Work Station, Administration Offices, Albert Building
Artist: Peter MacCallum
Work ID: 73776
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Work by Peter MacCallum
Transverse Catwalk Above Stage
Artist: Peter MacCallum
Work ID: 73770
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 1987
Materials: Silver print from film negative
Virtual Collection: Original CCCA
General View of Fly Loft Above Stage
Artist: Peter MacCallum
Work ID: 73771
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 1987
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Engraver Luc Goemaere Restoring Names on the Base of the Allward Monument
Artist: Peter MacCallum
Work ID: 66778
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Forced Air Ducts in Boiler House
Artist: Peter MacCallum
Work ID: 66764
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Sheep at Pasture on the Preserved Battlefield
Artist: Peter MacCallum
Work ID: 66769
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Restoration Site Interior Showing Partially Reconstructed Parapet Around the Base of the Allward Monument
Artist: Peter MacCallum
Work ID: 66776
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Computer Monitor Displaying Names to be Restored on the Base of the Allward Monument
Artist: Peter MacCallum
Work ID: 66775
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Ductwork for Electrostatic Precipitator
Artist: Peter MacCallum
Work ID: 66754
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
The Tisda Mine Crater on the Preserved Battlefield
Artist: Peter MacCallum
Work ID: 66768
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Canadian Cemetery No. 2, Vimy Memorial Park
Artist: Peter MacCallum
Work ID: 66770
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Lakeview Generating Station and Switch Yard, Mississauga, Ontario
Artist: Peter MacCallum
Work ID: 66747
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Allegorical figure Representing ‘Peace’ Atop the West Pylon of the Allward Monument
Artist: Peter MacCallum
Work ID: 66773
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Turbine Hall
Artist: Peter MacCallum
Work ID: 66759
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Stacker in Coal Yard
Artist: Peter MacCallum
Work ID: 66751
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Conveyor Gallery, Powerhouse
Artist: Peter MacCallum
Work ID: 66753
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Stairway in Office Block
Artist: Peter MacCallum
Work ID: 66756
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Coal Bunkers in Boiler House
Artist: Peter MacCallum
Work ID: 66763
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Step-up Transformer House
Artist: Peter MacCallum
Work ID: 66766
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
View of Power Plant from Coal Stacker
Artist: Peter MacCallum
Work ID: 66748
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Limestone Block in the Parapet of the Allward Monument
Artist: Peter MacCallum
Work ID: 66777
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Control Room for Units 1 and 2
Artist: Peter MacCallum
Work ID: 66760
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Restoration Site of the Allward Monument
Artist: Peter MacCallum
Work ID: 66771
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Control Room Kitchen
Artist: Peter MacCallum
Work ID: 66761
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Ash Silos
Artist: Peter MacCallum
Work ID: 66749
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Telephone Beside Coal Mills, Unit 5
Artist: Peter MacCallum
Work ID: 66765
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Cubicles in Office Block
Artist: Peter MacCallum
Work ID: 66757
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Scraper on Discharge Ramp, Coal Yard
Artist: Peter MacCallum
Work ID: 66752
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Supervisor’s Office, Service Maintainers’ Shop
Artist: Peter MacCallum
Work ID: 66758
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Supply Tunnel, Grange Subway System
Artist: Peter MacCallum
Work ID: 66767
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Rapper Room for Electrostatic Precipitator
Artist: Peter MacCallum
Work ID: 66755
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Meters in Control Room
Artist: Peter MacCallum
Work ID: 66762
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Torso of Allegorical Figure, Allward Monument
Artist: Peter MacCallum
Work ID: 66774
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
View from the Top of the Allward Monument Showing the Douai Plain in the Distance
Artist: Peter MacCallum
Work ID: 66772
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Coal Dock
Artist: Peter MacCallum
Work ID: 66750
Description: Lakeview Generating Station Series.
This project is a morphological study of the first of Ontario's dirty coal fired power plants to be permanently shut down for environmental reasons.
The Lakeview Generating Station was located on the shore of Lake Ontario, 18 kilometers west of downtown Toronto. Ontario Hydro opened the 2400 megawatt plant in 1962 and it was shut down for good in April, 2005. These photos were taken between April and June, 2005.
With an operating staff of more than 600, Lakeview was representative of a type of power plant that can be found in many countries around the world. The power house had the archetypal form: a long, open machine hall for the turbines, with a higher space beside it housing the boilers and coal handling machinery. Four monumental chimneys, known as the Four sisters, completed the ensemble.
In addition to exploring the Lakeview plant as a workplace, my photos are intended to show the extraordinary technical complexity of the process required to generate electricity from coal, a technology that is becoming increasingly popular because coal remains a cheap and abundant fuel.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2005
Materials: silver print
Virtual Collection: Original CCCA
Interior View of Dud Corner Cemetery and Memorial, Loos
Artist: Peter MacCallum
Work ID: 66788
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Terraced Entrance, Dud Corner Cemetery and Monument, Loos en Gohelle
Artist: Peter MacCallum
Work ID: 66787
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Bruay Communal Cemetery Extension
Artist: Peter MacCallum
Work ID: 66789
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Luc Goemaere Completing Wall Inscriptions, Monument Restoration Site
Artist: Peter MacCallum
Work ID: 66781
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Detail of the Sculpture Group, ‘Sympathy for the Helpless’, Monument Restoration Site
Artist: Peter MacCallum
Work ID: 66782
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
View of the Monument Restoration Site from West Walkway
Artist: Peter MacCallum
Work ID: 66779
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Interior of Arras Road Cemetery, Roclincourt
Artist: Peter MacCallum
Work ID: 66785
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Temporary Shed with Walls Removed, Monument Restoration Site
Artist: Peter MacCallum
Work ID: 66784
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Interior View of Beehive Cemetery, Willerval
Artist: Peter MacCallum
Work ID: 66786
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Sculpture Representing ‘Female Mourner’, Monument Restoration Site
Artist: Peter MacCallum
Work ID: 66780
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Rudy Ronce ‘Combing’ a Stair Tread, Monument Restoration Site
Artist: Peter MacCallum
Work ID: 66783
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Mass Grave, German Cemetery, Neuville St. Vaast
Artist: Peter MacCallum
Work ID: 66790
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2006
Materials: silver print
Virtual Collection: Original CCCA
Zanzibar Tavern, Play de Record, Cash Money, The Little House of Kebobs, 359-357 Yonge Street
Artist: Peter MacCallum
Work ID: 73729
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Sam the Record Man, East Side of Yonge Street at Gould Street
Artist: Peter MacCallum
Work ID: 73730
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Stollery’s and Sunrise Records, South-West Corner of Bloor Street
Artist: Peter MacCallum
Work ID: 73715
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North from South-East Corner of King Street
Artist: Peter MacCallum
Work ID: 73747
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Future Shop and Sam the Record Man Awaiting Demolition
Artist: Peter MacCallum
Work ID: 73731
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Hero Certified Burgers, 79-A Yonge Street, North-East Corner of King Street
Artist: Peter MacCallum
Work ID: 73746
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Dack’s Shoes for Men, 104 Yonge Street
Artist: Peter MacCallum
Work ID: 73742
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Green Mango, Kitchen Stuff Plus, Brass Rail, 707-701 Yonge Street
Artist: Peter MacCallum
Work ID: 73717
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking South Opposite Elm Street
Artist: Peter MacCallum
Work ID: 73728
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Church of Scientology, 696 Yonge Street, West Side of Yonge Street at St. Marys Street
Artist: Peter MacCallum
Work ID: 73719
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
City Optical, South-East Corner of Bloor Street
Artist: Peter MacCallum
Work ID: 73716
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking South from North-East Corner of Bloor Street
Artist: Peter MacCallum
Work ID: 73714
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
The Bay (formerly Simpson’s), West Side at Queen Street
Artist: Peter MacCallum
Work ID: 73739
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Guess, 306 Yonge Street North of Dundas Street
Artist: Peter MacCallum
Work ID: 73733
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2007
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North From Opposite Dundas Square
Artist: Peter MacCallum
Work ID: 73734
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking South-West Toward King Street
Artist: Peter MacCallum
Work ID: 73744
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Angle View of the Monument from Lower Walkway
Artist: Peter MacCallum
Work ID: 73711
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North-East Toward Yonge Street from King Street West
Artist: Peter MacCallum
Work ID: 73745
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking East from Eaton Centre, Entrance, South of Dundas Street
Artist: Peter MacCallum
Work ID: 73735
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North-East at College Street
Artist: Peter MacCallum
Work ID: 73726
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Modern Block, 599-597 Yonge Street at Gloucester Street
Artist: Peter MacCallum
Work ID: 73720
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North from Charles Street
Artist: Peter MacCallum
Work ID: 73718
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking South-East Toward King Street
Artist: Peter MacCallum
Work ID: 73743
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Lateral View of the Lower Terrace and the Sculpture Representing ‘Mourning Canada’
Artist: Peter MacCallum
Work ID: 73712
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Syd Silver, 500 Yonge Street
Artist: Peter MacCallum
Work ID: 73725
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rear Façade of Massey Hall, South of Shuter Street
Artist: Peter MacCallum
Work ID: 73740
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Discount Adult Video, IC World, Silver Nail/HL Shoes, David’s Café, 538-544 Yonge Street
Artist: Peter MacCallum
Work ID: 73724
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
View of the Plaine de Douai from the Lower Terrace of the Monument
Artist: Peter MacCallum
Work ID: 73707
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Club Entrance, St. Joseph Street
Artist: Peter MacCallum
Work ID: 73722
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Sculpture Representing ‘Male Mourner’, at Entrance to the Upper Terrace
Artist: Peter MacCallum
Work ID: 73713
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Axial View of Monument from Walkway
Artist: Peter MacCallum
Work ID: 73706
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Neo-Classical Banks and Colonial Tavern Park, South of Shuter Street
Artist: Peter MacCallum
Work ID: 73736
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Sam the Record Man, Demolition View No. 1
Artist: Peter MacCallum
Work ID: 73732
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking West at Wellesley Street
Artist: Peter MacCallum
Work ID: 73721
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North-West at College Street
Artist: Peter MacCallum
Work ID: 73727
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Sculpture Representing ‘Mourning Canada’ on the Parapet
Artist: Peter MacCallum
Work ID: 73708
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking South-East Opposite Shuter Street
Artist: Peter MacCallum
Work ID: 73737
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
General View of the Monument from Below
Artist: Peter MacCallum
Work ID: 73709
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Sculpture Group, ‘Canada’s Sympathy for the Helpless’
Artist: Peter MacCallum
Work ID: 73710
Description: Vimy Ridge Series, 2005-2008
In 2005, during a residency at the Canada Council Paris Studio, I began photographing Canada's First World War memorial park at Vimy Ridge in northern France. Major restoration work was being carried out on Walter Allward's great limestone monument, which dominates the park and the surrounding landscape.
The base of the monument was being completely rebuilt. The lists of names which stretch across all four sides were being re-inscribed using a combination of computer controlled sandbasting and hand carving. As one photo shows, the editing process used photos of the original inscriptions displayed on computer monitors.
A year later, I returned to the site to document the final stage of restoration work on the Allward Monument. During that visit, I expanded my project to include some of the 30 Commonwealth War Graves Commission cemeteries within 15 kilometers of the Vimy memorial park, which together contain more than 7,000 Canadian graves.
This second phase of my project was meant to show how the First World War is memorialized by exceptional works of landscape architecture within the contemporary countryside of northern France. On my final visit to the site in 2008, I concentrated on showing the restored Vimy Ridge monument as a consummate work of art and architecture.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2008
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Main Façade of Massey Hall, Shuter Street East of Yonge
Artist: Peter MacCallum
Work ID: 73741
Description: Yonge Street Series, 2006-2009
In December, 2005, on returning to Toronto from a four month residency in Paris, I was struck by the different conceptions of the commercial streetscape to be found in Europe and North America: in Europe, commercial buildings fit in with their neighbours to form a harmonious street wall, while in North America uncoordinated architectural styles compete stridently for our attention.
Yonge Street is not just Toronto's main street, but also one of its icons and part of its mythology. The downtown section of Yonge Street appeared to me as a suitable site for documenting North American commercial architecture in a semi-typological way, while at the same time creating a composite portrait of a particular place.
In my project description, I used a quote from Walker Evans to define my approach:
"Walker Evans once stated in regard to his documentary photography that he was `interested in what any present time will look like as the past'. In proposing an architectural study of lower Yonge Street, I am motivated by the same interest".
When I began the project in the spring of 2007, the soundness of Evans' concept soon became apparent to me. Even while I was photographing it, my subject was sometimes slipping, sometimes leaping into the past before my eyes.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2009
Materials: Silver print from film negative
Virtual Collection: Original CCCA
West Roadway of the Porte St. Denis Looking Toward the Blvd Bonne Nouvelle
Artist: Peter MacCallum
Work ID: 75204
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Entrance to the Passage du Désir, 84 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75213
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Round Arch in Stage Screen
Artist: Peter MacCallum
Work ID: 73750
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Building Operator’s Office, Basement Level
Artist: Peter MacCallum
Work ID: 73774
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking North from Rue de la Fidélité, Evening
Artist: Peter MacCallum
Work ID: 75215
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Follow Spot Booth, West Side
Artist: Peter MacCallum
Work ID: 73772
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
View of Hall from Back of Stage with Setup for Brad Mehldau Trio
Artist: Peter MacCallum
Work ID: 73759
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Seating, Balcony Level
Artist: Peter MacCallum
Work ID: 73766
Description:
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
View of Orchestra Seating
Artist: Peter MacCallum
Work ID: 73748
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Bus Entrance, Gare du Nord Magenta Bus Terminal
Artist: Peter MacCallum
Work ID: 75229
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Dressing Room No. 2, View From Entrance
Artist: Peter MacCallum
Work ID: 73751
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Passage Reilhac, Looking Toward the Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75212
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North Opposite No. 120 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75221
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Blocked Stained Glass Clerestory Window
Artist: Peter MacCallum
Work ID: 73773
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Dressing Room No. 2, View Toward Door
Artist: Peter MacCallum
Work ID: 73752
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Façade of 192 Rue du Faubourg St. Denis, Corner of Rue Demarquay
Artist: Peter MacCallum
Work ID: 75230
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
South Façade of the Porte Saint Denis, No. 1
Artist: Peter MacCallum
Work ID: 75201
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
East (side) Elevation of the Porte St. Denis
Artist: Peter MacCallum
Work ID: 75202
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Abandoned Apartment, Fourth Floor, Albert Building
Artist: Peter MacCallum
Work ID: 73777
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
East Aisle of Orchestra Level, Looking Toward Door
Artist: Peter MacCallum
Work ID: 73749
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Stair Rail, Outer Lobby
Artist: Peter MacCallum
Work ID: 73763
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Métro Overpass, Corner of Boulevard de la Chapelle
Artist: Peter MacCallum
Work ID: 75234
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking South from Square Alban Satragne
Artist: Peter MacCallum
Work ID: 75218
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North at Square Alban Satragne
Artist: Peter MacCallum
Work ID: 75219
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
145 Rue du Faubourg St. Denis, Corner of Rue de Valenciennes
Artist: Peter MacCallum
Work ID: 75223
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
153 Rue du Faubourg St. Denis from Rue des Deux Gares
Artist: Peter MacCallum
Work ID: 75225
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking North at Rue La Fayette
Artist: Peter MacCallum
Work ID: 75226
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking South at Rue La Fayette
Artist: Peter MacCallum
Work ID: 75227
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking South-West Opposite No. 195
Artist: Peter MacCallum
Work ID: 75232
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Passageway Linking Stage Left and Stage Right
Artist: Peter MacCallum
Work ID: 73754
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Lower West Side of the Rue du Faubourg St. Denis, Evening
Artist: Peter MacCallum
Work ID: 75207
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
View Toward Stage from Behind Sound Board
Artist: Peter MacCallum
Work ID: 73758
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
General View of Outer Lobby
Artist: Peter MacCallum
Work ID: 73760
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Inner Lobby, Lateral View
Artist: Peter MacCallum
Work ID: 73761
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Landing in North-West Stairwell, Balcony Level
Artist: Peter MacCallum
Work ID: 73764
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
West Entrance to Balcony Level
Artist: Peter MacCallum
Work ID: 73765
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
West Entrance to Gallery Level
Artist: Peter MacCallum
Work ID: 73767
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
East Side of Gallery Level
Artist: Peter MacCallum
Work ID: 73768
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Wooden Seating, Gallery Level
Artist: Peter MacCallum
Work ID: 73769
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
North Side of the Porte St. Denis from the Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75205
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rotunda, Passage du Prado
Artist: Peter MacCallum
Work ID: 75209
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Façade of Hôpital Fernand Vidal, 200 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75231
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
West Roadway of the Porte Saint Denis Looking Toward the Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75203
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Work Station, Administration Offices, Albert Building
Artist: Peter MacCallum
Work ID: 73776
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Façade of the Gare du Nord
Artist: Peter MacCallum
Work ID: 75228
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Hearth at Entrance to East Aisle, Orchestra Level
Artist: Peter MacCallum
Work ID: 73762
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Passage Brady, Looking Toward the Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75210
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Entrance to 103 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75216
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Looking North at Boulevard de Magenta Toward the Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75220
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Stage Right Entrance, Cross-Stage View
Artist: Peter MacCallum
Work ID: 73756
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Inner Courtyard, Passage Delanos, 148 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75224
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Green Room
Artist: Peter MacCallum
Work ID: 73753
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Entrance Portal of the the Passage des Petits Ecuries, Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75211
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Detail of Lockers, Shoes Above, Female Ushers’ Dressing Room
Artist: Peter MacCallum
Work ID: 73775
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Former CBC Booth, Stage Left
Artist: Peter MacCallum
Work ID: 73757
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Façade of 142 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75222
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 45.72 x 30.48 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
The Passage du Prado, Night View No. 2
Artist: Peter MacCallum
Work ID: 75208
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Façade of 108 Rue du Faubourg St. Denis
Artist: Peter MacCallum
Work ID: 75217
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking North Toward Intersection of Rue Perdonnet
Artist: Peter MacCallum
Work ID: 75233
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Rue du Faubourg St. Denis, Looking North-East from Rue de Paradis
Artist: Peter MacCallum
Work ID: 75214
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Stage Right, Looking Out
Artist: Peter MacCallum
Work ID: 73755
Description: Massey Hall Series, 2010
This project documents the interior architecture of a legendary concert hall in downtown Toronto. (Two exterior views of Massey Hall can be viewed as part of my Yonge Street Series, 2006-2009.)
Massey hall was built in 1894 as a gift to the city by the farm machinery manufacturer and philanthropist Hart Massey, and was originally intended as a venue for religious gatherings and choral concerts. It is known for its extraordinary acoustics, and since 1900 it has hosted a huge range of performers, including Sergei Rachmaninov, Maria Callas, Charlie Parker, and more recently, Buddy Guy, Gordon Lightfoot and Neko Case.
As a result of earlier renovations, Massey Hall is a pastiche of different architectural styles. The lobby, dating from the 1940s, is pure Art Deco, while the hall interior retains its original Moorish character. The Art Nouveau stained glass windows are still intact, but have been kept covered during the last century to suppress noise from the street. There is a Gothic screen behind the stage, while the utilitarian dressing rooms are furnished in 1960s Motel Vernacular.
The most attractive characteristic of Massey Hall is the intimacy it creates between performer and audience. One is constantly reminded of its original function as a social venue, rather than a formal concert hall.
Measurements: 35.56 x 35.56 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
Night View of the Rue du Faubourg St. Denis, Looking South Toward the Porte St. Denis
Artist: Peter MacCallum
Work ID: 75206
Description: Rue du Faubourg Saint Denis Series
This project from 2010 documents the architecture of a typical commercial and residential Paris street. It is meant to compliment and contrast with the earlier project I completed on the downtown section of Torontos Yonge Street. The Rue du Faubourg St. Denis spans the 10th Arrondissement of Paris from south to north, beginning at the monumental arch of the Porte St. Denis, and ending at the elevated Métro trestle of the Boulevard de La Chapelle.
While the commercial buildings of Yonge Street are subject to long term neglect, slapdash renovation, hasty demolition and large scale redevelopment, the building stock of the Rue du Faubourg St. Denis has changed little since the 19th century. Only a single block has been demolished to make way for a neighbourhood park.
The continuity of the street wall along the 1.6 kilometer length of the Rue du Faubourg St. Denis allowed me to create a progressive series of views, starting at the south end of the street. This contrasts radically with the series I was able to take of Yonge Street, where assorted buildings compete with their neighbours for visual dominance.
Measurements: 30.48 x 45.72 cm
Collection:
Date Made: 2010
Materials: Silver print from film negative
Virtual Collection: Original CCCA
