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2011 Exhibition Archives




January 15 to May 8, 2011
Great Masters Series: Matisse - The Colour of JAZZ
Great Masters Series: Miserere - Rouault’s Rhapsody to Suffering

Curated by Dr. Patrick Shaw Cable
Ushering in the Gallery’s 2011 French Connection year are adjacent exhibitions of central print series from the careers of two of France’s great twentieth-century modernists. Published respectively in 1947 and 1948, Jazz by Henri Matisse (1869–1954) and Miserere by Georges Rouault (1871–1958) complement one another through their fundamental contrasts of sentiment and style. Next to the black-and-white expressionism and sombre mood of Rouault stand out the brilliant colour forms and joie de vivre of Matisse.

Both artists appeared on the Parisian scene through their association in 1905 with Fauvism, the first avant-garde movement of the twentieth century. Yet each man possessed and developed his singular vision — Rouault with an uncommon devotion to religious themes in a secular age — Matisse with a colour sensibility that would make him the greatest French painter of the twentieth century.

Rouault’s Miserere (Latin for "Have mercy") represents his most sustained meditation on death; he executed the plates for his epic series during and after World War I, using a rich variety of print techniques to arrive at heavy images of Christ and ordinary sufferers. Matisse’s Jazz was composed of crystallized memories of circus, tales, and travels; this seminal creation was the artist’s first major project using the painted paper cut-out, which became his dominant mode of expression in the last decade of his life.

These mutually enriching exhibitions provide a rare opportunity to view Rouault’s and Matisse’s prints, which usually remain in storage due to their special conservation needs. While Rouault’s work was gifted to the Gallery in 1985 by the important Canadian arts benefactor Walter A. Carsen, Matisse’s Jazz comes to us on generous temporary loan from Hamilton’s McMaster Museum of Art.


January 22 to May 8, 2011
Eugène Carrière: Shadow and Substance

Organized and circulated by Landau Traveling Exhibitions, Los Angeles, California
Eugène Carrière (1849–1906), whose painting was described by a contemporary as reality having the magic of dreams, was an important French exponent of the late-nineteenth-century visionary Symbolist movement. He possessed close ties to other French artists associated with Symbolism, such as Pierre Puvis de Chavannes and the sculptor Auguste Rodin, with whom he helped to found the Société Nationale des Beaux-Arts in 1890.

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.

Shadow and Substance foregrounds the technical and thematic originality of Carrière’s brand of Symbolism. The painter focused on family members and intimates as a microcosm of the larger brotherhood of mankind, portraying them as universal figures against formless environments. Similarly, he developed a unique style characterized by a monochromatic brown palette, extremely soft-focus contours, and atmospheric effects, which grew from his interest in building up his paintings with subtle light effects and from his spiritualist belief in creation as an ongoing process emanating from fundamental forces.

Complementing the Vlachos collection will be the handful of Carrière paintings the AGH holds in its Tanenbaum Collection, including the masterful allegory of the art of painting — La Peinture (c. 1899) — which the Gallery loaned in 2006 to Tokyo and Paris for a major exhibition devoted to the crossovers between Carrière and his friend the sculptor Rodin.


February 5 to May 23, 2011
VidéoStudio: New Work from France

Curated by Thomas J. Lax and organized by The Studio Museum in Harlem, New York
VidéoStudio: New Work from France is a video exhibition organized by The Studio Museum in Harlem, and curated by Thomas J. Lax. It presents the work of three North African artists — Yto Barrada, Bouchra Khalili and Djamel Kokene — who were born or currently live in France. While these artists emerge from a specifically Afro-European context, the exhibition brings together work that considers "France" — and the very idea of the nation — as a concept rather than a stable category. Each artist reinterprets techniques drawn from artistic genres including guerilla theater, documentary film and narrative storytelling. Together these works encourage viewers to consider the relationship between individuals and the state; culture and the law; and identity and modes of representation.



VidéoStudio: New Work from France rassemble l’œuvre de trois artistes — Yto Barrada, Bouchra Khalili et Djamel Kokene — qui tous trois sont engagés dans une réflexion sur une esthétique de l’errance. Si chacun de ces artistes a travaillé à la fois en France et au Maghreb, dans leurs travaux, la géographie représente une ressource conceptuelle, qui prend pour point de départ les limites de l’appartenance nationale. La «France» décrite ici, est cet espace entre deux, délimitant une définition de l’art dans le contexte de l’identité nationale, tout en mettant en crise cette approche. Plutôt que d’être le simple point commun de leur travail, l’exil définit ici une esthétique en mouvement, qui investit un interstice aux limites de la loi.

VidéoStudio: New Work from France is organized by The Studio Museum in Harlem, New York; studiomuseum.org. Download this exhibition's accompanying brochure (1.07MB).


February 5 to May 23, 2011
Diane Landry: The Defibrillators

Curated by Eve-Lyne Beaudry and produced by the Musée d’art de Joliette
The Defibrillators is a travelling retrospective exhibition of works created over the last ten years by Diane Landry, a leading figure in Québec contemporary art. This exhibition reveals her innovative approach to art-making. Landry takes her inspiration from the world around her to create playful environments that plunge the visitor into an experience of sights, sounds and emotions. She recycles, transforms, manipulates and falsifies everyday objects, wrenching them from their original function to imbue them with a new kind of poetry. Incorporating into her works the time-based element of performance and the spatial dimension of installation and kinetic art, this multi-disciplinary artist seeks to destabilize viewers, stimulating in them a new perception of familiar objects.

Born in Cap-de-la-Madeleine, Diane Landry lives and works in Québec City. In addition to the many awards she has won throughout her career, she recently became the first recipient of the Giverny Capital Prize, granted for excellence in present-day art in Québec.

Diane Landry: The Defibrillators is curated by Eve-Lyne Beaudry, and is produced by the Musée d’art de Joliette. An exhibition catalogue is co-published by the MAJ and the Robert McLaughlin Gallery.



Les défibrillateurs est une exposition rétrospective itinérante regroupant des oeuvres de Diane Landry créées au cours des dix dernières années. Premier regard rétrospectif sur la production de cette figure majeure de l’art contemporain au Québec, cette exposition met de l’avant toute la pertinence de son travail et de sa démarche artistique.

Diane Landry s’inspire de tout ce qui l'entoure pour créer des environnements ludiques, plongeant le spectateur au coeur d’une expérience à la fois visuelle, sonore et émotionnelle. À travers ses oeuvres, elle recycle, manipule et transforme les objets de notre quotidien, les détournant de leur fonction première pour leur insuffler une poésie nouvelle. Intégrant à ses oeuvres l’aspect temporel de la performance et l’aspect spatial de l’installation, cette artiste multidisciplinaire cherche à déstabiliser le spectateur et à provoquer chez lui une perception différente de ce qui lui est familier.

Native du Cap-de-la-Madeleine, Diane Landry vit et travaille à Québec. En plus des nombreux prix qu’elle a reçus tout au long de sa carrière, elle est récemment devenue la première lauréate du prix Giverny Capital, prix qui souligne l’excellence dans l’art actuel au Québec.

Eve-Lyne Beaudry, conservatrice adjointe au Musée d’art de Joliette, assure le commissariat de l’exposition Les défibrillateurs, produite et mise en circulation par le Musée d’art de Joliette. Un catalogue monographique a été réalisé par le MAJ et la Robert McLaughlin Gallery d’Oshawa.


April 30 to August 14, 2011
Brendan Fernandes: New Video Acquisitions

Curated by Melissa Bennett
Following Brendan Fernandes’ AGH exhibition until we fearless last year, the Gallery acquired two of his video works, Foe (2008) and Performing Foe (2009). This purchase was made possible with the generous support of Pierre Karch and Mariel O’Neill-Karch, with matching funds from the Canada Council for the Arts Acquisition Assistance for Art Museums and Public Galleries program.

In his works, Fernandes often explores the topics of post-colonialism and identity in globalized cultures. In Foe and Performing Foe, the artist examines the ways in which one learns to speak in a culturally specific way. In Foe, we hear an off-screen acting coach teach Fernandes how to enunciate in the "accents" of his cultural backgrounds, and we see him struggle to imitate these nuanced words. The script is taken from the book "Foe" which is a sequel to "Robinson Crusoe." Fernandes reads the section wherein Friday (the savage) has been mutilated; his tongue has been removed and he cannot speak. Fernandes then takes on the role of teacher to a group of students in Performing Foe, leading them in the same lessons of pronunciation. These pieces play on the notion of pedagogy through mimicry and disguise; Fernandes’ interests are not in the authenticity of these accents but in the idea of being taught to speak in these voices. He asks the viewer to consider the ways in which language and culture are acquired and communicated.


May 21 to September 5, 2011
The French Connection

Curated by Dr. Patrick Shaw Cable and Tobi Bruce
For Canadian artists working in the last quarter of the 19th century, the lure of Paris was irresistible. With its teaching and exhibition opportunities, international artists flocked to the City of Lights in search of education and artistic validation. Indeed, during this period, an extended stay in Paris became an artistic rite of passage, with increasing numbers of Canadians boarding steamships to make their way across the Atlantic to pit their talents against the very best. In Paris, both emerging and mature artists found themselves in a vibrant and experimental artistic culture, unparalleled in the Western world.

This exhibition explores the essence of the French experience for Canadian artists and how it manifested itself in their work and thinking, alongside work by their French masters such as Jean-Léon Gérôme (1824–1904) and Jean-Paul Laurens (1838–1921). A central theme of the exhibition is a consideration of the annual Paris Salons, acceptance to which was considered the very apogee of one’s training in Paris. As such, The French Connection brings together works exhibited by Canadian artists at these pivotal exhibitions by such artists as Paul Peel (1860– 1892), Maurice Cullen (1866 – 1934), William Blair Bruce (1859–1906), George Reid (1860–1947), Laura Muntz (1860 – 1930) and Sophie Pemberton (1869–1959), among others.

This exhibition is funded in part by the Canadian Government through the Department of Canadian Heritage Museums Assistance Program.


May 21 to September 5, 2011
Elegant Verve: Modern French Graphics from the Collection

Curated by Tara Ng, Curatorial Intern, with Dr. Patrick Shaw Cable
Comprising a selection of prints, drawings, and sketches, Elegant Verve: Modern French Graphics from the Collection captures the vibrant spirit of graphic art by the French avant-garde in the nineteenth and twentieth centuries. The latter half of the nineteenth century marked the beginning of an unprecedented degree of exploration in graphic media, giving rise to the rich diversity and originality that has distinguished French prints of the past two centuries.

In the mid-nineteenth century, realism was championed by such artists as Honoré Daumier and Édouard Manet. Daumier’s satirical depictions of bourgeois society in his lithographs for the Parisian newspaper Le Charivari reveal not only his delightful wit but also his uncompromising honesty. While lithography thrived in commercial applications, etching experienced a revival among realist painters. Etching became an important medium for Manet, and it served as the means through which he explored a wide spectrum of styles, ranging from the naïve to the naturalistic.

From a slightly later period, brisk contour lines capture the graceful movement of the human form in the etchings of the Impressionist artist Renoir. As exemplified in The Three Bathers (1894), the Nabi artist Vallotton took advantage of the woodcut to produce broad sections of boldly defined forms. Other featured artists from this period include Tissot, Seurat, Vuillard, and Bonnard.

Owing to masters such as Picasso, Matisse, Chagall, Léger, Arp, and Bourgeois, graphic media continued to demonstrate great vitality in the modern art movements of the twentieth century, from Cubism to Surrealism and beyond. Picasso’s simplified organic contours, Chagall’s thick expressive lines, and Bourgeois’s rhythmically undulating forms attest to the enduring freedom of expression in the graphic arts of France.


June 9 to September 25, 2011
Peter Karuna: All in Good Time

Curated by Melissa Bennett
Peter Karuna is a Hamilton-based visual artist working with photography, video, sculpture and installation art. This exhibition of photographs shows the range of his practice over the last forty-five years, since he began working as a press photographer in London, England, at the age of sixteen. Many of his images are candid—they arrest rare moments when things ironic or beautiful align. Pictured here are scenes in London, England, Marseille, France, and Hamilton and surrounding areas. Karuna’s longstanding commitment to ecological and social issues is evident. Time itself is a reigning theme in Karuna’s works—the mechanics of the medium of photography, and the poetics of time’s passage. As broad as his subject matter is, time’s fleeting character is a shared principle. Mostly black and white images, with a few in colour, the photographs were captured on film and digitally and are carefully printed by the artist.

Karuna has been teaching at the Dundas Valley School of Art for more than twenty years. He has a Bachelor of Arts in Fine Art and Sociology from the University of Guelph, and a teaching degree from Brock University. He has participated in numerous group and solo exhibitions, screenings and festivals across Canada, as well as in Cuba, Scotland, the USA and Hungary. He has been a resident artist at educational institutions and galleries in Ontario and California. He is the recipient of numerous production grants from the Canada Council for the Arts and the Ontario Arts Council. Karuna’s work is in private collections as well as the collections of the National Gallery of Canada, the Organization of Saskatchewan Art Councils, the Alberta College of Art, Queens University, the Mendel Gallery, and Trinity Square Video, Toronto.
Click here to download the Peter Karuna: All in Good Time exhibition pamphlet (PDF).


June 9 to September 25, 2011
Out of Place / Non lieu: Lise Beaudry, Isabelle Hayeur, Marie-Josée Laframboise

Curated by Melissa Bennett
Working with ideas of place and the imaginary, Lise Beaudry, Isabelle Hayeur and Marie-Josée Laframboise are Canadian francophone artists whose works portray ephemeral sites or places that don’t exist in reality. The AGH is the first Ontario venue for Hayeur’s new body of work Dé-peindre Québec ou l’envers du décor, which addresses gentrification and the preservation of historic sites in old Quebec City. These large scale photographs are digitally altered to include elements that are both factual and fictional, presenting the viewer with seamless views of places that don’t actually exist.

Focusing on the temporal character of a site, Beaudry photographs the snowy surfaces of frozen lakes in a highly minimalist manner. The images are mostly white with little detail. This body of work stems from a past project wherein she documented "la peche blanche," or ice fishing, in the francophone ice fishing communities of northern Ontario near her hometown, as a study of an important aspect of this area’s culture. She then began turning her camera downward to photograph the ice beneath her in contemplation of the experience of standing on a frozen lake. In aiming her lens downward instead of out to create these "landscapes," she leverages a new conceptual approach in her work, involving non-representational photography. An accompanying video, Underscape, is shot beneath a lake’s icy surface. In the Gallery, it is projected at a large scale, engrossing the viewer in an experience of an ambiguous liquid environment.

An installation piece by Laframboise makes use of ambiguity as well, in an imaginary landscape made of undulating bright green net, suspended within and stretched across a room. Its surface is transparent, but the forms read as solid. The piece is created in a performative and intuitive manner, as the artist culls her memory for impressions of places she’s been. The viewer’s experience with the piece is subjective—it inspires multiple perspectives on this idea of a place.

As Hayeur has mused, "we continually remake the world in our own minds... In all places the real and the imaginary come together."1 The works in this exhibition are conceived out of the idea of place, but all the places represented here are "non lieu." In other words, they are no place at all.

1 This text is taken from an interview between Isabelle Hayeur, Hugues Charbonneau and Patrice Loubier, which is available on the Hayeur’s website, www.isabelle-hayeur.com, and in this exhibition catalogue: Hayeur, Isabelle, Hughes Charbonneau, and Patrice Loubier. Destinations. Montreal: Centre de recherche urbaine de Montreal (CRUM), 2004.


April 30 to October 10, 2011
Mise-en-scène: Views of France

Curated by Melissa Bennett and Tobi Bruce
Drawn largely from the Gallery’s extensive holdings, this exhibition explores how artists past and present have responded to and interpreted the French landscape. From explorations of the pastoral views that have in part shaped our perception of France as an idyllic and evocative locale to depictions of Paris as a vibrant metropolitan center, the images presented provide artistic glimpses into the particular charm that has long characterized the country. In Mise-en-scène several generations of European, Canadian and American artists — including James W. Morrice, Christiane Pflug, Albert Marquet, Stephen Shore and Peter Sramek — depict the places that inspired them, in turn transporting us there.


October 19 to November 3, 2011
RBC Canadian Painting Competition

Established in 1999, the RBC Canadian Painting Competition is a tribute to Canada's artistic talent. The goal of the competition is to support and nurture Canadian visual artists early in their career by providing them with a forum to display their artistic talent to the country and hopefully open doors to future opportunity.

Adjudicated by the Canadian Art Foundation, a jury consisting of distinguished members of the arts community selected five paintings from their regions as follows: Eastern (Quebec, Nova Scotia, New Brunswick, PEI, Newfoundland and Labrador), Central (Ontario), Western Canada (Manitoba, Saskatchewan, Alberta, British Columbia, Yukon, Northwest Territories, Nunavut). The combined jury then selected one national winner and two honourable mentions from the fifteen semi-finalists.

RBC, with the support of the Canadian Art Foundation, has named Vancouver artist Rebecca Brewer the national winner of the 13th annual RBC Canadian Painting Competition. Rebecca was awarded a $25,000 purchase prize for her original work, entitled Beuys painting. Two honourable mentions were given to Beth Stuart of Toronto for her work entitled 02, from the Doppelbanger series and Deirdre McAdams of Vancouver for her work entitled Blotto. Beth and Deirdre were each awarded $15,000 for their work.

Works by each of the fifteen semi-finalists will be on display in this exhibition. For more information, please visit www.rbc.com/paintingcompetition.


April 3 to December 4, 2011
passe-partout A Century of Canadians in France

Curated by Tobi Bruce
Artists have long journeyed across the Atlantic to Paris in search of training, inspiration and immersion in a culture that — in the decades surrounding the turn of the twentieth century — was at the center of the Western art world. Canadians were no exception. The soaring wall represents three generations of Canadian artists in France over the course of a century.

At ground level are paintings by the first generation of artists to board steamships bound for the continent, each of whom spent protracted periods studying, living and painting in Paris and its various and picturesque countrysides. These artists were exposed to a range of aesthetic approaches, including Academic art and Impressionism, elements of which they adapted to their own practices. Those who returned to Canada, such as Maurice Cullen and William Brymner, brought with them ideas and techniques learned abroad, thereby expanding art practice — and opening wide the eyes of the public — back home.

Cullen’s stepson Robert Pilot, together with many artists of his generation, followed in their predecessors’ footsteps. And while some of this generation also trained abroad, given the increased and more progressive teaching opportunities becoming available in Canada (in part due to the earlier generation), their experiences tended more toward informal training in the form of exploratory travel and the extensive viewing of art work.

And then there was Jean-Paul Riopelle who, at the tender age of twenty-two and working as a ship’s hand, made his first journey to Paris in 1946, settling there in December 1948 and marking his first solo show there the following year. Like those artists of the first generation in the late nineteenth century, Riopelle found himself in a progressive and exciting artistic milieu that was at the vanguard of art production. Ensuing years overseas brought him both increased success and immersion in the Parisian cultural scene.

The French experience defined, to varying degrees, the practice of these artists. Their ability to passe partout, to move freely and explore, to invest in the rich cultural and artistic environment in which they found themselves, expanded their individual visions and, correspondingly, their painting practices.


October 8 to December 31, 2011
Attila Richard Lukacs from the Collection of Salah J. Bachir

Curated by Melissa Bennett
Salah J. Bachir’s collection of Attila Richard Lukacs’ work is unparalleled in its scope, representing the various series for which Lukacs has become well-known.

More than thirty works are on display, including grand portraits of decadent male nudes, poetic and mythological scenes, works from the artist’s military series, Polaroid photographs used as studies for paintings, as well as a new abstract painting that has drawn a lot of attention for its departure from the figurative. Consistent throughout the works is a highly engaging, mystical, allegorical component — images of fabled lovers and animalistic characters.

Over the years, Bachir’s astute selections have come to form a comprehensive collection of works by one of Canada’s greatest contemporary painters.


September 24, 2011 to January 15, 2012
Masters of French Realism

Curated by Dr. Patrick Shaw Cable
The Art Gallery of Hamilton is fortunate to own a large body of works by various French painters associated with the central nineteenth-century artistic movement Realism, which achieved its most coherent expression in French painting. So, what better time than the year of The French Connection to celebrate these masters of French Realism, and explore the relationships and distinctions between them?

At the centre of French Realism was Gustave Courbet (1819–1877), represented in the exhibition by two landscape paintings. After the rejection of three of his fourteen submissions to the 1855 Exposition Universelle in Paris, Courbet made the daring move to hold his own private exhibition opposite the official exposition grounds, calling his space the Pavillon du Réalisme. While Courbet’s Realist representations of peasants and labourers were motivated by strong political views and he always enjoyed thumbing his nose in the face of accepted taste and rules, other French Realists found both popular and critical success with their naturalistically painted humble subjects. A case in point is Philippe Rousseau (1816–1887), whose specialty in still-lifes steeped in the tradition of seventeenth-century French master Chardin made him a favourite of Princess Mathilde and other Second Empire notables. Another type of Realism is represented in the work of James Tissot (1836–1902), whose Croquet has long been one of the favourite European paintings in the collection and is a quintessential expression of Tissot’s interest in portraying contemporary fashionable ladies. Several other artists in the exhibition infused their Realism with an eye to past traditions, for example Théodule Ribot, who was inspired by the Dutch master Rembrandt and the Spanish master Ribera. The Gallery owns more than twenty works by Ribot, who is the single best represented artist in the AGH Joey and Toby Tanenbaum Collection. More generally, most of the other works on display — by associated artists such as François Bonvin and Antoine Vollon — form part of the Tanenbaum Collection; together they reveal Realism to be a primary strength of this collection.


October 1, 2011 to January 15, 2012
Becoming: Photographs from the Collection of John and Ginny Soule

Curated by Melissa Bennett
The photographs in the collection of John and Ginny Soule span the late 19th century to the present day, illustrating the hallmark styles of photography as it progressed through the 20th century. In its beginnings, photography was not considered a fine art form, but was in the process of becoming. Likewise, the Soule’s collection is evolving, growing along with their passion for photography. The images themselves are striking, haunting and beautiful; in their own right, they are becoming pictures.

John Soule has fond memories of how his passion for photography began. He remembers, “at some point in the mid- to late 1960s Life Magazine did a spread of photographs by Jerry Uelsmann who produced images from multiple negatives which were, in my mind, bizarre and thought-provoking. I removed the various images from the magazine, crudely framed them with cardboard backing, and hung them in my bedroom. It was cheap and amateurish, but I enjoyed observing the images, and that became my first small step to the collection we have today.”

With great pleasure, John and Ginny went on to collect veritable photographs by Jerry Uelsmann (American, b. 1934), which are on display in this exhibition amongst other striking works by Edward Steichen (American, 1879-1973), Édouard Boubat (French, 1923-1999), André Kertész (Hungarian-American, 1894-1985), Heinrich Kühn (German-Austrian, 1866-1944), Frank Sutcliffe (British, 1853-1941), Horst P. Horst (German-American, 1906-1999), and contemporary Canadian pieces by Barbara Astman and Jesse Boles.


October 1, 2011 to January 15, 2012
Quilts! A Gift from Carole and Howard Tanenbaum to the Textile Museum of Canada

Organized and circulated by the Textile Museum of Canada
Quilts! celebrates the donation of Carole and Howard Tanenbaum’s impressive collection of quilts to the Textile Museum of Canada in 2011. As serious collectors of material ranging from photography to paintings and sculpture, their quilt collection began when they happened upon one in a Stratford antique store and decided they had to have it. The collection grew from there. As longstanding collectors, the Tanenbaums have developed a keen and sensitive eye, and while the quilts originally served a functional purpose, it is evident that they entered the collection on artistic and aesthetic merits alone.

Dating primarily to the latter part of the nineteenth century, these quilts were made in the United States, Canada and England. Originally used as bedding, furnishings, as well as markers of family and community celebration, most of the quilts’ makers are unknown and their ancestry obscure. While their meaning and social messages have evolved, they continue to offer exquisite articulations of history, tradition and craftsmanship.


November 12, 2011 to June 17, 2012
Size Matters

Curated by Melissa Bennett and Tobi Bruce
Scale—both physical and perceived—plays an important part in how we experience an artwork. Whether we look at an ambitious twelve-foot canvas or a miniature artwork the size of a locket, the dimensions of any given object can both define and condition how we perceive and engage with it. Large paintings can be appreciated either by stepping back to make sense of the whole, or by moving closer to explore the details of the brushstrokes. Conversely, the delicate and diminutive scale of smaller works might offer an intimacy that feels conspiratorial, as we lean in, getting to know our subject.

This exhibition explores the AGH collection from this perspective, as we ask ourselves how scale defines an artwork and, in turn, how size shapes our interaction with objects. Size Matters is largely an exploration, posing questions about what the scale of an object can communicate.


March 5, 2011 to August 19, 2012
From Rude to Rodin

Curated by Dr. Patrick Shaw Cable
The largest and most important segment of the Art Gallery of Hamilton’s European sculpture collection is its rich selection of works by French artists of the nineteenth century, which we celebrate here within the context of our 2011 French Connection theme.

On view for most of the year in the AGH David Braley and Nancy Gordon Sculpture Atrium will be bronzes, terra cottas, and plasters by the masters of nineteenth-century French sculpting, such as François Rude and Antoine-Louis Barye; the mid-century giants Jean-Baptiste Carpeaux and Albert-Ernest Carrier-Belleuse; and the later modernist pioneers Aristide Maillol and Auguste Rodin. Along the way visitors will discover the work of sculptors who are less well known today but achieved acclaim at the Paris Salons, including Henri Chapu, Paul Dubois, and Rodin’s contemporary Jules Dalou. In artworks whose subjects range from mythology to everyday life, viewers can appreciate the technical brilliance and dramatic panache of nineteenth-century French sculpture from Romanticism to modernism.

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The Jean and Ross Fischer Gallery


February 26 to May 15, 2011
Women’s Art Association of Hamilton 115th Annual Juried Exhibition

A longstanding and vibrant institution within the cultural life of the City, the Women’s Art Association of Hamilton was founded in 1894; twenty years later its members helped support the establishment of the Art Gallery of Hamilton, another historic and vital Hamilton arts institution. An illustration of the ongoing ties between these two organizations is the regular hosting at the Gallery of the WAAH’s annual juried exhibition of works by members, which in 2011 marks its 115th year. Viewers can appreciate the richness of techniques, styles, and themes that characterize works chosen by jury for this special exhibition. We would also like to take this opportunity to thank the WAAH for its commitment to the Gallery and its programs, which in addition to sustained financial support has included the donation of important artworks over the years, for instance, paintings by Arthur Lismer, Hortense Gordon, and most recently the local contemporary artist Bruno Capolongo (Contemporary with Urn, Quince and Pence, Contemporary Still-Life #31 / 2005 / encaustic on panel / donated 2009).


May 19 to June 19, 2011
Follow Your Art VI: SAGE Student Exhibition

This year’s SAGE (Scholastics Arts Global Education) student exhibition from Strathcona School features an exciting array of works from students from Senior Kindergarten through Grade 5. In the sixth year of the AGH / SAGE partnership, artworks inspired by AGH exhibitions and students’ own interest examine the theme of awareness – individual awareness represented by personal possessions, cultural awareness inspired by the African works in the Tanenbaum African Collection, and environmental awareness inspired by Diane Landry’s integration of everyday, recyclable objects in her artwork. SAGE students visited the AGH five times throughout the school year, studying select exhibitions in depth and creating work based on their experiences. This exhibition is the culmination of a year’s work for 91 talented students.


August 27 to November 13, 2011
Ruby B. McQuesten: The Jewel of Whitehern

Presented by the City of Hamilton, Whitehern Historic House and Garden
Artist and devoted letter writer, Ruby Baker McQuesten (1879-1911) of Whitehern Museum passed away from tuberculosis at the young age of thirty-one. The pairings of paintings, drawings and letters featured in Ruby B. McQuesten: The Jewel of Whitehern demonstrate that despite its brevity, her life was resplendent with love for her family, humour, dynamism, and an appreciation of art. From her education at the Hamilton Art School beginning in 1894, through her career as a teacher in Ottawa, to her untimely death in 1911, Ruby Baker McQuesten produced more than sixty-five paintings, drawings, and pyrography objects. Comprising studies of the surrounding landscape, floral arrangements and still-lifes, these paintings and drawings document a life inspired by the simplicity and beauty of the natural world. Accompanied by original letters sent home to Whitehern, this exhibition presents a unique cache of fine art native to Hamilton. The Hamilton Historical Board has declared 2011 to be the "Year of the McQuestens."


AGH Entrance Foyer

January 23 to May 8, 2011
Nothing Is So Important That It Needs To Be Made In Six Foot Neon

This piece complements the Gallery level two exhibition Conversations.

Kelly Mark (Canadian, b. 1967)
Nothing Is So Important That It Needs To Be Made In Six Foot Neon 2009
Neon and transformers
Neon sign construction by: Orest Tataryn


May 14 to September 11, 2011
Rick Pottruff: Search Engine City

Curated by Melissa Bennett
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.

Pottruff has been teaching art at the postsecondary level for over thirty years, and has taught at York University, the University of Guelph, the University of Waterloo, the University of Regina, Sheridan College, and currently teaches at Seneca College. He has had over thirty-five solo exhibitions in Canada, including at the AGH, and also in the USA and England. His work is in the collections of the AGH, McMaster Museum, the Canada Council Art Bank, the Art Gallery of Brant, the Kitchener-Waterloo Art Gallery, Gallery Stratford, the Robert McLaughlin Gallery, and the Mackenzie Art Gallery. Pottruff was born in Hamilton and lives in Brantford, Ontario.

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