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.
We’re excited to invite you to our first Holiday Bake & Share!
From Tuesday, December 16 to Sunday, December 21, you’re welcome to contribute homemade (or store-bought, no judgement!) treats to the Volunteer Lounge to share with your fellow volunteers. Cookies, brownies, cupcakes, bars, breads… all winter delights are welcome!
A few friendly guidelines:
Please label your treat
Note any allergens (nuts, dairy, gluten etc.) to help everyone enjoy safely
At the end of each day, if you’re leaving last (this is particularly helpful from the evening/weekend groups), please help pop any leftover treats into our fridge, so that we don’t attract any curious critters (unwelcome guests!)
We know the holidays can be busy and overwhelming for some. This exchange is meant to be light-hearted and completely optional. Join in only if you have the time and energy. (Holly and Diane like to bake, so we’ll get the ball rolling!)
We can’t wait to see (and taste!) what everyone brings. We hope it sparks festive conversations, recipe sharing, and a little extra warmth during the season. Feel free to leave a recipe card or jot one down if you’re inspired.
Wishing everyone a cozy and joyful December!
PS. Biggest thanks to Diane Pellicone, our newest staff member working primarily with the Gallery Guides, for this lovely idea to help us celebrate together. Thank you for getting us into the holiday spirit!
Ranbir Sidhu fully embraces challenge. For the artist and sculptor, boundaries are merely an open invitation to make the impossible possible.
Sidhu brings this mindset to his aptly named exhibition, Ranbir Sidhu: No Limits, (opened December 11). In his museum debut, futuristic vision is realized at the AGO through three monumental works created for the exhibition: Asteroid 3033 X1 (2025), Fortress of Memory (2025), and Odyssey (2025).
Sidhu’s love of challenge goes hand in hand with his chosen material: metal. Growing up in a manufacturing environment, Sidhu was exposed to a variety of materials. He developed a particular affinity for metal because of the skill and expertise required to manipulate it. But beyond its lustre and malleability, there is also a deep poeticism that draws Sidhu towards working with metal.
“Metal speaks to me. It’s strong, reflective, and timeless. Growing up, I saw how steel, aluminum and gold could transform, holding both precision and possibility,” he said. “Metal is unforgiving — it holds that memory. Metal lets me bridge the earthly and the cosmic, turning raw material into forms that carry stories across time.”
SAVE THE DATE: On Friday, January 16, 2026 the AGO will be hosting an opening party for No Limits, (all are welcome!) Ranbir Sidhu: No Limits was curated by Julian Cox, AGO Deputy Director and Chief Curator.
Now it is starting to feel like the holidays are coming.
I am in the midst of personalizing the holiday cards I send annually. There are many folks who make the AGO successful, and a holiday card is one opportunity to thank them. This year, there are nearly 1000 holiday cards, and they feature a beautiful Tom Thomson from our collection –The Last Snow, Algonquin Park.
The AGO Artists Holiday Show and Sale was on Wednesday and your colleagues sold their art and handmade goods, including my favourite quince jam. Thank you to Holly Procktor, who organizes this event off the side of her desk every year.
This season at the AGO would not be complete without a big exhibition opening. I mentioned previously that I got a sneak peek of Ranbir Sidhu: No Limits. Julian Cox and the team worked tirelessly on installation for the opening this week. This exhibition is spectacular and totally unique.
