Connected Histories: The Telegraph in Nigeria opens September 1, 2026, at McMaster Museum of Art. Free admission. 

Join us at the Opening Reception on Thursday, September 17, 2026, from 5 p.m. to 8 p.m. No registration required. 

We asked Nnamdi a few questions: 

How has this exhibition idea evolved within your research and through the McMaster network? 

Nnamdi Nnake: My current research is focused on telecommunications development in Nigeria, which traces its origins to the introduction of the telegraph in the late-nineteenth century. But when compared with the Global North, the significance of telegraph networks in Africa is an under-studied area of academic and public scholarship, so it is a privilege to be engaged in developing a body of work that helps to address this gap. In Summer 2025, a colleague familiar with my scholarly interests and public works of history recommended that I curate an exhibition. The idea was captivating but thinking about how to execute it left me with more questions than answers. But that Fall, I met another scholar who had recently curated an exhibition on telegraphy in India and our ensuing exchange was a lightbulb moment.  

This exhibition, Connected Histories: The Telegraph in Nigeria, uses a combination of actual telegraph artifacts and enlarged images to showcase telegraphic communications in colonial Nigeria from a variety of perspectives such as, public use, local innovation, and maintenance, as well as colonial aims and local resistance. Visitors will be immersed in telegraphy via a combination of physical and digital content, such as the simulation of real-life telegraph operations. I am really excited to see how this research and exhibition have come to life.

In my scholarship and research, I enjoy using multimedia like animations, audio, digital art, text, and videos to examine the historical, current and future sociopolitical entanglements of African societies with colonial-era technologies such as railways, telephones, and radio. My goal is to make history authentic, appealing and accessible to audiences while retaining scholarly rigour for current and future use. I have adopted this interdisciplinary and cross-medium approach for Connected Histories and hope the exhibition can engage the McMaster community and the wider public.

How does the exhibition relate to our local communities? For example, local African-Canadian organizations, McMaster students and faculty, and how are you and the museum planning to engage with the Mac community? 

NN: Everyone has something to learn from the exhibition, even without direct links to Nigeria or Africa. The legacies of telegraphic communications for modern society are numerous. If you rely on telephones, television, radio, the internet, computers, trains, planes, digital banking, and quite literally, anything linked to telecommunications, the exhibition will offer opportunities to learn about the origins of many technologies individuals and societies depend on today. 

More specifically, the exhibition will be useful to McMaster’s academic and research community. In addition to public education, the project outputs include a newly published peer-reviewed essay in Technology and Culture, a globally renowned academic journal and flagship publication of the Society for the History of Technology, as well as an academic seminar presentation. My dream is that thesis-based exhibitions are formalized into an annual competition or systematic pathway for graduate students to develop and further their research. This would deepen institutional collaborations between academic departments at McMaster University and the M(M)A. The exhibition will also collaborate with the University’s ARiEAL Project, which is developing cutting edge visual wearables. So, this exhibition is not only history, but also interdisciplinary fusion of humanities, art, and technology research is quite amazing to be part of. 

Within McMaster, the exhibition will also be useful for undergraduate courses in history, media and communications, or science and technology studies in Fall 2026. For example, students can be invited to conduct visual or other analysis of the exhibits within prescribed learning frameworks and produce academic reports or reflections that are evaluated as a portion of course requirements.   

Finally, I am working with the M(M)A to promote the exhibition with the wider heritage community in Hamilton and the GTA, as well as to African Canadian students and other groups. Because it has digital elements, people can also enjoy Connected Histories from all over the world. 

What is one work that you have a personal connection with? Why? 

NN: Every work curated for this exhibition has special meaning for my research. The more I study them, the more I learn about telegraph technology and the local people who made it possible. Perhaps, I am a little partial to the scene of Mechanicians in the Posts and Telegraphs Workshop at Ebute Metta.

The men in the image exude professionalism and confidence in their knowledge and competence for the tasking work of maintenance and repairs that kept the network operational. Yet, these men are part of a largely unnamed but critical colonial workforce of technical professionals. This is an image I find striking for because it represents both presence and absence, which is an apt metaphor for the status of public and scholarly works on the telegraph in Nigeria.  

Speaking to the artifact loans from Ingenium and Northwestern Libraries, how do they complement the museum’s permanent collection and add to the museum and the exhibition? 

NN: The artifacts from our collaborating institutions and the M(M)A’s permanent collection complement one another well. Themes such as altered landscapes and the environmental impact of technological infrastructure permeate throughout both collections. I am excited that the permanent collection will also be on display. This cross-collection collaboration lends itself naturally to interdisciplinary approaches for curatorial and research work, as symbolizing how the whole is greater than the sum of the two collections. The institutional collaboration that this project has engendered also underscores the M(M)A’s mission as a leading art museum. 

Nnake expressed his deepest gratitude for “the network of knowledge systems and researchers that have enriched and enabled the project.” He also acknowledged the invaluable institutional support provided by Northwestern University Libraries and  Ingenium – Canada’s Museums of Science and Innovation. In particular, Nnake extended thanks to Professors Bonny Ibhawoh, Megan Armstrong, and Juanita De Barros of McMaster University’s History Department, as well as Mary Reid, Director and Chief Curator of the McMaster Museum of Art, whose equal partnership was instrumental in shaping and bringing the project to life.

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Throughout her volunteer work, Teresa has consistently demonstrated integrity, leadership, and a deep sense of responsibility to both her professional community and the public she serves. She contributes her time and expertise to national and local arts and museum education initiatives, including service on the national executive board of Gallery and Museum Educators (GAME) as well as active involvement in Hamilton-based cultural and professional communities, such as Centre [3] and the Hamilton-Area Museum Educators (HME) network.

According to her colleague Nicole Knibb, Senior Educator at the McMaster Museum of Art: “Teresa Gregorio … has made nearly two decades of outstanding contributions to the Hamilton Area Museum Educators (HME) as a dedicated and trusted leader. Throughout her tenure, she has played a key role in planning guest speakers and conferences while fostering meaningful collaboration among member colleagues and institutions. Teresa has also created and diligently maintained HME’s website and social media platforms, significantly strengthening communication and visibility for the organization. Her collegial work with sister institutions, including the Art Gallery of Hamilton, Art Gallery of Burlington, Royal Botanical Gardens, and Hamilton Civic Museums, has positively expanded HME’s reach and impact across the region.”

As Darrell Pinto, Board Chair, Centre[3] for Artistic + Social Practice attests; “Drawing on Teresa’s experience in community education and engagement through meaningful arts-based learning, she serves as a strong asset in her role as co-chair of our Programming Advisory Committee. She contributes thoughtful ideas, sustained energy, and a collaborative approach that strengthens program planning and decision making. Her leadership helps ensure programming remains responsive to community needs and aligned with our mission.”

We asked Teresa a few questions: 

When did you join McMaster/M(M)A, and how has your career at M(M)A and within the city of Hamilton evolved since then?

TG: I became a work/study student at the Museum when I was taking my undergrad back in 2003. Once I graduated, I worked and volunteered at several Hamilton cultural institutions including the Hamilton Museum of Steam & Technology, the Art Gallery of Hamilton, the Dundas Museum and Archives, and of course the McMaster Museum of Art. In 2007 I was hired at the M(M)A as an Information Officer where I had the very important experience of daily connection with museum visitors, and learned how to share information and conduct tours. I’m very glad to say that I’ve grown my career here at the M(M)A and am now the Educator: Campus & Community Engagement.

In the intervening 19 years, with the support of the Museum and its leadership, I’ve cultivated connections with museum educators across the region through my position as a coordinator for the Hamilton-Area Museum Educators group, and more recently with my role on the board for Centre[3] downtown.

What is a career highlight during your time at McMaster/M(M)A?

TG: Getting to collaborate with so many enthusiastic and talented people across and outside of campus! Museum education is all about people, connections, and community, and all my wonderful colleagues and mentors at the M(M)A have allowed partnership opportunities to grow.
A great example is when I worked with Hamilton artist stylo starr to create an education program that we now run online and in person. Working together with others like this makes for a robust, engaging, and fun program and I’m passionate about designing experiences like this because it brings art and arts-based education to people, which is so important for both individuals and communities.

What’s your favourite thing about the art/art education community in Hamilton?

TG: People are so helpful and thoughtful! Educators tend to be a connected bunch, and this certainly shines in Hamilton. If you’re doing research and need something, there’ll be a knowledgeable educator with an enthusiastic reply ready to help. I’ve received a bunch of these emails in just the past week! Hamilton is a wonderful city to build your career in, with welcoming folks and a thriving community. There’s such creativity here, and I’m continually inspired by the interesting, engaging, and cool programming that educator colleagues at Hamilton institutions are making available to us all.

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About Open Studio:

Open Studio was founded in 1970 and is one of Canada’s oldest and largest artist-run printmaking centres and Toronto’s only artist-run facility focused on contemporary print practice. Guided by its vision that “Printmaking opens the door to accessible, innovative, and inspiring art,” Open Studio supports and advances the field through artistic production, exhibitions, and learning. For more than five decades, it has provided artists and the public with access to specialized facilities and programming that advance contemporary print practice.

M(M)A is pleased to support Open Studio’s commitment to advancing the learning, production and promotion of printmaking. These acquisitions celebrate Open Studio’s exceptional, decades-long history of supporting local, national and international artists in their printmaking practice.

These new acquisitions align with M(M)A’s mission to expand its permanent collection through the inclusion of contemporary Indigenous and Canadian artists, while fostering more inclusive, dynamic, and experiential relationships between audiences, public galleries and museums, and all visual arts organizations and institutions.

We are grateful to Executive Director Patrick Macaulay, Laura Bydlowska, Rebecca Travis, and Angela Piere Segovia, along with the decade committees, for their work in reviewing and refining the archive into a curated collection, which laid the foundation for these acquisitions. We also thank the artists and their estates for their consent to release works through the Print Sales program, making these acquisitions possible. Together, they reflect Open Studio’s ongoing commitment to supporting artists with the long-term placement of these works in the M(M)A Collection.

To find out more about Open Studio, visit https://openstudio.ca

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Nicole Knibb has made a profound and lasting contribution to interdisciplinary education, community engagement, and inclusive pedagogy at McMaster University. Through her leadership at the McMaster Museum of Art and as an Adjunct Assistant Professor, she has connected visual art with health education, professional learning, and social reflection. Grounded in decolonial practice, equity, and mentorship, Nicole’s work strengthens learning, research, and community connection. Her sustained innovation and leadership continue to enhance McMaster’s reputation for inclusive, human‑centred education.  

Director and Chief Curator Mary Reid congratulated Knibb on stage during the ceremony, and remarked, “over her career, Nicole has demonstrated exceptional leadership, innovation, and sustained impact through her work. Through the implementation of strategic design, delivery, and evaluation of interdisciplinary learning initiatives, Nicole has successfully connected the visual arts with professional, academic, and various other communities across the university and beyond.”  

Nicole is a long‑standing co‑creator and steward of The Art of Seeing , a nationally recognized program that enhances observation, empathy, and reflective practice among medical learners, students, and leaders. Her work has expanded the role of the Museum as an academic partner and positioned McMaster as a leader in arts‑based, experiential education. During the pandemic, she led successful pivots to virtual and hybrid delivery, expanding access while maintaining program quality. 

We asked Nicole a few questions: 

When did you join McMaster/M(M)A, and how has your career at McMaster/M(M)A evolved since then?

NK: I began working at the M(M)A as a volunteer and as a work-study student in my third year in 1997. After graduating in 1999, I was hired full-time as an Information Officer. This role allowed me to build skills in art museum education, speaking with visitors and leading guided tours about the museum’s collection and exhibitions. In 2017, I became Senior Educator where I specialize in Health Humanities Art Education and Experiential Learning at the M(M)A. Since 2021, I’ve been an Adjunct Professor with the Department of Family Medicine.  

Throughout my career at McMaster and the McMaster Museum of Art (M(M)A), I have championed a number of initiatives. One of the most significant has been the development of the museum’s Education Department. We have built a remarkable team and continue to deliver impactful and engaging programming for our communities. Another initiative I am especially proud of is The Art of Seeing , a visual literacy program developed in partnership with Dr. Joyce Zazulak and the Department of Family Medicine. Through this collaboration, Joyce and I have had the opportunity to work with many inspiring individuals on a wide range of programs and projects that extend beyond the original scope of the partnership. 

I would also highlight the Futures Thinking and design work I have undertaken with Dr. Sean Park. Drawing on the expertise I developed through my Master of Design degree in Futures Thinking, it has been incredibly rewarding to translate these ideas into meaningful projects and real-world applications. 

What is a career highlight during your time at McMaster/M(M)A?

NK: This is a hard question. I would have to say the excellent collaborations and partnerships I’ve been part of over the years. There are so many good colleagues and students that I’ve been honoured to work with and learn from. There are too many to count so I hope they will read this and know who they are! 

What’s the story behind the development of The Art of Seeing and what is it like seeing it evolve throughout the years?

NK: The Art of Seeing began in 2010. In 2016, inspired by programs at Harvard University and Yale University, we took a big step forward with the help of our McMaster MBA intern Kunal Tandan in expanding the program beyond Family Medicine and into other areas of health education, such as Midwifery—and also more broadly as community engagement. We have just worked with very keen McMaster Integrated Business Humanities fourth-year Capstone students to strategically plan for the future of the Art of Seeing . Looking at the expansion of AI, we hope the Art of Seeing  program can bolster care and discernment, ultimately the things that are truly human.  

Nicole and Mary wish to extend their thanks to people who shown support of this nomination. These include Victoria Bui, Nancy Buschert, Lorrie Gallant, Dr. Sean Park, Diana Singh, and Dr. Joyce Zazulak. To learn more about the President’s Awards and other recipients, click here to learn more. 

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The awards were adjudicated by iArts Faculty Advisors Dr. Peter Cockett, Adrien Crossman MFA, Briana Palmer MFA, and Dr. Syrus Marcus Ware, who brought a shared commitment to interdisciplinary practice, social justice, and research creation. Across student works spanning media such as film, performance, sculpture, game design, and visual arts, M(M)A Director and Chief Curator Mary Reid highlighted “the breadth of approaches and the care with which students engaged themes of identity, memory, embodiment, and culture” and how the works serve as forms of inquiry and connection. “On behalf of the adjudicators, we want to congratulate all the award winners, honourable mentions and the cohort for their exceptional work. We look forward to seeing how the student practices’ continue to grow and shape the future of interdisciplinary arts,” she added. 

The exhibition, iARTS XPO: 2026 Graduating Cohort, is on view at McMaster Museum of Art M(M)A until Friday, June 26, 2026. Join us during May @ Mac Open House (May 9) for drop-in tours from 11 a.m. to 3 p.m. 

We asked the award winners about their iArts experience and their work at the exhibition: 

School of the Art (SOTA) Mission Award 

Recognizing work that most strongly reflects the School of the Arts’ mission and values 

SOTA Mission: The School of the Arts at McMaster is supported by staff and faculty that are dedicated to high quality teaching and research. Through close connection with faculty, we promote excellence in artistic production in all its diverse forms, as well as critical, theoretical analysis and study in historical and contemporary contexts. 

SOTA’s faculty recognize the integral role of the arts in individual and public well-being, community building, inclusivity and global awareness. We offer a unique balance of hands-on and experiential opportunities combined with historical, theoretical and critical approaches. Our students study the social and cultural implications of the arts, and they collaborate with faculty in studio and laboratory settings, mount and critique exhibitions and theatrical productions, and train as solo and ensemble performers. 

Winners: Maia Nguyen & Vikaash Arunmozhi 

How does your iArts experience and your exhibited work reflect the award? 

Maia: While completing my BFA in the iArts program, I had the opportunity to collaborate with many talented individuals. Collaboration across practices was always encouraged and pushed me to step out of my comfort zone as an artist. I couldn’t be more grateful that this environment led me to create this film with Vik. Palimpsets represents so much of my life and carries a message that is deeply meaningful to me. The main goal of the film is to inspire acceptance and empathy in a world that can often feel so cruel. 

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Maia: I am honoured to receive this award on my first venture into filmmaking. It is incredibly encouraging to know that the film Vik and I produced reflects the mission and values of SOTA. Our film, Palimpsests, is the result not only of our work but of the many passionate people who supported us along the way. Receiving such positive feedback has inspired me to explore where this medium will take my artistic career, and I am excited for my future as a filmmaker and actor. 

How does your iArts experience and your exhibited work reflect the award? 

Vik: At this stage of my practice, this award feels like the validation and recognition of the values we’ve been aiming to share for our time at McMaster—acceptance, diversity, empathy and equity. To receive such an award from the M(M)A has been such a privilege and an honour, and validates the work that I’m doing right now, and will continue to do in the future, will have a genuine impact on the world. 

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Vik: Palimpsests reflects SOTA’s mission by using multi-media storytelling to foster inclusivity and meaningful dialogue that can lead to change. Through its celebration of immigrant experiences and the beauty of multiculturalism, the work highlights the transformative role of collaboration and the arts in building empathy and community. By critically engaging with themes of identity, belonging, and cultural exchange, the film embodies SOTA’s commitment to diversity, experiential learning, and creative practices that inspire audiences to question and connect with these themes that are becoming ever-important in the world as it is right now. 

Honourable Mention: Tahmia Thomas 

Leadership & Community Spirit Award 

Recognizing artists who demonstrate leadership, collaboration, and a strong sense of community 

Award: Riley Payne 

How does your iArts experience and your exhibited work reflect the award? 

Riley: I am so honoured to have received this award. Throughout my experience in the iArts program, my focus has been on collaborative practice and sharing input and skills to further our work. This year’s graduating class has, in large part, helped one another reach our goals—both within our individual art practices and as inaugural students of the iArts program, helping to shape it for future years. My exhibited work at the exhibition involved giving out prints to the community, allowed me to connect with many people and share my artwork. 

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Riley: Receiving this award will shape my future practice by providing a foundation to explore my work in relation to the community as an emerging artist. I gained valuable experience and many meaningful memories over the course of the year, and I am so grateful to have worked with all of my peers. Being part of so many individual projects, as well as the exhibition planning as a whole, highlighted the importance of community. I hope to continue centering community in my work. 

Honourable Mention: Miriam Georgis 

Interdisciplinary Art Award 

Recognizing work that thoughtfully engages across disciplines, forms, or approaches 

Award: Pocket Lint Collective (Amelia Doty & Charlie Saltzman) 

How does your iArts experience and your exhibited work reflect the award? 

Charlie: When discussing what we wanted to do for our thesis, Amelia and I knew it had to span multiple mediums. Within the iArts program, we were encouraged not only to explore different practices, but also to consider how integrating them can inform our work as a whole. Creating work that utilizes theatre, installation, photography, sound design, and more felt like a fitting way to close this chapter of our iArts experience. Our work, COMING & GOING: OUT and OUT: Partying as a Form of Queer Resistance exist as separate works, though you can see how they shaped one another through the interdisciplinary approach we took throughout the creative process—a true testament to our program. 

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Charlie: As a collective, we pride ourselves on taking a multidisciplinary approach to our projects. To receive this recognition, as we step into the world as emerging artists, is quite validating. Not only does this award recognize our current creation process, but it creates the space for us to continue to try more as artists. Whatever we make next will be done with the same interdisciplinary approach that is at the core of our program. As an emerging artist, I hope to continue to grow not only through experience but through experimentation. You never know what you can create until you try. 

How does your iArts experience and your exhibited work reflect the award? 

Amelia: Our work, COMING & GOING: OUT and OUT: Partying as a Form of Queer Resistance was born out of an undying love for every medium Charlie and I could get our hands on during our time in the iArts program. We knew we would never be able to settle on doing just one medium or even one project for our thesis, so we settled on doing them all. We could not be more grateful to our professors, instructional assistants and this program for encouraging us to embrace the possibilities of an interdisciplinary piece of work and helping us bring it to life.   

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Amelia: This recognition comes at the uncertain precipice between school and the professional world, a daunting time for any artist. It proves to us that we are creating work that speaks to the people around us and encourages us to keep creating. As a collective, the beneficiaries of this recognition will allow The Pocket Lint Collective to continue to create the work we love in the coming year and follow our passions for interdisciplinary art. Thank you to the McMaster Museum of Art for believing in us and our work.  

Honourable Mention: Jacob Byck 

Risk-Taking & Bravery Award 

Recognizing bold, experimental, or conceptually ambitious work 

Award: Kior Barrow 

How does your iArts experience and/or your exhibited work reflect the spirit of this award? 

Kior: The iArts program has attracted artists from a wide range of disciplines, and we all work together in shared studio spaces. Being surrounded by so many creatives is incredibly inspiring, and the diverse perspectives offered by my peers have encouraged me to explore beyond my usual wheelhouse. Additionally, the iArts program has taught me how to adapt—if a concept isn’t working in one medium, it might make sense in another. When tackling complex ideas, I find it helpful to engage with as many mediums as there are interpretations. 

What does receiving this recognition mean to you at this stage of your practice, and how might it shape what you do next? 

Kior: Being recognized for taking risks is a strong sign that I’m moving in the right direction. Although I’ve been in practice for a long time, I’m still very new to my professional art career, and I’ve already managed to create something that people are excited to engage with. Much like ripping oneself open for public viewing, sometimes you need to get weird and messy for others to understand you. And hopefully, work like mine will change the way people think about art—or at least inspire them to take a risk of their own. 

Honourable Mention: Gemima Mukendi 

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As this year’s Black History Month come to a close, the McMaster Museum of Art wishes to extend its sincere appreciation to the Equity and Inclusion Office for their leadership and dedication in creating space for reflection, celebration, and dialogue across the McMaster campus.

At the Museum, Black History Month serves as both a moment of acknowledgement and a reminder of an ongoing commitment. In alignment with the University’s 2020–2025 Strategic Plan, broadening our collection and presentation of works by artists from the world’s Black diasporas remains a key priority — not only during February, but as a sustained and evolving practice. We are committed to deepening engagement with Black communities on campus and throughout Hamilton, and to ensuring that Black artistic voices are meaningfully represented in our exhibitions, acquisitions, and programming.

As part of this commitment, the Museum recently acquired The Black Madonnas of Perpetual Murmurs by Erika DeFreitas. The work was featured in The Great Unseen, an exhibition highlighting rarely seen works from the collection by Black, Caribbean, and diasporic artists.

DeFreitas first began researching the Black Madonna during a 2017 residency at Alice Yard in Port of Spain, Trinidad and Tobago. There, she encountered a statue known as La Divina Pastora in a nearby town — an experience that sparked a deep, almost familial connection. She has described this process as forging a bond with a grandmother she never knew.

In this body of work, DeFreitas develops a model of care for the Black Madonna through collage. She “enrobes” the figure using magazine cutouts and photostat images of Black Madonnas from around the world, layering them with found images of contemporary Black women. These richly textured compositions reference stained-glass windows and open walkways common in West Indian architecture, creating spaces that feel both sacred and domestic.

Through this process, DeFreitas explores spiritualism, ancestry, and the unseen forces that speak to us from beyond. Rather than venerating the Black Madonna as a traditional devotional icon, she reframes the figure as a site of personal and ancestral memory — emphasizing lived experience, care, and intergenerational connection. *The Black Madonnas of Perpetual Murmurs* invites us to consider how spiritual legacies and Black histories can be reimagined, and how historical absences can speak just as powerfully as presence.

As we move forward, we encourage our community to think beyond a single month. What does it mean to build sustained relationships, to collect with intention, and to create platforms that reflect the fullness and complexity of Black histories and lived experiences — locally and globally? This work calls on us to remain accountable, responsive, and engaged as we continue shaping a museum that grows alongside the communities it serves.

The Black Madonnas of Perpetual Murmurs 10, 2023
collage, composition gold leaf, cutout on paper
Museum of Art Collection Trust, 2024

The Black Madonnas of Perpetual Murmurs 13, 2023
collage, composition gold leaf, cutout on paper;
Museum of Art Collection Trust, 2024

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The apropos theme of event was GLAM given the content of the The Clichettes’ exhibition which celebrated the renowned artist trio of Louise Garfield, Johanna Householder and McMaster Associate Professor Janice Hladki. Their groundbreaking practice from 1978 to 1993 was at the crossroads of performance art and feminist satire bridging theatre, lip-sync, dance, drag, costume, and comedy, scrutinizing the tropes of femininity and masculinity. The group’s first-ever retrospective was curated by Dr. Ivana Dizdar and celebrated the many dynamic collaborations with artists, writers, designers, and directors, bringing together over 150 costumes, props, videos, photographs, drawings, scripts, and archival materials.

For Dizdar the exhibition production brought to life “the kindness, courage, spirit, magic, and friendship… In a world that feels chaotic and unjust, I hope this show stands as a testament to the power of art to help us imagine a better world.”

The GOG Awards celebrate the outstanding achievement, artistic merit, and excellence of arts institutions and professionals in the public art gallery sector across Ontario and to be shortlisted for an award is a tremendous honour. However, winning is an incredible accomplishment particularly for the M(M)A given the other shortlisted institutions in this category were the Art Gallery of Ontario and the Ottawa Art Gallery, whose budgets and resources far exceed those of the modest yet mighty M(M)A team. Special acknowledgement needs to be given to former Director and Chief Curator Carol Podedworny who stewarded the project and publication prior to her retirement, Betty Julian, Senior Curator, who saw the exhibition come to fruition, along with Preparator and Exhibition Designer, Sam de Lange, and Exhibition Coordinator Julie Bronson.

The Clichettes also extend their gratitude to “the many photographers, designers, wigmakers and musical influencers who contributed their work and to Kim Tomczak and Lisa Steele at V-Tape for bringing our recorded past into the present day.”

The GLAM (also an acronym for galleries, libraries, archives and museums) event also featured Toronto’s Poet Laureate, Lillian Allen, receiving an award for her contribution to The Clichettes’ exhibition catalogue. Another contributor, Dr. Mark Kingwell, University of Toronto Professor, was also shortlisted for a writing award as well the gorgeous publication designed by Rob Gray was up for an award.

An impressive undertaking, The Clichettes exhibition, is an important example of how the museum serves as a liaison between the university and the wider public at large. From the number of partners and contributors to both the exhibition and publication production to the full circle moments such as McMaster alum Jenn Heldson, of The Muses, playing a key role in restoring the costumes and props of her former professor Janice Hladki along with her business partner Hope Wickett.

The important work that takes place at the M(M)A is certainly in service to the campus community yet has the ability to stretch out into the greater community at large, extending McMaster’s reach and impact.

On a personal note, when I was considering applying for the role of Director and Chief Curator, I visited this exhibition and was blown away, as many were, by its complexity, sassiness and sophistication. I left the Museum knowing that this was a place I wanted to join and belong. My intention is to continue to carry forward and build upon the impressive foundation that has been most deservingly acknowledged by Galeries Ontario / Ontario Galleries, for which the M(M)A is very thankful for this prestigious recognition.

Written by Mary Reid, MA, MBA, Director and Chief Curator

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