The Royal Ontario Museum in Toronto is the site of a unique new exhibition this month that explores the idea of reusing and recycling as a creative pursuit in Canadian design. Taking place in conjunction with the first-ever Toronto International Design Festival this week, “Cut/Paste” showcases the “new” and often upscale work that can result from the manipulation of existing and salvaged product. The process, better known as “creative reuse,” has become one of the most visible trends in contemporary international design, with Canadians like Tobias Wong (whose lamp chair is seen at left) and Douglas Coupland leading the charge. It’s equal parts improvisation and artistic technique, while also speaking to larger themes of environmental sustainability and adaptation to one’s surroundings. With that in mind, the exhibition includes everything from early First Nations adaptations of European products, to the iconic K42 Kettle (first produced in Canada by General Electric in 1940 in response to war time manufacturing restraints), in addition to all the big name artists with work on display.

Manufacturers such as Umbra (with its clock made from old ties found at Goodwill) and Gus* Modern are already finding ways to apply the same “creative reuse” approach to their products, with a focus now on turning around larger production runs. Organizers hope the exhibit will spur similar responses in other manufacturers and casual viewers alike, as we move toward decreasing our consumption of energy and materials, while increasing our artistic output. Organizers also see this as a chance to encourage art in marginalized communities. By utilizing local and reclaimed materials, even impoverished groups can now afford to produce unique designs and creations of their own. The influence of “creative reuse,” organizers say, extends well beyond gallery walls.

“Cut/Paste: Creative Reuse in Canadian Design” is on now and runs until January 31st at the Institute for Contemporary Culture, at the Roloff Beny Gallery inside the Royal Ontario Museum. More details on the exhibition and opening hours can be found on the museum’s website.

- TC

Last night I decided to check out the Vanity Fair Portraits exhibition at the Royal Ontario Museum in Toronto. The rain hadn’t stopped the entire day, so I figured I would go to the ROM and trade my feelings of sogginess for something more glamourous. Vanity Fair, of course, is known for its classic celebrity portraits and smart social commentary, and the magazine, since its beginnings in 1913, has been a vehicle for everything beautiful and sophisticated. The exhibition, curated by Terence Pepper, of London’s National Portrait Gallery, and David Friend, from Vanity Fair, is extensive and features work from the magazine’s vintage beginnings, to 2008 (the 25th anniversary of the modern Vanity Fair and the 95th anniversary of its founding in 1913). Famous faces include everyone from Liza Minnelli and Jean Harlow, to George Clooney and Madonna. And the iconic photographers whose work is on display include such legendary names like Beaton, Herb Ritts and Mario Testino.

I couldn’t help but get lost in the starry eyes of dancer Fred Astaire and actress Greta Garbo. But my favorite photograph was of Douglas Fairbanks Jr. and Joan Crawford; a black and white image of the romantic couple lounging on the beach. It was a little like walking through a time capsule of Hollywood in the 1920s. The exhibit also features some wonderful photographs of Vanity Fair’s modern portrayal of beauty, especially work from the exceptional Annie Leibovitz (who shot the memorable, star-studded fold-out cover above). All said, it’s a great chance to gaze longingly into Vanity Fair‘s faces of glamour, both past and present.

The ROM’s website, www.rom.on.ca, has more information about the exhibition, as well as hours of operation. The last hour of each day is free and Friday evenings are half price. The exhibit is running until January 2010, so there is plenty of time to go!

- Kara Hornland

(all images above © Condé Nast Publications Inc./Courtesy Condé Nast Archive)