AGO › Exhibitions › Melissa Auf der Maur: My ‘90s Rock Photographs

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Melissa Auf der Maur, Self-portrait in mirror with Hole, Lollapalooza backstage, USA, 1995, chromogenic print © Melissa Auf der Maur

Melissa Auf der Maur, Self-portrait in mirror with Hole, Lollapalooza backstage, USA, 1995, chromogenic print © Melissa Auf der Maur 

UPCOMING
EXHIBITION

Melissa Auf der Maur: My ‘90s Rock Photographs

Members’ Access*:
Sept 2–7, 2026

Annual Pass Access:
Sept 5–7, 2026

Public Access:
Sept 8, 2026

Art Gallery of Ontario

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Visitors on the scissor stair in Walker Court

Exhibition Overview

From acclaimed Canadian musician Melissa Auf der Maur comes a photographic love letter to the last analogue decade. As bass player for iconic ‘90s alternative rock bands Hole and The Smashing Pumpkins, Auf der Maur toured the world, documenting life backstage, onstage, and in the crowd, amassing a personal archive of more than 10,000 images. These intimate photographs celebrate the independent spirit of the ‘90s, offering an insider's view of the decade before smartphones and digital recording. Presenting a selection of more than 200 photographs, the exhibition stands as a moving self-portrait of a young artist living through the ‘90s music scene, a time capsule of Generation X and a reference for future generations. The exhibition is co-curated by Sophie Hackett, AGO Curator of Photography and Jim Shedden, AGO Curator, Special Projects & Director, Publishing.  

Melissa Auf der Maur: My ‘90s Rock Photographs is organized by the Art Gallery of Ontario, and will be accompanied by a hardcover book, co-published by AGO and DelMonico/D.A.P. 

About the Artist

Melissa Auf der Maur was born and raised in Montreal, Canada with a fine arts education. She is an acclaimed musician, photographer, curator and producer, best known as the former bassist of rock bands Hole and The Smashing Pumpkins. In 2010 she co-founded Basilica Hudson, a multidisciplinary art center in Hudson, NY, where she lives with her family and magic cats. 

The artist wishes to acknowledge Canada Council for the Arts for their support of her research for this project. 

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