The history of Canadian museums, such as the National Gallery of Canada, the Art Gallery of Ontario, and the Montreal Museum of Fine Arts, is fascinating. The era covered by this essay spans the last two decades, although there are aspects prior to these dates that also highlight the importance of art museums for the development of the state’s culture. Sources used in this research focus on the social and cultural context when determining how museums and galleries evolved in Canada, taking into account things like indigenous artists’ work and the works of certain artists like Robert Harris and others. This research focuses on the development of Canadian museums within the last two decades and will discuss specific elements, such as the inclusion of aboriginal art into exhibitions.
Firstly, to discuss the development of art museums in Canada, one must understand the purpose of art galleries and their value to society. According to McCarthy, “museums are not profit‐driven, but value‐driven,” which means that their contribution to the nation’s culture is the most important aspect of a museum’s operations (3). Regardless of the institution’s size, the “program” is the foundation of a gallery’s identity. The phrase “program” typically refers to the artists that a gallery represents, but it can also refer to the conceptual framework or area of interest that directs that roster, as well as other activities like partnerships with other galleries, performances, and talks, or fair appearances (McCarthy 3). This definition also points out another important aspect of the galleries’ operations, which is that they do not merely serve the purpose of displaying paintings and sculptures but also can be a hosting place for cultural events. Most galleries even emphasize that their main responsibility is to take any necessary steps to help their artists produce outstanding work.
In the art world, art galleries are very important since they serve as the intermediary between artists and collectors, identifying fresh talent and preserving the best artists’ work through their exhibition program. There are many misconceptions about art galleries, despite the fact that they are important to the art world. According to McCarthy, “since 2003, Canadian art galleries have made a concerted effort to include objects of expressive culture from indigenous communities in their displays of Canadian art” (478). Hence, the past two decades have been significant for the art world of Canada since more and more attention was dedicated to the Aboriginal culture and showcasing the works of these communities.
The worth and significance of Aboriginal art and artifacts, as well as their obligations as stewards and guardians of Canada’s physical past, some of which belong to the Aboriginal peoples, are becoming increasingly recognized by Canadian museums, which is a second significant trend. Collaborations between Aboriginal communities and cultural institutions received significant impetus in 1991 because of a significant task force on museums and indigenous peoples that were backed jointly by the Canadian Museums Association and the Assembly of First Nations (Rhine et al. 10). The task force created an ethical framework and rules for the use of indigenous artifacts and the portrayal of indigenous culture, which have had a significant impact both domestically and internationally.
Similarly to this, museums are starting to acknowledge and modify their operations to reflect the expanding cultural diversity of Canadians. Since at least 1994, when the Canadian Museums Association hosted a symposium on the subject, the issue of cultural diversity and museums has been a public concern (Rhine et al. 12). Museums are increasingly integrating local communities and cultural groups in the planning stages of exhibitions that are important to them and creating advisory committees made up of citizens from various groups for collection and exhibition planning.
Canadian museums have begun to show more appreciation for the Aboriginal arts. One example of this is the Flying Frog Headpiece made from wood during the middle of the 19th century, presented in Picture 1. According to Watson and Hiles, “local museums can and should play in advocating and promoting the artistic work of Indigenous communities” (151). For the Tsimshian, flying frogs held great mythological significance, and this piece is not only an example of art but a significant cultural artifact that can help non-Indigenous people understand the culture of the former better.
An art gallery is a place where works of art are displayed and offered for sale. As a result, the art gallery operates as a business with an archive of artists. The gallery serves as the dealer for the concerned artists, promoting and disseminating their works (Rhine et al., 28). Hence, the fact that Canadian museums are paying more attention to Aboriginal art is a testament to the fact that the general public is willing to spend money to see or purchase it. Galleries play a variety of roles, both visible and hidden: they nurture and support their artists, frequently going above and beyond the typical tasks of putting on exhibitions, promoting their work, and selling the pieces; they also offer services like book publishing or financial management to enable their artists to concentrate more fully on their work.
The book by Rayter and Zisman on Canadian museums’ history showcases a piece of art inspired by the Aboriginal culture on its cover. The introduction describes a Paul Kane picture that was given to the Art Gallery of Ontario (Rayter and Zisman 8). There are also motivations behind indigenous settlements in Canada. Numerous works by Canadian painters are interpreted and imitated in various ways in art galleries, according to the book’s authors. The scene in the Northwest: Portrait of John Henry Lefroy, a painting by Kane, served as the inspiration for the artwork. Thus, Indigenous art has become a significant source of inspiration for modern artists.
At the turn of the century, art museums and galleries were being impacted by several developments. They are first making a lot of effort to diversify their cash source and increase audiences. Since the mid-1990s, as public sector funding has lagged behind expenditures, museums have worked to increase visitor relevance, increase corporate sponsorship and donations, diversify their revenue streams, and develop commercial endeavors like gift shops (Rhine et al. 30). The role of education and outreach programs have grown, and touring exhibitions and providing engaging interactive and multimedia experiences for museum visitors have also received more attention. Collaborations with regional tourism bureaus and tourist hotspots, including hotels, conference centers, and eateries, are becoming frequent. Blockbuster exhibitions are now common crowd-pleasers at larger institutions. Although these trends have sparked worries about the “Disneyfication” of the museum industry, they are unlikely to be reversed, given the fierce rivalry for audiences and resources.
Finally, Canadian museums’ managers are exploring the opportunities presented by digital technology, both within their own operations, as settings for their exhibitions, and as a way to share the rich resources in their collections. The Canadian Heritage Information Network is creating a “virtual museum” on the Internet to assist museums in creating multimedia presentations of themes based on their collections and exhibitions, and several are digitizing pieces in their collections (Rhine et al. 40). This will present a new opportunity to explore arts and share it with the world around and will allow accessing these arts from all over the world.
In summary, this paper explored the history of Canadian museums and their development within the last two decades. Museums serve the purpose of presenting cultural values to the communities and being the spaces for exhibitions and other cultural events. In addition to putting on shows, galleries frequently go above and beyond their normal duties in order to assist and nurture their artists. The value and importance of Aboriginal art and artifacts are being recognized by Canadian museums more and more. Local communities and cultural organizations are now being included in the planning stages of shows by museums. Since 2003, Canadian museums have focused more on presenting Aboriginal arts. One example of this is the Flying Frog Headpiece made by Tsimshian in the mid-19th century. The value and importance of Aboriginal art and artifacts are being recognized by Canadian museums more and more. Local communities and cultural organizations are now being included in the planning stages of shows by museums.
Work Cited
McCarthy, Conal. Museum Practice. John Wiley & Sons, 2020.
Picture 2. Web.
“Prints Of Flying-Frog Headpiece.” Heritage Images Photo Prints, 2022, Web.
Rayter, Scott, and Zisman, Halpern. Queerly Canadian, Second Edition: An Introductory Reader in Sexuality Studies. Canadian Scholars, 2022.
Rhine, Anthony, and Pension, Jay. Business Issues in the Arts. Taylor & Francis, 2022.
Watson, Keri, and Hiles, Timothy. The Routledge Companion to Art and Disability. Routledge. 2022.