Henri (“le Douanier” or “the customs officer”) Rousseau (1844–1910) occupied a unique position within early 20th-century modernism, standing as the archetype of the self-taught “naïve” painter, yet inspiring artists from Picasso to the Surrealists. Presenting works that span Rousseau’s entire career, the exhibition will explore an important theme in the painter’s oeuvre – his idyllic, personally constructed vision of town or city. Since no Canadian institution holds a significant work by this singularly gifted modernist master, this AGH focus exhibition will present a unique opportunity for visitors to appreciate Rousseau’s special place within modernism. Navy Photographic Institute in WWII and then abandoning his own photography to become director of the Department of Photography at the Museum of Modern Art, New York. Some of Steichen’s most striking photographs were his close-ups of nature and still lifes, in which the artist’s viewpoints, lighting techniques, and long exposures diffused and abstracted forms, creating sensual “abstractions” emphasizing volume and weight.
Nature Canada brings together three Canadian photo-based artists to produce a CD-ROM and an art exhibition exploring the historical changing of cultural interpretations of nature. This exhibition explores the world of childhood through the work of contemporary artists. Organized by the Des Moines Art Center and circulated by Independent Curators International, N.Y. Drawing on selections from the permanent collection, this exhibition presented a survey of historical and contemporary approaches and responses to formalism. Bringing together works borrowed from both institutional and private collections, the majority still privately held, the exhibition considers the artistic production and contributions of this undeservedly forgotten artist.
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Works chosen by Ted Pietrzak and Shiela Greenspan from eight contemporary artists. This special family-oriented educational exhibition features animals in art, a subject of great appeal and charm. Lynn Barbeau, curator of education at the Macdonald Stewart Art Centre, Guelph; Sheila Greenspan, Head of education at the AGH and Megan Bice, Curator of the Sarnia Public Library and Art Gallery co-produced the exhibition and education programs. The AGH is pleased to mount and circulate Daniel Price Brown’s first major retrospective exhibition, a survey of twenty years of his paintings, drawings and prints. This exhibition of recent works by Toronto artist and freelance illustrator Clive Dobson will include drawings and large scale paintings.
- The work thus presents a new potential relation between the brain and the body, emphasizing the ability of the mind to move into the infinite, while the body is still bound to physical limitations of motion, gravity, volume, shape, and form.
- Susan Kealey was a strong player in the Toronto arts scene in the 1990s and despite her short-lived career her impact was great.
- This exhibition includes work completed in the last two years, as well as sculptures from Waiting the Verb, the 1988 show at Carmen Lamanna Gallery in Toronto.
- Organized after World War II, the Cobra artists rejected Western culture’s emphasis on reason and embraced spontaneous expressionist forms in reaction to the horrors of war.
- The shields reveal much about their personal experiences and how HIV has affected them.
- This film will be shown in the Kate and Robert Steiner gallery, complementing Mark Lewis’s film on view in the Southam gallery.
For centuries the Church was a chief patron of art, supporting some of the most famous artworks in history, such as Michelangelo’s David and Leonardo’s Last Supper. The Word Made Flesh features religious art from the AGH European collection, depicting Christian saints, Biblical and historic narratives, and artists’ personal imaginings of religious themes. On view is an assortment of paintings and sculptures dating from the Middle Ages to the early years of the 20th century. Including altarpieces, oil paintings of dramatic narratives, and carved and painted sculptures of saints, the show discloses stories and heroes that are both familiar and unknown, as well as the passion and beauty of Christian art through the ages. A portion of the exhibition, on view until mid-April, presents a corridor of prints from the Renaissance and Baroque periods. Many of the handsome pieces in The Word Made Flesh are generous long-term loans-for example, the sole Canadian work in the exhibition, Christ by 19th-century Québécois sculptor Louis Jobin, is on loan to the Gallery from Mrs. Wynn and Dr. Bill Bensen.
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In addition to participating in the first Québec Triennial mounted by the Musée d’art contemporain de Montréal, she has had solo exhibitions at Parisian Laundry and the Museum of Contemporary Canadian Art. She has taken part in group exhibitions organized by the National Gallery of Canada, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec and the Power Plant. She is currently participating in the exhibition Oh, Canada at MASS MoCA. Valérie Blass is represented by Parisian Laundry. Born in 1945 in Germany, Kiefer studied art informally under Joseph Beuys at the Düsseldorf Academy in the early 1970s. His work has been exhibited in and is collected by major international museums. Celebration the annual partnership between the Art Gallery of Hamilton and the SAGE program at Strathcona School.
- This exhibition includes four recent installations / sculptures, one of which will be installed in the window of the Hamilton Artists’ Inc.
- This exhibition is Fernandes’ first solo exhibition at the museum level, and is the culmination of several years of his most poignant artistic investigations.
- Images include McMaster University’s Nuclear Reactor, Stelco, Westinghouse Turbine Manufacturing, the Studebaker-assembly plant, Firestone Tire, Dofasco and Slater Steel among many others.
- This popular exhibition is an important means through which the AGH celebrates our longstanding relationship with the WAAH, and we are pleased to present the 117th annual exhibition this year.
- The trio must summon all the courage they can for their extraordinary journey from finding the Philosopher’s Stone, battling Basilisks, to turning back time and the terrifying trials of the Triwizard Tournament.
A magnificent visual masterpiece, Bruegel-Bosch Bus consists of a 1960 Volkswagon that appears to pull a post-industrial universe displaying a cornucopia of fantastic and seductive worlds that play with our senses. This futuristic diorama is a permanent fixture in the AGH Sculpture Atrium overlooking the Irving Zucker Sculpture Garden, past Hamilton City Hall and the Niagara Escarpment. This ‘bus’ is a Kubrickesque megalopolis made of icons symptomatic in present society and draws upon urban fantasies, phantasmagoric, post-apocalyptic landscapes, and a plethora of different times and cultures. Buildings from different epochs are aligned side by side and space becomes an imaginary territory where chaos prevails. One of Tissot’s most engaging paintings, Croquet shows three girls resting languidly from a croquet game played on a beautifully landscaped lawn.
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This exquisitely detailed wooden chair with crest is currently on display in Museum London’s exhibitionSit On It! This exhibition brings together art and history works to explore the stories, designs, and histories of those underappreciated objects that support us, literally! This chair has a hidden music box underneath it that activates when sat on. Is it a social ice breaker, prank, or early invention of the game musical chairs? We don’t know, but it sure is fancier than anything we’re currently using to work from home.
By simply inverting the image, Mark Lewis composes a never-ending rush hour, with early morning perambulations sweeping past in continuous movement, right to the “golden hour” that precedes sunset. Camp Wakonda and Grudge Match also contain tiny detailed scenes within larger structures. Camp Wakonda is made of two life sized bunk beds, each populated with scenes roughly based on Patterson’s memory, such as a school bus crash on a highway, complete with a tiny projection of flames. Grudge Match shows a high school gymnasium accompanied by a locker room, weight room, and coach’s office.
Emperor’s throne room set under construction.
The viewer’s experience with the piece is subjective—it inspires multiple perspectives on this idea of a place. While the world’s largest public collection of work by Carrière is to be found in Paris’s prestigious Musée d’Orsay, the most comprehensive private collection is the one assembled by Dr. Nick Vlachos in Bloomington, Illinois. The current exhibition features the most important works from this outstanding personal collection, ranging from portraits and images of mothers and children to figure studies and landscapes. Simon Frank’s site-specific installation in the AGH foyer is a large monochromatic abstraction created by the physical destruction of the museum wall. By hammering into the drywall with a traditional log-marking tool, he symbolically investigates the history of industries such as logging, exploring their cultural and environmental impacts. Frank often incorporates the landscape in his works, frequently as the result of performative actions.
In recent years Carr has gained international renown for her paintings and has been increasingly celebrated as a singular figure in Canadian culture. Through immersive and interactive installations, photography, video, painting, sculpture and sound art, the artists engage viewers and invite participation. Familiar objects and images are presented in new contexts, suggesting alternative modes of understanding. The artworks appeal to the viewer’s http://x3productions.ca/starwars-identities.html psychological and intuitive senses, or memory, with the goal of promoting visual and aural awareness and engagement. The AGH strikes out into our next century with a massive contemporary art exhibition. Bringing together artists from across the globe, the show offers works that appeal to the senses, making a point that an engagement with art can sometimes occur more readily if one does not have preconceived notions of what it should be.
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The familiar is made strange in this exhibition of ornately decorated cakes and thick abstract oil paintings. Kinsella’s cakes, iced with baker’s fondant, are situated precariously between beauty and the grotesque. Appearing at first as standard cakes that are often used to mark rites of passage like birthdays, weddings, or funerals, the cakes are here adorned with small objects such as bones, religious relics, teeth, and are sometimes encircled with human hair. Whiten is a highly prolific senior-career Canadian artist who has influenced generations of artists through his position as Professor of Fine Art at York University since 1968.
Some of Adams’ works are eccentric and inviting, while others are almost apocalyptic in vision. They describe possible worlds, alternate aesthetics and potential freedoms. Beyond his unique use of materials, his creations explore what art can be through their presentation. Certain sculptures are intended for public display outside the gallery context, becoming a travelling, interactive spectacle in the city streets. The content and context of his works thus challenge conventional ways of thinking about our values, lifestyles, and sense of community.
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Animated African masks flash on monitors, and are accompanied by Dadaist and Voodoo-inspired sound poems which are played on headphones. Rick Pottruff’s large-scale, intricate and gestural drawings of cities, bridges, cars, ships, planets and technological devices provide ample opportunity for viewers to be psychologically transported into the worlds he creates. His hybrid style combines the devices of illustration, fine art, and film. This summer, Pottruff undertook a new large drawing that will expand over the AGH foyer wall. Incorporating images of industry, traffic and more, he portrays an explosive dystopian scene that catapults the viewer’s eye across its many detailed sections.
A sample of Southam’s European collection reveals not only how his early aesthetic interests shaped his later Canadian choices, but also how international movements inspired Canadian art. In a playful atmosphere and through the story of a friendly rabbit, Montreal artist Jonathan Plante invites young people ages 4 to 10 (and kids of all ages!) to discover the mysteries of visual perception in a variety of ways. The exhibition includes an animated video, original paintings, a giant didactic book, and mirror anamorphoses that will stimulate the imagination of little ones and grownups alike. These unexpected and interactive aesthetic experiences notably address abstraction, art history and optical illusions. Through the various works, viewers are invited to discover the mechanisms of vision and the role it plays in the arts, while developing the imagination.
Star Wars: The Empire Strikes Back—Free Outdoor ScreeningStar Wars: The Empire Strikes Back—Free Outdoor Screening
With over 125 works the exhibition demonstrates the cultural and artistic resource started in 1939 under the National Film Board and continuing as the Canadian Museum of Contemporary Photography. This important research exhibition presents for the first time more than forty major sculptures by the people of Sugluk, one of the northernmost Quebec Inuit communities. Taken from a significant private collection in Michigan and from the National Museum of Man and the Dept. of Indian and Northern Affairs, Ottawa. From 1914 until 1947 the Bruce paintings were on display in the ”Bruce Room”, part of the original art gallery on the second floor of the library.
Alex Moore, head of exhibitions and creative producer at Dulwich Picture Gallery, UK. Curator of the exhibition Unearthed, unfolding the pioneering story of botanical photography since 1840. Yoav Rinon, professor of classical studies and comparative literature at the Hebrew University of Jerusalem, Israel. For this exhibition, a two-part work has been translated to AR, inserting light movement into the flexible materials. Installed in the open space of the gardens, the work accumulates gentle movement, as if soft breezes blowing through the gardens play over its surfaces. Like many of Anatsui’s pieces, the work addresses both artistic and political issues, and resonates with notions that confound art and craft, high and low, center and periphery.
This recent installation reveals a Shirley Elford never before witnessed. Shirley will transform the Steiner Gallery into an environment comprised of glass, light and euphoria. Ghost Signs of Hamilton continues the gallery’s regular collaboration with the local branch of the Architectural Conservancy of Ontario, a vital registered charity almost 75 years old that is devoted to protecting and conserving Ontario’s architectural and landscape heritage.
