games like The Call of Cthulhu which refers to both a table-top rpg and survival game. Like I mentioned previously, Lovecraft’s bigotry is an integral part of his art. The racism and hatefulness in Lovecraft’s work is not just a feature but the main purpose to it. Much of his horror revolves around humans (often white) cross breeding with other races. This concept of ‘crossbreeding’ perpetuates the idea that people of different races should not be able to be together. Lovecraft’s art cannot be separated from his bigotry because his art is meant to further his bigotry.

Although both of my previously mentioned artists have some less-than acceptable ideologies, their works contribute heavily to their respective genres. It is their creativity and innovation that has inspired their genres and other artists within those genres and not their hatred. Although both of their bigotry are prevalent features of their art, their contributions to the genre cannot be understated. As such, I believe that we can appreciate the work that they have created and inspired without appreciating them as people.

Sometimes the problematic artists we encounter have their work remain popular despite their questionable actions. Often, these questionable actions are ignored by consumers. I have often heard that people should ‘turn off their brain’ when consuming their art or consume it because it’s so good and ‘not that serious’. While not thinking too deeply about one’s work can let you enjoy it despite the negative aspects, ignoring said negativity has the potential to encourage the harm the art can cause. I believe

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that deliberate ignorance is dangerous when it comes to the separation of art and the artist. It completely ignores, not only the problematic traces on the art, but the problematic behavior it might encourage.

Looking at an example from my experience, I’ve tried reading some Colleen Hoover books, like November 9. After seeing so many go viral on Tiktok, I decided to try reading one. They are not to my personal taste so I stopped reading them. However, I have noticed that her books, and many books like them, tend to perpetuate harmful — borderline abusive — forms of love. To adults, the separation between fiction and reality remains clear but these books are being marketed on Tiktok, an app aimed towards teens and kids, without any warnings for what the books entail. These books encourage so much negativity yet people are being told not to look deeper. Although it is not inherently bad to include dubious elements in your art, to do so without analyzing them or portraying them in nuanced and complex ways has the capacity to teach harmful lessons. To consume them with ‘your brain turned off’ makes readers and consumers unaware of the harm these types of art could perpetuate.

On a similar note to ‘turning off your brain,’ sometimes the negative actions of the artist are ignored because the art itself is very appealing. I have seen this occur to many musical artists who have committed hateful actions yet remain popular such as Azealia Banks. Her music incorporates house and hip hop influences, creating a sound reminiscent of the underground ballroom scene of New York. The irony of her art resembling the music of queer spaces is that she is notorious for using homophobic language among other problematic actions. One would think that this would mean her popularity would decline but the opposite has occurred. She continues to remain popular on social media apps like Tiktok with several creators continuing to use her likeness and songs in her music. Admittedly, I am guilty of enjoying her music despite knowing the controversies she gets herself involved in. For me, separating her art from her feels more natural since her art is a part of a community she attacks. Separating an artist from their art becomes easier if one likes the art enough because that forms an inherent disconnect. Since I like the art but don’t like the artist, then the art and artist must not be connected. Despite my own personal investment, I understand this sentiment to be dangerous. If we completely sever the connection between art and artist, we could end up supporting the real damage the artist causes.

While the artist’s previously mentioned have work that can be disconnected from them as people, other artists are themselves their art. At that point, the separation of art and artist is impossible. The digital age has created an environment in which many people can rise to fame through social media apps like TikTok and Youtube. Since supporting these forms of art also directly support the artist with views, likes, and subscribers/followers, separation is impossible. Many of the most well-known social media creators like Colleen Ballinger, The Paul brothers, David Dobrik, etc. got their start early on and were a big part of the Youtube platform when it first began. They have shaped many people’s childhood with their comedy sketches, vlogs, and other such videos. Some of these creators have committed very problematic things whether they be grooming underage fans, filming dead bodies, or injuring a friend for the sake of content.

Sometimes, you cannot separate art from the artist when the artist is their art. As painful as it may be to see your nostalgia be tainted by a beloved creator’s actions, we must accept the truth if we wish to repair the damage some of these actions cause.

I believe that we are allowed to consume the art of problematic artists as long as we acknowledge the harm both the art and artist are capable of. To completely ignore artists due to their hate can keep us from appreciating their creativity and innovation and ignores the genuine fun and enjoyment some people find in their art. However to also neglect the questionable aspects of their content also provides a platform for the hatred their art may perpetuate. Although humans always make mistakes, we should be able to understand that humans must also be able to take accountability for what we do. This isn’t to say that those who make mistakes must be instantly excommunicated from the internet or ‘canceled’ but that us as consumers need to see the nuance in case-by-case basis of separating art from artists. Similarly, artists must be aware of the harm their actions can cause and do what they can to fix them.

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Work cited: Massot, Josep. “The Day Salvador Dalí Invented a Racist Religion.” EL PAÍS English, 6 Sept. 2022, english.elpais. com/culture/2022-09-06/the-day-dali-invented-a-racist-religion.html.

It takes a special kind of talent to capture the everyday in a special light, but Through (2023) by Jiayi Fang and Zehua Zhang pulls it off adroitly. Jiayi Fang is a photographer and wax carving artist who spends most of her time in Xiamen, an island city in China. Zehua Zhang is a photographer and short story writer from Northeastern China. Both are multidisciplinary artists, but in Through, their focus is photography. That exhibition, which came to the Gallery from October 23rd to November 3rd, draws from digital film and polaroids. It is all about liminal spaces.

Fang and Zhang manage to capture something intangible in every picture. Every memory stares back at the viewer, asking them to grasp the intangible. Through possesses an ephemeral quality that makes the mundane appear dreamy and cozy at the same time.

The pictures were taken both in Canada and China, but the stylistic decisions make them cohesive despite the innate differences between the two countries. There is a sense of ambiguity in pictures taken in both countries, born from the interplay of light and shadow. It is fitting, after all, that work engaging with liminal space transcends geographical distance so gracefully.

For a fleeting moment, brief as the click of a camera shutter, a girl turns into a mermaid. Two hands hold a fruit like it is the only object that exists in the world. Windows and doorframes invite us to look without letting us see inside. Buildings stand, unflinching. A statue of Buddha’s bust and a yellowish-green broom rest on a stone banister together, almost touching. In every photograph, there is a sense that the moment will be lost soon, that the world outside the picture will change and is changing even as the picture is being taken. The camera is a witness to the beauty of the mundane, which can only be captured when one stops to look around and see their everyday life differently.

Fang and Zhang delicately immortalise how some moments feel untouchable, like they will slip out of our grasp if we do not pay enough attention to the big and small things around us. An air of spirituality arises through the juxtaposition of the peaceful and the transitional.

With its exploration of the liminal, Through prompts us to reevaluate how we interact with memories. It is not about the big moments. In fact, it invites us to see the beauty in the things we would normally overlook.

Through is a testament to our reluctance to let go. That reluctance is an urge that fights with the necessity of letting change happen.

Through is dreamy yet anchored in reality. Unassuming yet impactful. The past leaking into the present. The present slipping through our fingers and into the future.

Through (2023) took place between October 23 and November 3. Please contact Gallery 1265 for exhibition archival or further inquiries.

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Photos by Shania Niu

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This season, UTSC Drama Society presents Festival of the Arts with a reflective nature. Collaborating with Gallery 1265 and UofT Jhalak Fusion Dance Team, the festival displays art, dance, plays and improv. The season’s theme, Choose & Unchoose, is about “the freedom to choose and unchoose, which provides us with greater flexibility and adaptability in navigating life’s challenges and opportunities.” The decisions we choose can mark significant turning points in our life. Our choices shift weight at life’s crossroads, and I found this theme poignantly reflected in Victoria Haseung Jung’s mixed media, Erin Lam’s sculpture, and F. J. Hartland’s play.

Victoria Haseung Jung’s mixed media shows how we make decisions that fit into the bigger picture of our life.

Composed of styrofoam on canvas, Decidophobia resembles a block puzzle on a 12” x 12” square. The puzzle contains grey, white, and black blocks, imprinted with arrow, backspace, enter, and delete signs. The arrangement of the blocks visualises the connections between all the steps and directions we take to make decisions.

Each block symbolises the thought process of making a decision. Which choice do we go forward with? How do we know if it’s right? Or the wrong one? It’s important to find a balance between the freedom of choice and being overwhelmed with choice. Reflecting on various stages of decision making can make us braver in taking important steps in our life.

Erin Lam’s copper sculpture, Believe in Fairies, captures the line between choice and fate. The sculpture is a semi circle of copper tube standing on a white pedestal. A second copper line interweaves the main tube at various intervals, creating a wavy pattern. The entire sculpture is curved into the letter C, creating a large circle of copper.

The intersection of copper lines indicates life decisions and fate connecting in mystical ways. As Lam states, “these spontaneous intersections transform our way of being and create profound life capstones that make it worth icing another day.” We don’t know what life has in store for us. But when our choices align with unexpected events, it can bring new people and opportunities that energise our life. Embracing these moments of the unknown allows us to live life with more vigour.

The connection between choice and uncertainty is thoughtfully executed in F. J. Hartland’s play, 12:21. As directors Gaby Bondoc and Tala Fayad describe, the play is “a poignant dichotomy of being stuck in the past while rushing towards an uncertain future.” Set in a messy apartment, the story centres on best man Kevin struggling to support the groom Joel in a crucial moment. Joel enters the apartment to find Kevin dishevelled, drunk, and undressed. Joel tells Kevin to get dressed for the wedding, but Kevin needs to talk to Joel. As the best man and groom grapple with the situation, time slips away. The clock chimes at intervals to indicate time passing, punctuated by the arrival of Joel’s sister, Janet to remind the men that they are late. Amidst this urgency, the tension between Joel and Kevin escalates. It was heart wrenching to hear cries of “please get dressed” vs. “please we need to talk.”

I can understand Joel’s urgency, as he is getting married and needs Kevin to be there as his best man. This is a big day in his life, but it’s also a pivotal one for Kevin, too.

Joel tries to convince Kevin that they can talk after the wedding, but the latter says it can’t wait, everything will be different then. Kevin wants to hold on to the past and memories with Joel, knowing that his life would probably change once Joel gets married. Ultimately, I think Kevin did Joel a disservice. He decides not to attend the wedding and abandons Joel. Even though Kevin experiences an internal turmoil, he chooses to accept Joel’s disappointment instead of pulling through for him. As the lights fade out, we see Kevin sobbing alone, living out the consequences of his decision.

The festival offers a reflection of how we choose and unchoose at life’s crossroads. When major life events intersect with our life decisions, this is when the freedom to choose matters. I found myself reflecting on the artworks and how they exemplified the relationship between choice, uncertainty, and fate. If there is one thing I took away from the show is that we have control over how we choose and unchoose. When we begin to embrace this agency, we can take braver steps in life.

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The concept of avant-garde and its definition varies across media of self-expression. It evolves with each decade; a fashion designer praised for having produced an avant-garde collection knows this to be a fleeting Wallis Simpson in Vogue, 1937 Photo: Cecil Beaton / Getty accomplishment. There are a select few designers who manage this task of Images incessant innovation with ineffable ease and flawless execution. A few names that spring to mind are Maison Margiela, Iris Van Herpen, Rei Kawakubo, and Elsa Schiaparelli; pioneers of this mode of experimentation. Artistic minds who continually test their limits along the fringe of novelty, forever altering fashion’s definition of avant-garde.

Art and fashion as media for self-expression remain records of human history and societal evolution. The following piece will look back on the evolution of avant-garde art-meets-fashion collaborations through a critical analysis of the most iconic of these partnerships of the last century. This avenue of self-expression and mutual collaboration was born in the 1930s with Elsa Schiaparelli’s partnership with surrealist Salvador Dalí, and that now iconic lobster dress famously worn by Wallis Simpson, Duchess of Windsor.

Schiaparelli Summer 1937: With Salvador Dalí The 1930s for Elsa Schiaparelli marked a period of fervent artistic ingenuity. It was in this period that maison Schiaparelli began collaborating with Salvador Dalí, in part for the close companionship and mutual admiration between Elsa and Dalí, further fueled by Schiaparelli’s love of surrealism as an art form. The lobster dress, first presented as part of the duo’s summer 1937 collaborated collection is still celebrated nearly a century later as evocative and groundbreaking. The silk organza dress featured an imprinted lobster motif whose placement was unthinkably daring. For a period where prevailing notions of modesty would have seen a woman socially reprimanded for a shorter than typical hemline. The intentionality of the lobster motif placement was a direct rebuke of the social modesty norms which governed women’s attire. To then have Wallis Simpson, the Duchess of Windsor who’s own presence in British High Society as an American divorcee could evoque its own school of thought on feminism in the early twentieth century is what would seal this moment in time haute couture’s greatest venture to the further bounds of avant-garde.

This moment certainly paved the way for rebellious minds the likes of Yves Saint Laurent who would also place their bid as couturier to the feminist revolution.

Saint Laurent Spring 1965: Reference to Piet Mondrian The source of inspiration for Yves Saint Laurent’s vision in the spring 1965 collection, was the wave of modernisation that was sweeping over France, that would later culminate in the events of May 1968. The 6 cocktail dresses that would later become the main reference point for the collection were a play on Piet Mondrian’s De Stijl artistic style. The garments featured intricately detailed designs with modern construction. The hemline and playful use of bold colours in the designs – though typical for today’s standards – was quite avant-garde for 1965. The

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Off White Mensw in Pitti Duomo Fl Spring/Sum

collection succeeded in continuing with the torch of daring feminist couture first made possible with Schiaparelli had left off with the 1937 collection.

McQueen S/S 1997: Reference to Hans Bellmer Alexander McQueen throughout his career was followed by controversy and lived to stir up shock value in his shows and collections. The undeniable problem child, l’enfant terrible, of the Parisien fashion scene. La poupée spring/summer show of 1997 was arguably the most controversial of them all. The inspiration for the collection came from Hans Bellmer’s 1936 piece of the same name. In the collection McQueen focused on the elements of distortion and rigid movement illustrated in the original piece through the mismatched doll limbs, this atmosphere and emotion was channeled in the catwalk as models navigated the flooded platform with limited mobility in the collection pieces.

Debra Shaw, an African-American supermodel, was chosen to model the Yasmin Le Bon wearing Thierry Mugler’s fall/winter most controversial piece in the collection; a short and sleevedmesh dress 1997 haute couture collection at his presentation in London. © Alan Strutt, courtesy of worn on the catwalk with a metal frame. With McQueen by that point a Musée des Arts Décoratifs de Paris seasoned designer, it was difficult to overlook the negligent pairing that could easily illicit comparisons to slavery. This artistic decision retains its place among the most morally controversial moments of the designer’s legacy. With this show, and in particular the decision to pair Shaw with this piece in the collection, McQueen toed the line of morality and ethics in artistic rebellion. In essence, Where is the line drawn to separate ingenuity from tone deafness?

Mugler Spring 1997: Reference to Franz Kafka’s Metamorphosis Thierry Mugler’s spring/summer 1997 show, Les insectes, took its inspiration from Franz Kafka’s 1915 novel Metamorphosis, and David Cronenberg’s 1986 film, The Fly. For the collection and its presentation at the show, Mugler isolated the exoskeletal nature of an insect’s anatomy and their ability to act as conduits for futuristic design. This theme of futurity continued with the makeup looks chosen for the models, a wispy and colourful look meant to mimic the aesthetic of an anthropomorphic winged insect. Les Chimeres dress, in motion, simulated the model breaking free and metaphorically taking flight, a continuity of the show’s theme. This unique ability to zero in on a particular tenet and through it, birth an entire collection devoted to a single reference point is what made les insectes so avant-garde. It was rebellious in its own right, almost tearing an entrance to another dimension. A collection such as this one, presented so close to the dawn of a new millennium was the mark of true genius.

wear fashion show lorence Collection mmer 2018

Off-White Menswear Spring 2018: Reference to the Migrant Crisis In the same vein of political commentary, the Off-White collaboration poignantly entitled, The International Refugee Crisis and Immigration, was inspired in part by the migrant crisis that was front of mind for many around Europe and in part an homage to Virgil Abloh’s own identity as the son of Ghanaian immigrants to the United States. Throughout the show, several models donned red diode signs with texts and excerpts from poet Omid Shams, with more works projected along the runway from other poets who, like Shams, embody the duality of poet and refugee. The ethical implications of utilising one’s platform in this way are enormous, it is to amplify the voices of those most marginalized.

Fashion is inherently political. Avant-garde encapsulates more than rebellious trendsetting.

The versatility of avant-garde art-meets-fashion collaborations on the catwalk bring life and colour, and vision in a way that surpasses any other form of protest. They act as continuity, a chance for the artist to continue the conversation they began with their audience through a new medium; they are world bridging. From the Dali collaboration in ‘37, to the Kafka in ‘97, each project manifests self-expression where words have failed.

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Gallery 1265, cultural hub of the campus, with an ethos of providing creative space for students and experimentalism lives up to their mission with their latest exhibition.

Hosted collaboratively with the the International Student Centre, Beyond Boundaries is a great co-creation project: Featuring a series of audio-visual artworks, the displays present portraits of various international students accompanied with an excerpt of an interview conducted with the depicted student, communicating their experience with being an international student, COVID-19 and moving to Canada.

Welcoming both new and old faces as illustrators, the paintings displayed are just as diverse as the stories they accompany; with a wide array of artistic styles and a delightful window to the intimate lives of students, it is a treat to walk through the exhibition space and connect with stories.

Featuring 10 intimate stories captured by various interviewers, the interviews focus on challenges the interviewers endured, where subjects warry from the pandemic, moving to a new place, finding a new community, financial strugglers and more.

The excerpts displayed manage to truly capture the struggles of being an international student, where one can often find itself in the difficult choice of whether to see one’s parents—which one often gets to see once every two years or less—for three more extra days worth taking exams with a 12 hour difference and risk a lower GPA. Or how often one could find itself stuck between neither in Canada nor with family, staring at a screen in many different rooms while trying to navigate the pandemic regulations, border closures to reach somewhere they can call home.

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But another remarkable highlight of the international student experience is how much of that overlaps with the ones of the domestic students’. All students, regardless of their background, are challenged by navigating financial difficulties, being lost in a new and alien community, and making friends in a seemingly brand new world.

Although you will be missing out the interactive element of the in person exhibition—where the audience was invited to reflect and share their own experiences via sticky notes to a dedicated wall—the exhibition can still be viewed online hassle-free thanks to the great website dedicated to the exhibition (It’s also super clean and intuitive!).

Beyond Boundaries (2023) is an audio-visual storytelling exhibition that took place between November 13 and 24 in partnership with the International Student Centre at the University of Toronto Scarborough. Please visit this website to view exhibition or contact Gallery 1265 for archival or further inquiries.

Photos by Shania Niu

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Everybody is going to the KAWS exhibition!

Located at the Art Gallery of Ontario (AGO), Toronto downtown, KAWS: Family features various types of artworks, including paintings, sculptures, collaborations, and Augmented Reality (AR). This exhibition reminded me of many childhood memories. Back in 8th grade, one of my best friends kept bragging about his dad, who was a KAWS Bearbrick colelector. Bearbrick is a highly sought after toy-figure due to its extensive collaborations with limited quantities, which comes with the name of the bear-shaped design that resembles a block. Living in Hong Kong, the Hong Kong Contemporary Art (HOCA) Foundation installed a 121-foot giant floating KAWS that weighs over 40 tons at the Victoria harbour. The overall installation lasted for 10 days, prior the Art Basel Hong Kong 2019, which is an annual, leading international art fair held in Art hubs such as Miami Beach, Hong Kong, Basel and Switzerland.

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cities. Before I stepped into the Art Gallery of Ontario (AGO), KAWS interface filled the gallery’s front door, and multiple banners around the museum entrance. Located in Signy Eaton Gallery on the second floor, it features multiple iconic sculptures such as Holiday Space, Along the Way, and Gone and were used to explore themes of isolation and companionship.

The man behind KAWS is Brian Donnelly. Donnelly graduated from the School of Visual Arts in New York city and started his creative career The influence of KAWS is not limited to the out- as a graffiti artist in the 1990s. In his early career, door space. It’s in shopping malls like K11 Musea the unique tag “KAWS” originated from how that are unconventional, artsy and luxury. It was he liked the letters looked together. Donnelly’s built with a dynamic architecture that makes intention of his art is merely “existence”. Rather K11 Musea very contemporary, not to mention than connecting to people in a deeper meanits frequency to display artworks by Avant-garde ing, he solely hopes his artwork being present artists such as Yayoi Kusama, Sterling Ruby, and in the public domain and engaging with people Zao Wou-Ki. During my visit in K11 Musea, a outside the conventional art world. His artistic giant CHUM sculpture showed right in my face. practices started outside of the gallery space.

It’s a bulky sculpture with an adaptation of the He would break into advertising cabinets Michelin man, which has been used to convey around New Jersey and take posters, the sense of close relationships, mood, and such as Calvin Klein, Marlboro, emotions. Whereas CHUM was installed at the and Guess, to paint over them. sculpture garden, marking the mall’s 1st anniver- Afterwards, he would dissary. KAWS has made a name for itself among play the modified posters the larger public in Hong Kong. For example, on the streets. This followthe first collaboration with Uniqlo UT in 2019. ing became so big that it Fans and sellers eagerly anticipate such releases attracted the attention of at the Uniqlo stores, leading to a frenzy hype to collectors and critics. collect or resell in the secondary market. This collaboration makes KAW’s art more accessible Apart from his signature to the broader audience through Uniqlo’s afford- sculptures and modified able and widely available platforms. posters, this exhibit showcases Donnelly’s On September 27th, 2023, Toronto witnesses the drawings, paintings, influence of KAWS. It is quite striking for me to posters, and colsee KAWS’ pop culture in different regions and laborations across

contrast of colors, his techniques have effectively created a sense of uniform throughout his painting and very much unlike other pop artists.

his career were showcased in the exhibition.

One of my favourite artworks is titled Not Fit for Human Consumption. In this collaboration with Reese Puffs advertisements, the piece illustrates a KAWS character is bathing in a bowl of Reese Puffs. From the perspective of someone who has never seen a KAWS advertisement collaboration, these installations are funny and engaging enough to look at. The combination of KAWS and Reese Puffs delivers a sense of quirkiness.

From two different elements of visual representation: Art and Advertisements, the stereotypical, luxury art juxtaposes with mundane objects like a Reese’s Puffs cereal that is very common.

However, interestingly, they are naturally blended into an artwork, which I find another way to look at these advertisement collaborations.

KAWS has ingrained itself in public spaces, reaching beyond shopping malls, gardens, and museums, and seamlessly becoming a component of people’s daily routines.

In addition to these Reese Puffs advertisements, the exhibition showcased additional collaborations by KAWS, including the Sacai X Nike low blazer shoes. These shoes featured vibrant, multicolored details like overlapping shoelaces and the Nike swoosh. Alongside, various editions of KAWS sculptures, sketches, and recent acrylic paintings from 2021 were on display, all characterized by his distinctive cartoon style and a captivating blend of colors. With a strong

Another distinct piece that standout for its uniqueness is the Augmented Reality (AR) Companion (Expanded) and Watching, situated at Galleria Italia. Accessed through a mobile app, it provides a 360-degree view, allowing viewers to explore details from various angles through the corresponded white platforms. Despite the unconventional approach, the interactive experience remains just as captivating to me by exploring details at different angles, which adds an interactive and dynamic element to the overall exhibition.

In 1999, Donnelly visited Japan and was approached by Bounty Hunter, a cult toy and streetwear brand. This collaboration birthed his first toy, COMPANION. The figure features KAWS’ signature X-shaped eyes, a simplified skull-and crossboned face. However, it is different to other typical KAWS figures due to its child-like proportions which makes it looks cute and quirky.

Since its first toy, KAWS partnered with various fashion brands, such as Supreme, Dior, and Uniqlo to release collectible items such as skateboards, high-end clothing, and accessories. As a result, these products made himself recognized around the public and continue to shape pop culture.

Donnelly has now produced more than 130 varieties of toys, including his own brand OriginalFake that produces KAWS clothing and figures. While accessibility to merchandise and “products” might be perceived negatively in the high-end art world, as it may not drive auction prices significantly higher due to higher supply.

To correct and break the museum-elitism narrative, KAWS has consistently expressed the desire for accessibility to be a fundamentally aspect of his artistic philosophy by making his products affordable and accessible to the broader audience.

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Gucci, Prada, Balenciaga and Saint Laurent are some of fashion’s biggest powerhouses, known by many all over the world. Designers like Christian Dior and Louis Vuitton are some of the few that possess the worldwide platform and visibility of runways such as New York, Paris, Milan, and London Fashion Weeks. With the extremely capitalistic nature of many of these high fashion brands as well as Fashion Week itself, one must ask, will, or has the commercialization of Fashion Week, stripped it of its authenticity? This is a complex question that we will not be able to answer completely today. However, we will use this idea of authenticity to reflect on the world of fashion and fashion weeks. Specifically looking at Toronto’s fashion week, does Toronto offer a new and fresh perspective to the industry that other Fashion Weeks like New York and Paris do not?

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Fashion Art Toronto, FAT, is the organizer of Toronto Fashion Week. The first show for FAT that I attended was in November 2022 for their Fall/Wi ter season.

What caught my eye immediately was the models and how close to them I felt. I felt as if I was watching my best friend walk the runway. The feeling created in the room cannot be justly put into words. They wanted the audience to feel closely connected like a family. There was a sense of community that I feel London, Milan or Paris lacks. The models at Toronto Fashion Week are free to be themselves, to embody the clothing they wear based on what feels right in the moment. We see FAT abandoning traditional practices for runway models, allowing them to display the pieces in the raw, artistic form fashion was always meant to be shown. Major fashion weeks are

no longer, and have not for a long time, partaking in this type of genuineness and originality in their shows due to the fact that local, diverse, artistic and unique designers are given the chance to showcase their work in addition to those that are well-known. The spotlight is always shining on emerging designers, often still attending fashion school in Toronto.

When I attended Toronto Fashion Week back in November, I saw a show for Safi Creatives. This experience was remarkable in comparison to the ACNE Studios runway shows I would see clips of on X (formerly known as Twitter). Authenticity is critical in the creation of art, fashion is no exception. The use of models, music, lighting and materials during the Safi Creatives show allowed for this authenticity to seep through as well as transitioned an ordinary runway show into an art exhibition. Well-known designers attempt to turn their shows into art pieces, however they seem to always seem tacky and unnecessary. This being because of the very capitalistic way in which fashion, specifically high-end fashion, is becoming less about art and quality and more about who can have the biggest show or cause the biggest uproar.

commodity. High fashion designers like Rick Owens or Givenchy are losing their roots. They are creating for the masses. Whereas Fashion Art Toronto is featuring designers like Elena Safi who create for their own creative expression and to share a personal story.

Authenticity is found in the world of art when we allow ourselves to create solely for our own artistic expression.

The most revolutionary fashion moments — think Shalom Harlow’s S/S99 Alexander McQueen moment (robot spray paint dress) — occur when we do not restrict ourselves to rules or what society expects of us. Fashion Art Toronto is spearheading this new movement of bringing authenticity back to the world of fashion, specifically high fashion, by spotlighting innovative, fresh, unique and emerging designers, concepts and environments.

The Safi Creatives runway show was quite the opposite of the runway shows as seen in my Vogue Runway app.

There is diversity and body inclusivity within the models.

Gender is seen as fluid and non-conforming. All of the very westernized beauty standards that are so present in high fashion are virtually abandoned. It seems that almost all fashion designers have a strict rubric they must follow when it comes to artistic creation and conceptualizing ideas. There is a focus on exclusivity, class and wealth and in turn has stripped high fashion shows of their raw and natural artistic aura.

Safi Creatives looked to create a collection that Elena Safi (founder) took inspiration from humans’ ever-evolving nature, as well as her own culture and heritage. What I believe to be lacking, and that has been evident in previous decades, is fashion as an art form, not just a

Photo by Elly Hassal

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Let’s talk about MiSCHieF, it is fun.

What comes to your mind when you think of “mischief”? Maybe a criminal offence or it could even be the playful jokes, behaviors, or expressions by someone? What exactly is “mischief” anyways? Merriam-Webster Defines it as: “a specific injury or damage caused by a particular agent or a cause of harm, evil, or irritation.” Synonyms for “mischief” include “devilish” or “sinister”.

Although defined as trouble making that causes harm or even devilish, mischief often has been used as a theme in arts for the disenfranchised people to create noise in the society by satirically criticizing or challenging social norms.

Mischief in art can take many forms. It can be playful, humorous, or even subversive. It can be used as a tool for artists to express nonconformity and anarchic inspiration in their artwork even during the most conservative times. As art has always been a medium for expression, and throughout history, artists have used different themes and ideas to convey their messages, emotions, and ideas in their artworks. From ancient Greek myths to contemporary art, bizarre

Credit: Artsy

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and extraordinary artworks with some elements of mischievousness get the spotlight of the masses and go “viral” especially in our media saturated world, regardless of the artist’s intent. Triptych artworks like The Garden of Earthly Delights by Hieronymus Bosch during the medieval times expressed allegorical imageries which were interpreted as reflections of his unconscious obsession with carnal lust and heresy but was dismissed as a mischievous attempt of warning against the heresy rather than a heretical attack on church.

Nowadays, I think “mischief” continues to be a relevant theme in arts and media, and is one of the coolest keywords to explore and to represent creativity in our society. More modern examples can include the mischievous works of Banksy criticizing society. His works are symbolism and metaphors that critiques social injustice and criticising participatory and alternative art, and a catalyst for dialogue. particularly evident in his portrayal of the Palestinian struggle. His subversive approach, often utilizing unexpected locations and guerrilla tactics, amplifies the impact of his message. In works like The Walled Off Hotel and murals within the West bank Gaza strip, Banksy applies mischievous art style, using irony and unexpected settings to highlight the gravity of societal injustices. The juxtaposition of playful and provocative imagery, like a girl with a heart-shaped balloon or a kitten in a war-torn landscape, adds a layer of complexity, challenging viewers to reconsider their perceptions. This mischievous artistry not only captivates attention but also sparks crucial conversations, compelling society to confront uncomfortable truths through unconventional and thought-provoking means.

Another modern example of artists I want to introduce that’s taking mischief to the next level is MSCHF. So, let me introduce one of the most iconic

and relevant noise making creative groups called MSCHF in 2023. This New York-based art collective is known for their playful and subversive artworks that push boundaries and make people question their beliefs. They refer to themselves as “art collectives” with a mission to disrupt the norm of the art world created. A culture that is so unique and so mind boggling. That’s why no matter how crazy their pieces are, their community they’ve built will always try to get their hands on it. How did they do it? First , they formed a community surrounding their mission, then they created something that pushes their mission forward. After they built a community, they then started monetizing both physical and digital contents.

I believe brands like MSCHF are somehow doing a social experiment on how commodification of value could be applied to anything and everything, even though for some people these products are not a necessity. It’s important to note that MSCHF’s mischievous artworks are not just about causing controversy and making a profit. They’re also a form of social experiment that explores how value can be commodified in the modern world, while generating a sense of excitement and unpredictability for audiences.

It was when I saw this recent drop from MSCHF, BRB (Big Red Boots), in the beginning of this year, I thought what they are doing about this product is so much fun, a literal mischief itself! Before the drop, they were marketing this product with mysterious and fun teasers, majorly consisting of fun creative visual contents. Who else am I going to call MSCHF other than them? Everyone was talking about this pair of shoes. I personally thought that this was an ironic collectible art piece as it was impractical, but it became more than that in a very short time. I thought, “Why is this pair of Pawz-dog-boots-looking-astro boy- boots so popular?”

MSCHF rejected the idea that the boots were a joke.

“It’s not a satire,” they responded to an interview with New York Times magazine this February. What’s interesting is that MSCHF signifies that we’re at a moment in time where art forward fashion pieces don’t have to be a satire.The group said the cartoonish aesthetic had been “mainstreamed enough” to make the Big Red Boot legible as a boot and a fashion statement. This statement is interesting because their

Credit: MSCHF

work is almost all about satire and controversy making, or nothing.

Observing their drops each time, MSCHF’s artworks are often designed to generate controversy and provoke a reaction. It is more of a media manipulation and noise making, which works perfectly for their branding.

Another famous piece by MSCHF is their collection featuring Satan Shoes and Jesus Shoes, modified Nike Air Max 97s adorned with distinctive elements. The Satan Shoes incorporate a pentagram, and each shoe’s air bubble sole is filled with 60 mL of red ink and “one drop” of human blood—a concoction derived from a blend of blood from various individuals, including the three founders of the brand. Additionally, the sole of Jesus Shoes contains “holy water.” Surprisingly, each pair is priced at $1,018, which sparked considerable controversy and led to legal action from Nike, alleging copyright infringement. Despite the backlash, the shoes quickly sold out within minutes of their release.

During an interview as a guest on one of the Korean Comedy Shows (Psick University), MSCHF revealed an intriguing story behind the pricing strategy. They explained that the $1,018 price tag is a reference to the Bible passage “I saw Satan fall like lightning from heaven” from Luke 10:18. I believe that this specific piece made a lot of noise about MSCHF in different industries, as it caused great controversy, prompting discussions about the intersection of art, commerce, and religious symbolism.

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Credit: MSCHF

Recently, MSCHF made another bold move that shook the art world. MSCHF dismantled a $30,000 Damien Hirst spot print, aptly named “spot print.” Comprising hundreds of intricate circular dots, the artwork showcased Hirst’s artistic prowess. MSCHF acquired the revered painting and transformed it, resulting in a collection of unique, standalone pieces. Priced at $480 per dot, which is a highly accessible price. The mischievous twist lies in the mystery surrounding the spot print’s exact number of dots. MSCHF’s radical departure from conventional norms challenged perceptions of art commodification, individual creative value, and ownership democratization.This transformative act reshaped the art market dynamics, by stimulating collectors and enthusiasts to embark on a speculative journey, contemplating the original composition of the spot print. MSCHF’s audacious move, blurring the lines between high art and accessibility, continues to influence the contemporary artistic landscape.

My approach to MSCHF as a creative art group is artistic culture jamming for privileged people. MSCHF’s artworks may be controversial, but they also highlight the power of mischief in art. By challenging established norms and values, or even the traditional and conventional art by appropriating the byproduct of capitalism and commercialized art, MSCHF’s artworks encourage viewers to question their own beliefs and values in different ways. If this sparks your interest, explore more about their unconventional paths shaping unique narratives.

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On April 2023, Gallery 1265 presented its second instalment of the Public Art series. Featured artists—Zaid Lee, Erin Lam and Christiana Ceesay—created and displayed three public sculptures at various locations across the University of Toronto Scarborough Campus.

The artworks explored the theme of community and connections between people. Zaid’s Big Graph and Street Sign, located in the Meeting Place, were playful takes on mundane objects that encourage audience to engage with them in new ways. Erin’s FJE, located in Highland Hall’s Lower Student Commons, embodied the intimate dynamic of her sibling relationships. Finally, Christiana aimed to spark conversations and exchanges of ideas in a common space with her colourful sculpture, Neutral #1 (Golden Hour), located in the Humanities Wing hallway.

The Public Art 2023 project was generously sponsored by Hart House and was on display from March 30 to April 11, 2023. Please contact Gallery 1265 for archival or further inquiries.

Neutral #1 (Golden Hour)

Street Sign

FJE

Big Graph

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