Gibson Art Museum marks new era for arts and culture at SFU

On a warm September afternoon atop Burnaby Mountain, the Marianne and Edward Gibson Art Museum opened its doors to the public for the very first time.

Hundreds of visitors streamed in throughout the day, drawn by curiosity, celebration, and the allure of Edge Effects—a dynamic inaugural exhibition exploring the porous boundaries between disciplines, ecologies, physical spaces, and lived experiences. The show brought together works by 15 artists, including new commissions and selections from the SFU Art Collection.

Affectionately known as “The Gibson,” the museum honours the legacy of the late Dr. Edward Gibson, a charter SFU faculty member and former director of SFU Galleries. Edward believed deeply in the power of art to nurture interdisciplinary learning and community engagement—a vision he shared with his wife, Marianne. That vision now lives on in SFU’s first fully accessible, purpose-built space that invites everyone to visit, connect, and learn through art.

The museum’s award-winning design by Hariri Pontarini Architects and Iredale Architecture offers a welcoming invitation to linger and engage. Its galleries feature flexible gathering spaces and a stunning central hearth, setting the tone for a space that is as much about connection as it is about contemplation.

“Our mission at the Gibson is to encourage open learning about our past, current, and future worlds by supporting the work of critically-engaged and research-driven artists,” says Kimberly Phillips, director of the Gibson.

“Our aim is to create a new kind of art museum that lowers barriers, embraces intergenerational, decolonial learning, and encourages cross-disciplinary inquiry through meaningful encounters with art.”

Celebrating the power of art, connection, and community

Opening day was alive with energy. Artist Germaine Koh served borscht as part of her participatory installation Soupson, inviting visitors—and the museum itself—to reconsider the boundaries of “no food or drink” in exhibition spaces. Lucien Durey performed Dishwashing Hymn a capella with Jeremy O’Neill and Mark Wolf, blurring the lines between domestic and formal spaces. It was a piece that resonated through the room as visitors engaged with mixed media installations.

In quieter corners, guests paused to take in the sizable Salish Owl carving by Coast Salish artist John Marston (Qap'u'luq), a gift from the Salish Weave Collection of George and Christiane Smyth; and Where Does the Water Go?, a video installation tracing Highland Elementary students’ journey following rainwater from Burnaby Mountain to the ocean. In the Tuey Art Studio, children painted freely with watercolours, cut and rearranged their creations into mosaics, exploring the joy of making.

The museum’s completion is a testament to the power of community belief and generosity. Led by Marianne Gibson and the Gibson Family Trust, SFU is also deeply grateful to additional members of its donor community whose contributions made this transformative project a reality. As one explores the museum, several named spaces honour their generosity, including:

• Andrew Petter Hall, supported by an anonymous donor honouring SFU president emeritus.
• Arya and Hamid Eshghi Forum, supported by the Djavad Mowafaghian Foundation.
• Tuey Art Studio, recognizing the Tuey Charitable Foundation.
• Audain and Karasawa Courtyard, supported by the Audain Foundation.

The inaugural exhibition was also thoughtfully supported by Bruce Munro Wright, Coleen and Howard Nemtin, Scott Construction, and Friends of the Gibson.

About the SFU Art Collection

The Gibson Art Museum is home to SFU’s 5,900-piece Art Collection, including modern and contemporary paintings, photographs, sculptures, and works on paper. With strengths in works by British Columbia artists such as Emily Carr, Robert Davidson, Susan Point, Jeff Wall, and Jin-me Yoon, as well as Canadian and American artists like Jack Bush, Corita Kent, and Jean Paul Riopelle, the collection is a vital resource for study and exhibition—uniquely positioned to trace the cultural life of the region while remaining open to new inquiries.