May 31 – September 3, 2022
Curated by Rhéanne Chartrand
NIIPA 20/20 presents over 160 photographic works by fifty alumni photographers of the Native Indian/Inuit Photographers’ Association (NIIPA).
Created between the early 1980s and the early 2000s, and sourced from NIIPA’s permanent collection and past exhibitions, the photographs in NIIPA 20/20 visualize the diverse interests and concerns of the alumni photographers and promote a positive, realistic, and contemporary image of Indigenous life on Turtle Island.
NIIPA 20/20 celebrates the individual and collective artistic achievements of the alumni photographers, and the dedicated staff that supported the presentation of their photographic works over the span of NIIPA’s 20-year history.
This exhibition is the culmination of a five-year archival research project shining light on the Native Indian/Inuit Photographers’ Association, an Indigenous arts service organization founded in Hamilton in 1985, which played a critical role in advocating for, supporting, and building up a community of emerging and established Indigenous photographers in Canada and the United States.
Insect as Idea
Carl Beam, Christi Belcourt, Catherine Chalmers, Andrea Cooper, Aganetha and Richard Dyck, Jude Griebel, The Institute of Queer Ecology, Jennifer Murphy and Amy Youngs
Featuring insect specimens from the Zoological Collections, Department of Biology, Western University
Curated by Dr. Helen Gregory and Dr. Nina Zitani
April 28 – June 18, 2022
From the imperceptible flutter of a butterfly wing to the electric buzzsaw whine of summer cicadas, the thrum of insects forms a subtle soundtrack to our quotidian existence. Insects have captured human imagination for centuries. The ancient Greeks equated butterflies with the soul to such an extent that they used the same word – psyche – to refer to both. Aristotle devoted considerable attention to the study of natural history and was especially fascinated by the complete metamorphosis of insects. He regarded the transformation as a means by which an imperfect animal could attain the condition of perfection, which he associated with the notion of telos, meaning full potential or inherent purpose.
This exhibition examines insects within a multispecies framework, considering the role that they play throughout ecological systems. How have we learned from insects in the past and what can they tell us about the future? If we read insects as bellwethers or even, more poetically, as ideas made manifest, what does their disappearance say about human-earth relationships? This exhibition puts the work of artists Carl Beam, Christi Belcourt, Catherine Chalmers, Andrea Cooper, Richard and Aganetha Dyck, Jude Griebel, The Institute of Queer Ecology, Jennifer Murphy and Amy Youngs in conversation with the exquisitely beautiful historical collection of Riker Mounts housed in the Zoological Collections at Western University. Many of the specimens housed in the Zoological Collections were collected in the early twentieth century by former professors and scientists as part of their research projects. Other specimens were collected by local hobby naturalists and later donated to Western, including a collection of Riker mounts on display here. Such historical collections have roots in the history of colonialism and are characterized by the impulse to exhibit dominance over nature through the collection and display of rare species. Today, however, they collectively serve a new role in documenting past species occurrences allowing scientists to track changes in biodiversity locally and globally. They are also an important educational tool, allowing students to see real specimens of insect biodiversity from North America to the Amazon Rainforest, Africa, India, Southeast Asia and other localities around the globe.
Visitor information: McIntosh Gallery is open to the public. Three-layer medical face masks (provided) should be worn indoors in all Western University facilities including McIntosh Gallery. Western staff, faculty and current students will be asked to present their OneCard upon entry. All other visitors will be asked to provide proof of vaccination upon arrival.
If you have questions or are seeking additional information about visiting the gallery, feel free to reach out to us at firstname.lastname@example.org. For ongoing coverage of COVID-19 protocol and operations at Western University, visit https://www.uwo.ca/coronavirus/
Image: Jennifer Murphy, Scarab Butterfly 2020. Collage of cut images from second-hand books sewn together with thread. Courtesy of the artist and Clint Roenisch Gallery.
Taking the Long View: The Museum London Art Collection, from its Beginning to Today
January 1 to December 31, 2022
Click to watch the exhibition tour
Museum London is happy to present a large, permanent art exhibition comprised of well-loved treasures from the vaults; intriguing, though lesser-known gems; and recent acquisitions of modern and contemporary art. This exhibition re-establishes our commitment to providing visitors with an ongoing survey of our collection.
Image: Lawren Stewart Harris, From the North Shore, Lake Superior, c. 1927, oil on canvas, Collection of Museum London,
Gift of H.S. Southam Esq., Ottawa, Ontario, 1940
Evan Penny: Stretch
February 3 to October 23, 2022
Evan Penny is renowned for creating hyper-realist sculptures formed, forged, and filtered through digital photography. At first glance, Camille is conventionally representational. The bust’s perfection seems rooted in honest realism. The subject is Penny’s friend, the influential Jamaican-born Canadian media and performance artist Camille Turner. Yet, the abrupt, almost photographic, cropping of the figure, the object’s spatial ambiguity, coupled with the work’s uncanny life-sized scale, lends Camille a destabilizing presence.
Image: Evan Penny (Canadian, b. 1953), Camille, 2014, pigmented platinum silicone with epoxy and glass fibre substrate, human hair, and UV-stable plastic eyes, Collection of Museum London, Gift of the artist, Toronto, Ontario, 2020
February 26 to June 5, 2022
When I announced that I would be retiring in March 2022, the Board of Directors asked if I would curate an exhibition of works that came into the permanent collection during my tenure. And although the Museum has both art and artefact collections, I chose to limit my choices to the art collection given my background as a painter and curator. Rather than simply choosing my favourites (of which there would be far more than twenty) from the more than 1,700 pieces acquired in the past 23 years, I chose works that I hoped would illustrate the diversity of our collecting practice. – Brian Meehan
Image: Meryl McMaster (Canadian, b. 1988), Edge of a Moment, 2017, archival inkjet photograph on paper, Collection of Museum London; Purchase, John H. and Elizabeth Moore Acquisition Fund, 2017
From Remote Stars: Buckminster Fuller, London, and Speculative Futures
March 5 to May 15, 2022
In 1968, futurist, systems theorist, and architect R. Buckminster Fuller (1895–1983) visited London, Ontario. Then at the height of his global fame, Fuller was best known for patenting the design for geodesic domes, as well as for his proto-environmentalist description of the planet as “Spaceship Earth.” For six days, he gave talks and met with artists, planners, industrialists, architects, and students at Western University. Throughout, Fuller mixed his thoughts on London with his own utopian vision for the future, which focused heavily on the interconnectedness of different processes on the planet.
More than 50 years later, we revisit Fuller’s visit to London in a very different time. From Remote Stars is framed by a recording made by artist Greg Curnoe (1936–92) of a talk given in London by Fuller, and brings together the work of 22 artists, from the 1960s to the present. These works range from video to photography, painting, installation, and sculpture. The exhibition explores Fuller’s futuristic theories, while addressing the gaps in his techno-utopian vision for progress by highlighting many pathways to different futures. Today’s reality—climate change, the advent of big data and artificial intelligence, and increasing global interdependence—reveals Fuller’s inventiveness, as well as his limitations.