The McMichael Tree Project
Pluralities/Polarities 1950s-1990s:
Selections from the McMichael Collection
Inuit Traditions
Legends: Norval Morrisseau and Anishinabek "Woodland School" Artists
The Group of Seven: Revelations and Changing Perspectives
The McMichael Tree Project Pluralities/Polarities 1950s-1990s:
Selections from the McMichael Collection Inuit Traditions Legends: Norval Morrisseau and Anishinabek "Woodland School" Artists The Group of Seven: Revelations and Changing Perspectives 
The McMichael Tree Project
January 28 to April 22, 2012This winter and spring, the McMichael celebrates the artistic, cultural, and natural aspects of the tree with two breathtaking exhibitions, a variety of programs, and special installations. As part of this project, the McMichael presents the exhibition, The Tree: Form and Substance, which provides an exciting opportunity for us to connect the gallery's interior spaces with our newly invigorated outdoor spaces and forested landscape, for the very first time. In conjunction with our own exhibition, the gallery also presents The Tree: From the Sublime to the Social, organized and circulated by the Vancouver Art Gallery; an exhibition that considers the tree as a subject in art from the early twentieth century to the present. The tree has been used as a symbol for all of nature and its overwhelming beauty; it is a powerful signifier of Canada's national identity as well as the individual's struggle against the wilderness; and currently, it even serves as a reminder of our precarious ecological position.
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Pictured Above:
This McMichael tree was specifically designed by technological artist Napoleon Brousseau and co-produced by the Canadian Film Centre, for the gallery's interactive SEED Collective installation—a cell phone-driven artwork enabling individuals to grow a virtual forest.
The McMichael Tree
Project Programs
are
generously supported by
Promotional Partner for the
McMichael Tree Project
Pluralities/Polarities 1950s-1990s: Selections from the McMichael Collection
Ongoing The exhibition focuses on the latter half of the twentieth century that saw remarkable developments in Canadian artistic expression. Amongst the diverse styles and attitudes, in general, two major streams of thought appear in the exhibition: the abstractionists (including abstract expressionists and other non-representational artists) and the realists. In their diversity, the artists each contributed to the dynamic and mosaic-like portrait of Canadian art that emerged in this explosive period of national and cultural creativity. Pluralities/Polarities 1950s–1990s is curated by Sharona Adamowicz-Clements and is part of the McMichael’s ongoing interpretation of the permanent collection that includes installing rarely seen works.
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Pictured Above:
Jean Paul Riopelle,(1923-2002)
Sur les traces, 1958
oil on canvas
65 x 81.3 cm
Gift from Mr. & Mrs. L.L. Odette, Toronto
McMichael Canadian Art Collection
1994.19
Inuit Traditions
OngoingKenojuak Ashevak, Joe Talirunili, Kiakshuk, and other Inuit artists have focused their art not only in interpreting their cultural experiences, but also the personal day-to-day challenges of living in the North. This selection of graphic and sculptural works reveal aspects of the material culture related to traditional forms of transportation on the water and the spiritual relationship that the Inuit maintain; the stories and legends that are told about the sea and its mythological inhabitants offer moral tales and reflect the values of the Inuit people.
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Pictured Above:
Joe Talirunili, (1893?–1976)
The Migration, 1976
stone and sealskin with wood
Overall: 32.5 x 42 x 23 cm
Purchase 1980
Legends: Norval Morrisseau and Anishinabek "Woodland School" Artists
OngoingFirst Nations artist Norval Morrisseau is celebrated for establishing a style of art that became known as the Woodland School. Morrisseau’s decision to produce his art on canvas and paper marked a shift to European-influenced traditions. His painted compositions are characterized by an intuitive use of bright, pure colour shapes contained within black form lines; a deliberate attempt to communicate his beliefs with the viewer using colour. At the same time, other First Nations artists were similarly motivated in their desire to communicate the values of their culture, and subsequent generations of artists continue to do so through the creation of unique and significant art forms.
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Pictured Above:
Norval Morrisseau (1931-2007)
Shaman and Disciples, 1979
acrylic on canvas
180.5 x 211.5 cm
Purchase 1979
McMichael Canadian Art Collection
1979.34.7
The Group of Seven: Revelations and Changing Perspectives
Ongoing
On now: Modernity in Canada: The Group of Seven and Their TimesExperience the exceptional new installation of the McMichael’s renowned permanent collection. Rarely seen works from the McMichael collection are arrayed in the galleries in new and dynamic ways, opening up new themes and ideas to explore.
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Pictured Above:
A.Y. Jackson, 1982-1974
Dahlias, c.1913
oil on wood panel
32.6 x 40.7 cm
Gift of Mr. S. Walter Stewart
McMichael Canadian Art Collection
1968.17.2
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The Founders' Story |
Don’t miss this display of archival photographs and accompanying texts recounting the history of the McMichael from its early beginnings in the home of Robert and Signe McMichael through the donation to the Province in 1965, until the Founders’ retirement in 1981.
Learn more about our Founders’ passion for collecting and their mutual vision – a vision that enabled the creation of a unique public art gallery, the McMichael Canadian Art Collection.
To view The Founders’ Story visit the ramp leading from Gallery 1 to the restaurant.
More information on this exhibition
Pictured Above:
Robert McMichael signing the Gift Agreement, with Premier John Robarts
and Signe McMichael, November 18th, 1965
Photo by the Ontario Department of Tourism and Information
