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Current Exhibitions

 
 

 




GALLERY LEVEL ONE



The Artist Herself: Self-Portraits by Canadian Historical Women Artists
On view May 28 to September 11, 2016
Organized and circulated by the Agnes Etherington Art Centre and the Art Gallery of Hamilton
#AGHArtistHerself


Drawing upon our growing fascination with self-portraiture (consider the global selfie craze), The Artist Herself brings together a collection of works that reveal how women artists defined themselves in Canada from the late eighteenth century to the early 1960s. In exploring this topic, what better genre to examine than the self-portrait? Yet, historically, limiting self-portraiture to a narrow traditional definition has marginalized or eliminated the works of many women artists.

This exhibition is as much about investigating “traditional” self-portraits as it is about the self reflected and inscribed in more unexpected—but equally meaningful—ways. As such, we expand the genre’s definition by moving beyond the human face to propose other forms of self-representation, from both settler and Indigenous perspectives.

Through this widened scope of identity, we redefine women artists’ explorations, conceptions, and presentations of self. We come to see not only how women found voice within a historically masculine genre, but also how they expressed their identity outside of it. Together, the works reveal how Canadian women artists have given profound expression to their personal, familial, and communal identities across cultures, media, and time.

The exhibition is co-produced with the Agnes Etherington Art Centre (AEAC), Queen’s University, Kingston, and co-curated by Tobi Bruce, AGH Director, Exhibitions and Collections, and Alicia Boutilier, Curator of Canadian Historical Art at the AEAC.



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The Artist Herself | L'Artiste Elle-Même

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Embracing Canada: Landscapes from Krieghoff to the Group of Seven

On view June 17, 2016 to September 25, 2016
Organized and circulated by the Vancouver Art Gallery and curated by Ian M. Thom, Senior Curator, Historical

For over a century our relationship with the natural world has been a central subject for Canadian artists. This exhibition focuses on the changing role of landscape in historical Canadian art and spans approximately a century, from the 1830s to the 1940s. The works on view include paintings that are very traditional in approach as well as those that were regarded, at the time they were painted, as being extremely radical. Superb examples of work by many of Canada’s most celebrated artists are on view, and the exhibition is particularly rich in works by Tom Thomson and the Group of Seven. Early depictions of both Indigenous peoples and European settlers in the Canadian landscape are comprehensively shown, as are artists connected to the founding of the Royal Canadian Academy of Arts in 1880 and those associated with the expanding Canadian Pacific Railway. As painters’ exploration of Canada gradually shifted to the landscape itself, we see the extraordinary visual legacy of the Group of Seven, including parallel figures such as Emily Carr, Maurice Cullen and Jock Macdonald, to name only a few. Drawing on the collections of the Vancouver Art Gallery and a remarkable loan from an important private collection, Embracing Canada presents a rich and layered history of landscape painting in Canada.

This exhibition is organized and circulated by the Vancouver Art Gallery and is curated by Ian M. Thom, Senior Curator-Historical.

 

Embracing Canada: Landscapes form Krieghoff to the Group of Seven

Exhibition Catalogue available at the 
Shop at AGH

 

 

 






Lecture Series: In Discussion

Thoughts on Collecting The Group of Seven
Thursday, July 21, 7:00 p.m.


 



Imaging Phantoms: Catherine Heard

On view June 17, 2016 to September 25, 2016
Curated by Melissa Bennett, AGH Curator of Contemporary Art

Catherine Heard’s sculptural figures are often perceived as expressions of anxiety around the fragility of the human body. In her artistic practice, she explores human fears about the body and its inherently flawed and ephemeral nature. Her work is informed by science as it enlivens these topics in poetic and haunting ways. This solo exhibition features new scuptures made of organic and medical materials, as well as embroidered lace pieces that form a sculptural fabric head. Each sculpture is accompanied by a projection of an animation of the layered images of the sculptural interiors. The exhibition builds on Heard’s research into the interior sublime.

In partnership with St. Josephs’ Healthcare and Dr. Julian Dobranowski, the AGH will present this exhibition which centers on awareness of how the human body functions, with particular focus on how we learn about our bodies through medical images such as CAT scans and MRIs. New works by artist Catherine Heard will be featured, having been created from medical imaging materials such as Barium, which Heard used as a sculptural material scanned in various medical imaging machines to create new X-ray type images. Heard is a Toronto-based artist whose sculptural figures are often perceived as expressions of anxiety around the fragility of the human body. In her artistic practice, she explores human fears about the body and its inherently flawed and ephemeral nature. Julian Dobranowski MD, FRCPC, is Senior Consultant, Strategic Quality Initiatives, Diagnostic Imaging, St. Joseph’s Healthcare Hamilton, Associate Professor, McMaster University, and Director of the Centre of Radiological Anatomy.



 



GALLERY LEVEL TWO
Free admission courtesy of Orlick Industries.


Collection Classics
On view April 9, 2016 to March 19, 2017

Collection Classics and Evolution of Form present both asked-after favourites and rarely-seen masterworks from the collection. As these two exhibitions attest, the 10,000-work strong AGH holdings are a remarkable and impressive resource for our community and region. Bringing together over one hundred objects in a variety of media and from across several centuries and countries, these presentations provide a glimpse into the strength and quality of the AGH holdings.


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Saga of a City: Hamilton at 200 Years
On view April 9, 2016 to March 19, 2017
Curated by Devin Therien, Adjunct Curator, European Art and
Bill Manson, Hamilton Historian

Saga of a City commemorates the bicentennial of the founding of the city of Hamilton in 1816.

This historical exhibition traces the foundations upon which an obscure frontier hamlet in 1816 grew to become a major North American manufacturing and transportation centre by 1925. Historically, the development of the city rested solidly on the foundations of location, water, rails, immigration, and industry. However, since 1945 these traditional foundations have been shaken, and today a very different city is in the process of reinventing itself.

Indigenous Nations have lived at the western end of Lake Ontario for centuries. The proximity to water, a temperate climate, and bountiful natural resources made this location ideal. European settlers were attracted to the Head-of-the-Lake, as they called it, for the same reasons.

Early European settlers at the Head-of-the-Lake created agricultural lands and harnessed the power of the many waterfalls to create mill towns like Ancaster, Albion, and Dundas. Many entrepreneurs were active in land speculation. One such was Niagara businessman George Hamilton, who in 1815 purchased 257 acres of land upon which to found a town.

This is the saga of that town and the city that grew from it.


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Evolution of Form: 150 Years of Sculpture from the Collection
On view April 23, 2016 to March 19, 2017


Collection Classics and Evolution of Form present both asked-after favourites and rarely-seen masterworks from the collection. As these two exhibitions attest, the 10,000-work strong AGH holdings are a remarkable and impressive resource for our community and region. Bringing together over one hundred objects in a variety of media and from across several centuries and countries, these presentations provide a glimpse into the strength and quality of the AGH holdings.

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Staging Abstraction: Paintings from the Collection
On view April 23, 2016 to March 19, 2017
Co-curated by local painter Daniel Hutchinson and Melissa Bennett, AGH Curator of Contemporary Art


Staging Abstraction features quintessential examples of Canadian abstract painting from the 1960s to the 1980s. Many of the works were brought into the collection in their time as the artists were emerging, and through subsequent donations as the Gallery became recognized as a key institutional collector of late modern and postmodern Canadian abstraction. The Gallery now holds nearly six hundred abstract paintings from this period, comprising over a quarter of the museum’s contemporary holdingsyet very few of the works on view here have been exhibited in the last twenty-five years.

Abstract painting faced a crisis beginning in the late 1960s, as new categories of art such as video, installation and performance challenged the compelling narrative of modernist painting, which prioritized pure painting as its own subject. Just a short decade later the art market surged around neo-expressionism, but abstraction as a whole faced renewed criticism. Artists began to adapt the medium, responding with hybridized paintings, often containing several styles and media within a single work. Conceptual and reflexive approaches flourished, and artists often considered social and political content through abstraction.

Over twenty works were selected for this exhibition, to illuminate these radical decades, extending the term “abstraction” to accommodate the divergent practices that have helped set the stage for the complex, pluralistic practices of contemporary art today. Featuring works by Gershon Iskowitz, Joseph Drapell, Barbara Astman, Jack Bush, Yves Gaucher, K.M. Graham, Joyce Wieland, Tim Zuck and more. 

For photo documentation and curatorial essay see here 

 

Kim Adams: Bruegel-Bosch Bus
Permanent Installation

Repeatedly in his work, Canadian artist Kim Adams has explored the patterns of a mobile society, creating works of art that are eccentric hybrids of the readymade. Blending humour, satire and seriousness, he builds “worlds” as a means of social critique. Adams’ installations exist comfortably in the space that divides life and art. His works have been presented in two very different social worlds: in a densely social environment such as a park or street and in a museum setting like the Art Gallery of Hamilton. Neither setting is privileged.

A magnificent visual masterpiece, Bruegel-Bosch Bus consists of a 1960 Volkswagen that appears to pull a post-industrial universe displaying a cornucopia of fantastic and seductive worlds that play with our senses. It was produced over a 7-year span. 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. Reminiscent of a previous installation by Adams titled Earth Wagons that presented a micro-model North American society fixed on leisure and entertainment, the Breugel-Bosch Bus encapsulates the next whole world picture, a world in which reality and unreality, logic and fantasy, banality and sublimation of existence, form an inexplicable unity. 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.

 


The Jean and Ross Fischer Gallery
Free admission courtesy of Orlick Industries.



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