SPUD COUNTERS WAR ON GRAFFITI WITH GALLERY EXHIBIT

SPUD holding up one of his artworks of Ford’s face. Jelena Subotic/Gleaner News

By Jelena Subotic

For the first time ever, SPUD, one of Toronto’s most reputable graffiti artists, opened a show of recent works focused on Mayor Rob Ford’s war on graffiti.

Censored, a show of his work that appeared at the Don’t Tell Mama gallery (108 Ossington Ave.), is on canvas for the first time in his career.

The exhibit focuses on Ford but it also shows SPUD’s true artistic side.

Ford’s war on graffiti pushed SPUD to raise his own war and use the mayor as inspiration in his recent work.

“He raised war, so fight back. I’m doing it anyways, so might as well do it, and have fun with it,” SPUD says.

Ford declared a war on graffiti last April and it has encouraged SPUD and other graffiti artists to do more art. “It helps having Rob Ford around to provoke some of these artists and because of them being provoked and having the heart to go out and do stuff, their arts excelled because of it,” said SPUD.

Ford was invited to the show’s opening, but declined due to prior engagements.

The show consisted of about 50 to 60 pieces incorporating SPUD’s take on Ford and the city. One of the pieces featured in the exhibit, “Going off the Rails on a Gravy Train,” shows Ford as a locomotive literally going off the rails into a pit of gravy and fries.

The owner of the gallery, Paolo Dalla Rosa has represented SPUD and other graffiti artists when others are not willing to. “Although it may be considered criminal, it doesn’t delegitimize these guys, these street artists. It doesn’t delegitimize their art, and it doesn’t delegitimize them,” said Dalla Rosa.

Ford sees the graffiti debate differently. Once he launched his attack on graffiti, he also forced property owners to clean graffiti off of their buildings, and charge them for the work.

“Not only has [Ford] declared the war on graffiti artists, he’s making victims out of these small business owners by giving them deadlines, making them pay for it,” says Dalla Rosa.

What SPUD and Dalla Rosa hoped to achieve with the exhibit is emphasize the war on graffiti and the culture shift graffiti and street art have taken.

The exhibit gives a voice to graffiti as an art form, and both SPUD and Dalla Rosa think the conversation between graffiti artists and the city needs to change.

One way to do this, according to Dalla Rosa, could include working with the artists.

“Ford has not hid the fact that he doesn’t support the arts, and especially graffiti. What I think is dangerous is to ignore these things and to try and supress them, the way the mayor is,” Dalla Rosa says.

“What people don’t understand people are scared of. Graffiti is an art form they can’t control, that’s also why it’s easy to pick on us,” SPUD says.

Shifting perceptions with any art form takes time. “There’s more recognition being given now, which is good, but this doesn’t happen overnight. It took one stupid thing like this to finally get realized,” SPUD says.

But, with Ford as mayor, the graffiti war will continue, says Dalla Rosa.

“Just declaring war is just absurd and declaring war on your own citizens, it blows my mind. Hopefully our city will learn not to elect these right winged lunatics.”

Right now, graffiti is not an acceptable art form, SPUD says. But shedding light on the issue through the show is a start. In the meantime things are changing and will continue to change.

“Vote for me. SPUD for mayor.”

EMERGING ANNEX ARTIST IS GAINING LOCAL AND INTERNATIONAL RECOGNITION

Suritah Wignall has earned local and international recognition for her Afrocentric paintings. Jelena Subotic/Gleaner News

By Jelena Subotic

Suritah Teresa Wignall, an emerging African-Canadian visual artist and Annex resident, is an accomplished painter who also takes time to volunteer in the community.

Wignall has earned local and international recognition for her Afrocentric paintings—portrayals of women who define beauty and strength.

“I do focus on women of colour and I just want to see us more in beauty. I want to create that balance, just show the beauty and fill in that gap,” Wignall says.

Wignall’s work has been exhibited in local galleries, from the Gladstone Hotel (1214 Queen St. W.) to the Manifesto Festival, and held her first solo exhibit at A Space Gallery (401 Richmond St. West) in 2010.

International recognition is on its way as well. The African Museum of Contemporary Art in San Francisco is interested in showing her work, and she’s getting phone calls from South Africa.

It first started when Wignall exhibited her art in Toronto when she was eighteen. Not in a show, but impressive nonetheless. Wignall designed dressing rooms for acclaimed American singer-songwriters Erykah Badu and Alicia Keys. “I would go in their dressing rooms and do a mini-exhibition, and do the interior design. I got to meet the artists,” Wignall explains.

Since first meeting Badu, Wignall has had the opportunity to collaborate with her. Because of this, she is getting recognized broadly. Wignall says that she is currently focused on reaching out to America and Europe.

“Right now it’s all about making these phone calls and making these connections with museums and galleries, really branching out there. People are hearing about this, that’s the beauty of technology,” Wignall says.

She won The Dr. Paul Garfinkle Award from University of Toronto, which acknowledges young entrepreneurs. “I thank the art foundation; I thank the Toronto Arts Council, Ontario Arts Council. They noticed all of the work I have been doing throughout the years. I’m thankful for the community papers,” she added.

On top of all this, Wignall is also involved with facilitating art for women. Giving them a space to create, Wignall finds it rewarding because she’s giving back to her community.

“I’m working with women in my community, and then I’m working with women from all over the world,” she said.

She wants aspiring artists to know that a full-time art career is possible. Wignall explains that it is important to also know the business side of things, something many artists struggle with.

“It’s also important to study other artists, and also make connections, not only in Toronto, but outside of the city,” Wignall adds.

She has put herself and her art out there. “That’s something that I would also tell artists, if there’s somebody that really inspires you or motivates you, try and get in contact with them,” she says.

And by doing that, Wignall has come very far. “I feel like I’ve accomplished a lot but I also feel like I’m just beginning. When you do your passion, the universe supports you. You stick with it because that’s what you want to do.”

LOCAL AUTHOR TO BE FEATURED AT TORONTO WOMEN’S BOOKSTORE BOOK LAUNCH

Eva Salinas holds her first published book, "Latin Americans Thought of It: Amazing Innovations." Jelena Subotic/Gleaner News

By Jelena Subotic

With her first book published, and a launch scheduled for the end of April, Eva Salinas is excited about the opportunities coming her way.

The local resident and journalist Salinas is now an author of a children’s book, Latin Americans Thought of It: Amazing Innovations. The book is the fifth installment in Annick Press’ ‘We Thought of It’ series, which looks at the innovations and traditions of different cultures.

“I thought [this was] a great opportunity to learn more about Latin American culture and history, and in the end have a published book. It was a great idea,” says Salinas.

Before the prospect of the book came about Salinas was working at The Santiago Times, Chile’s English-language newspaper. She had moved to Chile from Toronto to get in touch with, and learn about, her cultural roots. It was Salinas’ first time living in South America and it introduced her to many different Latin American cultures.

“I wasn’t born and raised in that culture. In order to feel more connected to the culture I definitely wanted to go and live there. I have no doubt that it changed my path immensely,” she says.

As a journalist, Salinas has been able to travel and work in many different countries. Salinas worked with Journalists for Human Rights in Ghana, and that experience opened her eyes to the challenges of development and the importance of shared learning when travelling to a new culture.

“I’ve always had a loose definition of what a journalist is for me,” says Salinas, and because of that, she also spent time doing non-traditional journalism, whether with non-profit groups or media outreach.

Salinas wasn’t thinking about publishing a book until Annick Press approached her with the idea as an open concept. It gave Salinas the opportunity to write about the topics that interested her or that she wanted to learn about.

“I never imagined my first book would be a children’s book. I was ready to move on from the paper and try something new. I felt the timing was right,” Salinas says.

The project has opened new doors to her, and Salinas says the book is a great first step to other writing projects. She is embracing the moment, and is excited for her book launch on Apr. 28. The launch will celebrate “with the community, whether that’s the Latin American community, or the Annex community,” and all are welcome.

The launch begins at 2 p.m. at the Toronto Women’s Bookstore (TWB; 73 Harbord St.). For more information about TWB, visit http://womensbookstore.com/.

CITY WIDE POSTERING BYLAW SLAMS LOCAL BANDS AND VENUES

With bylaws now being highly enforced, postering is now subject to stiff fines for businesses, promoters, and bands. This photo was taken in 2010. Perry King/Gleaner News.

By Jelena Subotic

It looks like Mayor Rob Ford has picked another fight.

A city bylaw created by Municipal Licensing and Standards is cracking down on posters taped or glued on hydro poles, bus shelters, and parking meters. This has bands, venues, and even event organizers scared because the bylaw would slap a fine up to $500 per poster.

The bylaw has been on the books for years. It was originally created in 2006, but only adopted in 2010 [pdf] when Ford started city-wide attacks on the posters.

In 2007, the city signed a 20-year period agreement with Astral Media for street furniture, which includes 2,000 postering boards and 500 postering columns. The final design of the columns, scattered around the city in odd spots, give more space for posters than existing options. But, there are very few columns. Any poster found on anything but sanctioned kiosks would be considered illegal.

Venues, including Lee’s Palace (529 Bloor St. W.), Horseshoe Tavern, and Clinton’s (693 Bloor St. W.), are getting fined because they are easier to track down.

Bands are also being fined. In 2008, Toronto band Spiral Beach was fined $1,470 back in 2008 for putting up a handmade poster on one of EcoMedia’s bins, the same company that operates Toronto’s SilverBox recycling bin program.

Under the bylaw, the city can charge the venue, band, or event organizer for the illegal posters. Some do not think it’s fair for venues to be charged because they are easiest to track down. Some think the promoters should be held accountable. They are also wondering why nightclubs and major advertising companies are just shrugging off the billboard and sign by-laws, while slamming local bands and small venues with hefty fines.

“I don’t even try and put posters up on street poles because they either get taken down right away or the law gets involved,” local musician Sam Cash says.

Cash has heard stories from friends fined when bands play their venue and have the name of the bar on posters. It is more effective to put up posters inside shops, record stores, and bars, says Cash.

“Kensington is a really good place to poster inside stores. Everyone seems really cool about supporting local music there,” Cash adds.

Matthew Almeida, an independent promoter, says that the bylaw has ruined one of his best methods for advertising. The advantage of social media helps with promotion, but “it limits my ability to draw in new people who might be interested in the sort of events I am hosting,” he says.

Smaller local bands turn to postering to promote shows and their businesses downtown. Advertising campaigns are costly, so bands like Spiral Beach make their own homemade posters and glue to keep things cheap.

“For the small independents, who were photocopying black and white drawings, it seems unfair,” says Almeida, comparing smaller scale to corporate based promoters, who can put up larger posters in higher amounts.

Cash thinks social media has an advantage, and wonders if posters are essential for promoting shows anymore. “Back in the 90’s, at the beginning of the whole [Do-It-Yourself]/indie scene in Toronto, street posters were essential in promoting a great show. Now, I’m not so sure,” he says.

In January, former Councillor Howard Moscoe told the Globe and Mail that Toronto’s “sign bylaw is a complete and total disaster.” This is because the law is poorly advertised and is very broad, he says.

The bylaw also stokes up the issue of free speech for Almeida. The Supreme Court has protected postering rights, but because the poster is an advertisement, it is unprotected as creative expression. Others would argue that postering is freedom of expression.

“Individuals have long used postering as an effective and inexpensive means of communicative expression,” said Justice John Laskin to the Toronto Star in January.

“It’s already a difficult task to turn a profit,” Almeida says, who says his friends are losing income because of the by-law.

The city is trying to save money and make profit, yet it’s a “waste of money the city has decided to use … that plastic coating on lamp posts in the Annex,” says Almeida.

“Now the city has taken away our cheapest and most effective ways of marketing.”

TAKING A FIRST LOOK AT THIS YEAR’S JANE’S WALKS

By Whitney French

Lace up your sneakers and get ready to walk it off! Since 2007, the first weekend of May has been slated for the annual Jane’s Walk, an urban neighbourhood walking tour that honours urban advocate and author Jane Jacobs.  In the spirit of Jacob’s cause, Jane’s Walk embraces civic engagement by offering free walks led by enthusiastic locals who recognize pedestrian-focused landscaping over vehicle-centric interests. This year, a confirmed 170 walks are scheduled and thousands of Torontonians are expected to participate.

[pullquote]Jane’s Walk is always looking for volunteers to assist with various tasks, including coordinating, photographing, and tweeting walking tours. Individuals can choose specific walks they wish to volunteer for. See www.janeswalk.net for more information.[/pullquote]

The Toronto City of Labyrinths Walk offers a unique perspective of city-bound labyrinths. Himy Syed, founder of the Toronto City of Labyrinths Project, leads this walk for the second time. Beginning at Christie Station, Syed discusses the origin of labyrinths, their trans-cultural nature and their contemporary relevance, despite the fact that they have been used for centuries.

Walkers will learn about the misconception that labyrinths and mazes are the same; a labyrinth has one entrance, a center and a path in which it is impossible to get lost. Labyrinths are an appropriate theme for a Jane’s Walk since, according to Syed, “mazes are like traffic and labyrinths are like walking.”

Walkers participating in The Toronto City of Labyrinths Walk can expect to learn about different types of labyrinths, including ancient models to more modern, mathematical examples. And, naturally, a portion of the walk will be reserved for walking a labyrinth in Christie Pits Park.

“There’s no right or wrong way to walk a labyrinth. Kids never walk labyrinths, they always run,” Syed laughs.

After creating over 80 of them across Toronto, Syed paints these beautiful walkways as a response to the events in the city. Whether it is a reaction to the 2009 garbage strike, a broken public fountain in a park or neighbouring violence, all of Syed’s labyrinths have a purpose. The Toronto City of Labyrinths Walk is scheduled for May 5 at 5pm, but come early as last year over sixty people attended.

In the theme of political response, the recent subway versus LRT debate sparked criticism of the effectiveness of streetcars along St. Clair. The popular Twitter trend inspired the #StClairDisaster: Seeing is Believing Walk led by John Lorinc.

While walking along St Clair West between Bathurst and Dufferin, and then riding it out to Gunn’s Loop, Lorinc invites participants to travel around his neighbourhood and explore the current growth, decline, and overall development of St. Clair’s real estate and businesses. Walkers can expect to learn stats about St. Clair’s economy, demographics, and accident rates, while investigating why some businesses thrive and others fail in the area. Lorinc hopes to share his perspective on how the street responds to the right-of-way. There are multiple uses of the street, and the streetcar plays a vital role to the function of St. Clair West.

The goal of the #StClairDisaster Walk is to have “people speak for themselves,” as Lorinc strongly encourages audience participation. Torontonians have been “told certain things” about St. Clair, and this walk acts as a dialogue to address conflicting stigmas, share pedestrian experiences, and discuss the broader trajectories of the neighbourhood.

John Lorinc led two walks last year and has been “discovering city stuff” for over fifteen years. He is a columnist for Spacing, The Globe and Mail, The Walrus, and Atlantic Cities with a special focus on urban affairs and municipal issues, as well as energy and the environment. The #StClairDisaster Walk is scheduled for May 5 at 2pm.

Other Jane’s Walks to keep on the radar: Wizard of Ossington Jane’s Walk, Graffiti in Toronto, and Liberty Village: Change is Good.

Be sure to have comfortable shoes for May 5th and May 6th for this year’s Jane’s Walk line-up. Know the city, know the community, know your neighbours.

Alice and Dan Heap had this photo taken for Dan's Holiday season householder in 1993. They stand on the porch of their home at 29 Wales Ave. in Kensington Market. Courtesy David Smiley

By Lee Zaslofsky

On March 24, just as the NDP was choosing its new Leader, Alice Heap passed away. I learned of it on Facebook, from a short message posted by her son, David.

Alice Heap was married to Dan Heap, who represented Downtown Toronto at City Hall and then in Ottawa as the NDP Member of Parliament for Spadina (now Trinity-Spadina).

Her death saddened all who knew her through her incredible range of activism for social justice, peace, women’s rights; at Holy Trinity Anglican Church; and as a Co-Op Housing Coordinator.

Alice and Dan could be called a “power couple”, though their power grew out of their commitment to the ideals for which they worked together throughout their lives. Dan relied on Alice for support and understanding, certainly. But, Alice was also his most efficient organizer, best political fundraiser, and his unfailing source of principled, savvy counsel on the many issues he had to confront in his long political career.

Dan and Alice were the first of three “power couples” who, beginning in the late 1960s, and continuing until August last year, led and fostered the community activism and progressive politics that have become the hallmark of our way of doing politics in downtown Toronto.

Alice’s and Dan’s home at 29 Wales Ave. in Kensington Market became a focal point of activism when Dan made his first run for office as NDP candidate in Spadina in 1968. He won that nomination by defeating Paul Copeland—now a leading human rights lawyer. But he lost the election to Liberal Peter Stollery in the wave of Trudeaumania that swept the country that year. Dan ran again in 1971, this time as the NDP provincial candidate for St. Andrew-St. Patrick. In a hard—and Dan thought unfairly—fought election, he was defeated by PC Cabinet Minister Allan Grossman, who had snatched the riding in the 1950s from J.B. Salsberg, a Communist.

Dan ran for City Council the next year. This time, he won. I remember his triumphant promise at his victory party: “We’re going to organize the ward!” He didn’t just mean organize to win elections. He meant organize to build active, democratic participation by residents.

Alice and Dan shared a commitment to socialism—not “big government”—but real democracy that goes beyond elections and becomes part of the fabric of everyday life. Democracy that starts with neighbourhood issues, and grows to include issues that affect the whole city, the whole country. Participation that makes it possible for working people to have a powerful influence on their communities, on their governments.

In those days, each ward had two aldermen. Dan was paired with Bill Archer, an independent-minded Conservative. Dan and Bill got along personally, but politically not at all.

About that time another couple began to be involved in community activism. Allan and Susan Sparrow were progressive, brilliant, and committed to much the same agenda as Alice and Dan Heap. Allan and Sue, along with many others, formed the Ward 6 Community Organization.

The W6CO shared Alice and Dan’s commitment to community activism, though they were not members of a political party. The 1974 election was coming up, and Allan suggested that W6CO nominate a full slate of candidates: two for alderman, two for school trustee. The idea was that this way, Dan’s “second votes” wouldn’t go to Bill Archer, but to a like-minded candidate.

In 1974, the W6CO ran a full slate: Dan Heap and Allan Sparrow for alderman; Dan Leckie and Bob Spencer for trustee. All of them won. The two “power couples,” Alice and Dan, Sue and Allan, worked well together—the Heaps in the western part of the ward; the Sparrows in the east. They joined with the progressives on City Council, led by Mayor David Crombie, and began an era of creative, progressive, activist government that many now remember as almost a Golden Age when the City stopped kowtowing to developers and started listening to residents.

The two power couples continued their cooperation through three elections, until Allan Sparrow decided to step aside. Please don’t get the idea that these couples went around telling everybody what to do. Their power was as catalysts, teachers, fellow activists.

In 1980, with Allan stepping down, W6CO needed a candidate to run alongside Dan Heap. We ran a full scale nomination process. Two men came forward to seek our endorsement. George Hislop, a longtime activist in the gay community, and a young professor of political science at Ryerson, Jack Layton. It was a hard fought nomination battle. Each contender signed up hundreds of new members. The meeting was held at City Hall. George Hislop, who wanted to be the first openly gay politician ever elected in Canada, won the nomination. Despite a strong campaign Hislop lost the election to Gordon Chong, a Conservative.

In 1981, Prime Minister Trudeau decided to kick Spadina MP Peter Stollery upstairs to the Senate to clear the way for his closest advisor, Jim Coutts to run for Parliament in the “safe” Liberal riding of Spadina in a by-election. He reckoned without Alice and Dan Heap and their years of work in building an active community with progressive values. In 1981, Dan was the NDP federal candidate in Spadina once again. On the slogan “Let’s Put the Boots to Coutts,” and with Alice’s organizing at full throttle, that’s exactly what he did. Dan Heap became MP for Spadina. He was reelected in 1984 and 1988.

Now we had a problem: who to run to replace Dan Heap, and who to fill the second spot on the slate. Jack Layton came forward again. His running mate, chosen after a hard-fought nomination battle with labour activist Winnie Ng, was tenant leader Dale Martin. This time, Gordon Chong was sent packing, and downtown Toronto again had a full slate of, by now, NDP aldermen and trustees.

Jack Layton and Dale Martin won again in 1985 (now terms were of 3 years). On the Trustee side, there were two women: Joan Doiron, a dedicated community activist who had been elected in 1982; and Olivia Chow, Dan Heap’s former constituency assistant (with Dan Leckie). A new Power Couple was about to be formed.

Jack and Olivia had a lot in common, politically at first, then in so many other ways. Both full of energy, both committed to the kind of politics Alice and Dan Heap had brought to downtown Toronto, both brilliant and charismatic. At City Hall, Jack added Dan Leckie—also brilliant and deeply committed to community activism—to his office team. The three of them were very close, each bringing complementary gifts and a Heap-like commitment to their activism. Later, when Dale Martin decided not to seek re-election to Council, Olivia replaced him on the slate, and Jack and Olivia served together on Metro Council.

This third Power Couple, Jack and Olivia, lost their dearest friend and counsellor, Dan Leckie, when Dan died suddenly and prematurely. So Dan was not around when Jack moved over to represent Toronto-Danforth on City Council; and then to represent it in Parliament. He wasn’t around to see Olivia elected to Parliament, to serve again alongside Jack.

Last August, this third couple was dissolved by Jack’s untimely death. Allan Sparrow had died several years before, after putting his activism to work trying to stop the Island Airport from expanding as one of the leaders of Community Air. On Mar. 24, the first of our power couples was dissolved, this time by the death of Alice Heap—mother, grandmother, organizer, teacher, example, and friend to so many people.

Alice and Dan Heap laid the foundation of an approach to community and politics that joined activism, democracy, compassion, and principle. Or, to put it in Jack’s words “Love, Hope, and Optimism.” All of us in downtown Toronto have benefited by their commitment, and their love for each other and for us, their neighbours. Let’s be sure to keep that legacy alive and growing. Or, as I’m sure Alice would say “Don’t mourn for me. Organize.”

CLAMP-ON LIGHT PROJECT HAMPERED BY DELAYS AND CONFUSION

Twenty-one Clamp-on lights, like this one, have been installed on side streets along Bloor Street in the Bloor-Annex area by Toronto Hydro. Jelena Subotic/Gleaner News

By Mike Shulman

Miscommunication between the Bloor-Annex Business Improvement Area (BIA) and Toronto Hydro has resulted in delays and possibly increased costs for the second phase of the BIA’s clamp-on pedestrian lighting project.

The plan was to install 15 clamp-on street lights to Toronto Hydro poles, along side streets in the Bloor-Annex area, just off of Bloor Street.

It appears as though the project has hit a snag in its development.

“We wanted them up months ago. They were supposed to be installed in early 2012. I would’ve expected them on the streets by now if you had asked me last year,” said Wade MacCallum, chair of the Bloor-Annex BIA.

These delays appear to be occurring, in part, due to restructuring at Toronto Hydro. In 2005, the city sold its street lights and poles to Toronto Hydro to raise $60 million.

According to John Kiru, the Executive Director of the Toronto Association of Business Improvement Areas (TABIA), when the city was in possession of the poles “we had agreements and arrangements with [the city] for some preferred pricing in terms of mounting hardware on them and using them for seasonal lights, banners, plants, and even clamp-ons. Once they were transferred over to Toronto Hydro a whole different set of rules applied. That was sort of the ultimate unintended consequence. I don’t think anybody had any idea of how much more legislation would come into effect and how many more restrictions would come in for the poles once they were turned over to Toronto Hydro,” said Kiru.

Phase one of the project led to the installation of 21 clamp-on lights on Bloor. The Bloor-Annex BIA is awaiting approval for phase two.

Toronto Hydro has since reconfigured the process in which approval is granted for pole attachments. There is now a formal pole attachment agreement that was not a part of phase one of the clamp-on lighting project. The Bloor-Annex BIA is one of 36 (out of 70) BIAs which have not signed that agreement. The agreement “makes it easier for the specific attachments to get approved, and lays out who’s responsible for what” said Joyce McLean, director of strategic issues at Toronto Hydro.

MacCallum is concerned that BIAs could incur increased costs due to new restrictions and rumoured new requirements for phase two of the clamp-on design.

“First off, there are the fixed costs for the engineering report—we need new engineering reports.  [There are] secondary costs, because now we require … or supposedly require a conduit outside the telephone pole—that’s not as simple as it sounds. It is a very unique type of conduit in the way that it is installed, drilled, etc., and that’s going to add to the installation costs,” said MacCallum.

In phase one, the Bloor-Annex BIA was allowed to drill into the poles to feed the lights. In phase two, it appears that “[Toronto] Hydro might have some concerns how that affects the integrity of the pole,” said Mike Major, manager of BIA office at the city.

Additional design costs have been pegged at around $1,700. This would cover new electrical engineering plans.

McLean could not divulge any details about design changes at this time.

Any increases in costs would be shared 50/50 as part of the city’s BIA Capital Cost-Sharing Program. The program is funded on a 50/50 capital matching basis for streetscape beautification projects for all the BIAs.

In the meantime, the project remains at a standstill as the Bloor-Annex BIA is currently looking over Toronto Hydro’s pole attachment agreement.

“We want to ensure that we’re supportive of the small business community across the city, as they give a real flavour to the City of Toronto and we’re working collaboratively with them and the city. Obviously, there has been some confusion with this particular BIA in terms of process,” said McLean.

LOCAL ARTISTS CREATE COLLABORATIVE CONTEMPORARY PROJECT

By Jelena Subotic

Local artists Pascal Paquette and Sean Martindale have joined forces in a collaborative project just one of many featured in the Art Gallery of Ontario’s Young Gallery (317 Dundas St. W.).

Their project centres on a collaborative and do-it-yourself structure. Paquette and Martindale use their different art backgrounds to incorporate fine art, design, graffiti, and painting into their works. The pieces featured range from video, projections, and sculpture. One piece in particular, Now Up, incorporates mixed media and video projection and captures the changing appearance of a wall as Paquette and Martindale repeatedly write “now” in new and old graffiti styles.

Their NOW  installation is collaborative and interactive in nature because it gives visitors a chance to post their own answers on the comment wall.

Questions like “What defines our current moment?” and “What’s on your mind now?” enables people to contribute their own thoughts to the artwork.

Martindale graduated from Emily Carr University and completed his MFA from OCAD University (100 McCaul St.). He mixes fine art and street art with works of natural elements and recyclable materials.

A graduate from La Cité Collégiale in the graphic arts program, Paquette mainly paints, but also works under the name Mon Petit Chou as a graffiti writer.

Collaboration is a central theme with each piece, whether it is with each other, the audience, or other local artists. Paquette and Martindale build on the idea of community existing in art. Whitewash  is a video that includes local street art and graffiti artists that each individually paint onto a communal wall. At the end, the wall is painted over by Paquette and Martindale, and then another artist uses the space. The piece represents the reality graffiti artists face when their artwork is whitewashed by the city and other artists.

Paquette says that there are two things with collaboration, “direct collaboration,” which Paquette, Martindale, and Katherine Dennis, curator of the NOW exhibit, are involved with, and “collaborating with the audience,” being able to engage everyone.

Martindale explains that because Whitewash  is still ongoing it requires a lot of hard work for both himself and Paquette. Usually at night, they film themselves painting over the wall which is time-consuming but also involves a lot of dedication.

Because of the kind of work he does, depending on the size of the work, “physically they’re challenging, economically they’re challenging,” Paquette says, “As an artist you need to figure out how to make your ends meet and that forces an artist to become more serious.”

Paquette always enjoyed making art but was first interested in pursuing it as a career when he was introduced to Alex Colville on a school trip to the National Gallery of Canada in Ottawa. His teacher explained that Colville is a living artist, a painter that has his work exhibited in galleries, and Pascal says at that moment he thought, “Okay, that’s the job I want.”

Taking inspiration from his daily environment, Paquette says that he goes around the city to find these big walls that he thinks would be great if they were filled with positive art. “I want to give something to my environment, at the same time I want to discuss my environment with others in it.”

He considers himself as a chameleon artist, working with different forms of art Paquette is “not an artist that just does one thing,” but rather his “take on art, that stays the same,” is the advice he gives to young aspiring artists. He says “to really keep going, exploring your voice and add your voice to a bigger conversation.” Networking is extremely important, “but be yourself, talk to your audience as well, don’t just talk to the people you feel matter, talk to everyone.”

The shift street art and graffiti has made—by making a presence in galleries and museums—is something Paquette knows a lot about. He says this shift is extremely important because without it the art scene would be boring. Adding, “Street art in a way, like a lot of forms that are completely different from the norm, challenge the norm.” He says that shifts are important but “happen not because of a select few,” but rather “they happen when everybody decides it’s time to change.”

These projects demonstrate that Toronto has a voice in the art scene and has a lot to offer, Paquette adds. “Toronto is still trying to get on the art world map,” and has some great talents.

There has been a push-pull effect, he says, with some graffiti artists not wanting graffiti in galleries and others for it. “The street artists that do have problems with street art being in galleries generally are talking to themselves,” and it’s important to recognize “the ones who are saying worthwhile things open up to a greater audience.”

The project, featured in the Young Gallery, is part of the Toronto Now series which includes contemporary art projects by local artists. About every two months a new project takes over the gallery.

The NOW exhibit, curated by Dennis, ended April 1. Young Gallery invites the public free of charge and encourages visitors to stay and interact with the art, while even providing a work space and free Wi-Fi access.

THE GLEANER SITS DOWN WITH LOCAL CROONER SAM BROVERMAN

Sam Broverman, a tenured professor of Actuarial Science at U of T, finally found a chance to professionally recorded a jazz album after singing all his life. Perry King/Gleaner News.

By Perry King

When it came time to choose a graduate program, a young Sam Broverman was at a crucial crossroads of his existence.

A Winnipeg native, and singing for most his life, Broverman also came to enjoy mathematics. As a math undergrad at the University of Manitoba, Broverman had applied to graduate programs for both music and mathematics. He was accepted to both programs, but U of M only permitted him to choose one program.

With his first studio album, Dream Maker, Heartbreaker: Sam Broverman Sings Johnny Mercer, under his belt, I sat down with Broverman at Diverso restaurant (328 Dupont St.) to pick his brain about that crucial decision, and life since then.

Broverman’s formative years struck an uncanny balance between music and math. “I sang professionally when I was a university student. It helped me pay my way through,” said Broverman, who made appearances at cabaret shows and CBC radio and television at the time.

But Broverman’s aptitude for math was strong, and he decided to join the Faculty of Science. “I knew that an arts-singing-performing-oriented career is a tough road. People love it and they do it, and you have to sacrifice for it. But, I didn’t love mathematics any less, and I felt that I could have a good career on the math side and be able to continue musically.” And he did, continuing informal vocal studies at U of M, and performing in Winnipeg to fund his education.

Then real life kicked in. “When my PhD studies and the development of my career took over, I didn’t have as much time for music because, to be on top it, you have to devote yourself to it,” said Broverman, who is now a tenured professor of actuarial science at U of T, an institution he has taught at since 1980.

Broverman has come a long way, with academic stints at U of T in the mid-1970s, and a two years at the University of Texas. Broverman now resides in the Annex with his wife, Sue. He absolutely loves the neighbourhood. “My wife always wanted to be downtown, and I was a little resistant to it,” he said, but he eventually came around, and his family benefited from the central location—in close proximity to many activities for his three daughters and work for Broverman.

Looking back, deciding a math career was the right decision. “The only thing that I have a regret is that I didn’t spend as much time on formal musical studies. I had singing lessons, but if you go to a university program, you’re much more intensively learning history and theory.”

Being apart of the Toronto Mendelssohn Choir for many years satisfied Broverman’s passion for music when academia became his calling. “But the last few years, my kids have grown up, and the bug kind of took over.” Hence, the recording of Dream Maker, Heartbreaker, a channeling of ballads based on the recordings of jazz great Johnny Mercer. Produced by Ken Whiteley, the Juno award-winning mind behind the likes of Fred Penner and the Toronto Mass Choir, the album captures the time capsule of Mercer precisely.

Listening to the recordings, you immediately think of a big band, mid-1950s jazz ensemble, with Frank Sinatra laying down smooth vocals. Released in small circulation last year, the album has gotten positive acclaim. “Broverman really connects emotionally with the lyrics, and vocally he’s spot on,” said Harold Sanditen, of the Cabaret Scenes Review. “Broverman sings it with just the right amount of sweetness, yearning and poignancy,” said Sharna Searle, of the locally-published Whotenote Magazine.

With the very minor exposure on CBC radio and Jazz FM 91, Broverman has become very content with how his musical resume has developed. “I’m very happy with my career as a university professor, and I’m enjoying doing the singing. I don’t have any allusions about where that will take me, I’m just enjoying doing it. Broverman is planning on recording more music in the future, but he definitely is enjoying the ride.

For more information about Broverman and his musical work, visit www.brovermusic.com.

MEETING CALLED TO MEDIATE CURRENT NOISE DISPUTE

The first floor of CSI Annex (720 Bathurst St.) is now a large-scale space for events, including this launch of Spacing's national magazine in mid-February. Perry King/Gleaner News.

By Perry King

The issues that have plagued residents of Markham Street and the Centre for Social Innovation for nearly a year has resulted in a public meeting to sort them out.

On Mar. 27, this meeting—called by Councillor Mike Layton (Ward 19, Trinity-Spadina)—will discuss significant noise and facility usage conditions between CSI, who acquired their Annex building  (720 Bathurst St.) in 2010, and the longtime residents who directly reside across the alley. The local community has been invited to sit in and contribute to the meeting.

Much of the current dispute was initiated when CSI informed Markham residents of construction of CSI Annex’s first floor, now a 7,000 square foot facility. CSI had informed the residents that the work would require an adjustment to the space. Many of the residents were fine with an adjustment, and implicitly assumed the space would be used for meetings, conferences, and the like. The subsequent events after the committee hearing were not pleasant. “First off, we had no expectation [that] the construction process would be such a protracted, and messy one,” said Roy Sawyer, one of the residents.

Ken Balderson, in an email on behalf of the residents, cited that the construction obstructed access to garages. As well, “they left garbage strewn all over the alley. Heavy equipment ripped up the roadway. Although complaints were lodged for months, CSI was unable (or unwilling) to resolve the problem,” wrote Balderson.

CSI, despite being perceived by some residents to be negligent and cold, have been trying to empathize act in the interest of the residents. “Before the noise issue, our construction general manager and his trades frequently parked their vehicles in the lane behind the building, also causing a disruption. I spoke with the tradespeople, but they often continued to park in the alley, forcing the neighbours to complain and take action,” wrote Colleen Diamond, CSI Annex’s community animator.

CSI then began licensing their space for various events in December and January, and the situation became too much to bear. Donna McFarlane, also a Markham resident, cited vibrating floors and loss of sleep. When Layton’s office received word of these issues from some residents, they called the meeting, offering to host. “I can say quite clearly, that if we had known they had intended to play amplified music and serve alcohol late into the evening, I think we would have raised a concern with the Committee of Adjustment when we got the request,” says Sawyer,  who endorses CSI’s purchase and repurposing of the building, but has found this experience jarring.

Eli Malinsky, CSI’s director, says they have also made internal adjustments in order to be more considerate. “We’ve reduced the number of late night events, ensured that a paid CSI representative is on site, and lowered the volume of music that is played in our space. I think we are on the road to sorting out the challenges we’ve been experiencing and establishing a positive relationship with the community,” wrote Malinsky.

Erin Cluley, who runs the CSI Annex Coffee Pub, says that the facility is also seeking a liquor license, rather than acquiring Special Event permits for late evening events. “ Having a liquor license, rather than working off of special event permits, can and likely will help regulate the events situation here. We want them to know that we are looking to add more professionalism with the liquor license, and not the opposite,” she wrote in an email.

The March meeting will be the first formal face-to-face discussion of issues. They are staying tight-lipped about what they would like to see emerge from the meeting, and Malinsky says that they will take a lead from how the discussions emerge.

Markham Street residents are not unfamiliar with noise disputes. McFarlane cited a healthy exchange of ideas with Victory Cafe (581 Markham St.) when the restaurant was planning for a patio expansion in 2010. The Victory does not get “extra privileges,” and neither does CSI, says McFarlane.

Sawyer would like the late night events to completely stop, but is open to compromise. He believes that CSI has used up the residents’ good will. “At this point, my feeling is I’m still happy with CSI as a neighbour. They’ve made a couple of fairly serious missteps in terms of having good neighbourly relations,” said Sawyer. “I’m looking forward to the meeting on March 27, and I’m really hoping that the CSI team are going to address the current issues in a forthright and leaderly [sic] fashion, and that they’re also going to demonstrate to us, in good faith, that they want to be good neighbours and that we’re not going to have an ongoing series of neighbourly disagreements.”

Gleaner Community Press, a former tenant of 720 Bathurst prior to and after the acquisition of the building in 2010, moved out of the facility in early January.

The meeting takes place March 27 in the first-floor of CSI Annex, beginning at 7 p.m.

HISTORIC THEATRE OFFERS EXCITING SCREENINGS FOR LOCAL RESIDENTS

Bloor Hot Docs Cinema opened Mar. 14. Renovations had been ongoing since last summer. New chairs, theatrical lighting, and surround sound are new additions to the updated theatre. Courtesy Joseph Michael.

By Alexa Huffman

New chairs and a screen are the first sight seen when entering the newly renovated Bloor Hot Docs Cinema (506 Bloor St. W). These are not the only changes to be found.

The projectors have been refurbished. There is surround sound, theatrical lighting, and a public address system to help assist in live events.

The changes, along with the partnership between the Hot Docs Canadian Documentary Festival and the Toronto-based filmed company, Blue Ice Group, are set to serve the Annex community.

“We met with hundreds of community members, local businesses and audience members over the past eight months and incorporated as much of their input as possible,” said Chris McDonald, HotDocs’ executive director.

“These are difficult times for the arts and cultural community in this city,” said McDonald, in his opening speech of the special media preview on Feb. 29. He has high hopes for the theatre as it will be hosting not only the Hot Docs Festival this April, but will continue to rent the theatre to other local film festivals.

Neil Tabatznik of Blue Ice is also very optimistic about the opening as he talked among the ladders and drywall on the stage. He says the sound and the fury of documentaries are being lost on the computer and television screens at home.

“That’s why the idea is to create a home for permanent documentary releases is great,” said Tabatznik. “Build it and they will come.”

The home has been months in the making. A large part of the responsibility has been on architect Siamak Hariri, who Tabatznik says “… changed the tired old lady into the beautiful women that she is.”

“We engaged in an interesting process which is the story of Toronto,” says Hariri. “It’s a wonderful combination between memories and desire.”

Hariri utilized all the space available, looking at old pictures from the days when the Bloor Cinema was a vaudeville theatre. A person would walk into the middle of the theatre and see the stage. Today there is a glass screen where you can view the main gallery.

[pullquote]“Build it and they will come”—Neil Tabatznik, Blue Ice Group Principal Director[/pullquote]

It is a way to reclaim and rejuvenate the past while connecting with the technology of today. This is a passion of Robin Smith, the cinema programmer for Bloor Hot Docs Cinema. He is excited choose which documentaries to screen.

“I always knew there was a large documentary audience,” said Smith, who joined Hot Docs last August. “Stand up comic films are documentaries, concert films are documentaries, so you can really play around with this to appeal to people who wouldn’t even call themselves documentary fans.”

Although the cinema will mainly focus on documentaries, fictional films will also be shown, including cult classics. Smith says it’s all about having the community have a cinematic experience. “There’s something social, something warm and inviting,” said Smith. “Cinemas are a place to have discussions.”

Bloor Hot Docs will try to create this social atmosphere with filmmaker’s speeches and panel discussions.

The goal is to have an event theatre especially for Annex residents who have been heavily invested in what is going on in the cinema. “The Bloor was a landmark for the Annex and a staple for people who lived in the Annex,” said Smith.

“This is now [a] unique venue. It’s rare to find a historic cinema like this with its bones kind of kept the same but revamped into the 21st century.

Bloor Hot Docs Cinema underwent extensive renovations since the summer. Hot Docs and Blue Ice Films have been able to renovate and renew every last detail of the facility. The Bloor reopened its doors this month. Courtesy Lisa Logan.

With the screen capable of screening high definition movies and old reels, prices cheaper then mainstream movie theatres and old Bloor membership cards being recognized for finite period of time, there should be an eager audience.

“We know we have to open our doors and kind of re win people back,” said Smith. “I think we are all excited by that.

Doors open on Mar. 14 with a week of special screenings and events. The first public screening is Mar. 16 with a showing of Being Elmo: A Puppeteer’s Journey.

NEWSPAPER ANNOUNCES PLANS FOR NEW BUILDING

The site of future development of the expansion for the Globe and Mail offices is now a Toyota car dealership. Perry King/Gleaner News

By Alexa Huffman

The Globe and Mail office plans were received with applause on Jan. 30 after a community meeting unveiled the new design.

The new building (444 Front St. W.), lies just west of Spadina Avenue. It will replace the Toyota dealership currently on the site.

The local community meeting was held to discuss the 480,000 square foot proposal.  About 120 people showed up for the discussion. Councillor Adam Vaughan (Ward 20, Trinity-Spadina) described the project as moving very quickly.

“The building got applause at the end of the presentation, and at the end of the question and answer section so the neighbourhood is actually quite happy with it,” said Vaughan.

Kuwabara Payne McKenna Blumberg (KPMB) Architects and the Globe and Mail started planning in late December, working with Vaughan to create a proposal to submit to the city.

The building is an interesting piece of architecture that Vaughan describes as a rolled up newspaper shape.  “It looks like the Saturday morning paper when it gets dropped on your front step. It really captures the imagination of the neighbourhood.”

The office complex will include a large podium with a large multimedia event space and a restaurant. The podium will house the Globe and Mail’s newsroom and a mixed-use tower for tenancy. The architectural design invites people in with an open lobby. Visitors can also walk through the building from east to west. There is also a 300-seat venue in the front lobby. All this will allow the Globe and Mail to expand or shrink, depending the industry’s requirements.

[pullquote]“This is a real gift to the city. It’s ready to go forward”—Marianne McKenna, KPMB partner[/pullquote]

This part of the city was chosen because the Globe and Mail owns a large portion of land near Draper, Front, and Wellington streets and Spadina Avenue. “They were looking to stay in the same area,” said Vaughan. “They just wanted to redevelop their property.”

Not only do the offices open doors for the newspaper, other tenants will contribute to the Liberty Village neighbourhood, combining residential redevelopment and workspace. Vaughan said this is key to building a strong city.

The building will boast green technology, that lowers energy consumption, and there is talk of a miniature park area with network of small streets and walkways.

Liberty Village also benefits because the development will pull commercial development along Front Street, allowing the space to become more integrated with the city in the future. Right now there are condominiums in the area but Vaughan’s says the street life can be improved.

“With a strong tenant at Spadina and with major transportation at Union Station, the opportunity for some revitalization for some storefronts and building sites that are still in that part of the city is there,” said Vaughan. “The Globe and Mail may just be the catalyst to build a downtown west in this part of the city.”

As it stands now, the architecture provides no challenges, so it’s just a matter of getting the application approved and the building started. “There have only been a couple of buildings that have received this type of reception in this neighbourhood,” said Vaughan, who plans to help facilitate the development process.

Marianne McKenna, the partner in charge of the project from KPMB, also speaks highly about how the building will benefit the direct community of newspaper readers. “The news business is changing. The vision of the building is going to reflect so there is openness,” said McKenna. “The Globe and Mail can connect with the readers and customers.” “There are no challenging issues present,” said McKenna. “This is a real gift to the city. It’s ready to go forward.”