Tuesday 31 March 2020

ONLINE Zoom Lecture April 1, 2020, 7am

Tune in 7:15 am Toronto time (12:15 UK time) WEDNESDAY APRIL 1, for a lecture by William Morris Gallery senior curator Rowan Bain as she discusses her new book William Morris’s Flowers, published by Thames & Hudson in collaboration with the Victoria and Albert Museum.

William Morris’s sensitivity to the natural world combined with his innate talent as a designer enabled him to create patterns with endless combinations of flower forms. His ability to adapt, distort and combine them into harmonious patterns means a field guide to all his flowers remains frustratingly elusive. Yet through a deeper understanding of his early influences, his gardens, understanding of colour, favourite flowers and approach to their uses in his pattern, the visual language of William Morris’s flowers can be better revealed.

Joining instructions:

This is a live talk on Zoom, a video conferencing platform. 
You can join the talk on a mobile device (smartphone or tablet) or a computer.
When you purchase a ticket by donation, you will be given a link, which will also be sent to your email address.
Follow this link shortly before the talk. Please allow a few minutes to set up Zoom on your device, if you haven't already.

If you're joining on a computer

When entering a Zoom meeting for the first time from a computer you will need to download a small application file. If you can't download the application, or don't want to, you can also join from your web browser.

If you're joining on a mobile device

If you are joining from a mobile device then you will be prompted to download the Zoom Cloud Meetings app from the App or Play Store.

Thursday 5 March 2020

POSTPONED: Morris' 186th Birthday Lecture and Party


Join the WMSC THIS FALL for a lecture and birthday celebration (with cake!)

1 Devonshire Place, Toronto, ON
Munk School of Global Affairs, Campbell Conference Facility
(St George Subway Station)

Author Mark Osbaldeston (Unbuilt Toronto, Unbuilt Toronto 2) explores two centuries of never-realized building and planning proposals for Queen’s Park and the neighbouring University of Toronto campus. Using dozens of images drawn from provincial, municipal, and university archives, Osbaldeston discusses the fascinating origins and fates of Toronto landmarks that might have been.

Mark Osbaldeston is the author of three books on architectural and planning history. His first book, Unbuilt Toronto (2008), was a finalist for the Toronto Book Awards and was shortlisted for the inaugural Speaker’s Book Award. Both Unbuilt Toronto and its sequel, Unbuilt Toronto 2 (2012), received an Award of Merit from Heritage Toronto. His most recent book, Unbuilt Hamilton, was published in 2016. It was shortlisted for the Kerry Schooley Award.

Mark has curated exhibitions based on his research for the Royal Ontario Museum, the Art Gallery of Hamilton, the Toronto Archives, and the Hamilton Museum of Steam and Technology.

What will be the cake pattern this year? Stay tuned!

Monday 2 March 2020

The Art of Kehinde Wiley

Naomi and Her Daughters, 2013.

Best known for his portrait of Barack Obama, the artist’s first solo London show is inspired by a tale of insanity and the women of Dalston

While growing up in South Central Los Angeles in the 1980s, the Nigerian-American artist Kehinde Wiley, 42, discovered the work of the 19th-century British textile designer, writer and social reformer William Morris.
“He’s not so well known in the US,” he says. “But my mom was what you might call a junk dealer. [Her store] wasn’t really an antique store, but it sold second-hand furniture, oftentimes from old estates. So as a kid, I grew up seeing a lot of floral patterns, some Morris-inspired, some actual Morris pieces, among the stuff she was selling. And from very early in my life, there was this ornate sensibility inscribed.”
Over the past decade he’s included literal representations of several familiar Morris designs – HoneysuckleIrisBlackthorn and Granada among them – in his portraits, though in Wiley’s hands the colours can be clashingly vibrant. “And it was only after working with that sort of decorative style that I began to take the DNA of Morris and build upon it to create hybrids of my own, these kind of all-over patterns that feel random and chaotic as opposed to that very rational order you see in traditional Morris prints.”
It’s appropriate, then, that his first solo show in a UK museum, a survey of portraits of women, will be at the William Morris Gallery in Walthamstow, northeast London.

Read the full article here.