Reclaiming the Narrative: Camille Turner’s 
Hometown Queen at the AGH 

Featuring 74 extraordinary works created between 1888 and 1937, Northern Lights unites visionary Canadian artists Emily Carr, Lawren S. Harris, and Tom Thomson with European masters such as Hilma af Klint and Edvard Munch.

This fall, the McMichael is delighted to see Rajni Perera: Futures presented at the Doris McCarthy Gallery at the University of Toronto Scarborough campus, the latest stop on a national tour showcasing the groundbreaking work of one of Canada’s most compelling contemporary artists.

Dream Meadow, 2023, is a textile-based sculpture made by the artist Anne Low (b. 1981) in her former studio on Denman Island in British Columbia. The work comprises a long skirt and pocketed apron with attached adornments. The striped textiles used to create the skirt and its lining were handwoven by the artist on a loom with hand-dyed wool and silk, using eighteenth- and nineteenth-century weaving techniques and historic patterns.

Two Caribou, 2008–2009, by Kananginak Pootoogook (1935–2010), is a rich example of contemporary drawing from Kinngait (formerly Cape Dorset), Nunavut, depicting two bull caribou locked in battle, perhaps over a mate. Hooves fly and antlers clash, lending a sense of immediacy to the conflict.

Last year at Art Toronto we acquired Aanzinaago (Caught in a Transformation) 01, 2024, by Native Art Department International (NADI), for the collection at the McMichael. NADI is a collaborative long-term project created and administered by the Ojibwe Anishinaabe performance artist, sculptor, and mixed-media artist Maria Hupfield (b. 1975) and the Chiricahua Apache and Mexican multimedia artist Jason Lujan (b. 1971).

Kent Monkman (b. 1965) is a leading Cree visual artist from Fisher River Cree Nation in Treaty 5 Territory, Manitoba, and is currently based in Toronto. Compositional Study for “tâpwêwin (Truth),” 2025, is part of Monkman’s new Knowledge Keeper series, a body of work examining the history and enduring impact of Canada’s residential school system.

SHE in Mud Form, 2015–16, is a landmark cross-cultural collaboration between Nep Sidhu and Nicholas Galanin, forming part of their ongoing series No Pigs in Paradise.

On November 20, 2025, towering totem poles watched over a crowd of more than 700 guests gathered in the Grand Hall of the Canadian Museum of History in Gatineau, Quebec, to celebrate the opening of River of Dreams.

Mount Lefroy, c. 1929, by the Group of Seven’s Lawren S. Harris (1885–1970), is one of the five known graphite studies for his iconic painting Mt. Lefroy, 1930, a standout in the McMichael collection.

This past fall and into spring, the exhibition Meryl McMaster: Bloodline continues its tour with a presentation at the McMaster Museum of Art in Hamilton.

Church in a Canyon, BC, 1929–30, is a small but powerful work by F.H. Varley (1881–1969) of the Group of Seven.

Camille Turner (b. 1960) is a Jamaican Canadian artist who works in photography, video, and performance.

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.

The National Gallery of Canada in Ottawa has opened its new exhibition, Winter Count: Embracing the Cold, a sweeping exploration of winter’s deep cultural, historical, and artistic significance.   

In this new short film directed by David Hartman, we spend time with the Toronto-based artist Rajni Perera in her studio, tracing the ideas and influences that shape her practice.