AGO Celebrates The Return of The King

Since first opening its doors to the public in 1901, the AGO, Art Gallery of Ontario, has been a vital and integral aspect of Toronto's cultural life, and, in particular, to maintaining a thriving love and appreciation of art in all its forms. Below is a vintage photograph showing the Art Gallery of Ontario as it appeared in 1922.
In 1979, Toronto experienced Tutmania when the Tut exhibition came to the AGO. Unfortunately back then, I missed a golden opportunity to see that exhibition. So when I heard that it was coming back to Toronto, I was determined to see it. Again, it would be gracing the halls of the AGO, which had recently undergone a massive and spectacular renovation (seen in the image below) called Transformation AGO overseen by architect, Frank Gehry.

Knowing someone who volunteers at the AGO, I asked her if it was possible to obtain a ticket. She told me that she would need to investigate and would get back to me as soon as she could. After a couple of weeks of waiting, she presented me with my ticket. I contained my enthusiasm very well, but inside I was absolutely ecstatic and couldn't wait for that special day to arrive.
Finally, it was Wednesday, December 1. I left work at about 3pm that afternoon so that I could go home and get ready for my Egyptian adventure. After showering and getting dressed up, I left. Not being a particularly cold day and still having ample time before my timed entrance, I decided to walk down. Once I reached the corner of Dundas and McCaul, my eyes beheld a truly monumental sight, a life-size statute of Anubis, the Egyptian god of judgment and the dead. For a few moments I simply stood there transfixed by the colossus before me. Then I moved along to the main entrance and went inside.

Once I presented my ticket, I was directed upstairs where I joined a small line of people. Luckily the wait was not too long before we were ushered to the exhibition entrance. Reminiscent of the gates to Jurassic Park, the doors to the exhibition concealed what wonders lay beyond. Video presentations narrated by Harrison Ford played on large monitors above us. Then one of the AGO staff introduced herself and gave us a brief overview of the exhibition we would soon experience for ourselves.
Finally, the moment we had all been waiting for arrived. Once the gates parted, we moved inside. As we did, we picked up our audio sets which we could use to enhance our learning experience.For centuries ancient Egypt has fascinated people. Herodotus of Halicarnassus (c. 484 BC – c. 425 BC) , an ancient Greek historian, was one of the very first to document its long and rich history. In our time, this fascination with ancient Egypt continues. It is embedded in our cultural consciousness in many ways and expresses itself in many forms. Here are some examples.
From the early days of recorded music, ancient Egyptian culture has been popularised. In 1923, a song, Old King Tut, by Billy Jones and Ernest Hare (The Happiness Boys) was released. The song tells the tale of the discovery of King Tut's tomb a year earlier.
In 1994 movie audiences were dazzled by STARGATE, a science fiction film which drew many of its creative ideas from ancient Egyptian culture and mythology.
Modern architecture is another area which has been inspired. One of the best examples of the enduring legacy of the pyramid is the Transamerica Pyramid in San Francisco.

The video above exemplifies some of the more bizarre ways in which our culture has been influenced. Taken from the campy 1960s Batman series, this compilation shows the villain, King Tut, who began as Professor William Omaha McElroy, an Egyptologist at Yale University and after a blow on the head believes that he is the reincarnation of King Tut, is set to the classic King Tut song as performed by Steve Martin on Saturday Night Live in April 1978.
In the early 1980s a dance style known as 'Tutting' emerged. Its movements made use of the wrists, elbows and shoulders to create the desired angle, presumably mimicking the angular poses common to ancient Egyptian art. In the video above an AGO staff member demonstrates this style of dance.

Below are some of the artifacts which are showcased at the exhibition itself. Since photography is not permitted at the exhibition, I had to locate some stock photos.
Originally standing 17 feet high, this statute of Amenhotep IV (Akhenaten), who ruled Egypt from about 1351 to 1334 BC, was one of the most stunning pieces in this exhibition. Unlike his predecessors, he was the one and only pharaoh to depart from the traditional polytheistic beliefs and replaced them with a monotheistic religion based on Ra, the sun god. After his death, the traditional religion was gradually restored.


Golden cobra collar from King Tut's tomb.


King Tut's golden sandals, which have engraved decoration that replicates woven reeds, were specifically created for the afterlife. They still covered the feet of the boyking when Howard Carter unwrapped his mummy.


This is the funerary mask of Psusennes I. The royal headdress with ureaus cobra and the divine false beard he wears attested to his royal and godly status. The use of gold, considered the flesh of the gods, reaffirmed his divinity in the afterlife.


Before exiting the exhibition, my eyes beheld a truly beautiful sight. Originally standing about 17 feet high, the Colossal Statue of Tutankhamun , bid me adieu.