Public Receptions & Events - McMaster University
Public Receptions & Events - McMaster University
Public Receptions & Events - McMaster University
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mcmaster<br />
museum of art<br />
Newsletter - Summer 2012
Our Mission<br />
The <strong>McMaster</strong> Museum of Art serves as<br />
a cultural hub for the <strong>University</strong> campus<br />
and the region through dynamic and multidisciplinary<br />
exhibitions and programs,<br />
scholarly interpretation and preservation<br />
of collections, and innovative practices in<br />
museology.<br />
Our Vision<br />
Our Vision is to contribute to the<br />
international distinction of <strong>McMaster</strong><br />
<strong>University</strong> by stimulating critical thinking,<br />
creating an environment for engaged<br />
dialogue, and inspiring creativity through<br />
the experience of the arts.<br />
<strong>McMaster</strong> Museum of Art www.mcmaster.ca/museum<br />
A Letter from the Director and Chief Curator<br />
As our anniversary year continues, the programming at<br />
the <strong>McMaster</strong> Museum of Art (MMA) moves from “record<br />
keeping” (The Interrogative Spirit) to inquiring. In two<br />
separate but related exhibitions—The Last Things Before<br />
the Last and Painting Beyond—the MMA’s collection is<br />
examined by a guest curator and an artist respectively. Their<br />
approaches ponder the importance of collections: their legacy, their changing<br />
relevance over time, and their significance as cultural heritage. In The Last<br />
Things and Painting Beyond, curators E.C. Woodley and Gary Spearin provide<br />
the visitor with reflections on the Museum’s history and on contemporary<br />
curatorial and artistic practices. As an academically-contextualized institution,<br />
part of the MMA’s role is to present exhibitions that push the boundaries<br />
methodologically and these exhibitions do just that: in the first instance, a<br />
curator references past MMA exhibitions; and in the second, an artist reflects<br />
on his own practice in relation to works in the collection.<br />
Also of note this season, we present an exhibition of recent acquisitions to the<br />
Museum’s numismatic collection—twenty-two coins, dating back to Alexander<br />
the Great from <strong>McMaster</strong> astronomy professor Ethan Vishniac and his wife,<br />
<strong>McMaster</strong> Provost, Dr. Ilene Busch-Vishniac. Ethan Vishniac inherited the<br />
collection from his grandfather, renowned photographer Roman Vishniac. As<br />
the Provost leaves <strong>McMaster</strong> to become the President of the <strong>University</strong> of<br />
Saskatchewan, she will be missed as the Senior Administrator at <strong>McMaster</strong><br />
<strong>University</strong> responsible for the Museum. We are thrilled that the family will<br />
be leaving behind significant material culture for the Museum to steward.<br />
Many thanks to the Provost and the Professor for their donation and also to Dr.<br />
Spencer Pope, for the production of an exhibition to mark this important gift.<br />
As the year hits mid-stride, we hope you find time to visit often and to engage<br />
in a dialogue with the museum, its collections, and the remarkable people who<br />
contribute to our on-going consideration of art in the social milieu.<br />
Carol Podedworny
Gary Spearin: iNifiNiTi<br />
May 12 – August 18, 2012<br />
Panabaker Gallery<br />
<strong>Public</strong> Reception: Friday June 1, 6-8 pm<br />
Since 2007 Gary Spearin has been<br />
producing a series of paintings that<br />
are displayed as an installation titled<br />
iNifiNiTi, which he has conceived as<br />
an optical device to explore and to<br />
visualize the resonant dynamics of time<br />
and our experience and perception of it.<br />
While the presentation in any given<br />
gallery installation is variable,<br />
determined by factors such as available<br />
wall space, they are always installed<br />
in a uniform grid, and in an order<br />
decided by the artist only during the<br />
Gary Spearin installation<br />
hanging. The grid serves as a formal<br />
grounding structure contrasting with<br />
the spontaneous order of placement.<br />
Within it there are infinite possibilities<br />
for reading the works individually or the<br />
installation as a whole.<br />
The individual titles are derived from<br />
dates (month/day/year) of sometimes<br />
personal significance but mostly<br />
of random selection, and always<br />
unrelated to the date of their making.<br />
The surfaces of the paintings are so<br />
visually rich and intricately detailed<br />
that any one of them invites endless,<br />
obsessive viewing, as does the whole<br />
of the installation. Each work possesses<br />
a unique character, yet the identity of<br />
individual works can easily be obscured<br />
by the overwhelming nature of the<br />
group. The whole is the sum of its parts<br />
and each of the parts is a self-contained<br />
whole. Spearin is painting pictures of<br />
ephemeral, infinite dimensions that exist<br />
beyond those which we can perceive or<br />
know.<br />
Excerpt from the exhibition<br />
catalogue essay “Picturing Infinity”;<br />
David Liss, Artistic Director and<br />
Curator, Museum of Contemporary<br />
Canadian Art, Toronto.<br />
Gary Spearin was born in Hamilton; he<br />
studied at the Nova Scotia College of<br />
Art and the <strong>University</strong> of Guelph. This<br />
is Spearin’s first Hamilton public gallery<br />
exhibition since 1995. He currently lives<br />
at Lake Huron between Kettle Point and<br />
Blue Point and teaches at Fanshawe<br />
College in London.<br />
Images from top: Gary Spearin 06-01-1974<br />
(2010); and 11-24-2039 (2011), both oil on<br />
canvas, 61 x 51 cm, courtesy of the artist<br />
iNifiNiTi was presented at Museum London,<br />
24 September 2011—18 March 2012. The<br />
accompanying catalogue is a partnership between<br />
Museum London and the <strong>McMaster</strong> Museum of<br />
Art. Introduction by Cassandra Getty, essay by David<br />
Liss, and insert poster-essay by Gary Spearin and Ihor<br />
Holubizky. 32 pp, ISBN 978-1-897215-36-4
PAINTING BEYOND a body of views<br />
an orchestration by Gary Spearin<br />
Sherman Gallery, May 12 – August 18, 2012<br />
<strong>Public</strong> Reception: Friday June 1, 6-8 pm<br />
The <strong>McMaster</strong> Museum of Art has invited<br />
Gary Spearin to develop an exhibition<br />
from the collection as a complement to<br />
iNifiNiTi, and a continuing dialogue. In<br />
selecting 20 th century and contemporary<br />
works and interweaving two of his<br />
own—the Toronto Riots suite, 2011, and<br />
White Flag, 2012—Spearin considers<br />
aspects that are beyond the “aboutness”<br />
or the likeness and comparison to his<br />
own work. Two of the selections are<br />
not painting, but monochromatic boxes.<br />
Marcel Duchamp’s 1966-67 Series F La<br />
boîte en valise is shown closed, while<br />
Alfredo Jaar’s 1995 suite of 99 archival<br />
boxes with photographs of the Rwandan<br />
genocide, titled Benjamin, were never<br />
intended to be open. Hence, the title<br />
PAINTING BEYOND, but beyond that is<br />
a “body of views”—paintings by Art<br />
& Language (the exhibition subtitle<br />
is imbedded in their work), Richard<br />
Hamilton, Leon Kossoff and Gerhard<br />
Richter, orchestrated to pose questions<br />
about what we see and know.<br />
In his 2001 essay “Painting and the Death<br />
of the Spectator” the British art historian<br />
Charles Harrison wrote; “One reason—<br />
among many—why we cannot know is<br />
that we cannot necessarily tell whether<br />
there is anyone looking; whether there is<br />
some possibly competent spectator of the<br />
work in question for whom confirmation<br />
of her own enduring presence is not the<br />
end of seeing.”<br />
The Vishniac Coin Collection<br />
The <strong>McMaster</strong> Museum of Art has<br />
received a gift of twenty-two coins,<br />
dating back to Alexander the Great<br />
—significant for both their value to<br />
<strong>McMaster</strong>’s teaching collection and their<br />
provenance. The Vishniac Coin Collection<br />
has been gifted to <strong>McMaster</strong> <strong>University</strong><br />
by <strong>McMaster</strong> astronomy professor Ethan<br />
Vishniac, who inherited the collection<br />
from his grandfather, renowned<br />
photographer Roman Vishniac.<br />
<strong>McMaster</strong> Classics Professor Spencer<br />
Pope, who is also the Honorary Curator of<br />
<strong>McMaster</strong>’s coin collection, has mounted<br />
an exhibition of the Vishniac Collection<br />
this summer.<br />
While most of the Vishniac coins date<br />
from the Roman Republic, the breadth<br />
of the collection from the 4 th century BC<br />
to an 1857 Bank of Upper Canada penny<br />
allows a keen look into the traditions<br />
developed in classical antiquity that<br />
continue today. As Pope observes,<br />
”Coinage is a fundamentally conservative<br />
Image above:<br />
Roman Orichalcum Coin of Emperor Galba<br />
(AD 68-69)<br />
OBVERSE: Laureate head of Galba,<br />
facing right, “IMP SER GALBA CAES<br />
AUG TR P”.<br />
REVERSE: Libertas (deity representing<br />
Liberty) standing left, holding pileus and rod,<br />
“LIBERTAS PUBLICA SC”.<br />
medium which seldom deviates from<br />
longstanding traditions and established<br />
iconography that imbues them with the<br />
authority of the past and makes them<br />
instantly recognizable as objects that<br />
will not lose their value.”<br />
This collection was amassed by Russianborn<br />
photographer and biologist Roman<br />
Vishniac (1897-1990). Roman Vishniac: A<br />
Vanished World, the powerful exhibition<br />
of his photographs chronicling life in the<br />
Jewish villages and ghettos of Central<br />
and Eastern Europe between 1935 and<br />
1939, was shown at <strong>McMaster</strong> in 2008.
The Last Things Before the Last<br />
Guest Curated by E. C. Woodley<br />
Levy Gallery, May 24 – August 4, 2012<br />
<strong>Public</strong> Reception: Friday June 1, 6-8 pm<br />
Curator’s Talk: Wednesday June 6, 12:30 pm<br />
For Siegfried Kracauer (History: The Last<br />
Things Before the Last, 1969), the phrase<br />
“the last things before the last” had a<br />
dual meaning. It could describe history as<br />
an elusive object of study or refer to the<br />
medium of film as a repository of captured<br />
time and image, a “before” adjacent to,<br />
alienated from—and inserted into—the<br />
City of Landau identity card,<br />
1924. Herman H. Levy Fonds,<br />
<strong>McMaster</strong> Museum of Art<br />
“now” of real time. I think of the museum<br />
as repository for the last things before the<br />
last, housing elusive objects of captured<br />
time to be studied, cared for, repositioned<br />
or reanimated after decades, centuries<br />
or millennia of being out in the world of<br />
commerce and ritual.<br />
Contemporary museum spaces are also<br />
sites with their own specific histories.<br />
The museum inventory includes not<br />
only individual artworks, objects and<br />
artifacts, but also the ghosts of prior<br />
exhibitions. Fragments of two exhibitions<br />
are resurrected; artist Alexander Pilis’s<br />
curatorial endeavour The Blind Architect<br />
Meets Rembrandt (2010), and from the<br />
1994 installation that opened the new<br />
building, featuring the donated collection<br />
of Herman Levy which once hung in the<br />
family home. These fragments live in<br />
the presence of a new composition of<br />
other works from the collection, which<br />
has emerged with its own associational<br />
counterpoints, and within the historically<br />
and existentially resonant polyphony of<br />
disappearances and reappearances.<br />
The new configuration draws on the<br />
breadth of the time span of the Museum<br />
collections—from antiquity, across First<br />
World War-era pages of the Levy family<br />
photo album to Toronto artist Max Dean’s<br />
self portrait Chair Without Front Legs<br />
from the 2011 series Objects Waiting.<br />
This seemingly “ahistorical” exhibition<br />
invites an excess of history, and all of the<br />
images are portraits or representations<br />
of the human figure. Some are drawings<br />
on paper, others photography, painting<br />
and sculpture. These materials were<br />
entrusted to carry their images into the<br />
future. In the installation configuration,<br />
the more or less faint traces—some<br />
nearly vanished on account of time<br />
and exposure—come to represent the<br />
mortality of the people depicted, whether<br />
that of the artists, their subjects, or by<br />
proxy, that of the collector.<br />
- E.C. Woodley<br />
Karl Stauffer-Bern Portrait of Gottfried Keller, 1887, etching, printed by Otto Felsing, Berlin.<br />
Purchase, 1966: photo: John Tamblyn. Max Dean Chair Without Front Legs, 2011, chromogenic<br />
print, ed. 1/4, Donald Murray Shepherd Trust Purchase, 2012
Alexander Young Jackson (Canadian 1882-1974) Girl in the Middy, n.d. (1913)<br />
© Courtesy of the Estate of the late Dr. Naomi Jackson Groves<br />
Photo: John Tamblyn<br />
A.Y. Jackson<br />
Promised Gift<br />
Girl in the Middy, a unique and rare figurative painting by A.Y. Jackson, a founding<br />
member of the Group of Seven, is a promised gift to the <strong>McMaster</strong> Museum of Art<br />
offered by Winifred Hewetson in memory of her husband, J. Russell Hewetson.<br />
Both were <strong>McMaster</strong> graduates in 1951. It is a portrait of Mr. Hewetson’s mother,<br />
Rosa Breithaupt (Hewetson Clark). The double sided painting (with a landscape<br />
on the back) has been in their family collection for almost 80 years and this is its<br />
first public exhibition.<br />
Mr. Hewetson corresponded with the artist’s niece, Dr. Naomi<br />
Jackson Groves, who taught art at <strong>McMaster</strong> <strong>University</strong> in<br />
the 1950s, and he showed her the painting in 1992.<br />
Girl in the Middy, is on view at <strong>McMaster</strong> now until August 4<br />
as part of the exhibition 125 & 45: an interrogative spirit.<br />
Professor Judy Major-<br />
Girardin and Annie Fraser<br />
Student Awards 2012<br />
Carol Podedworny, MMA<br />
Director, and Gord Bond<br />
Professor Judy Major-<br />
Girardin and Emily Andrus<br />
At the April reception for the graduating art student exhibition, several students received<br />
special awards—three studio art students for their art work and accomplishments within<br />
the program; and two <strong>McMaster</strong> students for their writing, inspired by exhibitions or<br />
works of art on view at the MMA during the last academic year.<br />
Graduating Art Students Awards<br />
<strong>McMaster</strong> School of the Arts Faculty Award: Annie Fraser<br />
Museum Award: Gord Bond<br />
People’s Choice Award: Emily Andrus<br />
Carol Podedworny, MMA Director, with writing award<br />
winners Brianna Smrke and Robert Revington<br />
Inspired by Art: Student Writing Awards<br />
Writing Award (poetry): Robert Revington, Humanities<br />
A Crewman’s Reflections on the View from the Ice in Cook’s Second Voyage<br />
(based on art work in the ‘First Contact?’ exhibition)<br />
Writing Award (essay): Brianna Smrke, Arts and Science<br />
Élan Vital: A Strange Attractor (based on Ramona Ramlochand’s installation)
Selected Recent Acquisitions<br />
Gift of the Artist<br />
Barbara Astman<br />
(Canadian b. United States 1950)<br />
Scenes from a movie for one, 1997<br />
# 1, 3, 5, 6, 7, 8, unique edition,<br />
digital output on paper, each 91.5 x 77.5 cm<br />
Dancing with Che, 2002<br />
# 1, 2, 4, 5, 15, 20<br />
ed. of 2 digital prints, each 76 x 76 cm<br />
Natalka Husar<br />
(Canadian b. United States 1951)<br />
Commissar’s Daughter, 2007<br />
oil on rag board, 81 x 102 cm<br />
Susan Schelle (Canadian b. 1947)<br />
Seascape, 1993<br />
two black and white photo-murals<br />
on RC paper, each 103 x 162 cm<br />
Michael Thompson<br />
(Canadian b. 1954)<br />
Light on a Wall, 2008<br />
pencil on paper, 76.2 x 57.2 cm<br />
Giovanni Battista Piranesi Villa Adriana in Tivoli, photo: John Tamblyn<br />
Gift of Barbara Astman<br />
Arnaud Maggs<br />
(Canadian b. 1926)<br />
Barbara Astman, 1979, From 64 Portrait Studies<br />
1976-78, 38 x 38 cm<br />
Portrait of Barbara Astman, 1979<br />
Unique color Polaroid, 35.5 x 28 cm<br />
Gift of Rabbi Bernard Baskin<br />
Leonard Baskin<br />
(American 1922-2000)<br />
85 prints, 11 posters, 22 Gehenna Press books,<br />
advertisements, posters, archival material<br />
Lizard skeleton, 1945, woodcut, 3 x 14.5 cm<br />
Dying Stag, 1957, woodcut, 7.5 x 8.5 cm<br />
Eakins, 1966, wood engraving, 5.7 x 4.5 cm<br />
Charles Meryon, 1969, wood engraving<br />
11.6 x 6.2 cm<br />
Theodule Ribot, 1969, wood engraving<br />
7.1 x 12.3 cm<br />
Pictor Ignotus, 1969, wood engraving<br />
10.1 x 10 cm<br />
Birds and Animals, Folio of 64 original<br />
woodcuts, 1974, 29.2 x 37.9 cm<br />
De Hooghe’s Sibyl, 1978, etching, 15 x 15.2 cm<br />
Lessons in Far Future, 1978, etching,<br />
14.9 x 14.9 cm<br />
Tern, 1981, woodcut, 20.5 x 8.5 cm<br />
Mexico, 1995, coloured etching, 19.2 x 18.5 cm<br />
Gift of Gerard Jennings<br />
Anne and Patrick Poirier<br />
(both French, b. 1941 and 1942)<br />
La Lutte de Jupiter et des Géants<br />
1983, Belgian black marble, bronze<br />
33.5 x 102 x 56 cm overall<br />
Margaret Priest<br />
(b. England 1944, lives in Canada)<br />
A Renovated Museum No. 4 - Another<br />
Stage, 1979, pencil on handmade<br />
paper, 58.5 x 79 cm<br />
Gift of Dr. and Mrs.<br />
Alexander Gordon McKay<br />
Albrecht Dürer (German 1471-1528)<br />
The High Priest Rejects Joachim’s<br />
Offering, 1504, From the Life of the<br />
Virgin 1/17, woodcut, 29.5 x 21.2 cm<br />
Marino Marini (Italian 1901-1980)<br />
Composition, 1955<br />
Ed. 117/200<br />
lithograph, 63.5 x 43 cm<br />
Giovanni Battista Piranesi<br />
(Italian 1720-1778)<br />
4 etchings<br />
Avanzi del Tempio detto di Appollo nella Villa<br />
Adriana vioino a Tivoli, n.d.<br />
46.5 x 61 cm<br />
The Via Appia, the second frontispiece<br />
to Volume III of Antichita Romane<br />
c. 1756, 38.7 x 61 cm<br />
Veduta interna della Villa di Mecenate<br />
(Villa of Maecenas at Tivoli), n.d.<br />
47.6 x 63 cm<br />
Avanzi di una Sala appartenente al<br />
Castro Pretorio nela Villa Adriana<br />
in Tivoli A Tribunale ornato di nicchie<br />
(Apse of the so-called Hall of the<br />
Philosophers), 44.3 x 56.2 cm<br />
Gift of Milton Winberg<br />
Carl Beam (Ojibwe 1943-2005)<br />
photo emulsion and acrylic on canvas<br />
Alex Janvier, 2000, 91.4 x 61 cm<br />
Joseph Beuys, 2000, 91.4 x 61 cm<br />
Rauschenberg, 2000, 91.4 x 61 cm<br />
Purple Bull, 2000-2001, 122 x 91.5 cm<br />
Untitled (Short Bull), 2002, 122 x 91.5 cm<br />
Self Portrait, 2002, 91.4 x 61 cm<br />
Untitled (Duchamp / King over Pawn), 2002<br />
91.2 x 66.2 cm<br />
Untitled (Beckett), 2002, 91.4 x 61 cm<br />
Darwin, c. 2002, 122 x 91.5 cm<br />
Whale, 2002, 91.4 x 61 cm<br />
Donald Murray Shepherd Trust<br />
Purchase<br />
Natalia Sergeevna Goncharova<br />
(Russian 1881-1962)<br />
Rauhreif (Le givre), 1912<br />
Two preparatory drawings for Tikhon<br />
Churilin’s poem Inei (Hoar Frost), black chalk<br />
on cream laid paper, 29 x 23 cm each<br />
Purchased with funds from Donald<br />
Murray Shepherd Trust and<br />
the Canada Council for the Arts<br />
Acquisition Assistance Program<br />
Natalka Husar<br />
(Canadian b. United States 1951)<br />
Looking at Art, 2009 (shown below)<br />
oil on rag board, 81 x 102 cm<br />
Deviled Eggs, 2006<br />
oil on rag board, 81 x 102 cm<br />
Natalka Husar, Looking at Art
Recent <strong>Public</strong>ations<br />
Greg Staats: Condolence<br />
The exhibition brings together several works<br />
by Greg Staats (Toronto-based, b. Ohsweken,<br />
Ontario) that reference language loss, acquisition<br />
and resurgence through photographic series, video<br />
works, and personal archival materials. Essays<br />
by Richard W. Hill Sr., Charlotte Jones, Carol<br />
Podedworny. 46 pp, ISBN: 978-0-929025-68-1<br />
125 & 45: an interrogative spirit<br />
Levy Series: Part IV<br />
Celebrating <strong>McMaster</strong> <strong>University</strong>’s 125 th and the<br />
Museum’s 45 th anniversaries in 2012, this exhibition<br />
tracks the history and landmark moments of both<br />
through art works from the collection. This is the fourth<br />
addition to the Levy Folio of exhibition-based essays<br />
presenting varied curatorial perspectives on the Herman<br />
H. Levy Collection and Levy Bequest Collection at the<br />
<strong>McMaster</strong> Museum of Art. Essay by Ihor Holubizky.<br />
8 pp, ISBN 978-1-926632-06-3<br />
Rising to the Occasion: The Long 18 th Century<br />
The legacies of the 18 th century—enlightenment,<br />
empiricism, revolution and innovation are explored<br />
through an exhibition including major works by both 18 th<br />
century artists Houdon, Gainsborough, Romney, Verelst<br />
and Taillasson; and senior contemporary Canadian<br />
artists Rebecca Belmore, Angela Grauerholz, Tony<br />
Scherman, John Massey, and Jiri Ladocha. Introduction<br />
by Carol Podedworny and essays by Mark A. Cheetham,<br />
Ihor Holubizky, and Angela Sheng. 44 pp, colour images<br />
ISBN 978-1-926632-05-6<br />
Gary Spearin: iNifiNiTi More on this on the iNifiNiTi exhibition pages of this publication<br />
A full list of <strong>McMaster</strong> Museum of Art <strong>Public</strong>ations is available online via the Exhibitions link<br />
on the Museum’s website: www.mcmaster.ca/museum<br />
<strong>McMaster</strong> Museum of Art<br />
Advisory Board<br />
Ex Officio<br />
Patrick Deane<br />
Ilene Busch-Vishniac<br />
Roger Couldrey<br />
Suzanne Crosta<br />
Keith Kinder<br />
Museum<br />
Carol Podedworny<br />
Academic<br />
Angela Sheng, Chair<br />
Janice Hladki<br />
Benson Honig<br />
Liss Platt<br />
Spencer Pope<br />
Neil McLaughlin<br />
Doug Welch<br />
Staff<br />
Julie Bronson, Collections Administrator<br />
Teresa Gregorio, Monitor/Information Officer<br />
Feng Guo, Operations Assistant<br />
Ihor Holubizky, Senior Curator<br />
Nicole Knibb, Education Co-ordinator<br />
Jude Levett, Administrative Assistant<br />
Jennifer Petteplace, Preparator and Installation Officer<br />
Carol Podedworny, Director and Chief Curator<br />
Rose Anne Prevec, Communications Officer<br />
Hamish Shea-Pelletier, Monitor and Installation Assistant<br />
Dominika Jakubiec, Work/Study Student<br />
Honorary Curator, The Bruce R. Brace Coin Collection<br />
Dr. Spencer Pope<br />
Docents and Volunteers<br />
Melodie Adler<br />
Javier Caicedo<br />
Jim Casey<br />
Danny Chan<br />
Tania Charles<br />
Deborah and Glen Eker<br />
Kate Hand<br />
Daniela Infante<br />
Maureen Hayman<br />
Yoko Ichikawa<br />
Natalie Jachyra<br />
Nashwa Khan<br />
Jessica Martin<br />
Payge Martin<br />
Olivia Murray<br />
Gabriela Palomo<br />
Kayla Pegg<br />
Daniela Ponce<br />
Community<br />
David Adames<br />
William Bensen<br />
Wynn Bensen<br />
Patrick Bermingham<br />
Robert Bowers<br />
Leah Thiffault<br />
Rachel Tirone<br />
Nikkie To<br />
Yvonne Tristani<br />
Jane Turner-Cooke<br />
Ianitza Vassileva<br />
Janice Waldrum<br />
Shariq Wani<br />
Angela Wu<br />
All images copyright © 2012 <strong>McMaster</strong> Museum of Art, <strong>McMaster</strong> <strong>University</strong> unless otherwise indicated.
<strong>McMaster</strong> Museum of Art<br />
Alvin A. Lee Building,<br />
<strong>McMaster</strong> <strong>University</strong><br />
1280 Main Street West<br />
Hamilton, ON L8S 4L6<br />
Tel. (905) 525-9140 ext. 23081<br />
Fax (905) 527-4548<br />
museum@mcmaster.ca<br />
www.mcmaster.ca/museum<br />
The Museum acknowledges the support<br />
of the Ontario Arts Council, the City of Hamilton,<br />
its members, <strong>McMaster</strong> <strong>University</strong> and the various<br />
trusts and endowments established in its name.<br />
The 2011/2012 program year is brought to you<br />
in part through the generosity of the Judith<br />
Harris and Tony Woolfson Trust for Curatorial<br />
Research and Practice.<br />
Gallery Hours<br />
Tue/Wed/Fri 11 am - 5 pm<br />
Thursday 11 am - 7 pm<br />
Saturday 12 - 5 pm<br />
Closed Sundays, Mondays,<br />
statutory holidays, and<br />
December 24, 2012 - January 1, 2013<br />
Office Hours<br />
Monday - Friday 8:30 am - 4:30 pm<br />
Admission<br />
Pay what you can, if you can with a suggested<br />
donation of $2.00. Students, seniors, and<br />
members are always free.<br />
Wheelchair Access<br />
The Museum building and all gallery levels are<br />
wheelchair accessible.<br />
<strong>Public</strong> <strong>Receptions</strong> & <strong>Events</strong><br />
May 12, 2012 at 1 pm<br />
May @ Mac at <strong>McMaster</strong> <strong>University</strong><br />
Tour of 125 & 45 exhibition<br />
June 1, 2012, 6 – 8 pm<br />
<strong>Public</strong> Reception for Summer exhibitions<br />
June 6, 2012 at 12:30<br />
Curator’s Talk by E.C. Woodley<br />
The Last Things Before the Last exhibition<br />
June 7, 2012, 6-7:30 pm<br />
Tour of 125 & 45 exhibition<br />
<strong>McMaster</strong> Alumni Lecture Series<br />
Free. Register at alumni@mcmaster.ca<br />
cover image: Gerhard Richter (German, b. 1932) Isa, 1990 oil on canvas, Levy Bequest Purchase, 1997. Photo: John Tamblyn © Gerhard Richter.<br />
Included in the exhibition, The Last Things Before the Last