(Forthcoming) Dylan Miner: TBA    McIntosh Gallery, Western University   Dylan AT Miner is a Wiisaakodewinini (Métis) artist, activist, and scholar. He is currently Director of  American Indian and Indigenous Studies and Associate Professor in the  Residential College in the Arts and Humanities  at Michigan State University. Miner is also adjunct curator of Indigenous art at the  MSU Museum  and a founding member of the  Justseeds  artists collective. He holds a PhD and has published approximately sixty journal articles, book chapters, critical essays, and encyclopedia entries.

(Forthcoming) Dylan Miner: TBA

McIntosh Gallery, Western University

Dylan AT Miner is a Wiisaakodewinini (Métis) artist, activist, and scholar. He is currently Director of American Indian and Indigenous Studiesand Associate Professor in the Residential College in the Arts and Humanities at Michigan State University. Miner is also adjunct curator of Indigenous art at the MSU Museum and a founding member of the Justseeds artists collective. He holds a PhD and has published approximately sixty journal articles, book chapters, critical essays, and encyclopedia entries.


  (Forthcoming) Tracey-Mae Chambers: TBA    Glenhyrst Art Gallery of Brant   Tracey-Mae Chambers is a Métis visual artist and educator based in Simcoe, Ontario. Her encaustic vessel sculptures combine melted beeswax and Damar resin (tree sap) to emphasize inherent forms of beauty found in the natural world. This exhibition features Chambers's instantly recognizable vessels alongside new sculptural works that incorporate found driftwood and other media.

(Forthcoming) Tracey-Mae Chambers: TBA

Glenhyrst Art Gallery of Brant

Tracey-Mae Chambers is a Métis visual artist and educator based in Simcoe, Ontario. Her encaustic vessel sculptures combine melted beeswax and Damar resin (tree sap) to emphasize inherent forms of beauty found in the natural world. This exhibition features Chambers's instantly recognizable vessels alongside new sculptural works that incorporate found driftwood and other media.

  (Forthcoming) Skawennati: TBA    McIntosh Gallery, Western University   Skawennati makes art that addresses history, the future, and change. Her pioneering new media projects include the online gallery/chat-space and mixed-reality event,   CyberPowWow   (1997-2004); a paper doll/time-travel journal,   Imagining Indians in the 25th Century   (2001); and   TimeTraveller™   (2008-2013), a multi-platform project featuring nine machinima episodes. These have been widely presented across North America in major exhibitions.

(Forthcoming) Skawennati: TBA

McIntosh Gallery, Western University

Skawennati makes art that addresses history, the future, and change. Her pioneering new media projects include the online gallery/chat-space and mixed-reality event, CyberPowWow (1997-2004); a paper doll/time-travel journal, Imagining Indians in the 25th Century (2001); and TimeTraveller™ (2008-2013), a multi-platform project featuring nine machinima episodes. These have been widely presented across North America in major exhibitions.

  Jeff Bierk: CURTAIN (Travelling Exhibition)    Glenhyrst Art Gallery of Brant   “Jeff Bierk: CURTAIN” features the work of Toronto-based photographer and artist Jeff Bierk and his series of hospital curtain photographs and related ephemera. These fascinating works, which have never been shown together before, are both autobiographical and politically significant for their close relationship to addiction, illness, death, and loss. A panel presentation on grief was presented along with the artist, curator, and representatives of a local hospice.

Jeff Bierk: CURTAIN (Travelling Exhibition)

Glenhyrst Art Gallery of Brant

“Jeff Bierk: CURTAIN” features the work of Toronto-based photographer and artist Jeff Bierk and his series of hospital curtain photographs and related ephemera. These fascinating works, which have never been shown together before, are both autobiographical and politically significant for their close relationship to addiction, illness, death, and loss. A panel presentation on grief was presented along with the artist, curator, and representatives of a local hospice.


  The Power of Her    Glenhyrst Art Gallery of Brant   The “Power of Her” highlights the important contributions of women artists—Linda Blakney, Aliki Muklich, Jeanette Obbink, Chelo Sebastian, and Heather Vollans—from Brantford and Brant Region. Though their artwork is varied in style and approach, these artists continue to shape and define how we approach contemporary art and visual culture. The exhibition also includes selected artworks by women artists and portraiture of women from Glenhyrst’s permanent collection.

The Power of Her

Glenhyrst Art Gallery of Brant

The “Power of Her” highlights the important contributions of women artists—Linda Blakney, Aliki Muklich, Jeanette Obbink, Chelo Sebastian, and Heather Vollans—from Brantford and Brant Region. Though their artwork is varied in style and approach, these artists continue to shape and define how we approach contemporary art and visual culture. The exhibition also includes selected artworks by women artists and portraiture of women from Glenhyrst’s permanent collection.

  Reimaginings: Selections from Glenhyrst’s Permanent Collection    Glenhyrst Art Gallery of Brant   Glenhyrst’s annual permanent collection exhibition highlights the special contributions made by local, regional, national, and Indigenous artists from Canada. This exhibition provides an opportunity to showcase some of the collection’s outstanding artworks. Over the past several years, Glenhyrst has made significant efforts to conserve important artworks in the permanent collection, as well as artworks that have not been shown in decades. It is with great pleasure that we present these newly conserved works alongside other selections to show and promote the strength of our collection.

Reimaginings: Selections from Glenhyrst’s Permanent Collection

Glenhyrst Art Gallery of Brant

Glenhyrst’s annual permanent collection exhibition highlights the special contributions made by local, regional, national, and Indigenous artists from Canada. This exhibition provides an opportunity to showcase some of the collection’s outstanding artworks. Over the past several years, Glenhyrst has made significant efforts to conserve important artworks in the permanent collection, as well as artworks that have not been shown in decades. It is with great pleasure that we present these newly conserved works alongside other selections to show and promote the strength of our collection.

  Unseen Treasures: Rare Works from Glenhyrst’s Permanent Collection    Glenhyrst Art Gallery of Brant   This exhibition features artwork from Glenhyrst’s remarkable permanent collection that have not been on display in the gallery for several years or decades, in addition to those which have never been displayed at all. These works, selected by Glenhyrst’s Curator Matthew Ryan Smith and Chair of Collections David M. Leng, emphasize the special contributions made by local, regional, and national artists as well as artists from the United States, Europe, and elsewhere. Today, Glenhyrst’s impressive permanent collection includes over 600 artworks.

Unseen Treasures: Rare Works from Glenhyrst’s Permanent Collection

Glenhyrst Art Gallery of Brant

This exhibition features artwork from Glenhyrst’s remarkable permanent collection that have not been on display in the gallery for several years or decades, in addition to those which have never been displayed at all. These works, selected by Glenhyrst’s Curator Matthew Ryan Smith and Chair of Collections David M. Leng, emphasize the special contributions made by local, regional, and national artists as well as artists from the United States, Europe, and elsewhere. Today, Glenhyrst’s impressive permanent collection includes over 600 artworks.


  Kapwani Kiwanga: Clearing    Glenhyrst Gallery of Brant    Clearing  features the work of Paris (FR) visual artist Kapwani Kiwanga. Born in Hamilton and raised in Brantford, Kiwanga attended Glenhyrst Art Gallery art camps from an early age. In this exhibition, she returns to the site of her earliest arts education to consider her experience with the gallery and the region’s unfolding relationship with Indigenous people and the land. Glenhyrst Art Gallery would like to thank the Ontario Arts Council for their generous support of this project.

Kapwani Kiwanga: Clearing

Glenhyrst Gallery of Brant

Clearing features the work of Paris (FR) visual artist Kapwani Kiwanga. Born in Hamilton and raised in Brantford, Kiwanga attended Glenhyrst Art Gallery art camps from an early age. In this exhibition, she returns to the site of her earliest arts education to consider her experience with the gallery and the region’s unfolding relationship with Indigenous people and the land. Glenhyrst Art Gallery would like to thank the Ontario Arts Council for their generous support of this project.


  Stephen Livick: Midway    Woodstock Art Gallery   Stephen Livick’s photographs examine how the carnival, traditionally considered to be a site of pleasure and amusement, can double as a site of melancholy. The tension between the faces of the individuals and their entertaining surroundings, specifically in the coloured photographs, are precisely what makes these photographs so engaging. Behind the strained smiles, face paint and clown masks lies a profound dissatisfaction that contradicts the very character of the carnival itself.

Stephen Livick: Midway

Woodstock Art Gallery

Stephen Livick’s photographs examine how the carnival, traditionally considered to be a site of pleasure and amusement, can double as a site of melancholy. The tension between the faces of the individuals and their entertaining surroundings, specifically in the coloured photographs, are precisely what makes these photographs so engaging. Behind the strained smiles, face paint and clown masks lies a profound dissatisfaction that contradicts the very character of the carnival itself.


  Andil Gosine: COOLIE COOLIE VIENS    Glenhyrst Art Gallery of Brant in partnership with McIntosh Gallery, Western University   The title for this exhibition is derived from a taunt that artist Andil Gosine heard while growing up in rural Trinidad during 1970s, soon before he and his family immigrated to Canada. In this exhibition, Gosine interrogates the meaning of the taunt through a series of objects and performances. The result is a deep consideration of his ancestor's relationship with indentureship and his contemporary experience as a migrant.

Andil Gosine: COOLIE COOLIE VIENS

Glenhyrst Art Gallery of Brant in partnership with McIntosh Gallery, Western University

The title for this exhibition is derived from a taunt that artist Andil Gosine heard while growing up in rural Trinidad during 1970s, soon before he and his family immigrated to Canada. In this exhibition, Gosine interrogates the meaning of the taunt through a series of objects and performances. The result is a deep consideration of his ancestor's relationship with indentureship and his contemporary experience as a migrant.


  Pillow Talk    General Hardware Contemporary   This exhibition emerges from a desire to articulate a field of relations between partners and their painting practice. The works of Nicole Collins and Michael Davidson, Gina Rorai and David Urban, and DaveandJenn (David John Foy and Jennifer Saleik) offer a breadth of readings both in the works themselves and in the very real connections that lie beyond their objecthood.

Pillow Talk

General Hardware Contemporary

This exhibition emerges from a desire to articulate a field of relations between partners and their painting practice. The works of Nicole Collins and Michael Davidson, Gina Rorai and David Urban, and DaveandJenn (David John Foy and Jennifer Saleik) offer a breadth of readings both in the works themselves and in the very real connections that lie beyond their objecthood.

  The Look of Things: Murray Favro and Keith Shearsby    Glenhyrst Art Gallery of Brant   In “The Look of Things,” artists Murray Favro and Keith Shearsby engage with the idea of usefulness, of functionality, and of value. As such, they complicate the curious relationship between art objects and working instruments, between artistic expression and tools. In short, Favro and Shearsby seek to unhinge the fabrication of art in an age of mass-production, the logic of visual perception, and the dynamics of everyday items.

The Look of Things: Murray Favro and Keith Shearsby

Glenhyrst Art Gallery of Brant

In “The Look of Things,” artists Murray Favro and Keith Shearsby engage with the idea of usefulness, of functionality, and of value. As such, they complicate the curious relationship between art objects and working instruments, between artistic expression and tools. In short, Favro and Shearsby seek to unhinge the fabrication of art in an age of mass-production, the logic of visual perception, and the dynamics of everyday items.


  The View from Here: Selections from Glenhyrst's Permanent Collection    Glenhyrst Art Gallery of Brant   The Glenhyrst’s permanent collection exhibition highlights the special contributions made by local, regional, national, and indigenous artists from Canada. With the formation of the gallery in 1956, a strong collection of historical, modern, and contemporary artworks were brought together and continue to grow. Today, the Glenhyrst’s impressive permanent collection includes over 600 artworks from Canadian, indigenous, and international artists.

The View from Here: Selections from Glenhyrst's Permanent Collection

Glenhyrst Art Gallery of Brant

The Glenhyrst’s permanent collection exhibition highlights the special contributions made by local, regional, national, and indigenous artists from Canada. With the formation of the gallery in 1956, a strong collection of historical, modern, and contemporary artworks were brought together and continue to grow. Today, the Glenhyrst’s impressive permanent collection includes over 600 artworks from Canadian, indigenous, and international artists.


  Amanda Urquhart & Aidan Urquhart: Living Rooms    Glenhyrst Art Gallery of Brant   The works included in this exhibition speak directly to the assembly of space as being one of opposites, of dichotomies: public / private, interior / exterior, outside / inside. The result is a meaningful, idiosyncratic, and often humorous play on the spaces that we inhabit everyday. Moreover, it draws critical attention to the vernacular, to the spaces we may take for granted, and allows up to see them in a new light.

Amanda Urquhart & Aidan Urquhart: Living Rooms

Glenhyrst Art Gallery of Brant

The works included in this exhibition speak directly to the assembly of space as being one of opposites, of dichotomies: public / private, interior / exterior, outside / inside. The result is a meaningful, idiosyncratic, and often humorous play on the spaces that we inhabit everyday. Moreover, it draws critical attention to the vernacular, to the spaces we may take for granted, and allows up to see them in a new light.


  Cane Portraiture (Fields of Dreams)    Art Gallery of Ontario   Andil Gosine’s Cane Portraiture series emerges from a set of conditions that aestheticizes the social history of indentured labourers, of “coolies,” in the Caribbean through a participant-driven durational performance. The careful selection of a digital photograph featuring sugar cane for the backdrop of his performance functions as an indexical referent that stimulates cultural memory of the Caribbean diaspora and emphasizes sugar’s problematic relationship to indenture.

Cane Portraiture (Fields of Dreams)

Art Gallery of Ontario

Andil Gosine’s Cane Portraiture series emerges from a set of conditions that aestheticizes the social history of indentured labourers, of “coolies,” in the Caribbean through a participant-driven durational performance. The careful selection of a digital photograph featuring sugar cane for the backdrop of his performance functions as an indexical referent that stimulates cultural memory of the Caribbean diaspora and emphasizes sugar’s problematic relationship to indenture.

  Jason McLean and Fiona Smyth: Say 'Hi' to the Sun    Glenhyrst Art Gallery of Brant   Jason McLean and Fiona Smyth are widely recognized as two of Canada’s leading illustrators. Since the 1990s, their work has come to define Canada’s underground art scene and contributed to its critical acceptance by writers, critics, and curators. This exhibition brings together the work of McLean and Smyth for the first time, and seeks to examine the differences and similarities in their fascinating art practice.

Jason McLean and Fiona Smyth: Say 'Hi' to the Sun

Glenhyrst Art Gallery of Brant

Jason McLean and Fiona Smyth are widely recognized as two of Canada’s leading illustrators. Since the 1990s, their work has come to define Canada’s underground art scene and contributed to its critical acceptance by writers, critics, and curators. This exhibition brings together the work of McLean and Smyth for the first time, and seeks to examine the differences and similarities in their fascinating art practice.


  Soheila Esfahani: Artist's Project    Glenhyrst Art Gallery of Brant   This artist’s project features wooden pallets, sometimes known as wooden skids, from her recent series Cultured Pallets. Esfahani laser-etches arabesque patterns sourced from mosaic designs in the interior dome of the Imam Mosque in Isfahan, Iran. Isfahan is the ancestral city of the artist’s family, however when she returned to Isfahan, she felt dis / connected to the city. In this regard, the Cultured Pallets series functions as a metaphor for migration and what the artist calls “in-betweeness.”

Soheila Esfahani: Artist's Project

Glenhyrst Art Gallery of Brant

This artist’s project features wooden pallets, sometimes known as wooden skids, from her recent series Cultured Pallets. Esfahani laser-etches arabesque patterns sourced from mosaic designs in the interior dome of the Imam Mosque in Isfahan, Iran. Isfahan is the ancestral city of the artist’s family, however when she returned to Isfahan, she felt dis / connected to the city. In this regard, the Cultured Pallets series functions as a metaphor for migration and what the artist calls “in-betweeness.”


  Jeff Bierk: CURTAIN    Art Gallery of Grimsby   The exhibition “Jeff Bierk: CURTAIN” features the work of Toronto-based photographer and artist Jeff Bierk and his series of hospital curtain photographs and related ephemera. These fascinating works, which have never been shown together before, are both autobiographical and politically significant for their close relationship to addiction, illness, death, and loss. A panel presentation on grief was presented along with the artist, curator, and representatives of a local hospice.

Jeff Bierk: CURTAIN

Art Gallery of Grimsby

The exhibition “Jeff Bierk: CURTAIN” features the work of Toronto-based photographer and artist Jeff Bierk and his series of hospital curtain photographs and related ephemera. These fascinating works, which have never been shown together before, are both autobiographical and politically significant for their close relationship to addiction, illness, death, and loss. A panel presentation on grief was presented along with the artist, curator, and representatives of a local hospice.


  Proper Names    Good Sport Project Space   This exhibition questions the ways that contemporary artists engage with their proper name as a signifier of cultural identity, personal expression, and sense of self. The artists approach the act of naming as an embodiment of individuality and representation, investigating themes of language, sexuality, and anonymity. Here they engage how their proper name complicate matters of identity.

Proper Names

Good Sport Project Space

This exhibition questions the ways that contemporary artists engage with their proper name as a signifier of cultural identity, personal expression, and sense of self. The artists approach the act of naming as an embodiment of individuality and representation, investigating themes of language, sexuality, and anonymity. Here they engage how their proper name complicate matters of identity.


  Big Whoop    Good Sport Project Space   Matthew Ryan Smith’s first solo exhibition in nearly ten years features a series of paintings based on pixel graphics. Smith scrutinizes the cultural return to pixelation as seen through media such as advertising, gaming, architecture, and film while high-resolution technology gains currency. Combining analog techniques with appropriated digital images, “Big Whoop” seeks out new ways to animate the pixel.

Big Whoop

Good Sport Project Space

Matthew Ryan Smith’s first solo exhibition in nearly ten years features a series of paintings based on pixel graphics. Smith scrutinizes the cultural return to pixelation as seen through media such as advertising, gaming, architecture, and film while high-resolution technology gains currency. Combining analog techniques with appropriated digital images, “Big Whoop” seeks out new ways to animate the pixel.


  Some Things Last A Long Time    McIntosh Gallery, Western University   Many artists draw on the personal experiences that shaped their lives to address social and political issues or to create new kinds of relationships between people. In this sense, autobiographical art can operate both as a way of conveying lived experience and as an apparatus for experiential, relational viewing. In this practice of relational viewing, an artist’s work can function as a powerful catalyst whereby viewers draw upon their own life stories to connect with the work.

Some Things Last A Long Time

McIntosh Gallery, Western University

Many artists draw on the personal experiences that shaped their lives to address social and political issues or to create new kinds of relationships between people. In this sense, autobiographical art can operate both as a way of conveying lived experience and as an apparatus for experiential, relational viewing. In this practice of relational viewing, an artist’s work can function as a powerful catalyst whereby viewers draw upon their own life stories to connect with the work.

  Gyan Chauper    Scotiabank Nuit Blanche, Toronto   Gyan Chauper is an ancient game of chance invented in India, however the Western game Snakes and Ladders is strongly based on its basic structure and player dynamics. In effect, it is thought that an individual’s karma can affect their journey within the game through their luck with the dice. Thus, on the outside our proposed game is intended to be an engaging experience, but it also carries spiritual consequences.

Gyan Chauper

Scotiabank Nuit Blanche, Toronto

Gyan Chauper is an ancient game of chance invented in India, however the Western game Snakes and Ladders is strongly based on its basic structure and player dynamics. In effect, it is thought that an individual’s karma can affect their journey within the game through their luck with the dice. Thus, on the outside our proposed game is intended to be an engaging experience, but it also carries spiritual consequences.


  (Re)verse Ekphrasis: Works from the McIntosh Collection    University College, Western University   This exhibition flips traditional notions of  ekphrasis , defined as the description of a work of art, in an effort to open a range of artistic expressions to further interpretation. What is more, in a spirit of “conversation” the works presented in the exhibition demonstrate an invested critical engagement with texts: biblical accounts, works of fiction, and of poetry .  The works thus speak to such texts to reconstitute, and to re-articulate, in a variety of forms of the visual.

(Re)verse Ekphrasis: Works from the McIntosh Collection

University College, Western University

This exhibition flips traditional notions of ekphrasis, defined as the description of a work of art, in an effort to open a range of artistic expressions to further interpretation. What is more, in a spirit of “conversation” the works presented in the exhibition demonstrate an invested critical engagement with texts: biblical accounts, works of fiction, and of poetry. The works thus speak to such texts to reconstitute, and to re-articulate, in a variety of forms of the visual.

  Bronze, Silver, and Gold    Bookcase Micro-Museum, Western University   My mother was in the process of moving and mailed me a box of my belongings that included a stack of figure skating medals, skates signed by world champion Kurt Browning, and several figure skating-themed Beanie Babies. This small collection reads as a micro-simulacrum of the larger world of competitive figure skating; something that, as far I can tell, has never been pursued critically in visual culture or museology.

Bronze, Silver, and Gold

Bookcase Micro-Museum, Western University

My mother was in the process of moving and mailed me a box of my belongings that included a stack of figure skating medals, skates signed by world champion Kurt Browning, and several figure skating-themed Beanie Babies. This small collection reads as a micro-simulacrum of the larger world of competitive figure skating; something that, as far I can tell, has never been pursued critically in visual culture or museology.


  (Co-Curated) 42° 59' 81° 14' Mapping London's International Legacy    Concourse Gallery, Western University   London’s latitude and longitude coordinates represent a node on global grid, a marking of a place that is at once generic and specific. Using a series of maps and archival documents, this exhibit traces the creative influence the city of London had in the careers of several renowned artists who, though they were in London only briefly, were deeply affected by their time here.

(Co-Curated) 42° 59' 81° 14' Mapping London's International Legacy

Concourse Gallery, Western University

London’s latitude and longitude coordinates represent a node on global grid, a marking of a place that is at once generic and specific. Using a series of maps and archival documents, this exhibit traces the creative influence the city of London had in the careers of several renowned artists who, though they were in London only briefly, were deeply affected by their time here.