Abstract
Canadian landscapes on gallery walls in art museums serve as a primer for understanding the nation. Visitors cannot easily escape the purposeful emptiness of rugged scenes meant to visually assure them of the nation’s right to colonial possession. Most viewers respond positively to these pretty pictures because such ways of seeing the art history of Canada has been naturalized and normalized, appearing politically neutral. Ubiquitous Canadian landscape paintings also reinforce colonial claiming of land and authorize erasure of Indigenous relations with the land. Understanding the noted landscapes as something other than part of a national narrative, however, has not been widely accepted, even as a sanctioned mandate to broaden art historical narratives has resulted in displaying additional Indigenous art in galleries. In an analysis that considers ways to re-vision the privileged colonial narrative present in Canadian art museums, deeper ethical issues arise in relation to institutional structures. Here the analysis focuses on three projects in and around Canada 150, including examples such as Shame and Prejudice: A Story of Resilience (2017–2020, Kent Monkman), the rehanging of Norval Morrisseau’s Artist and Shaman between Two Worlds (1980) at the National Gallery of Canada, and the Michael Belmore and A. J. Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan/Confluences and Tributaries exhibit at the Ottawa Art Gallery (2018, Ottawa). This essay explores questions regarding whether ways of seeing land differently come about simply by hanging Indigenous art on institutional walls or whether more systemic change is required.
Highlights
RÉSUMÉ : La mise en exposition des paysages canadiens sur les murs des musées sert d'introduction à une compréhension de la nation
The analysis focuses on three projects in and around Canada 150, including examples such as Shame and Prejudice: A Story of Resilience (2017– 2020, Kent Monkman), the rehanging of Norval Morrisseau’s Artist and Shaman between Two Worlds (1980) at the National Gallery of Canada, and the Michael Belmore and A
Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan/Confluences and Tributaries exhibit at the Ottawa Art Gallery (2018,Ottawa).This essay explores questions regarding whether ways of seeing land differently come about by hanging Indigenous art on institutional walls or whether more systemic change is required
Summary
La mise en exposition des paysages canadiens sur les murs des musées sert d’introduction à une compréhension de la nation. Les visiteurs ne peuvent pas aisément échapper à ces paysages accidentés, dont le vide sert intentionnellement à les convaincre visuellement du droit de la nation à une possession coloniale. Comprendre ces paysages notables en dehors du récit national n’a toutefois pas été largement accepté et ce, même si un mandat approuvé d’élargir les récits historiques de l’art a eu pour résultat d’afficher davantage d’art autochtone dans les espaces muséaux. Une analyse qui interroge le récit colonial dominant présent dans les musées d’art canadiens soulève des questions éthiques plus profondes quant aux structures institutionnelles. Cet article interroge si les façons de voir le territoire autrement découlent simplement d’une mise en exposition de l’art autochtone dans les espaces institutionnels, ou si un changement systémique plus profond est nécessaire. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
