Current Exhibitions

Elizabeth Munro, Lake Scene with Mountains in the Distance, n.d.

Elizabeth Munro, Lake Scene with Mountains in the Distance, n.d.

35: Women Artists in the RiverBrink Collection

Curated by Debra Antoncic
March 22 2014 to February 28 2015

This exhibition showcases the work of women artists in the permanent collection. The title is a reference to the fact that, out of more than five hundred artists whose work is included in the RiverBrink collection, only thirty-five are women. In recent years there have been attempts to address this disparity, with the addition of work by artists such as Yvonne McKague Housser and Florence Wyle. There is still a long way to go, however, and the story of Canadian and international artistic accomplishment we are able to present at RiverBrink remains a work in progress.

Mary E. Wrinch, Sawmill, Dorset, c. 1936, Collection of the Art Gallery of Windsor

Mary E. Wrinch, Sawmill, Dorset, c. 1936, Collection of the Art Gallery of Windsor

Female Self-Representation and the Public Trust: Mary E. Wrinch and the AGW Collection

Organized and Circulated by
the Art Gallery of Windsor
May 17 2014 to August 24 2014

Exhibition Catalogue

Mary Evelyn Wrinch (1877-1969) was an important artist working in the Toronto area during the first half of the 20th century. An artist and educator who trained initially in the art of the miniature, she moved on to paint in oil on panel boards and on enlarged stretched canvases beginning in the 1910s, followed by printmaking in the 1920s. While exploring Wrinch’s multi-media art practice, this show focuses on the formation of her public collection representation at the Art Gallery of Windsor and the complex artist-couple dynamic following her marriage to prominent architect and artist George Reid.  As this exhibition explores, before attending to her own legacy in public art collections, she first found herself addressing Reid’s first wife Mary Hiester’s career followed by George Reid’s career. This exhibition re-opens her practice for study and profiles the work of an important artist through the lens of artist-couple histories and gender analysis. (Generously Supported by Sandra Lawrence and Charles Jackson)

John Abrams, Land Mark Combine, 2000-2001, oil on canvas, detail, Collection of The Robert McLaughlin Gallery

John Abrams, Land Mark Combine, 2000-2001, oil on canvas, detail, Collection of The Robert McLaughlin Gallery

John Abrams: Land Mark Combine

Curated by Debra Antoncic
May 17 to October 26 2014

Land Mark Combine (2000 – 2001), on loan from The Robert McLaughlin Gallery, is a multi-panel installation of paintings depicting both natural and man-made landmarks. Niagara Falls taken from an elevated position is the central image, and this iconic landscape is paired with forty small landscapes. The individuality of each landmark is muted by the red underpainting visible throughout, a strategy that aligns the paintings with cinema and photography. As Abrams explains, “my project engages the language of painting as a way of interpreting the language of film, not dissimilar to the way a book is made into a film or a script is turned into living theatre.“

John Abrams was born in Montreal and is currently based in Toronto. A graduate of the MFA program at York University, his practice includes painting, sculpture, and filmmaking.  His work often references pop culture and mass media.

Joseph Yeager, Battle of New Orleans and Death of Major Packenham, 1817

Joseph Yeager, Battle of New Orleans and Death of Major Packenham, 1817

The War of 1812-14: People and Places

Curated by Debra Antoncic
March 22 2014 to February 7 2015

Installed to commemorate the final year of the bicentennial, this exhibition showcases art works representing events and participants involved in different battles of the war. The geographic span of the conflict is evident in depictions of engagements on the Atlantic Ocean, on the Great Lakes, and in the Gulf of Mexico where one of the final confrontations in the war was fought at New Orleans. The exhibition also includes engraved portraits of participants, drawing attention to ways that military leaders were commemorated in the United States following the end of the war.  

L. Keeshig, Untitled, n.d.

L. Keeshig, Untitled, n.d.

 A Childish View: Scenes of Childhood from the RiverBrink Collection

Curated by Debra Antoncic
November 2013 to August 9 2014

Among the art works in the RiverBrink collection are a significant number of images of children. These include formal portraits but also boys and girls captured in moments of quiet repose and reflection.  A Childish View presents a sampling of these images in prints, drawings, paintings, and sculptures, along with William Blake’s Songs of Innocence, a fitting accompaniment in poetry.

Group of Seven Project: Fred Varley

Curated by Debra Antoncic
May 17 2014 to March 28 2015

The third in a series of exhibitions that explore the work of individual members of the Group of Seven, this exhibition focuses on Frederick Horsman Varley (1881-1969). Varley’s 1951 portrait of RiverBrink founder Sam Weir demonstrates the artist’s acknowledged mastery in portraiture, and this drawing is on display along with examples of the artist’s work in landscape.

 

Marc Aurèle de Foy Suzor-Coté, Je me souviens, 1924, Samuel E. Weir Collection

Marc Aurèle de Foy Suzor-Coté, Je me souviens, 1924, Samuel E. Weir Collection

Suzor-Coté at RiverBrink

Bronze sculptures by the 20th-century Québec artist are on permanent display in the library. Beginning in the 1940s, Sam Weir commissioned the casting of the bronzes with the goal of acquiring a representative survey of the artist’s work in sculpture. This project was continued following Weir’s death.