THE UNKNOWN CREATOR: THE MYSTERY BEHIND INDIGENOUS CRAFT ARTISTS

Museum Mysteries | Jaime Meier

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Alongside art and cultural objects, museums preserve the names of those who created the items, except in the case of Indigenous peoples whose personhood often fails to appear in the official museum record. One of these reasons is due to the unfortunate binary created between craft and art. We typically think of art as paintings, sculptures, or drawings, while craft denotes pottery, textiles, or woodworking. This gap has been greatly contested over the past decade and my use of “craft” is of great respect for the practice that rivals or exceeds other art practices. Emerging craft artists are more readily recognized for their works, especially due to the growth of social media, but museums are still left with many brilliant craft items created by unknown Indigenous artists.

Coiled Tlingit basket made by Unknown (Artist). (Source)

Many Indigenous craft items, such as woven Tlingit baskets, are utilitarian and used by various family or community members. A special acknowledgement of the creator was not a necessity, as members of the community knew who the item was created by and it was created for public use rather than just visual appreciation. When these objects are brought into museums, the makers are listed as “Unknown.” Dolores Churchill, a Haida elder and basket weaver, has said, “As long as Native art remains in museums, it will be thought of in the past tense.” The use of the “Unknown" artist only reiterates the idea of a past culture by amplifying knowledge that was lost to time and does not continue into the present. The item was not created by a Tlingit artist, but a depersonalized and uniform Tlingit culture.

"Peace Treaty Belt" made by a Haudenosaunee Artist. Photo courtesy of Jaime Meier. 

As of now, the names of the artists involved in Indigenous craft are either irrecoverable or museums lack the resources or to solve the mystery. The National Gallery of Canada has made the decision to move past listing unnamed Indigenous artists as “Unknown” and have relabeled to acknowledge the artist in connection to their nation. For example, as an “Haudenosaunee Artist,” thus bridging the gap between artist and community. The artist is no longer an unidentified person, but rather an artist who carries the spirit of their community. The Royal Ontario Museum (ROM) has taken similar steps in their online collection, listing the maker based on the Indigenous community who created it rather than simply an affiliation.

"Lacrosse Stick" made by a Haudenosaunee Artist. (Source)

Museums are closely drifting away from the use of the “Unknown Artist" to the benefit of the public, the original artist, and the artist's community. Social media has made it difficult for Indigenous craft artists to remain unknown, as many have thriving social media accounts and online shops. Whether it's beadwork, tufting, or birch bark, Indigenous artists are reclaiming craft, identities, and their places in the art world. 

ALEX JANVIER: INDIGENOUS ICON

Walk of Fame | Martin Bierens

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Lately, I have started to feel homesick. These nostalgic yearnings for home led me to the topic of my first article, and the revival of the Walk of Fame column. I figured I would take a look at the life and work of a personal favourite of mine, prolific Indigenous and Albertan artist Alex Janvier. Before I dive into the article, I think it is important that I acknowledge that I am not Indigenous, and am an outsider in this community, however as an outsider I believe that it is important to celebrate the contributions of Indigenous people to Canadian history.

Alex Janvier: Indigenous Artist and Alberta Source

Janvier, born in 1935 on the Treaty 6 territory of the Le Goff Reserve, Cold Lake First Nations in Northern Alberta. He is of Dene Suline and Saulteaux descent. When Janvier was eight years old he was sent to Blue Quills Indian Residential School near St. Paul, Alberta. Perhaps this next statement is obvious, but Janvier’s time at Blue Quills was a dark period in his life. During and interview with Ottawa Morning host Hallie Cotnam in 2017, Janvier spoke frankly about his time there, “I was in fear. I became scared of everything, because I didn’t understand what was happening to me. They stripped you completely threw you in a public shower, and they cut your hair bald.”

Despite the horror that Janvier experienced at Blue Quills, this led him to the discovery of his artistic talent. He was able to use it as a form of escapism from the realities of the Residential School system.

“I found a certain time of the week, you could escape from the whole outlay of controls. And for about three hours, you’re in your own world, and that’s when I began to discover my ability to work on paper and the beautiful colours – all kinds of colours.”

After leaving Blue Quills, Janvier wished to the Ontario College of Art and Design in Toronto in order to pursue his art. His plan was quickly dashed by an Indian agent who refused to allow him to travel to Ontario. Thus, Janvier enrolled in the Alberta College of Art and Design (ACAD) in Calgary.

Janvier at work. Source

Janvier began to make a name for himself in the Indigenous art community. This position was bolstered when Janvier was commissioned by the Department of Indian and Northern Affairs for eighty paintings to be included in the Canada Pavilion at Expo 67. Here he helped bring together other Indigenous artists to form the “Indian Group of Seven.”

Recently, a defining moment of Janvier’s career came in 2015, when the National Gallery of Canada opened a retrospective exhibition tracing the entirety of his career, Alex Janvier: Modern Indigenous Master. This exhibition traveled to multiple institutions across Canada, including the Glenbow Museum in Calgary in 2018, were I was able to see it and begin my love affair with his work.

One of the central pieces to Janvier’s exhibition at the Glenbow was a piece entitled Lubicon, which he created in 1988 as a response to the Lubicon Cree’s protests, of the Glenbow Museum’s exhibition The Spirit Sings (1988). There is significance in the fact that this piece was exhibited at the Glenbow, it can be viewed as symbolic victory, and a representation of the path of change museums have taken in the last 30 years.

In a sense the narrative of Lubicon can be seen as a metaphor for Janvier’s career. At the beginning of Janvier’s career he constantly had to fight for his right to exist as an artist. However, Janvier has survived these difficulties and become one of the most influential Indigenous artists in Canada, and worldwide.

Alex Janvier currently runs the Janvier Gallery with the help of his family in Cold Lake, Alberta.

Tsą tsą ke k’e (Iron Foot Place) in Rogers Place, Edmonton Alberta. Source

Before I leave you, I just want to tell you all about my personal favourite artwork of Alex Janvier’s is a public art installation in the new Rogers Place arena in Edmonton, the home of the Edmonton Oilers. The work, titled Tsą tsą ke k’e (Iron Foot Place) is a massive 45-foot diameter circular mosaic that welcomes visitors into the arena.

Next time you find yourself in a gallery be sure to keep an eye out for his work, you will be able to tell by looking for his iconic flowing lines, patterns, and vibrant colours.

THIS ARTICLE DOES NOT HAVE A TITLE

Breaking the Glass Case | Alexandra Forand
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Titles. We would all agree are important. It is important to keep in mind titles, like the institutions they reside in, are not neutral. Titles are often given to pieces of artwork after the piece of artwork has come into a collection—not by an artist, but by that institution or a previous one. The name given to the piece of artwork, is then perpetuated throughout the showing of this piece and becomes the “accepted” title.

Photo courtesy of Carly Wolowich.

This phenomenon is often heightened when discussing collections of Indigenous artwork. The title that is given to the painting or an object is endemic of the time period and reflects the colonial language of when it entered a collection.

Art galleries do not exist within isolation and museum professionals are shining a light on these objects that were titled in the past and tackling the process of trying to change them for the present audiences. In a post Truth and Reconciliation commission world, institutions are working hard to involve Indigenous communities that are affected by the harmful language of the past. The Art Gallery of Ontario (AGO) and the National Gallery of Canada (NGC) are slowly implementing the 94 calls to action outlined in the TRC executive summary, and making changes not only to how artwork is displayed, but what these works are called based on consultation

In 1920, while tilling his field in the Fraser Valley, Arvo Skytte found an object that resembled a bowl under a Douglas fir tree. The “Skytte Bowl,” as the object was called at the time was donated to the Museum of Vancouver and was eventually transferred to the National Gallery of Canada (NGC). According to Jaime Koeble Morris (Michif) the curators at the NGC sought to break the cycle of treating Indigenous artworks as nameless, unimportant anthropological specimens. The NGC established two Indigenous Advisory Committees to counsel the institution on how to respectfully collect new artwork, how to best display, and how to care for artwork already in the NGC’s collection. As per the committee’s recommendation the NGC performed welcoming ceremonies.

Qelemteleq at the NGC. Every night the curator covers his case with a blanket so he can rest. Source.

In 2016, the “Skytte Bowl” was officially welcomed into the NGC’s collection. With consultation from the Katzie and Kwantlen First Nations of the Fraser Valley in British Columbia the “Skytte Bowl” was renamed “Qelemteleq,” and the digital records and labels regarding “Qelemteleq” were updated to reflect that he was not a bowl, but a seated stone figure with a living spirit.

In 1929, Emily Carr travelled up the west coast of Vancouver Island by steamer to Yuquot, the territory of the Nuu-chah-nulth people. It was there, in a summer village of the Mowachaht/Muchalaht people, where Carr painted an old white, windowless church, standing starkly against the background of rich green foliage In the 1930’s, the painting was shown extensively in American art galleries and dubbed “I*dian Church.” In 1970, Charles Shaw Band bequeathed “I*dian Church,” to the AGO, where it has since resided on and off of display for many years. Emily Carr’s painting currently hangs on the wall of the AGO is Gallery 126 Richard Barry Fudger Rotunda. Despite being surrounded by equally striking works, this painting has received immense attention from artists, museums professionals, and the international media. In May of 2018, the Art Gallery of Ontario, as part of their broader effort to eliminate offensive language in the museum, Carr’s painting, which up until this point had been known as “I*dian Church” was retitled “Church in Yuquot Village.”

The infamous, Church at Yuquot Village by Emily Carr, at the AGO. Source.

The discussion around this retitling effort has mainly focused on the idea of whether this is an act of the institution’s corrective art history practises or if it is the AGO’s attempt to censor and erase history. While this discussion is timely and merited, I believe it is more productive to explore how this change in the title of the painting by the AGO came about.

The village where Emily Carr painted the church. Friendly Cove, British Columbia. Source.

The AGO’s decision to consult the Mowachaht/Muchalaht community is a landmark event. By changing the name of Carr’s painting and removing the word “I*dian,” the AGO they are no longer going to be a part of propagating the hate of the word “I*dian thereby, connecting the Mowachaht/Muchalaht community to Ontario and placing them in the middle of the conversation.

Changing the name of artwork has not been done without criticism from audience, scholars, and artistic professionals, who make the argument that this is censorship at best, and erasure of history at worst. I argue that this decision to retitle offensive artwork is necessary as a larger act of reconciliation. This decision to consult Katzie, Kwantlen, and Mowachaht/Muchalaht First Nations is powerful because it works to restore the communities’ roles in the creation of the item, the institution, and within the tradition of the visual arts.

What are your thoughts? I really want to know! Leave a comment or if Twitter and Instagram are more your speed my handle on both is @Ally_but_online.

MY WEEK IN OTTAWA: A LETTER FROM NATALIE HEATON, VICE PRESIDENT

Weekend Edition | Natalie Heaton

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Dear Musers:

Monday, November 4, 2019, thirty-three students from the Faculty of Information departed on a journey to the nation’s capital--Ottawa. After a 6 hour bus ride, we arrived and were ready to see what they city had to offer. Our group will visit 5 museums in 4 days and meet over twenty-five different museum professionals.

Tuesday morning, the adventure began at the National Gallery of Canada (NGC). After taking a group photo under the infamous “Mama” sculpture, we enter the gallery and were welcomed by Gary Goodacre, the chief of Education and Public Programs. Gary spoke about keeping the visitors experience at the centre of everything that Gallery does and making the overall experience of the museum less transactional. The way the NGC aims to do this is by implementing art and an Indigenous library before guests purchase their ticket. Dr. Sasha Suda the Director and CEO of the NGC, spoke to the group next, her ‘why not’ attitude was very inspiring as she talked about her career in museums. Her most notable piece of advice being to tell great stories that are relevant to what is going on and be inclusive. The rest of our time at the NGC was spent going on tours with either David Gillanders (educator) or Jaime Morse (educator, Indigenous outreach & programming). I went on Jamie’s tour and she discussed white privilege engrained within the museum system. She stressed the need to remember the colonial history of Canada and treatment of Indigenous people within these institutions.

National Gallery of Canada. Photo Courtesy of Natalie Heaton. 

Tuesday afternoon was spent at the Canadian War Museum. We met Britt Braaten (creative development specialist), who talked about what inclusion looks like at the War Museum along with some of the drawbacks of working with the museum’s collection. Britt discussed the need to diversify the voice that is heard in exhibitions. Sandra O’Quinn (Learning Specialist) showed us Supply Line Discovery Boxes, boxes that are designed to be circulated to schools in remote locations. Essentially bringing the museum to the students, oppose to bringing the students to the museum. 

Canadian War Museum. Photo courtesy of Natalie Heaton.

The Canadian Science and Technology Museum (CSTM) was our first stop on Wednesday morning. At this stop we met ten museum professionals. In particular, we discussed the relationship between sponsorships and the museum. Raising questions of how an institution works with a donor such as oil companies, when the exhibition is intended to tell both the positives and negatives “facts” of oil production. The main take away from this discussion was it matters to show and talk about both side of the story in a museum context.

Canadian Science and Technology Museum. Photo Courtesy of Natalie Heaton. 

Canadian Science and Technology Museum. Photo Courtesy of Natalie Heaton. 

We had the opportunity at both the CSTM and the Canadian Museum of History (CMH) to visit collection storage. The CSTM have just finished building their new storage space which houses a range of artifacts from steam trains, buses and cars, to smaller objects such as cameras. At the CMH we walked through their collection storage and conservation section and saw variety of objects such as kayaks, canoes, and furniture. Going through both of these collections spaces was a highlight for me because we had the opportunity to see the treasures that the public does not often get to see. 

Canadian Museum of History. Photo courtesy of Natalie Heaton.

 

The last museum that we stopped at was the Diefenbunker: Canada’s Cold War Museum, where we received a very informative tour of the bunker’s history. The 100,000sq foot, four level, underground bunker, was very impressive. While the Deifinbunker is not a national museum, their innovative programming and partnerships have helped to establish themselves as a destination. 

Diefenbunker Museum. Photo Courtesy of Natalie Heaton.

Overall, my week in Ottawa was lovely. I got to visit some amazing museums, meet amazing people, and strengthen my friendships with my classmates.

Thanks for reading,

Natalie Heaton

Ottawa Sign in ByWord Market. Photo Courtesy of Jaime Meier. 

P.S. We didn't lose anyone! 

A DEACCESSIONING DRAMA AT THE NATIONAL GALLERY OF CANADA

MUSE NEWS

BY: AMY INTRATOR

Welcome to a new term of Musings and a brand new column! To kick off our Summer 2018 season, I am introducing Muse News, a column that will explore some of the biggest headlines in museum news worldwide. By taking a closer look at some of these stories, I hope to discover how current developments explain, or even complicate, trends in museum studies.

In the first edition of Muse News I am exploring the recent debacle surrounding the National Gallery of Canada and the sale of Marc Chagall’s La Tour Eiffel (1929). For over a month, the impending sale of this artwork has captured the attention of audiences worldwide and raised serious questions about the Gallery’s deaccessioning processes. I will provide a brief timeline of the unfolding drama.

Exterior of the National Gallery of Canada. Source.

It all started with a press release. On March 20th, 2018, Christie’s, one of the leading art auction houses, announced the upcoming sale of Chagall’s La Tour Eiffel. This painting belongs to the National Gallery of Canada, and the press release announced that the sale of the painting, estimated worth between US $6 million to $9 million, would benefit the Gallery’s Acquisition Fund.

Media outlets and galleries worldwide quickly caught wind of the news that this extremely valuable painting was leaving Canada. The backlash came from all directions. Some were enraged about the sale of the painting. Others were shocked by the lack of transparency in deaccessioning processes at the Gallery, as the public was only hearing about this sale once the decision was finalized.

Amidst the outcry, Marc Mayer, the director and CEO of the National Gallery of Canada, defended the sale. In an interview with CBC, Mayer revealed that the money from the sale of the Chagall painting would be used to acquire a piece of art deemed more significant and unique to the collection. The identity of the painting remained a mystery.

In an April 16th letter, Mayer confirmed that the Gallery intended to acquire Saint Jerome Hears the Trumpet of the Last Judgement, painted by Jacques-Louis David in 1779.

Jacques-Louis David's Saint Jerome Hears the Trumpet of the Last Judgement (1779). Source.

Mayer’s April 16th letter detailed the history of the painting, which has been in Canada since 1917. The letter explained the Gallery’s desire to protect the painting from leaving the country amidst interest from foreign buyers. Mayer’s message concluded, however, that the sale of the Chagall would proceed even if the Gallery did not purchase the David painting “as per the rigorous de-accession process.”

In an open letter from the National Gallery of Canada published on April 23rd, the Gallery continued to clarify the circumstances surrounding the sale of the Chagall work. The Gallery stated an openness to loaning the David painting to other Canadian galleries, but ultimately confirmed the decision to proceed with the sale of La Tour Eiffel.

Also on April 23rd, a surprising statement from Marie Montpetit, Minister of Culture and Communications and Minister responsible for the Protection and Promotion of the French Language: David’s Saint Jerome will be protected as Quebec heritage and it will remain in the province.

On April 26th, a final open letter from the Gallery stated that in light of the Government of Quebec’s decision to protect the David painting, the Chagall painting will no longer be sold and will remain in the national collection.

In some regards, this dramatic saga has a perfect conclusion: not one, but two masterpieces will remain in Canada, but looming questions darken this happily-ever-after. One of the largest questions that remains: how did the National Gallery manage to acquire an export permit for the Chagall painting?

I hope that this tale lives on as more than gallery gossip. The public became involved in a gallery’s deaccessioning decision, and ultimately the public voice helped reverse an all but finalized deal. The drama highlights the growing demand for transparency in museum operations and more inclusive governance structures that give the nation a voice in matters of national heritage.

A PAINT-STAKING PORTRAYAL: PAINTINGS AS HISTORICAL ARTIFACTS

THROWBACK THURSDAY

BY: SERENA YPELAAR

Recently, I’ve been thinking a lot about historical paintings and the question of accuracy. Whether I’m looking at famous portraits to picture what prominent figures looked like, or trying to imagine historical battles that took place before the advent of photography, historical paintings play a prominent role in visualizing history. 

As sources, paintings can certainly tell us a lot about a historical event or figure, but they also do a lot more than that: they communicate the values and ideals of any given time period in which a work was created.

Because the topic of historical paintings is unwieldly at best, I’ve decided to confine my examples to some early colonial paintings in Canada. Given that my undergraduate research focused on British and French colonialism from 1600 to 1830, I will explore the topic through the lens of early Canada. One of my favourite paintings of all time is The Death of General Wolfe (1770) by Benjamin West; not because I think it’s particularly accurate, but because it raises so many fascinating issues. 

The Death of General Wolfe by Benjamin West is a spectacular example of a sensationalized battle scene that raises more questions than it answers. Source. 

West’s 1770 painting depicts Major General James Wolfe dying at the Battle of the Plains of Abraham in 1759. Even without being an art history expert, I can recognize that West presents an idealized aesthetic of the scene, one that sensationalizes the battle and its outcome. The cost of a hard-won victory against a vastly larger French army (led by Louis-Joseph de Montcalm), Wolfe’s tragic death has been mythologized throughout the centuries.

The dramatic depiction of Wolfe as a fallen Christ-like figure, surrounded by onlookers, conveys the grandeur of the Neoclassical movement. West declared his own process in depicting the historical scene: “It must exhibit the event in a way to excite awe & veneration … all should be proportioned to the highest idea conceived of the Hero … A mere matter of fact will never produce this effect.”

West’s painting is laid out similarly to the Lamentation over the Dead Christ, painted by Anthony van Dyck c. 1630s. Since art is a form of interpretation and is constructed according to artistic conventions, additional context is relevant to visitors when situating the work in a history museum. Source.

Since artistic depictions of historical events take some license when constructing the scene, observing The Death of General Wolfe as a historical artifact prompts so many questions: What is happening here? Who are all these people? Who is the indigenous warrior at the bottom of the frame, and why is he depicted that way?

Asking these questions suggests missing context that could supplement the artwork with written interpretation in a history museum. At present, the Benjamin West painting hangs in the National Gallery of Canada, but if it were on display in the Canadian War Museum, for example, how would its significance differ? Arguably, the purpose of the artwork as a source changes when the object is placed in its new setting.

In a history museum, visitors are more likely to look for accurate depictions of historical events to gain a sound understanding of what happened in the past. This is where interpretation gets trickier, and museum professionals must make decisions on how best to exhibit artwork. Should the museum display related artifacts alongside the painting? Should there be a didactic panel specifically identifying differences between the historical event and its artistic depiction?

This painting by C.W. Jefferys, Champlain Trading with the Indians, does not reveal details on the quality of relationships between Champlain and Indigenous groups such as the Huron or Iroquois (neither of whom are explicitly identified in this artistic rendition). Source.

Especially when paintings deal with a contentious narrative, such as colonialism in Canada, explicit analysis is crucial. Factors such as the creator of the work, his or her purpose, and relevant biases can alter viewers’ understanding of a painting. C.W. Jefferys’ 1911 artwork, Champlain Trading with the Indians, lacks detail in the way of concrete information: the general term “Indian” is used in the title, overlooking the nuances of interaction in post-contact colonial New France. In this way, paintings can't stand alone as historical artifacts because they are missing the subtleties of cultural and historical significance.

The issue of accuracy is paramount in a setting where visitors have no photographs of a historical event, and constructed imagery is their main source of visual insight. More than an aesthetic experience, historical paintings have the power to convey not only emotion, but information that may be taken at face value. As such, clarity of interpretation provides an additional layer of context to ensure that these artifacts contribute to an accurate and informed view of the past.   

THE POWER OF SUGGESTION AND OTHER PEOPLE'S VISION

COLLECTIONS CORNER

BY: KATIE PAOLOZZA

Like several of my fellow Musers, I traveled to Ottawa last week for the Museum Studies getaway. Every time I visit the capital I'm reminded of how different a city it is from Toronto. The size, the people, the overall vibe, it is all reflected in the material culture present in Ottawa museums.

Many of us broke away from the group and explored museums on our own like the Bytown Museum and the Canada Aviation and Space Museum, but we also had two days of presentations and tours from alumni and professionals at the Canadian Museum of History and the National Gallery of Canada.

Both sets of talks brought up great points about how the public perceives collections and interactivity. Our group was lucky enough at the CMH to get a behind-the-scenes tour of the new Canadian History Hall that is reopening this year in honour of Canada 150. For those of you who don't remember the old one, it was an immersive recreation of many buildings and monuments that represented different points in Canadian history. People loved, loved that gallery because it was like stepping back in time:

   

The new gallery doesn't seem to be quite as immersive by design, but I was very excited when I heard that the history represented would be more expansive and more inclusive of Indigenous and minority cultures that played an irreplaceable role in Canada's evolution. Here is a look at the new gallery under construction as reported by the CBC:

What fascinated me most about the differences between the old and new Canadian History Halls was the public's perception of what was on display. We were told that the public had on more than one occasion lauded the interactive displays in the original gallery, and if the CMH were to carry one element over to the new one, it should be that feature. We were then told that there was not a single thing in the first gallery that was interactive, but many people perceived it to be that way. I still can't quite wrap my head around that. Is it something about the immersive nature of historical recreations? Is this sense of participation rooted in the imaginations of guests that were inspired by their surroundings? And most relevant to this column, is it possible to interact with objects in a collection if we cannot touch them?

I felt like the answer to that last question was given to me the next day at the National Gallery. We were given a tour of the special exhibition celebrating the work of famed Indigenous artist Alex Janvier. Here is an example of just one of his works:

It's hard to see the breathtaking level of detail present in each painting, but what is still visible is the aesthetic of the swirling colours and the dream-like visage of the recurring motifs of dehumanization, death and life intertwined, and devastating loss. This was a collection that had many of us leaving the exhibition with tight chests and an uncomfortable sense of empathy and guilt. It was a solid, tangible collection that we could not touch or manipulate in any way, but we interacted with it all the same. One particularly beautiful yet brutal painting even had our tour guide warning us that that section of the gallery was a trigger space.

You can get the exhibition catalogue in English here, and in French here, but I strongly urge anyone in the area to visit the National Gallery and see how brilliantly they have displayed Janvier's personal narratives. What so often can happen with these types of collections is that they are used as tools of political bias, for both the right and the left. Janvier certainly doesn't eschew politics, but he consistently breaks them down and brings his audience back to the personal narratives of those who have been dehumanized by their oppressors and by their so-called saviours.

The trip was enlightening in many ways, from the time spent bonding with our like-minded peers to the solid advice given by alumni who were once in our shoes. I think what will stay with me most are the surges of emotion that swelled up in me when I least expected it. Collections can transport us, move us, challenge us. They don't have to be accessible or open in every way to do so. I was quite happy to enjoy other people's vision of Canada and Alex Janvier. It made me more cognizant of my own preferences and interpretive eye. That's a gift I will most likely carry with me into my future career, and I don't think I'm alone in saying that.

MUSINGS HITS THE ROAD: A TOUR OF CANADA'S CAPITAL, MMSt CLASS TRIP 2017

WEEKEND EDITION

BY: NATANIA SHERMAN

This past week was reading week, and rather than hibernating, Musings went on a road trip! For those of you unfamiliar with the Museum Studies (MMSt) program, every year the Museum Studies Student Association, MUSSA, hosts a class trip which is open to first and second year MMSt students. Every other year we visit Canada's capital city, Ottawa, to see what's happening in our national museums.

A foggy view of the parliament building (Photo: Natania Sherman)

This year's trip, organized by MUSSA's social chair and Musing's Museum Innovations writer Kelly Mackenzie, brought us to Ottawa in the middle of February where we had the opportunity to devote four days to experiencing the culture and unseasonably mild weather of Ottawa, Ontario.

Between us we managed to visit the Canadian Museum of History, the Canadian Museum of Nature, the Canadian War Museum, the National Gallery of Canada, the Bytown Museum and the Canadian Aviation and Space Museum.

Since Serena and Hayley already provided an overview of the museums and museum programs in Ottawa, this article will just provide a recap of some of the highlights of the trip.

February 23rd

Our first stop at the CMH in Gatineau (Photo: Natania Sherman)

For our first stop, the Canadian Museum of History (CMH), located in Gatineau, Quebec, hosted us for a variety of candid talks about some of their ongoing projects, including the upcoming Franklin Expedition exhibition, inspired by the recent discovery by Parks Canada of the H.M.S. Erebus and Terror in the arctic. We heard from the Virtual Museum of Canada about how they facilitate museum and community online projects and learned a bit about the CMH's approach to accessibility and repatriation of indigenous objects. The highlight, however, was being led on a tour of the Canadian History Hall which is currently under construction but will reopen on Canada Day. I can't wait to go back to see the finished exhibition!

Part of a behind the scenes tour of the Canadian History Hall (Photo: Natania Sherman)

After our day-long visit to the Canadian Museum of History, we had the option to visit the Canadian Museum of Nature or the Canadian War Museum. Choosing which museum to visit in our free time was much like choosing a favourite child, but I ended up visiting the Canadian Museum of Nature to take in the Reptiles exhibit and play with the interactives. All in all, a long day of successful museum-going.

February 24th

Part of the Alex Janvier exhibition at NGC (Photo: Natania Sherman)

Friday brought us to the National Gallery of Canada where we got to hear presentations from staff about their diverse career trajectories and get an inside look at past exhibit, Elisabeth Louise Vigée Lebrun. We got to learn from professionals in every aspect of the museum, from marketing and digital strategies to education and interpretation. We also received a guided tour of the Alex Janvier exhibition from the curatorial team, which provided a deeper perspective into his life and art as well as background to some of the curatorial decision-making that occurred when planning this exhibition.

Students mingling with alumni at Boston Pizza (Photo: Natania Sherman)

In the evening, all students were able to partake in an alumni networking event at Boston Pizza. It was a wonderful experience to get to meet and mingle with so many MMSt alumni working in the Ottawa region and many of us were able to make new connections and get some advice from those who have been there before us.

February 25th

Walking to the Bytown Museum (Photo: Natania Sherman)

On Saturday, the last day of our trip, we had the option to visit either the Canadian Aviation and Space Museum (CASM) or the Bytown Museum for tours of their current exhibitions. This was once again like choosing a favourite child. At the Bytown Museum, we had an amazing tour of the building and got to learn about museum management, especially for a small museum. Those who visited CASM took part in a tour of the collections facilities and current exhibitions. Then we loaded ourselves back on the bus and departed for Toronto


Key Themes from This Year's Trip 

The Sesquicentennial: Canada 150 is a major event that is bound to take over Ottawa, and a major source of funding for cultural organizations. Most of the museums we visited seemed to have some kind of ongoing renovation project related to the sesquicentennial, many of which won't be revealed until July of this year.

Reconciliation: At both the NGC and the CMH many staff members were putting a concerted effort into placing indigenous stories front and centre and trying to place them as part of a living culture within Canadian History. This meant re-evaluating some of the ways indigenous cultures had been displayed previously in their museums and making major changes to interpretive and curatorial practices.

Government: The challenges of being a national museum can impact an institution's scope and mandate as well as create bureaucratic hurdles. Many of the museums we visited had to balance politics with museology as a result of being located in the capital city and political centre of Canada.

Canada 150 logo at the Canadian Museum of Nature (Photo: Natania Sherman)

Thank you to all of the museums and museum professionals who hosted us and shared their current and upcoming projects with us. We really appreciated you taking time out of your busy schedules to talk to us and answer our questions. A special thank you to social chair Kelly Mackenzie and MUSSA for organizing the trip and making sure that everyone had a great time in Ottawa.

CHEATING YOUR WAY THROUGH YOUR 2017 RESOLUTIONS

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

To celebrate my colleagues arrival in Ottawa, I have compiled a list of three museum objects that provide visitors with exciting experiences around the city. These objects let visitors claim they have completed some pretty impressive feats without breaking a sweat!  If living life on the edge was one of your 2017 resolutions (and you're slightly scared) then you should check out the following museums.  You will be able to claim to have: milked a snake, sent something into space, and become an Ottawa famous artist.

Snake Milking Station - Canadian Museum of Nature

You might not be milking an actual snake, but it is the next best thing. The Canada Museum of Nature is currently housing the travelling exhibit: Reptiles. In this exhibit, there is a snake milking interactive, where visitors can push a button and "milk" a model snake. Where else can you say you "milked" a snake in the middle of winter?

                                 

Photo Credit: Hayley Mae Jones

Cube - Canada Aviation and Space Museum

I am biased towards this object because I have been working on the Cubes in Space project at the Canada Aviation and Space Museum. However, I feel that this tiny object will allow one visitor to have quite a unique experience. The museum, in partnership with the Cubes in Space program from idoodlelearning, is running a competition where one visitor will get to send their science experiment into space on a sounding rocket. That being said, the science experiment must survive 20Gs of force, and fit inside the tiny 4x4x4cm cube. 

Image Source

This tiny cube gives visitors the chance to say they have participated in scientific competitions. In addition, one visitor will have the bragging rights of sending their ideas into space! 

Artissimo Gallery - National Gallery of Canada

The Artissimo Gallery is a gallery space that display's young visitors works of art. It is amazing to think that your art works could be displayed in the same building that is showing art works done by Picasso, Alex Janvier, and Van Gogh. This can not only boost a visitor's confidence, but also show off local emerging talent. It is enough to make anyone feel like a famous artist, daring to be bold!

Whatever your 2017 resolutions, I hope you enjoy life, and live on the edge... Museum style!

CAPITAL CULTURE: THE ORIGINS OF OTTAWA'S MUSEUMS

THROWBACK THURSDAY

BY: SERENA YPELAAR

The title says it all ... this week I'm with some of my Museum Studies classmates in Ottawa, and today is our first full day in our nation's capital!

During my undergrad at the University of Ottawa, I would religiously keep Thursday evenings open so I could enjoy weekly free admission to museums in the city. It's surreal to be back at my old museum haunts as a U of T MMSt student, so I’ve decided to revisit the origins of each museum we'll be visiting. How were these key learning hubs founded, and how did they evolve into the landmarks they are today? Take a look and get acquainted with the history of these museums below.

Canadian Museum of History
Founded: 1856
Initially located at the Geological Survey Building, the Museum of History displayed minerals, biological specimens, and ethnographical artifacts. By 1910 the museum was named the National Museum of Canada and moved into the Victoria Memorial Museum. Eventually, in 1968, the museum was split into the Museum of Man and the Museum of Nature. The latter would remain in the building while the Museum of Man moved to its current location in 1989. To ensure a more gender-neutral name, the museum was rechristened the Canadian Museum of Civilization in 1986 before becoming the Canadian Museum of History under the Museums Act in 2013. The CMH operates in a shared network with the Canadian War Museum. 

Canadian Museum of History in Gatineau, Quebec. Source.

What to look for: The Grand Hall is hard to miss, as it's one of the first things you'll see upon entering. The vast canoe-shaped hall hosts a dozen totem poles, as well as the plaster cast for Bill Reid's sculpture, “Spirit of Haida Gwaii”. The forest image spanning the back wall is thought to be the largest colour photograph in the world.

National Gallery of Canada
Founded: 1880
The National Gallery was formed by Canada's Governor General at the time, Michael Douglas Sutherland Campbell, 9th Duke of Argyll. As a prominent figure in society, the Governor General even selected some of the Gallery's first paintings. As of 1882, the Gallery resided in the Supreme Court building, but it too would move to the Victoria Memorial Museum in 1911. The first National Gallery Act was passed in 1913, giving the Gallery its mandate. 1962 saw the museum move to an office on Elgin Street called the Lorne Building, and by 1988 the Gallery was in its current location on Sussex Drive.

"Maman" sculpture by Louise Bourgeois outside the National Gallery of Canada. Source.

What to look for: There's a large atrium nestled at the heart of the gallery, complete with a glimmering pool, high ceilings and skylights. It's a great place to sit and relax, or to take a quiet moment between viewing all the works. Keep an eye out for a similar garden oasis too.

Canada Aviation and Space Museum
Founded: 1964
More recently founded at RCAF Station Rockcliffe as the National Aeronautical Collection, the Canada Aviation and Space Museum was originally an amalgamation of three existing collections (National Aviation Museum at Uplands, Canadian War Museum collection, and the RCAF Museum). The museum was housed in World War II era hangars, but was moved into a triangular hangar in 1988, where it remained. A new hangar was opened in 2006 for additional storage of aircraft. The museum changed its name to “Canada Aviation and Space Museum” in 2010 shortly after reopening from extensive renovation and expansion. CASM is part of the Canada Science and Technology Museums Corporation.

WWI Sopwith Ship Camel biplane at the Canada Aviation and Space Museum. Source.

What to look for: The Ace Academy travelling exhibition allows visitors to operate a virtual aircraft in an immersive environment, using their movements to steer a digital rendering of the museum’s Sopwith Ship Camel biplane.

Bytown Museum
Founded: 1917
The Women's Canadian Historical Society of Ottawa (WCHSO) founded the Bytown Museum, which is celebrating its 100th anniversary this year. Based on the collections of influential women in society, the museum was originally located on Nicholas Street across from the Carleton County Gaol. Today it is housed in the Commissariat building next to the Rideau Canal, between Parliament Hill and Château Laurier. The Commissariat dates back to the construction of the Rideau Canal as overseen by Colonel John By, and the Bytown Museum reflects the history of Ottawa and its roots in the building of the Canal. 

The Bytown Museum, situated alongside the Rideau Canal. Source.

What to look for: I'm a bit biased because I was on the Bytown Youth Council during my undergrad, but the museum boasts a number of unique political and military artifacts on the third floor. Look for Thomas D'Arcy McGee’s death hand in the flesh – or plaster, rather – the cast follows a Victorian death mask tradition and was taken just after his assassination in 1868. Keep an eye out for the pocket bible that intercepted a bullet in WWI and saved the life of the soldier who was carrying it.

Hopefully this list was a sufficient primer on the museums we’re visiting. If you’re not with us in Ottawa this week, with any luck you’ll able to visit these institutions in the near future!

WHAT'S HAPPENING WEDNESDAY: JUNE EDITION

WHAT'S HAPPENING WEDNESDAY

BY: KATE SEALLY

Welcome to the second What’s Happening Wednesday of the summer, folks! Three Museum Studies students are in Ottawa for the summer, so this month I am featuring an event in our nation’s capital. If you want to know what our interns are up to this summer, don’t forget to check out Maya’s Internship Check-In column!  

Marie Antoinette by Elisabeth Vigée Le Brun. Source.

1. Opening of the National Gallery of Canada’s Élisabeth Vigée Le Brun Exhibit

This exhibit arrives in Ottawa after touring Paris and New York, and it explores the life and work of one of the most celebrated portraitists of the 18th century. She is most celebrated for her portraits of French aristocrats and royals, including Marie-Antoinette and her children. For more information on the exhibit and the Gallery's hours click here.

When: Exhibit Opening June 9, 2016 from 5 to 8 pm
Where: Scotiabank Great Hall, National Gallery of Canada
Cost: Free! 

2. Craigleith Heritage Depot Grand (Re)Opening

On Saturday June 18th, take a trip out to the small town of Blue Mountains to join recent MMSt alumna (and former Editor-in-Chief) Madeline as she helps to re-open and rejuvenate Craigleith Heritage Depot! For more information on the Depot, check out their website or search for ‘The Craigleith Heritage Depot’ on Facebook.

Where: 113 Lakeshore Road E., The Blue Mountains, ON
When: Saturday, June 18th, 2016
Cost: Free!

Craigleith Heritage Depot, in the town of the Blue Mountains. Source.

3. Gardiner Museum’s Salon 21

This event is included with half-price Friday admission, and it starts at 7 pm with a brief tour of the museum’s new European Porcelain Gallery. Then, at 7:30 pm, the Salon 21: Soundweavers event begins. Composer Emilie Lebel will be premiering her new work, with a discussion to follow. The Salon 21 event is free, but requires advanced registration here.

When: Friday June 17th, 7 pm
Where: The Gardiner Museum, 111 Queen’s Park, Toronto, Ontario
Cost: Admission to the museum on Friday nights is 4.50$ for students and 7.50$ for adults
RSVP: here

4. The Harbourfront Centre Presents: Mean Girls 

The Harbourfront Centre’s Free Flicks summer movie festival begins with a screening of Mean Girls at 9 pm on June 22nd. For more information on the festival, and to see what other movies are being screened throughout the summer, click here.

When: Wednesday June 22nd at 9 pm
Where: Concert Stage, 235 Queens Quay Wes, Toronto, ON
Cost: Free!

I'm crying with joy at the thought of a free outdoor screening of Mean Girls. Source.

5. Honourable mentions: The following events are taking place at institutions that are hosting MMSt interns, so be sure to check them out!

1. The Ward Museum's "Dishing Up Toronto", a series of food tours co-developed and co-delivered by knowledgeable volunteer guides (intern: Anja Hamilton)
2. Canada's National Ballet School's annual event "Sharing Dance Day" is taking place in cities across the country on Friday June 3, 2016. Click here for locations and more information (intern: Maya Donkers).
3. Mackenzie House presents "10 Minute Talks: A Very Short History of LGBT Issues in Toronto" on June 29 from 7 to 9 pm (intern: Stephanie Read)
4. Mackenzie House, with Stephanie's help, are also working to find out more about the Eaton's employees who served during WWI. To find out more about the project click here.
5. The Koffler Centre's new exhibit 'PED.Toronto' opens with a free reception on June 23 from 6 to 9 pm (intern: Emma Hoffman)

I wish you all a wonderful month of June, and please leave me a comment below if you have any additional events happening at your institution in June!