Inge Pomp (née Ahlers) left this world on a date of her choosing – January 13th 2026 – one day before her 95th birthday. She passed peacefully accompanied by her son Alfons Pomp, daughter-in-law Rachel Chartrand and her two grandchildren: Audrey and Geneviève.
A wonderful mom, cook, an amazing crocheter and great lover of music, ballet and the arts; she held strong opinions which she was not shy to share. She had impeccable taste and kept her house meticulously. She travelled extensively in North America and Europe. She is among the last of a generation that knew the last world war (and sheltering from bombs) the space race and lunar landing, the cold war, perestroika, internet, smartphones, the information age and whatever history will call the current state of affairs.
She enjoyed preparing family and friends get togethers, swimming in the ocean and our lake but really loved snowstorms when her family were snug and safe in front of the fireplace. Over the years she bravely faced a series of progressive, significant health problems with bravery – but was saddened as one by one the important people in her life passed on.
At her request there will be no funeral nor celebration of life. (This tribute was kindly provided by her son, Alfons). Our thoughts are with him.
Inge was a beloved Wednesday daytime information guide – she joined us in 1998 and celebrated over 20 years of volunteer service before moving to be closer to her family outside Ontario. Always in our hearts.
The AGO is closed on Thursday, January 15, due to the weather. For updates, ccall the AGO’s emergency phone line at (416) 977-5249. The Gallery will reopen on Friday.
I thought it would be fun to share 10 things I am excited about in 2026. This list is in no particular order and very incomplete… I am sure if I wrote it again in 20 minutes it would be different!
Paul McCartney Photographs 1963–64: Eyes of the Storm (opens February 18)
Continued work on the Dani Reiss Modern and Contemporary Gallery (DRMCG)
Offering hard hat tours of the DRMCG to staff
The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art (opens June 24)
Art Journaling, Fridays, January 16 to February 6, 6:30 pm to 9:30 pm (4 weeks). Instructor: Sarah Mihara Creagen
Important Details
This discount applies to a current staff member, volunteer or someone in their immediate family.
The discount is valid only for the specific courses/dates/times listed above. Different courses will be offered seasonally 1-3 weeks before the start of class depending on availability.
Courses frequently sell out, so this offer is subject to availability.
How to Register
To register, please call the Contact Centre at 416-979-6648 so they can process your registration and payment with the 50% discount. Make sure to mention you are an AGO volunteer to receive the discount.
If you have any questions, please call the Contact Centre directly at 416-979-6648.
Janita Wiersma details her experience as Blackwood’s studio assistant from 2011 to 2022. In this image essay, she shares technical insights and personal anecdotes that offer a behind-the-scenes perspective on the acclaimed printmaker’s practice
“He felt that the copper plate was like a piece of music; everyone interprets it differently, and he wanted to play it the way he heard it.”
As a student of printmaking Janita Wiersma always had an acute awareness of David Blackwood’s impact on Canadian art, but it wasn’t until she became his studio assistant in 2011 that she truly understood the complexity of his creative process.
Her journey alongside Blackwood began when she had just returned home from studying for a Fine Arts degree with a focus on printmaking at Mount Allison and Concordia Universities. Over the next eleven years, Wiersma evolved from an awe-struck rookie assistant to an integral part of Blackwood’s practice, and a beloved friend to the legendary printmaker. She supported Blackwood’s work during his long recovery from a life-threatening illness and in his final days of practice before his passing in 2022.
Wiersma carries a deep knowledge of Blackwood’s approach to printmaking. Developed over the course of his career, his process consisted of several key phases: a full-scale pencil drawing, transferring this drawing to the plate, applying a powdered resin known as ‘aquatint’ for texture, etching the plate with acid, and printing a series of ‘proofs’ to check the development of the image through to its final stage.
In this image essay written for Foyer, Wiersma details her experience assisting Blackwood with four of his seminal works. For each, she shares technical insight and personal anecdotes that illuminate her special relationship with Blackwood. All these works are on view now as part of David Blackwood: Myth & Legend at the AGO.
*This excerpt is from the Gallery’s Foyer publication – a weekly, online magazine. Full story linked HERE.
2026 is shaping up to be a year full of great art at the Gallery. From rarely seen photographs by Paul McCartney and Melissa Auf der Maur, to works by Impressionist greats and an exploration of Black style through time, the exhibition lineup features art through the eyes of icons and innovators.
Here are four major exhibitions coming to the AGO in 2026 — starting with Beatlemania captured from behind the lens:
February: Paul McCartney Photographs 1963-1964: Eyes of the Storm
Opening February 18, 2026, from Paul McCartney’s personal archive and the National Portrait Gallery, London, England, comes Paul McCartney Photographs 1963-1964: Eyes of the Storm. Featuring more than 250 intimate and historic photographs, shown alongside video clips and archival materials, the exhibition captures both the intensity of The Beatles touring schedule and the energy of the era, as well more intimate views of his bandmates John Lennon, George Harrison, and Ringo Starr. Curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery, the presentation at the Art Gallery of Ontario is organized by Jim Shedden, Curator, Special Projects & Director, Publishing. The exhibition will run through June 7, 2026.
June: The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art
Opening June 24, 2026, The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art reveals the sweeping arc of a pivotal movement and its considerable impact on two successive generations of avant-garde painters. Highlighting the unique innovations of its core members, among them Claude Monet, Edgar Degas, and Berthe Morisot, and the many artists who built upon and reacted against their work, from Paul Gauguin and Vincent van Gogh to Piet Mondrian and Henri Matisse, the exhibition is organized by the Dallas Museum of Art and makes its Canadian debut at the AGO. Curated by Dr. Nicole R. Myers, the DMA’s Chief Curatorial and Research Officer and The Barbara Thomas Lemmon Senior Curator of European Art, the AGO presentation will be led by Dr. Caroline Shields, the AGO’s Curator of European Art. The exhibition will be on view through October 18, 2026.
Claude Monet, The Water Lily Pond (Clouds), 1903. Oil on canvas. Dallas Museum of Art.
September: Melissa Auf der Maur: My ’90s Photographs
Opening September 2026, Melissa Auf der Maur: My ‘90s Photographs presents an intimate portrait of the last analogue decade, through the lens of Canadian musician Melissa Auf der Maur. As bass player for iconic 90s alternative rock bands Hole and The Smashing Pumpkins, Auf der Maur toured the world, documenting life backstage, onstage, and in the crowd. Featuring more than 200 photographs, the exhibition is a time capsule of Generation X, co-curated by Sophie Hackett, AGO Curator of Photography and Jim Shedden, AGO Curator, Special Projects & Director, Publishing. The exhibition will be on view through Spring 2027.
Opening October 2026,Sunday Besttraces the histories of migration, activism, self-determination, and fashion design, woven into the enduring ritual of dressing in one’s “best” clothing. Featuring fashion, visual art, ephemera, and time-based media, this expansive exhibition considers the use of style and self-fashioning in Black diasporic communities, from the 1880s to the present. Making its world debut in Toronto, Sunday Best is conceived and curated by Dr. Julie Crooks (Curator, Arts of Global Africa & the Diaspora, AGO) and Dr. Jason Cyrus (Associate Lecturer, London College of Fashion), with Amanda Bock (The Lynne and Harold Honickman Assistant Curator of Photographs, Philadelphia Art Museum), and Clare Sauro (Cara Keegan Fry Curator at the Robert and Penny Fox Historic Costume Collection at Drexel University). Sunday Best is organized by the AGO and the Philadelphia Art Museum. The exhibition will be on view through February 2027 in Toronto, before opening at the Philadelphia Art Museum in spring 2027.
Laura Wheeler Waring, After Sunday Service, 1940. Oil on canvas, 76.2 x 36.8 cm. Petrucci Family Foundation Collection of African American Art.
I am writing with an update on Development team leadership. In the coming weeks, Kate Halpenny will be leaving the AGO having built an incredible team, fundraising infrastructure, and philanthropic community. Together, the team has achieved outstanding results – from increasing annual funds, to a successful capital campaign, building out a committed volunteer structure, and creating and delivering exceptional galas and corporate support – it has been a successful era at the AGO!
Building on this momentum, I am pleased to share that Andrea Orr will be stepping into the role of Chief Development Officer at the end of the month. Since joining the AGO in 2019, Andrea has been instrumental in driving forward our major gift efforts for both our annual and capital campaigns. She has built strong relationships with board members and donors to both secure significant support for the museum, garner trust with our AGO community, and expand our philanthropic opportunities and vision.
Andrea has been a leader in the non-profit and fundraising sector of more than 24 years with progressively senior roles including at Mount Sinai Hospital and Princess Margaret Cancer Centre. Over the years she has taught both CFRE and AFP fundraising courses and most recently with George Brown. She obtained her Masters in Philanthropy and Non-Profit Leadership from Carleton University in 2021 and has both a bachelor’s in psychology and social work. And importantly, she is an art enthusiast, passionate about the art sector and is deeply committed to the mission and values of the AGO.
Please join me in congratulating Andrea on this new opportunity.
As the year comes to a close, we want to extend our heartfelt thanks to you all, our incredible community of volunteers. Your talent, creativity, and dedication help bring the gallery to life for our visitors, every day. We are deeply grateful for the time, care, and passion you share so generously, front of house, and with each other.
A special thank you to everyone helping welcome our holiday visitors over the next couple of weeks – some of our busiest weeks of the year. On behalf of your staff coordinators, and all of the staff that work alongside volunteers, we wish you a joyful holiday season, & a prosperous and happy new year,
Our in house I.T. team has been working hard, since the Fall cyberattack, to restore AGO systems and data, while strengthening security. The link below leads to a folder called Launch Videos that has now been updated to include our most recent video entitled November Town Hall – which includes a Welcome and Dani Reiss building update by Stephan Jost, a presentation by Education & Public Programs (detailing the coming year), as well as a summary of current exhibitions, including Julian Cox speaking on David Blackwood: Myth & Legend, Collective Visions (AGO Photography), and Ranbir Sidhu: No Limits, curated by Julian (beginning at the 26 minute mark).
Allison Katz: Inner Momentum has been on view on the 4th Floor for months but, like most things at the AGO, its installation has been evolving. Thaw (2025) has been rotated 90 degrees every few months (see attached) and will continue to rotate until it completes a 360-degree turn and the exhibition closes in April 2026 – highlighting the versatility of the painting and its orientation.
There are many metaphors at play here. To me, it is a reminder that a change in perspective changes the world around us.
