Current Exhibitions

London's First World War

May 16th, 2015 to September 13th, 2015

Forum Gallery

London's First World War will explore the wide variety of ways in which Londoners, men, women, and children participated in the conflict that lasted from 1914 to 1918.

Beginning with recruitment, it will explore the numbers of men and women who enlisted for overseas service as part of the Canadian Expeditionary Force, touching on conscription and issues of race. Combining artifacts and images, the exhibition will also explore several of the major battles in which Canadians participated, the injuries they suffered, and the medical care they received. While Londoners served overseas, those at home worked, raised money, made comforts for military personnel, lived and waited. Artifacts and images again will illustrate the way in which the war impacted every aspect of Londoners' lives on the home front. Although the war ended on November 11, 1918, Londoners who lived through the conflict did not forget it and neither do we today.

The exhibition will highlight the experiences of those who lived with permanent disability and the deaths of loved ones. It will look at the way we continue to remember the Great War today.

Join us for the Opening Reception on Friday, May 22
Exhibition tour and piano recital with sing along, Sunday, May 31

Reading the Talk

May 9th, 2015 to August 30th, 2015

Moore Gallery

Michael Belmore, Bridge, 2014, copper, aluminum, 22.9 x 22.9 x 137.1 cm

Michael Belmore, Hannah Claus, Patricia Deadman, Vanessa Dion Fletcher, Keesic Douglas and Melissa General

Reading the Talk presents contemporary artists engaging in critical conversations about relationships to land, and considering distinct indigenous perspectives in the history of treaties in this country now referred to as Canada. After learning about the history of the Dish with One Spoon Treaty and wampum from artist Bonnie Devine and Elder Jan Longboat, curators Rachelle Dickenson and Lisa Myers invited artists who address issues of territory, trade, and treaty history to consider this accord.

From the 17th to the 19th centuries, the Haudenosaunee and Anishinaabe Nations negotiated the Dish with One Spoon Treaty to share hunting grounds in the regions north and south of the Great Lakes. Historian Leanne Simpson describes this diplomacy as a way for two nations to share territory while maintaining independence. Wampum belt, a belt-like object woven with two kinds of beads, is symbolic in bead count, colour and design. It functions as a mnemonic device for leaders to “read the talk” of agreements established and renewed between nations. This exhibition elucidates the continuing role of wampum for indigenous peoples. Through a deep engagement with materials, technique and narrative, the works featured in Reading the Talk contribute to a conversation about the ways in which land is valued.

Organized and circulated by The Robert McLaughlin Gallery in collaboration with Museum London, Art Gallery of Peterborough and MacLaren Art Centre.

Join us for the Opening Reception on Friday, May 22
Exhibition tour and Wampum belt workshop, Sunday, May 24

Ed Zelenak: Divining the Immeasurable

May 2nd, 2015 to August 16th, 2015

Ivey Galleries

Credit: Levitation as Witnessed by 42 Ciphers, 2010, alloyed tin on copper 213.3 x 198.1 cm. Collection of Museum London; Purchased with the support of the Canada Council for the Arts Acquisitions Assistance Program and funds from the Volunteer Committee, 2011; Photo: John Tamblyn

Since the mid-1960s, the works of West Lorne-based sculptor Ed Zelenak have garnered acclaim on regional, national, and international levels. Well-known during the London Regionalist period for his distinctive work in wood and fibreglass, he has continued as a tireless innovator across the ensuing decades.

Divining the Immeasurable is a retrospective look at Zelenak's practice, referencing early, monumental wood sculptures and explorations of fibreglass, which resulted in elegant, volumistic abstractions. After such investigations of form, space, and often, light, Zelenak reduced his scale while broadening his subject matter to universal proportions. Choosing materials deep-rooted in human technological history, such as lead, copper, and bronze, he produced objects that are as equally laden with cultural and spiritual heritage. Sculptures and wallworks dating from the 1970s through 2014 bear evocative forms -- vehicles, vessels, tools such as dowsing rods and ladders, and natural phenomena such as trees and celestial bodies -- represented in a deceptively simple, iconic fashion. Zelenak's motifs can be viewed as archetypes of modern existential feeling, ancient beliefs or messages, references to more recent folklore and myriad other forms of language or knowledge.

A scholarly catalogue for release in June 2015 surveys his work, with emphasis on his recent work, theory and symbolism, and aspects of Zelenak's drawing practice.

This exhibition is generously supported by the Museum London Foundation through its Light on London Campaign.

Join us for the Opening Reception on Friday, May 22

Souterraine Impressions

April 9th, 2015 to September 7th, 2015

Interior Gallery

Marking the 100th anniversary of the start of World War One, this exhibition illuminates the lives of Canadian veterans through the deeply personal carvings and drawings made by soldiers concealed in the allied caves and trenches near Vimy Ridge, France. Organized by Zenon Andrusyszyn, Souterraine Impressions will bring reproductions of site-specific artifacts to Canada through contemporary 3-dimensional printing, allowing audiences a rare glimpse at these personal documents created while Canadian soldiers awaited orders to join the now legendary Battle for Vimy Ridge. While not a great military success, the battle has subsequently become for Canada a symbol of national unity, achievement and tremendous sacrifice.

Visitors will get a sense of the scale of the caves from large photographic reproductions. Central to the exhibition will be a series of “tableaus” containing one of the reproduced carvings, a photograph of the soldier who created it and a short biography. While many of the carvings feature regimental or battalion badges, there are also carvings of hearts, animals and names.

Join us for the Opening Reception on Friday, May 22

Work and Perseverance: Paintings by Women Artists

November 8th, 2014 to November 8th, 2015

Community Gallery

Viola Depew (Canadian, 1894-1992), Nicotiana, 1956, linocut on paper, Gift of the Society of Canadian Painter-Etchers and Engravers, 1956 Hortense Gordon (Canadian, 1887-1961), Untitled, undated, coloured pencil crayon on buff paper, Gift of Mr. Jens Thielsen, London, Ontario, 2000 Pegi Nicol MacLeod (Canadian, 1904-1949), Men on Telephone Poles, c. 1935, watercolour on paper, Gift of Mr. Richard Alway, Toronto, Ontario, 1983

Over the course of the twentieth century, the development of public art museums and galleries in Ontario (and indeed, across Canada) was spurred to a large extent by the efforts of women. They served in groups as volunteers fundraising for building and collecting, and as individual artists and benefactors who contributed to and championed cultural excellence. Many belonged to women’s artists groups, which existed in part because of female artists’ being barred from (or more generally devalued by) existing groups such as the Arts & Letters Club or Royal Canadian Academy. Selected works include longstanding favourites by regional artists Eva Bradshaw and Florence Carlyle, as well as by Yvonne McKague Housser, Pegi Nicol MacLeod, and many more. Several paintings entered the collection as gifts by women’s or female-dominated groups in this region, such as the Women’s Art Association of Canada and the Volunteer Committee of Museum London.


Visible Storage Project

March 2nd, 2014 to February 9th, 2016

Lawson Family Gallery

Greg Curnoe, Car, 1967, oil, metal, masonite, wood, 168 x 173 cm, Gift of Mr. and Mrs. John H. Moore, London, Ontario, through the Ontario Heritage Foundation, 1978 Jack Chambers, Daffodils, 1976, oil on canvas, 76 x 76 cm, Gift of Mrs. Elizabeth Moore, London, 2011 Bertram Brooker, Abstraction, Music, c. 1927, oil on canvas, 43 x 61 cm, F. B. Housser Memorial Collection, 1945 Arthur Lismer, Pine Tree And Rocks, 1921, oil on canvas, 83 x 102 cm, F. B. Housser Memorial Collection, 1945

This installation permanently displays more than 100 works of art primarily focussed on London artists but featuring many of the great works of Canadian art from our vaults. With walls devoted to the works by Paul Peel, the Group of Seven, and artists such as Jack Chambers, Greg Curnoe, and Paterson Ewen, Visible Storage allows you to always see old favourites from the collection as well as discover new ones.

This exhibition has been digitally enhanced. Browse images, videos and text online at visiblestorage.ca.


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