As Brock celebrates its 60th anniversary, exploring the past and present of the University’s fine art collection is providing fresh perspective to reimagine the future of art on campus.

“Art in public places has intrinsic value. Art speaks to and from humanity, allowing for exploration of thought and diverse ways of thinking about the world around us,” said Mandy Salter, principal of Salter Art Appraisals and Consulting and an Accredited Member of the International Society of Appraisers.

An award-winning curator and collections manager, Salter was engaged by Brock to conduct a comprehensive review of its art collection to appraise and catalogue inventory, including identifying all the pieces on campus and building an updated database.

“We wanted to build upon existing paperwork in order to further locate and condition report all works, and by doing so, gain a clearer understanding of the content and condition of this diverse and important collection of Canadian art,” Salter said.

Salter said Brock stewards several collections including the Teutloff Collection of large-scale public sculptures, the Steltner Inuit Art Collection, a collection of Carl Beam lithographs, the Buky Schwartz sculptures at Marilyn I. Walker School of Fine and Performing Arts, and many other two-dimensional works of art on paper or canvas.

With the support of Frank Marcella, Director of Enterprise Risk Management and Insurance, and Bryan Cober, Associate Director of Projects and Structural Services in Facilities Management, Salter created a five-year asset management plan outlining future care strategies for pieces impacted by weather and environmental factors.

A University Art Collections Committee was also recently formed with representatives from across campus that will help guide the future vision and mandate of Brock’s fine art collection.

Linda Carreiro, Associate Dean of Fine and Performing Arts, is serving as elected Chair of the University Art Collection Committee.

“The committee is comprised of stakeholders invested in sharing the important stories told through existing pieces of the collection, with the aim of adding to these perspectives. We’re excited to manage the collection in a meaningful way, so that all members of campus and the public can be engaged in the histories and ideas within the artworks,” she said.

The work of the committee will oversee acquisitions, deaccessions, conservation and restoration of Brock’s small and large-scale public pieces.

For example, Salter recently oversaw the restoration of Michael Snow’s (1928-2023) Photo Mural for Timed Images, 1972-73. Timed Images was a multi-part photo and video composition conceived for and installed in the hallways of the Mackenzie Chown Complex, known at the time as the Academic Staging Building.

“With the help of Bryan Cober and Niagara Glass, the large 10×12 sheets of 55-year-old glass were replaced with UV and shatterproof-resistant glass, with some slight cleaning of the frame and work itself,” she said.

Salter said the committee will strive to develop a future collection focussed on diversity, foregrounding artists and communities who may not be currently represented in the collection.

“Understanding gaps is critical and presents an opportunity for decolonization and reconciliation and furthering actions towards thoughtful and meaningful inclusivity,” she said.

West Coast and Inuit prints — some of the earliest acquisitions in Brock’s collection —  were recently installed in Brock’s Entiohahathe’te Knowledge Den in the Brock University Library.

“We are excited to continue to curate works from the collection into spaces on campus, such as the library, to allow for new opportunities of engagement for the Brock community,” Salter said.