Recently acquired by the McMichael, Rody Kenny Courtice's Riverbank Flowers, 1954, offers a vivid introduction to one of Canadian modernism's most distinctive voices — a painter whose richly patterned, experimental canvases resist easy classification.
A.Y. Jackson spent the final years of his life living and painting at the McMichael in Kleinburg — and this recently acquired graphite drawing is, as far as we know, the only located work by the artist depicting the gallery's own grounds.
For nearly three decades, Camille Turner has challenged who gets seen, remembered, and celebrated in Canadian history — and her landmark retrospective Hometown Queen is now on view at the Art Gallery of Hamilton through January 3, 2027. Read about the McMichael's recent acquisition of Pride and Possibilities and the powerful alter ego at the heart of Turner's practice.
In Theft of Scarcity, Joseph Tisiga transforms a communal feast into a powerful meditation on abundance, protection, and the enduring effects of colonial dispossession. Learn how this newly acquired work connects histories of scarcity and resistance with contemporary conversations about community and survival.
Now on view in Early Days, Barry Ace’s Fox Tail Moccasins reflects the artist’s distinctive approach to merging Indigenous cultural traditions with the visual language of modern technology. Learn how Ace draws on Anishinaabe teachings, historical imagery, and innovative materials to create works that bridge past, present, and future.
Melanie Authier’s dynamic abstract paintings create immersive spaces charged with movement, light, and shifting sensation. Highlighting a recent acquisition to the McMichael’s collection, this article explores how Authier transforms memory, atmosphere, and the language of painting into richly layered contemporary abstraction.
A recent gift of Nunavik wall hangings highlights the remarkable legacy of Inuit artist Mina Kumarluk Napartuk—discover how her work bridges tradition, community, and innovation in Arctic textile art.
A newly installed work by Toronto artist Aaron Jones transforms the Grand Hall—discover how Lithic layers image, material, and meaning to explore identity, resilience, and the search for grounding.
Jungen’s Prototype for New Understanding #4, 1998, is an important early work of sculpture that recalls a Northwest Coast ceremonial mask but was created from deconstructed and repurposed athletic footwear.
Church in a Canyon, BC, 1929–30, is a small but powerful work by F.H. Varley (1881–1969) of the Group of Seven.
Portrait of Lois Gordon in a Russian Dress, 1935, is a singular work in the career of Marian Dale Scott, a pioneering modernist and important figure in twentieth-century art in Canada.
