Picture
Frederick Verner, Mastiff, 1891. Oil on canvas. Gift of Elizabeth Chish-Graham.

Manifest Domesticity

Curated by Moyu Chen

​September 28, 2024 - ongoing

First and Second floors, stairway

​What does home mean to you? When do you feel most comfortable (at home)? The word ‘domestic’ modifies a sense of belonging versus difference. It embodies one’s familial sphere and separates the inside from outside, national from foreign. The term “Manifest Domesticity,” coined after Manifest Destiny by American scholar Amy Kaplan, imagines a settler’s home coextensive with, and therefore justifying, imperial expansion. Prints, books, drawings, and paintings in the exhibition Manifest Domesticity have been drawn from the permanent collection at RiverBrink. Together they comprise types of domesticity made in response to the shifting demarcation between inside and outside, domestic and alienated. They ask us if and how one can preserve the sense of belonging when different models of domesticity collide and merge.
Picture
Michael Hannaford, Old Blacksmith's Shop, Queenston, Ontario, 19th century. Watercolour on paper. The Weir Foundation.

Queenston Village

Curated by Abigail Ehrle

September 28, 2024 - ongoing

Second floor

Inspired by the historic walking tour offered by RiverBrink during the summer months, the exhibition Queenston Village showcases scenes of Queenston over the past 200 years. Throughout this time, the village of Queenston and the surrounding areas have served as a battleground during the War of 1812, an area of early Canadian political activity, and as a site of natural beauty.
Picture
Lauren Stewart Harris, Study for "In the Ward 1, City Paintings," 1918. Oil on cardboard. Samuel E. Weir Collection.

Centre and Periphery: The

Group of Seven

Curated by Asta McCann

September 28, 2024 - ongoing

Second floor

The Group of Seven has become synonymous with ideas of an untouched, seemingly uninhabited Canadian wilderness. These artists, however, also sketched and painted urban locations, with clear evidence of civilization and industry. Drawing from a selection of artworks in the Samuel E. Weir Collection, this exhibition considers the complex relationship between the urban centre and rural periphery in paintings by members of the Group.
Picture
Amos Sangster, Niagara River, Canada Side, Opposite Lewiston, 1888. Etching on chine collé.

Borderland

​Curated by Debra Antoncic
​
First floor

This exhibition includes a selection of prints, drawings and paintings of the Niagara borderland region, from the permanent collection.

Adopt an Artwork

​Ongoing
Adopting an art work from the permanent collection at RiverBrink is a unique way to support the art museum. Although adopted art works remain at RiverBrink, your financial support enables you to establish a special connection with a beloved work of art.

You may choose from one of five annual giving levels, starting at $50. Your adoption helps support ongoing care and conservation of art works and helps ensure the future of the collection.

For more information and to view the artwork available for adoption click here.

Suzor-Coté at RiverBrink

Ongoing

Curated by Debra Antoncic
Lower Level 

Bronze sculptures by the 20th-century Québec artist are on permanent display in the library. Beginning in the 1940s, Sam Weir commissioned the casting of the bronzes with the goal of acquiring a representative survey of the artist’s work in sculpture. This project was continued following Weir’s death.
​© RiverBrink Art Museum Inc. 2020