Decmber 98/January 99 issue - 401 Richmond

4 0 1 • R I C H M O N DDecember’98/January’99updateRichmondRichmondupdateP u b l i s h e d b y 4 0 1 R i c h m o n d L t d .volume 5number 6in sideT E N A N TP r o f i l eJohn BrownStudio2 6 2Attack Records (all Canadian recordand film company) — Studio 395R A F F L EDuring the HOLIDAY Marketplace,in support of Studio 123,Early Learning Centre,you can win artwork by•John Brown•Paul Fournier•David Pellettier•Jeannie ThibCall Sandra Lewis for details at(416) 595-5900 (ext. 31)Tickets: $5 each or 5 for $20One Stop Art Hop — A Free Event6th AnnualHOLIDAY Marketplace 1998Thursday December 10 - Sunday December 13Enjoy this free opportunity to experience the vitality of our diverse and creativecommunity. Find an original gift for the season: art, kilims, flamenco, furnishings,yoga, hats, fashions, bookarts, beadwork, tapestry, cards, wrap, ... and the café.LOWER LEVELThe Academyof Spanish Dance Studio B104Kaivalya Yoga Centre Studio 1FIRST FLOORKilim Crafts Studio 130Loftus Lloyd Café Studio 135YYZ Artist’s Ourtlet Studio 140Paper-E-Clips Studio 121Women’s Art Resource Centre Studio 122Pleasant Pheasant Studio 124Gallery 44 Studio 120A Space Studio 110HOURS:Opening Night:SECOND FLOORNaomi Jones/JB Fashions Studio 203Bond and Burton Studio 205Jim Smith/Humble Abode Studio 261Judi Frost Studio 277Gallery 401 Studio 240THIRD FLOORExpanding Boundaries Studio 372G76 Studio 389FOURTH FLOORGwendolyne Hats and friends /WarrenQuigley/April Hickox Studio 433Thursday to Friday 11:00 - 8:00 pmSaturday & Sunday 11:00 - 5:00 pmThursday, December 10 from 5-8 pmpage 1

Officials Visit 401Howard Hampton, Leader of the New Democratic Party and RosarioMarchese, Member of the Provincial Parliament for Fort York stopped by401 Richmond in October. The pair was interested in the building froma cultural point of view (Marchese is the province’s culture critic, raisingcultural issues in the legislature). According to Hampton: “401Richmond is a living success of community and commerce blending toput people and culture first. It’s a great building and an outstandingmodel of what we can achieve working together as a community.”Lesley Soden and Sandra Lewis (Studio 204) shared the history of 401with the politicians, guiding them around the building and introducingvarious tenants including Eldan Software (Studio 209), d~CodCode (Studio251) and A Space (Studio 110).Studio 123 design team from SUCH Design(left to right): Toula Zegas,Susan Chang, Lil Lummiss.Take the ChallengeMPP Rosario Marchese & NDP LeaderHoward Hampton converse with SandraLewis(Studio 204)SUCH a Design!SUCH Design is part of the group of amazing tenants at 401 Richmond who havehelped reinforce the building’s reputation as a supportive community by aidingStudio 123 and making it a reality. The centre has recently been the beneficiary ofseveral cash donations and other generous gifts-in-kind. Cuppa Coffee (Studio 104)led the way in reviewing their year end figures to find a $3,500 donation to help withconstruction costs; $1,700 in proceeds from a movie filmed at 401 by Eastern VisionProductions Inc. has been placed in Studio 123’s name (actually the company askedthat the funds be allocated in Mike Moody’s name for his role in facilitating the shoot);and Fraser Mustard & Founders’ Network (Studio 282) has madea significant contribution of $500 towards the‘Build-a Brick’ campaign.Susan Chang, Toula Zegas and Lil Lummiss of SUCH Design (Studio111) prepared striking plans for Studio 123’s interior with major designcredit going to Toula Zegas. “The project was a real challenge,” shesays. “We tried to create a welcoming space allowing parents tointeract with children and staff. Our aim was to keep the warmenvironment, the exposed brick and wood floors while still making thearea serviceable. Walls were kept low to allow sunlight to pour in, andstorage areas were carefully tucked away to maximize space.”As to why SUCH became involved, company President Susan Changsays: “I wanted to contribute to the 401 community (my favourite thingabout the building is its community), but I also have a personal reason:my son Shea (age 5 months) will be attending the centre, and I wantedto ensure that it’s a safe, productive and creative environment.”Volunteers Needed!Tenant Challenge: Studio 123 needs you. If eachperson in the building buys a brick (@ $20/$40) or abook of raffle tickets ($5 each/5 for $20), or makes adonation like Cuppa Coffee and Founders’ Network,then the centre can meet its start-up cost objective($60,000). Get involved now to make this the firstcommunity-sponsored, arts-enriched early learningcentre of its kind in Canada. Remember charitablereceipts will be issued for all donations.Many projects are underway at Studio 123, slated toopen in January 1999, but we still we need your help.Volunteers are urgently required to assist with thefollowing: building (furniture, cabinets), sewing(bedding, bibs), assemblage (cribs, shelving), painting(walls, furniture), cleaning (toys, furniture).A work party has been scheduled for Monday,December 7, 1998 from 3 to 7 pm. To volunteer yourtime and/or skills please call (416) 595-5900 and askfor Sandra Lewis (ext. 31) or Mike Moody (ext. 26).page 2

Here is the second installment of Michael Cochrane’s (Studio 219)excellent article on inspirational workplaces. Reprinted here withpermission from “Workplace News” (September 1998).Village in a box?Workplace of the future(Part 2)By Michael G. CochraneIn my last column, I described the veryunusual and creative environment intowhich I have moved my mediation andconsulting practice in downtown Toronto.My loft office is in an old warehouse whichhas been overhauled by some enterprisingarchitects.It seems as much thought has gone intothe culture of the building, as into its actualinterior design, and it is this that has gotme thinking about where we choose towork. In my previous column, I describedthe building as a kind of “village in a box.”What does that mean?To me, a village is an informal collectionof businesses, homes and communityconnections. In it, people work where theylive and live where they work. In a villageit would be impossible to separate acommercial problem from the experienceof the whole village. Equally, a successwould be cause for the whole communityto celebrate. In a village there arecommunity gathering places; there arepartnerships and there is co-operation forthe good of the whole. An importantcomponent of life in any small communitywould also be the intangible glue of culture,the sharing of music, art, literature and otherartistic skills. And finally, a village isgoverned more as a collective than as byany elected officials.The focus of the building at 401Richmond is spread over three concerns -commerce, community and culture, or whatthe building managers refer to as the Tri-CExchange. Each tenant for the building isscreened for those components. The resultshave been interesting.What I have observed in this building aremany of the same components of the villagedescribed above. The roads that meanderthrough the “village in a box” are hallways.The meeting places are the rooftop gardenand the cafe on the main floor. I know someof you may be thinking “My office hashallways, my office has a cafeteria on themain floor. Why don’t I feel like I’m in avillage?” The answer is probably in the areaof culture. What does your workplace offeryou in terms of culture?A complex of office towers in the coreof Toronto offers a lunch-bucket theatre tothe thousands of office workers.Unfortunately, it is a touch of culture thatis sorely under-attended. In other buildingsthere are sterile groupings of sculptures,paintings hung on walls and other weakattempts to break the boredom of the workexperience. At 401 Richmond St. West,there are several galleries with interesting,sometimes bizarre, exhibitions. Some areworks of photography, multimedia andother unusual art forms.Last month, during the summer holidays,my teenaged daughter and her cousinsdropped by the office to say hello. Theywere taking a break from shopping onQueen St. West ( a living art gallery), and Iproposed a quick walking tour of the latestgallery exhibitions in the “village.”One exhibit was comprised of hundredsof tiny blackened children’s shoes. Eachone looked like a charred baby shoe.Visitors were encouraged to touch the items,which were in reality individual ceramichandmade shoes, each bearing significantinscriptions. Each shoe represented ahundred children killed in global conflict.It was a big pile of shoes, and it was hardnot to be disturbed by the sight. Someonehad thought about the death of thosechildren and been moved to create.After the tour, the girls continued ontheir pursuits, affected, I believe by thetour and in particular that pile of shoes. Ireturned to my office and resumed workon a case involving hundreds of deafchildren who had been physically andsexually abused at the school for the deafin Belleville, Ont. My brush with“culture” in the village had certainly hadan impact on my work for the balance ofthat day and beyond. Was there anequivalent creative act for these children?I worked and wondered.And is that not the way it should be?Our work lives ought not to be separatedfrom the rest of the world. Commerce isbetter when those involved see theconsequences - good and bad - for the restof the village. Culture is better when itscreators are informed by real life and thecommunity is better off when its membersdo not work and live in isolation, onefrom the other.What about your workplace?Commerce? Yes, of course. Community?Maybe. Culture? Is it there at all? Itshould be.Michael G. Cochrane is a Toronto lawyer specializingin ADR and the mediation of multi-party disputes.page 3

profileJohn BrownStudio 262“One of the most solidly gifted, reflective painters to emerge inRichard Rhodes asToronto.” That’s what art and architecture critic John Bentley“paint [that] sits up likeMays (Globe & Mail, 1995) has said about artist John Brown,coloured meat (Torontoa tenant at 401 Richmond since the Fall of 1996. His lightfilledLife, December 1996).second floor studio is the quintessential artist space: John reinforces theboldly coloured paintings stacked on milk cartons and tubes notion that his artworkof paint littered everywhere. I’m thrilled to be here, soaking is essentially organic, “Iup the creative atmosphere - and love the smell. So, when never think of the images as abstract. They are still figurativeJohn opens up a window to let the paint fumes escape, I cry and refer to the body at all times.”out, “No!”Intriguing to me is the fact that John works on many of hisJohn is a quiet man with a shy smile. He grew up in Garson, a paintings simultaneously. He never starts with a drawing, butmining town near Sudbury and came to Toronto’s Ontariorather, works directly with his subject matter. “I’m sort ofCollege of Art for Experimental Arts (Painting) in the late peripatetic when I paint. I wander from one image to theseventies. By 1981 he had graduated from the acclaimed art next.” Many of the works are painted over while others sit forschool and had also completed a Bachelor of Fine Arts at the months (or years!) while he comes to terms with them. AUniversity of Guelph.vague dialogue exists between artist and art, like a strangeFrom the start John’s art was a hit. Famed gallery owner cocktail party where the images, like sentient beings, mutateCarmen Lamanna spied his work at OCA’s Gallery 76 and and pulse with life. “A lot happens for me peripherally,” headmits. “The one further away may be workingon me more than the one I’m on.”John isn’t into complex colour theory. Heperceives paint as a vehicle, a material to conveythe countless images that inspire him. “Thepaintings areimages on theedge of myconsciousness,” hereveals. “Eachmark is amnemonic deviceincluded it in the now historic Monumenta (1982) showto help mefeaturing Toronto’s hot young artists. He remained with remember the image.”Lamanna, a friend and major influence on his art, until the Not surprisingly, John is fascinated with the motivation behindlatter’s death in 1991.art-making rather than the art itself. “I was always moreJohn’s early figurative imagery started breaking down by 1988 curious as to why someone made an image than what was– a transition from representation to abstraction that occurred made. That’s the crux of the matter with me when it comes toaccidentally. “I didn’t like what I had done,” says John, “so I creativity. I’m not interested in art for art’s sake.” Thus,scraped the surface and liked how it complicated the image.” despite his claim that, “there’s no research - often things areThis method of layering and scraping, what Bentley Mays has just there,” I see many influences in the room: art historical/called an “obsessively careful construction of the painted fine art texts and other literary works like Rabelais’ Gargantuasurface,” deepens both figure and ground, masking and and Pantagruel, strewn on the sofa; and scientific imagery,revealing at the same time. “Now it’s the only way for me to anatomical illustrations and a Royal portrait by Velasquezarrive at the image I want.”tacked to the walls. I also learn that he’s a voraciousBut make no mistake, these seemingly abstract images still computer/techno reader who’s preoccupied with technology’spertain to the body - often what’s inside the body. Blotches of role in the disappearance of the body.red, yellow and pink bordered by black, white and gray recall Unlike his highly expressive, corporeal subject matter, John’sblood, bile and flesh. The work is at once sensual, carnal and approach to art-making is emotionally-detached. “I’m not in avisceral, and has been described by Canadian Art editorContinued on Page 5page 4

WeSawYou...Now Magazine (September 1998) spotted John Scott (Studio397) at the 1998 Toronto FilmFestival. John was the subject ofMichael McNamara’s superbdocumentary John Scott: Art &Justice which premiered at theannual movie extravaganza.Fashion designer Pam Chorley(Studio 257), her adorable daughterJasmine and their fun’n funkykidsline, Misdemeanours, capturedseveral pages in Toronto Life(November 1998). Congratulationson the great spread.John Brown continued from Page 4heightened emotional state when I’m working,” he says,“I’m rather cold and mechanical actually.” I wonder ifthe garage repairmen’s outfit he wears is an allusion tothe mechanistic approach he’s taking. As if reading mymind, he says, “painting is the only thing I’m hands-onwith. I take my motorcycle to the shop.”To John, the painting experience itself is important andnot merely a means to an end. Each image becomesa temporal document chronicling the process ofimage-making: action, inaction, application, removal.“I’m not interested in the surface so much,” he‘ Untitled ’work in progressexplains. “In some way it’s a recording of the process.” As to how he knowswhen a work or body of works is complete: “It’s difficult - getting fooled intowhen time is up…or maybe I just get exhausted.” Usually the paintings leavethe studio all at once.John’s materials of choice are oil on wood (actually it’s mahogany door skinswith a bracing on the back). “I prefer the hardness of the wood surface to thetexture of canvas,” he explains. “Canvas doesn’t absorb paint very well.” Thewood finish also allows him to cut a painting down whenever he wants, a vitalstep in artistry that’s premised on moment-by-moment modification.Today John is represented by Olga Korper, one of Toronto’s most prestigiousart galleries. His next show opens there on February 28, 1999. In January, hewill be teaching art full-time at his alma mater in Guelph.We are honoured to have a John Brown original, Mouth (1997), as part of ourraffle to raise funds for our early learning centre, Studio 123, this holidayseason. Thanks John, for your support.A taste of what’s to come...Kristen Fahrig’s (Studio 394)sensational artwear appeared inRevamp 98, an environmental fashionduring Waste Reduction Week in November.Fahrig’s entry, made from empty bottlesof natural spring water, paid homageto the event sponsor, Evian.Once again, 401 tenants participated in the popular Christmas Craft Show and Sale (Nov 26-Dec 6) atthe National Trade Centre, Exhibition Place. The annual event draws thousands of eager shoppersand potential visitors to our very own Holiday Marketplace the following week – thanks to some savvypromotion by one-of-a-kind’ers Gwendolyne Hats (Studio 433) and Kilim Crafts (Studio 130).page 5

ArtsWeek at 401follow-up401 was teaming with activity at our mini-arts festival during ArtsWeek’98. On Friday afternoon, October 2nd, school tours packed the halls,which were once again adorned with fabulous art, while arts educationspecialists from the Toronto District School Board came to see how thearts and business thrive in a community environment. According toLisa Sanders, Program Advisor (JK-OAC): “401 is a tremendousresource not only for schools but for all learners”. That evening weenjoyed outstanding performances by Donald Quan (Studio B106) andfriends, students from the Academy of Spanish Dance (Studio B104),Onli and Angela Recommandae. Saturday saw a highly successfulOpen House for Studio 123 where childrenmade masks, danced with EsmeraldaEnrique (Studio B104) and played in the newcourtyard. Other highlights: the videolounge, freight elevator performance piece,kinetic broom sculpture, courtyard slideprojections and giant photos in the frontwindows. Special thanks to Christina Zeidler(Studio 399) for her zeal in organizing thiswonderful 401 community event. Also thanksto volunteers Christina Starr (Studio 446),Andrew Harwood, Leslie Peters (Studio 452),Peter Gmehling and Jack Larmit.We are pleased to announce that the 401 Richmondweb site is now up and running and can be foundonline at www.401richmond.net. The new site,elegantly designed by Len Choptiany and YoungjeonKim of i-13 Media (Studio 425), offers a lively look at variousaspects of the building, from the office to the café to the earlylearning centre to the rooftop garden. It also provides a historicaloverview of the building, asection on living architectureand highlights of the401 Newsletter. Visitors tothe site can take a guidedtour of the building to viewpictures of various aspectsof each floor. There is alsoa photo gallery, invitingsubmissions of picturestaken within 401.page 6Two mini members ofSaturday’s fun OpenHouse in Studio 123.Academy of SpanishDance student DinaMeghdadi (age 12) andher colleaguesenthralled the audiencewith fabulous flamencoon Opening Night.The crowd was mesmerized by the Celtic sounds of(left to right) Donald Quan, Leah Salomaa & Rick Lazar.If you were among the throngs at this year’s Word on the Street, then chances are youspotted 401 tenants Fuse Magazine (Studio 454), This Magazine (Studio 396) and MixMagazine (Studio 446). Participant Andrea Curtis, Editor at This reports, “Word on theStreet was great fun for us because it increased our visibility, let us meet our readersand find new ones. We sold lots of subscriptions and single issues.” The annualbook and magazine fair draws upwards of 100,000 to downtown Toronto.Village in a ComputerThanks to two unique online features, the 401 Richmondweb site belongs to the tenants of this building. Using theTenant Directory, each studio has the opportunity to createtheir own web page, highlighting their own services andproducts. Eventually this directory should provide acomprehensive, searchable listing of all the organizations,producers and creators to be found in our vibrant community.Tenants can also submit their information to theEvents Directory, which appears as a listing and in acalendar format. These amazing resources were designedby Web Networks (Studio 384) and are provided free ofcharge by 401 Richmond Ltd, to be accessed by anytenant in the building. To find out more, visit the new site orcontact Sandra Lewis at the Management Office (Studio 204).

4 0 1 • R I C H M O N DbulletinboardA regular feature of 401 UPDATE, the Bulletin Boardis your opportunity to communicate with other tenantsand keep them in touch with what is happening in yourorganization. If you are having a sale or exhibition, orjust want to tell others about your product/service, simplysupply Lesley Soden in Studio 204 with the writteninformation and we will print it here.rob hengeveldgallery 76416.260.5856studio 389jessica levmannovember 27 todecember 18, 1998tues. to fri. 2 - 6sat. 1 - 5Studio 110Helena GoldwaterWETPerformance at the 360 Club326 Queen St WThursday December 3Doors open 8 pmShow starts 9 pmMessy, all girl band follows at 10 pmd~Code’s(Studio 251)exciting newpublication, Chips and Pop: Decoding the NexusGeneration, makes a great holiday gift for that avidreader you know. The book ($28.95) focuses ontrends in Canadians ages 18-35, and is available atPages, Chapters or your local bookstore.Introit for a Third MillenniumAn Exhibition of Photographsfrom the past decadeby Paul LowryShow runs untilDecember 6, 1998Opening: ThursdayJanuary, 5 - 7 pmand continuing untilJanuary 30, 1999Gallery 44Centre for ContemporaryP h o t o g r a p h yStudio 120473A Church Street(at Maitland)Toronto, Canada416.921.7149Copulation Study 100, 1993 by Paul Lowrypage 7

4 0 1 • R I C H M O N DbulletinboardA regular feature of 401 UPDATE, the Bulletin Boardis your opportunity to communicate with other tenantsand keep them in touch with what is happening in yourorganization. If you are having a sale or exhibition, orjust want to tell others about your product/service, simplysupply Lesley Soden in Studio 204 with the writteninformation, and we will print it here.Open Studios Tues. & Wed. evenings (beginning Jan. 5th)5-9 pm @$35 includes most materialsfloor cloths, collage, bookarts + much more!MillenniumEveningMillenniumPilgrim~ Studio 372January 28th 6-9 pm @ $10Contribute to the Millennium Book & Bowl!22” x 30” Pilgrim posters @ $12Hand-made Pilgrim journals + more!To register & to visit the studio call Anne Graham McTaggart at (416) 599-0432AREAexhibition spacetracesMichelle GayGunilla JosephsonDenise MacharacekHeather RobinsonJulie SaundersNov 12 - Dec 23401 Richmond 4 th floorTASA (The Toronto Adult Student Alliance)Central Technical Art Centre Joint EventAdult Student Gallery ShowDecember 14 to 22, 1998Opening on December 15, 1998. 7 - 10 pm.Suite 240 Tel: 506-9595 Fax: 506-1589e-mail: gokche@interlog.comopening Wednesday January 13 at 8 PMYYZ Artists’ Outlet Suite 140Tel 416.598.4546 Fax 416.598.2282yyz@interlog.comwww.interlog.com/~yyzwork byLuis Jacob, Richard Kerr,Greg McHarg and Jay Wilsonvideo by Steve ReinkePublished by 401 Richmond Ltd.401 Richmond St. W., Studio 204, Toronto, Ontario M5V 3A8Tel: (416) 595-5900 Fax: (416)-595-5904 Web site: www.401richmond.netEditorLesley Soden(Studio 204)Designi-13 media inc.(Studio 425)PrinterRite Printing(Studio 109)Deadline for submissions for the February/March Newsletter is January 6, 1999. Publication date: February 1st.page 8