I had the great pleasure to attend the 7th Toronto International Art Fair:  “Art Toronto 2006”.  Over 80 galleries from all over the world  selling  20th and 21st century art were represented at the four day event held at the Metro Toronto Convention Centre. The majority of the galleries were from Canada, but there were also many from the United States and Germany and others from Spain, England, the Netherlands, Columbia and Argentina. 

This was my first international art fair, and I found it equally impressive and overwhelming. I expected more art like what you see in the type of galleries you find at upscale lifestyle center malls in the United States, but I was pleasantly surprised to find none of that. I recognized more artist's names than I expected to. As an art historian, I sometimes feel far removed from the world of living artists and contemporary art. I saw several impressive works by Jean-Paul Riopelle, a painter I think of as the Canadian  Jackson Pollock... I noticed one of his paintings sold for over $100,000. There were several photographs of Christo and Jean-Claude's work's by the couple's official photographer. I recognized a group of sculptures by renown Canadian glass artist Susan Edgerley. But, Sculptures were definitely in the minority; however, there were plenty of paintings, photographs, prints and drawings.

Art seemed to be selling well at “Art Toronto 2006.” I saw plenty of red dots on labels, although I am not sure how the sales aspect really works. The event was geared to collectors, with a special preview party on Thursday night, but to me an art fair seems like an overwhelming place to buy art. It seemed like a good place to locate a gallery that represents artists that interest you, and perhaps schedule a visit to buy art later.  Gallery staff seemed friendly and accessible during the art fair. Surprisingly I did not encounter anyone too aggressive in their sales strategy – it may have been my media badge, but I did not overhear any obnoxious sale pitches either.  Galleries seemed to be trying to appeal to one or the other of two approaches to art collecting. One can either buy works by artists who have already made it into the cannon of art history, such as Picasso, Christo and Jean-Claude, Riopelle, Calder, Manet, Duffet, Chuck Close (all artists I saw represented at Art Toronto 2006) or one can buy works by emerging, little-known artists. Both approaches can be viewed as investment strategies and both approaches can also be based primarily on aesthetic appeal.

One of my favorite pieces at “Art Toronto 2006” was an installation presented by the Museum of Contemporary Canadian Art (MOCCA). Titled Salon Indien, this work was provocative, witty, humorous, and technically very well executed. Artist Kent Monkman created a 30' high tipi complete with gilded poles, a red brocade fabric cover and a crystal chandelier inside as a theater in which to show his super-8mm film  Group of Seven inches. Monkman was also the star of this film as his homo erotic alter ego Miss Chief Eagle Testickle. Because it was the only gallery space in Exhibition Hall E that was not created by 10' partisans, I was immediately eager to go inside the tipi. Inside, Monkman's film was projected on a tanned hide on the floor as viewers came and went as they pleased. Monkman drew his inspiration for Group of Seven Inches from actual historic events; the exhibition of George Catlin's Indian portraits in London and the first public screenings of Lumiere's Cinematographe in the Salon Indien in Paris. Some elements of the film, the ones I found most entertaining, like the costume he wore as Miss Chief Eagle Testickle complete with platform heels and sequined headband, were from his own creative imagination.

According to Lauren Dando, one of the organizers, the fair was very well attended. It would have been unpleasantly crowded if any more people had attended  Saturday afternoon when I was there. Trying to take it all in (all 3,000 + works), I tried to be brief at each gallery's booth, but I often found myself getting boxed in by people who wanted to linger longer than I did before a certain work. 

Above all, "Art Toronto 2006"  gave me a more global perspective of the art world. Living in the United States, it's easy to believe that New York is still the center of the art world. Especially after attending one of the "Power Talks" sponsored by The Power Plant Contemporary Art Gallery in Harbour Front Centre, Toronto, it became clear to me that the art world is fast becoming decentralized. One of the two themes of this years "Power Talks" are "institutional futures for contemporary art."  I chose to attend one of the "institutional futures" talks with Hedwig Fijen, Founding Director of Manifesta European Biennial of Contemporary Art, which has existed since 1996. I had never heard of Manifesta before. It is a roving European art event that functions collaboratively, largely without geographic boundries. Its concept was astounding to me. And so goes the International Arts world.