Events by this organizer

Chris Curreri is a Canadian artist working across film, photography and sculpture. His work lingers in liminal states, capturing processes and focusing in on the moments before identity is fixed or concepts come into light as fully intelligible, and thus taken as normative. His production is premised on the idea that things in the world are not defined by essential properties but constituted through messy exchanges with other things—all folded together in a fabric of relations that erode simple dichotomies of tenderness/violence, beauty/abjection, self/other. Curreri asks: To what extent do we open ourselves up to, or close ourselves off from, such possible penetrations? This exhibition is an allegory of these issues as if they have emerged between the closure of the aperture and the exposure of the photographic image.

A Surrogate, A Proxy, A Stand-In connects, through the artist’s own history, the experimentation of the dark room to the nighttime freedom of the gay bar. The latter is represented by the solarized photographs of the interior of the defunct Beaver, Toronto’s legendary Queen Street queer bar. Thus, the exhibition places itself on a continuum of intimacy and exchange, of haunting and helping, with Canadian Queer art history—Rodney Werden, General Idea, Will Munro and their contemporary avatars: Luis Jacob, partnering in one of the works, and Curreri himself.

Find more: https://agnes.queensu.ca/exhibition/chris-curreri-a-surrogate-a-proxy-a-stand-in/

This exhibition is supported by the Canada Council for the Arts, the Ontario Arts Council, an agency of the Government of Ontario, and the Toronto Arts Council. Special thank you to David Clare for his generous support of Curreri’s upcoming Agnes published monograph and for facilitating the recent acquisitions of the artist’s work for Agnes’s permanent collection.

This exhibition explores how artworks are authenticated. During his brief six-year career as a painter, Tom Thomson (1877–1917) produced hundreds of oil sketches and a handful of canvases that responded to the mid-northern Ontario landscape. In the century following his death, he has been the subject of national myth-making and critical myth-dismantling. Perhaps one of the most recognized historical painters in Canada, he is also one of the most copied.

Tom Thomson? The Art of Authentication is a kind of laboratory, organized around five themes or areas of investigation: signature, subject matter, style, materials and provenance. Each helps to guide the authentication process, providing clues but not necessarily conclusions. Bringing together forty known Thomson paintings, along with possible panels and known fakes, the exhibition makes public the behind-the-scenes work of authentication.

The exhibition is accompanied by the documentary film Finding Authenticity (2021), directed by Tyler Tekatch, and featuring artists Nathan Carson, Chaka Chikodzi, Dorian FitzGerald, Suzy Lake, Deirdre Logue and Allyson Mitchell, Anong Migwans Beam, Shelley Niro and Tim Whiten. Finding Authenticity is created as a contemporary conversation about authentication. Using the same themes explored in Tom Thomson? The Art of Authentication, these nine artists reflect, respond and question notions of authenticity in artistic practice today.

Tom Thomson? The Art of Authentication is organized and circulated by the Agnes Etherington Art Centre and the Art Gallery of Hamilton, in partnership with the Canadian Conservation Institute. This exhibition is generously supported by the Museums Assistance Program, Government of Canada, and the Janet Braide Memorial Fund, Queen’s University.

Find more: https://agnes.queensu.ca/exhibition/tom-thomson-the-art-of-authentication/

Portrayed in simple dwellings, cave-like crevices, inhabiting trees and pondering waters, the main protagonists in this exhibition are hermits based on designs by Flemish artist Maerten de Vos (1532-1603). They were created to invite learned male urbanites to imagine themselves ensconced within such remote and secluded places. Mostly representing early Christian saints whose renunciation of bodily comfort served as examples for spiritual emulation, these intricate engravings functioned as aids in the construction of interior spaces for meditative and imaginative retreat.

Along with the hermits, these private worlds are populated by a variety of fantastical creatures that alternatively represent the boundless nature of creation and relentless pull of temptation. While such presences may denote ingrained patterns of shame surrounding sexual desire, the viewer is shamelessly implicated in these intimate scenes of withdrawal—winding landscapes and distant urban vistas serving as further reminders of what one is encouraged to escape.

Acknowledging the powerful potential of mental refuge that is inherent to viewing these prints and with a curious connection to the work of contemporary artist Chris Curreri, The Dark Room proposes a collective re-imagining of these prints to accommodate tangible but unwritten histories, vulnerable affections and shared artistic futurities.

Find more: https://agnes.queensu.ca/exhibition/the-dark-room/

Generously supported by the Bader Legacy Fund.

Thursdays 5 May–9 June 2022, 4–6 pm

Sign up: https://agnes.queensu.ca/participate/classes-workshops-camps/art-hive-agnes-2022-2/

Artmaking is innately therapeutic and can improve general wellbeing. We invite adults 16 to join us and explore the creative process through experimentation and play.

Art Hive is free; materials are provided and no prior art experience is necessary. If you are looking for guidance, our art therapist/facilitator offers weekly projects and visits to our current exhibitions.

This program is made possible through the generous support of the Birks Family Foundation.

Facilitator Biography

Harper Johnston, BA, B.Ed, MFA, DTATI has over thirty years of experience working as an arts educator with adults, adolescents and children. She is a professional art therapist, a play therapy intern and is currently completing the requisite hours to become a Registered Psychotherapist. Harper also worked in film for many years as a stills photographer and camera assistant. Her film work, primarily with the C.B.C. and the National Film Board, took her all over the world. Harper has received numerous arts council grants and her photography has been shown across the country. She also has work in the Canada Council’s Art Bank permanent collection. Harper is friendly and enthusiastic and is always happy when called upon to share her creative ideas and studio knowledge.

Harper has been facilitating Art Hive @Agnes since January 2019.

Portrayed in simple dwellings, cave-like crevices, inhabiting trees and pondering waters, the main protagonists in this exhibition are hermits based on designs by Flemish artist Maerten de Vos (1532-1603). They were created to invite learned male urbanites to imagine themselves ensconced within such remote and secluded places. Mostly representing early Christian saints whose renunciation of bodily comfort served as examples for spiritual emulation, these intricate engravings functioned as aids in the construction of interior spaces for meditative and imaginative retreat.

Along with the hermits, these private worlds are populated by a variety of fantastical creatures that alternatively represent the boundless nature of creation and relentless pull of temptation. While such presences may denote ingrained patterns of shame surrounding sexual desire, the viewer is shamelessly implicated in these intimate scenes of withdrawal—winding landscapes and distant urban vistas serving as further reminders of what one is encouraged to escape.

Acknowledging the powerful potential of mental refuge that is inherent to viewing these prints and with a curious connection to the work of contemporary artist Chris Curreri, The Dark Room proposes a collective re-imagining of these prints to accommodate tangible but unwritten histories, vulnerable affections and shared artistic futurities.

Find more: https://agnes.queensu.ca/exhibition/the-dark-room/

Generously supported by the Bader Legacy Fund.

Thursdays 5 May–9 June 2022, 4–6 pm

Sign up: https://agnes.queensu.ca/participate/classes-workshops-camps/art-hive-agnes-2022-2/

Artmaking is innately therapeutic and can improve general wellbeing. We invite adults 16 to join us and explore the creative process through experimentation and play.

Art Hive is free; materials are provided and no prior art experience is necessary. If you are looking for guidance, our art therapist/facilitator offers weekly projects and visits to our current exhibitions.

This program is made possible through the generous support of the Birks Family Foundation.

Facilitator Biography

Harper Johnston, BA, B.Ed, MFA, DTATI has over thirty years of experience working as an arts educator with adults, adolescents and children. She is a professional art therapist, a play therapy intern and is currently completing the requisite hours to become a Registered Psychotherapist. Harper also worked in film for many years as a stills photographer and camera assistant. Her film work, primarily with the C.B.C. and the National Film Board, took her all over the world. Harper has received numerous arts council grants and her photography has been shown across the country. She also has work in the Canada Council’s Art Bank permanent collection. Harper is friendly and enthusiastic and is always happy when called upon to share her creative ideas and studio knowledge.

Harper has been facilitating Art Hive @Agnes since January 2019.

Conceived by Montreal-based, transdisciplinary practitioner Berlin Reed, Brown Butter is a curated conversation between Black Canadian artists and gastro-artist/chefs in the form of a multi-sensory arts residency and installation in Etherington House.

Brown Butter is an internalization of Black thought and a gavage of Black expression. Over six weeks, Brown Butter’s immersive, succulent environment fills every capacity for human perception. Directly inhaling, imbibing and ingesting these works, viewers of Brown Butter are implicated: some bites may taste or feel unpleasant; experiences may jar rather than soothe. Brown Butter is where gastronomic arts branch away from culinary discipline and where we return to exploring through sense our elemental roots as oral inquisitors.

Brown Butter is part of a year-long series of projects staged in Etherington House as part of “Rehoming Agnes.” These projects anticipate our closure and foreshadow our reopening, marking the transition of the house back to its original use as a residence. Brown Butter will smooth this transformation, grounding Agnes’s re-emergence as a living space in Agnes Reimagined.

Find more:https://agnes.queensu.ca/exhibition/berlin-reed-brown-butter/

Brown Butter is generously supported by the Canada Council of the Arts.

Thursdays 5 May–9 June 2022, 4–6 pm

Sign up: https://agnes.queensu.ca/participate/classes-workshops-camps/art-hive-agnes-2022-2/

Artmaking is innately therapeutic and can improve general wellbeing. We invite adults 16 to join us and explore the creative process through experimentation and play.

Art Hive is free; materials are provided and no prior art experience is necessary. If you are looking for guidance, our art therapist/facilitator offers weekly projects and visits to our current exhibitions.

This program is made possible through the generous support of the Birks Family Foundation.

Facilitator Biography

Harper Johnston, BA, B.Ed, MFA, DTATI has over thirty years of experience working as an arts educator with adults, adolescents and children. She is a professional art therapist, a play therapy intern and is currently completing the requisite hours to become a Registered Psychotherapist. Harper also worked in film for many years as a stills photographer and camera assistant. Her film work, primarily with the C.B.C. and the National Film Board, took her all over the world. Harper has received numerous arts council grants and her photography has been shown across the country. She also has work in the Canada Council’s Art Bank permanent collection. Harper is friendly and enthusiastic and is always happy when called upon to share her creative ideas and studio knowledge.

Harper has been facilitating Art Hive @Agnes since January 2019.

Portrayed in simple dwellings, cave-like crevices, inhabiting trees and pondering waters, the main protagonists in this exhibition are hermits based on designs by Flemish artist Maerten de Vos (1532-1603). They were created to invite learned male urbanites to imagine themselves ensconced within such remote and secluded places. Mostly representing early Christian saints whose renunciation of bodily comfort served as examples for spiritual emulation, these intricate engravings functioned as aids in the construction of interior spaces for meditative and imaginative retreat.

Along with the hermits, these private worlds are populated by a variety of fantastical creatures that alternatively represent the boundless nature of creation and relentless pull of temptation. While such presences may denote ingrained patterns of shame surrounding sexual desire, the viewer is shamelessly implicated in these intimate scenes of withdrawal—winding landscapes and distant urban vistas serving as further reminders of what one is encouraged to escape.

Acknowledging the powerful potential of mental refuge that is inherent to viewing these prints and with a curious connection to the work of contemporary artist Chris Curreri, The Dark Room proposes a collective re-imagining of these prints to accommodate tangible but unwritten histories, vulnerable affections and shared artistic futurities.

Find more: https://agnes.queensu.ca/exhibition/the-dark-room/

Generously supported by the Bader Legacy Fund.

Conceived by Montreal-based, transdisciplinary practitioner Berlin Reed, Brown Butter is a curated conversation between Black Canadian artists and gastro-artist/chefs in the form of a multi-sensory arts residency and installation in Etherington House.

Brown Butter is an internalization of Black thought and a gavage of Black expression. Over six weeks, Brown Butter’s immersive, succulent environment fills every capacity for human perception. Directly inhaling, imbibing and ingesting these works, viewers of Brown Butter are implicated: some bites may taste or feel unpleasant; experiences may jar rather than soothe. Brown Butter is where gastronomic arts branch away from culinary discipline and where we return to exploring through sense our elemental roots as oral inquisitors.

Brown Butter is part of a year-long series of projects staged in Etherington House as part of “Rehoming Agnes.” These projects anticipate our closure and foreshadow our reopening, marking the transition of the house back to its original use as a residence. Brown Butter will smooth this transformation, grounding Agnes’s re-emergence as a living space in Agnes Reimagined.

Find more:https://agnes.queensu.ca/exhibition/berlin-reed-brown-butter/

Brown Butter is generously supported by the Canada Council of the Arts.