Ann MacIntosh Duff (1925–2022) spent decades returning to the same boathouse studio on Georgian Bay, finding endless new possibilities in familiar landscapes — and the McMichael is proud to have recently acquired two hundred works from her estate. Read an excerpt from award-winning filmmaker Jennifer Baichwal's moving essay on her dear friend's life and singular artistic vision.
This article presents an excerpt from Jessica Bradley’s catalogue essay on Margaux Williamson’s mid-career survey Interiors (2021–22), reflecting on the artist’s evolving painting practice. Bradley highlights Williamson’s ability to build immersive, contemplative compositions in which ordinary interiors become sites of visual and emotional inquiry.
Marking the third anniversary of Uses of Enchantment: Art and Environmentalism, this article revisits Shary Boyle’s haunting explorations of apocalypse, fantasy, and environmental anxiety. Featuring an excerpt by writer Ruth Jones, it examines how Boyle’s imaginative works reflect contemporary fears surrounding climate change and ecological collapse.
Read an excerpt from Emily Laurent Henderson’s essay, "Dreaming Forward" from Worlds on Paper: Drawings from Kinngait.
Read an excerpt from David S. Koffman’s essay, "Painting Jewish Life in Canada."
Read an excerpt from artist Stan Douglas' conversation with McMichael Executive Director, Sarah Milroy.
We’re delighted to share that the catalogue for our exhibition Worlds on Paper: Drawings from Kinngait won the Galeries Ontario / Ontario Galleries Award for Art Publication of the Year, 2025.
Toronto artist Iris Häussler is one of a number of Canadian artists who have made the Tom Thomson Shack on the McMichael property their temporary summer workspace, among them Robert Houle, Alexa Kumiko Hatanaka, Jen Aitken, and Zachari Logan. Häussler’s complex project incorporated her research on the death of migrating birds though collisions with glass—a phenomenon that kills more than twenty million migrating birds in Canada annually.
