John Scott’s monumental drawing of an ominous war machine reads like the scrawls of a survivor from a post-apocalyptic world, where missiles and jets are the stuff of our collective nightmares. The theme of the cold war and its omnipotent threat of destruction runs through the bulk of Scott’s work. His well-known sculptural ready-made, Trans-Am Apocalypse No. 2 (1993), also in the NGC’s collection, embodies this sentiment as a real-life sports car covered with primer and black latex paint and incised with the writings of Saint John the Evangelist from the Book of Revelation. The move between drawing and sculpture, and into film and other graphic publications, exemplifies the multi-faceted thrust of Scott’s oeuvre and that of other artists at the time, notably Sandra Meigs. In the 1970s, Scott also worked as a curator at the Ontario College of Art’s Gallery 76, where he helped mentor a new generation of painters and multi-disciplinary artists, including Rae Johnson and George Whiteside.