Erik Edson sits in front of a sculpture. The black plywood sculpture resembles the silhouette of a house, trees and shrubs. It is displayed against a white wall, with an orange glow emanating from behind the sculpture.

Collection Highlight: Erik Edson’s Sunset

Rotchild smiles, wearing a green and black hoodie. He is seated in front of six framed, black and white artworks.

Collection Highlight: Rotchild Choisy

Looking at an artists desk, a beaded work in progress is surrounded by their tools, including jars of colourful beads, scissors, a pin cushion, and a smudge bowl.

Collection Highlight: Mel Beaulieu’s Tools of the Maker

In this black-and-white image, a football game takes place on a field that is also a tidal landscape with rock outcroppings and a tidal fence.

Collection Highlight: Dan Steeves’ crossing a threshold

Within one large circle of seals, laying on their sides, four smaller semi-circles are filled with colourful, geometric patterns. Between the semi-circles, seen form above, two lines of caribou walk in either direction.

Collection Highlight: Prints by Jerry Evans

Densely embroidered textiles and fabrics are layered over top of one another. A white square with a pink tulip is stitched prominently in the centre. To its left, over a patchwork of red, green, and yellow floral motifs are the heads of a man and woman depicted in black and white comic-style, both peering to the right. Between the two is the word “AAHHHHHHH” and a cartoon figure of Wile E. Coyote playing electric guitar. To the right are embroidered soldiers. Around them is a printed toile folk scene of wine grape harvesting in cream and maroon. Embroidered Hungarian script on white fabric and a band of white lace, extend to the right, partially covered by sheer purple fabric with silver dragonflies.

Collection Highlight: Anna Torma’s Carpet of Many Hands

An image is split down the middle by a black bar with arrows pointing left and right. On the left a photograph of a large building with beige siding and burgundy trim. Storefronts occupy the ground level, while central portion of the building steps up to a third story with a peaked roof and half-moon window. In the foreground is a bench and a street sign that reads, “Willow Lane”. On the right in the foreground of the painting a milk truck wheels around a corner. A young boy stands on the running board of a truck, balancing himself with one arm through the open passenger-side window, while holding a bottle of milk in his free hand. Buildings, including storefronts line the far side of the street.

Consider Alex Colville’s work in the here and now

Colville In Situ

A painting of a woman being embraced by a man is divided into three sections. One is brightly lit showing cracks in the canvas, the centre is coloured with hues of blue and the left shows naturalistic colours.

In the Conservation Lab: Romeo and Juliet

Nantume Violet stands, smiling next to Buluma Mordecai seated. They are outside, in front of a large tree on a sunny day.

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Buluma Ochungo Mordecai (Class of ’62) by Nantume Violet

A life-sized, rust-coloured wolf, a pair of steel split urns, and a low-lying bench are installed across the wide front steps leading to the entrance of a classically inspired stone building. Above the door, carved in stone, are the words "Owens Museum of Fine Arts, 1894".

Collection Highlight: John McEwen’s Salt/Marsh