Camera: the $1,500-a-plate fundraiser celebrating the new Marc Chagall exhibit at the AGO
Camera: the $1,500-a-plate fundraiser celebrating the new Marc Chagall exhibit at the AGO
October 15, AGO. If ever there were an event to rouse the city’s tastemaking, power-brokering elite, the $1,500-a-plate fundraiser celebrating the new Marc Chagall exhibit at the AGO was it. Outside, at least nine valets parked Beemers and Bentleys. Inside, ladies dazzled in sequins and feathers while men toed the sartorial line in black tuxedos. Bottles of Stolichnaya took the place of centrepieces, so the crowd was well lubricated by the time the event’s honorary chair, Norman Jewison, rose to speak about the painting (titled The Fiddler) that he donated to the exhibit. He told the story of how he purchased the work at an auction in London, a rollicking tale that involved an overzealous cab driver and a spot-on Cockney accent. When he received a standing ovation, he seemed touched, but astutely credited the Stoli shots for loosening his tongue and the crowd.
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- Cineplex media grand vizier Salah Bachir
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Movie maestro Don McKellar
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Ace kibitzer Suzanne Rogers
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- <em>Zoomer</em> editor Suzanne Boyd
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Creative class president Richard Florida
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Construction queen Marlene Delzotto
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Film buff Piers Handling and interior designer Azaveh Banai
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Power duo Sandra Faire and Ivan Fecan
- (Image: George Pimentel Photography)
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- Camera: Chagall Ball
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- Bay Street philanthropist Don Johnson
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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- Producer/director Barry Avrich
- (Image: George Pimentel Photography)
- Camera: Chagall Ball
- Camera: Chagall Ball
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![](http://www.facebook.com/sharer.php?u=https://torontolife.com/city/camera-chagall-ball/&title=Camera: the $1,500-a-plate fundraiser celebrating the new Marc Chagall exhibit at the AGO&picture=https://cdn.torontolife.com/wp-content/uploads/2011/11/dec11Camera_3.jpg&description=By Fraser Abe | Photography by George Pimentel Photography
[caption id="attachment_103292" align="aligncenter" width="656" caption="(Image: George Pimentel Photography)"][/caption]
October 15, AGO. If ever there were an event to rouse the city’s tastemaking, power-brokering elite, the $1,500-a-plate fundraiser celebrating the new Marc Chagall exhibit at the AGO was it. Outside, at least nine valets parked Beemers and Bentleys. Inside, ladies dazzled in sequins and feathers while men toed the sartorial line in black tuxedos. Bottles of Stolichnaya took the place of centrepieces, so the crowd was well lubricated by the time the event’s honorary chair, Norman Jewison, rose to speak about the painting (titled The Fiddler) that he donated to the exhibit. He told the story of how he purchased the work at an auction in London, a rollicking tale that involved an overzealous cab driver and a spot-on Cockney accent. When he received a standing ovation, he seemed touched, but astutely credited the Stoli shots for loosening his tongue and the crowd.
[gallery order="D columns="6" exclude="103292"]){kind=link}
I always get a laugh at Suzanne Rogers’ permanent deer-in-the-headlights look.
I think from the tenor of the story I am supposed to like and admire these dreary waxworks, especially with all the B&W post-prod to make them look just so very very, but instead as usual they make me feel as though I am bobbing for apples in a toilet and the toilet’s not otherwise empty. Except Don McKellar: like Don McKellar. Also, he’s making such a fucked-up face — “Oh God somebody kill me before I have to hear one more word of your drivel” — that I feel he’s like a stand-in for me, just not a good-looking. Makes me happy I’m poor and can’t go to shit like this. Good show, though.