Inside the National Gallery of Canada: a curator interview on the collection

In the heart of Ottawa, the National Gallery of Canada stands as a beacon of culture and history, a place where art from across the nation converges to tell the stories of its people. Among the many skilled professionals who curate this prestigious institution is Dr Sarah Whitmore, the Senior Curator of Indigenous and Canadian Art. With nearly two decades of experience at the Gallery, Dr Whitmore has become a pivotal figure in the presentation and preservation of Canada’s rich artistic heritage. On a crisp autumn afternoon, we sat down with Dr Whitmore in her office, surrounded by a curated selection of Indigenous artworks, to explore her journey and insights into the Gallery’s offerings.

The National Gallery, with its gleaming glass facade and distinctive architecture designed by Moshe Safdie, provides an inspiring backdrop for our conversation. As we begin, the sun casts a warm glow through the colossal windows, highlighting the artful blend of natural beauty and human creativity within. Dr Whitmore, known for her dedication to both academic rigor and artistic sensitivity, offers a glimpse into her world and the intricate processes behind the scenes at one of Canada’s most esteemed art institutions.

Meet Dr Whitmore: nineteen years in the collection

Question: How did your journey with the National Gallery of Canada begin, and what has kept you here for nineteen years?

Dr Sarah Whitmore: My journey at the National Gallery began in 2004, shortly after I completed my PhD in art history from Queen’s University. I was initially drawn to the Gallery because of its commitment to showcasing both Indigenous and Canadian art, which was a perfect fit for my academic interests and personal passion. Over the years, what has kept me here is the opportunity to continually learn and engage with the evolving narratives of Canadian art. The Gallery is not just about preserving history; it’s about engaging with contemporary dialogues and ensuring that all voices, particularly those of Indigenous artists, are heard.

In my role, I have had the privilege to work on numerous exhibitions that have brought both historical and contemporary Indigenous art to a broader audience. Each project offers a new challenge and a chance to highlight the incredible diversity and depth of Indigenous cultures across Canada. For instance, as a co-curator of the upcoming 2024 Indigenous Art Triennale, I am deeply involved in selecting works that reflect the current dialogues within Indigenous communities. This triennale will be a platform for artists to express their perspectives on identity, tradition, and change, and I find that profoundly rewarding.

As our conversation unfolds, Dr Whitmore’s passion for her work becomes evident. Her commitment to authentic representation and her deep respect for the artists she works with are palpable. The Gallery, under her curatorial influence, serves as a bridge between Canada’s past and its creative future, making it an essential stop for things to do in Ottawa.

Question: What has been one of your most memorable projects during your tenure?

Dr Sarah Whitmore: One of the most memorable projects was the comprehensive retrospective of Norval Morrisseau, which we organised in 2006. Morrisseau, often referred to as the ‘Picasso of the North’, is a pivotal figure in Canadian art, known for his vibrant works that depict Anishinaabe stories and legends. The exhibition was a major undertaking, involving extensive research and collaboration with Indigenous communities to ensure that we honoured Morrisseau’s legacy authentically.

The retrospective not only celebrated his art but also sparked conversations about the role of Indigenous narratives in the broader context of Canadian culture. It was incredibly rewarding to see how the exhibition resonated with both Indigenous and non-Indigenous visitors, bridging cultural divides and fostering understanding. Such projects underscore the power of art as a medium for dialogue and connection, which is at the heart of what we strive to achieve at the Gallery.

In reflecting on her experiences, Dr Whitmore highlights the delicate balance between academic research and community collaboration that is essential in curatorial work. Her dedication to representing Indigenous voices with integrity and respect is a cornerstone of her career, making her a key figure in the Canadian art scene.

Maman and the plaza — the question we keep being asked

Question: The sculpture ‘Maman’ by Louise Bourgeois is one of the most famous pieces at the Gallery. What is the most common question you receive about it?

Dr Sarah Whitmore: Without a doubt, the question we get asked the most is about the symbolism and meaning behind ‘Maman’. This towering sculpture of a spider, standing over 30 feet tall, is both striking and enigmatic. Created by Louise Bourgeois in 1999 and installed at the National Gallery in 2005, it has become an iconic part of our landscape, capturing the curiosity of visitors from around the world.

Bourgeois designed ‘Maman’ as a tribute to her mother, who was a weaver, reflecting themes of strength, protection, and the maternal role. The spider, with its intricate web-spinning abilities, symbolises both the nurturing and protective qualities that Bourgeois associated with her mother. It’s fascinating to watch how visitors react to the sculpture, often with a mix of awe and contemplation, prompting them to reflect on their own familial relationships.

Dr Whitmore’s insights into ‘Maman’ reveal the complex layers of meaning that art can convey, often sparking personal reflection and dialogue among visitors. The sculpture, situated prominently outside the Gallery, is a testament to the power of public art in transforming urban spaces and engaging diverse audiences.

Question: How does ‘Maman’ fit into the broader context of the Gallery’s outdoor installations?

Dr Sarah Whitmore: ‘Maman’ is part of a carefully curated selection of outdoor sculptures that enhance the visitor experience even before they step inside the Gallery. Our aim is to create an environment where art is accessible to all, inviting people to explore and interact with it in a public setting. The plaza features works by other renowned artists as well, such as Henry Moore and Roxy Paine, each contributing to a dialogue between nature, architecture, and art.

The outdoor installations are free to the public, making art an integral part of the community and encouraging engagement from those who might not typically visit a museum. It’s essential for us to extend the Gallery’s reach beyond its walls, fostering a broader appreciation for art in everyday life. This approach aligns with our mission to make art inclusive and available to everyone, enriching the cultural landscape of Ottawa.

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As she discusses the strategic placement of outdoor art, Dr Whitmore articulates a vision that transcends traditional museum boundaries. By integrating art into public spaces, the National Gallery not only enhances the city’s aesthetic appeal but also encourages a deeper connection between the community and the artistic world, complementing nearby attractions such as Parliament Hill heritage.

The Indigenous collection: how it is shown

Question: Can you explain how the Indigenous collection is curated and displayed at the Gallery?

Dr Sarah Whitmore: Curating the Indigenous collection is a process that requires sensitivity, collaboration, and a commitment to authenticity. Our approach is to work closely with Indigenous artists, scholars, and community members to ensure that the works are presented in a way that honours their cultural significance and context. The collection spans a wide range of mediums, including traditional crafts, contemporary paintings, and multimedia installations, reflecting the diversity of Indigenous cultures across Canada.

One of the key initiatives we implemented is the use of bilingual labels and interpretive materials, in both English and Indigenous languages, whenever possible. This not only respects the linguistic heritage of the artworks but also enhances the educational experience for visitors. Additionally, we regularly update our displays to include new acquisitions and contemporary pieces, ensuring that the collection remains dynamic and relevant.

Through these efforts, Dr Whitmore and her team strive to create an inclusive and informative experience that resonates with visitors of all backgrounds. The Indigenous collection at the National Gallery stands as a testament to Canada’s rich and varied artistic heritage, offering a window into the cultural narratives that have shaped the nation.

Question: How do you ensure that the Indigenous collection remains accessible and engaging for international visitors?

Dr Sarah Whitmore: Accessibility and engagement are at the forefront of our curatorial strategy. We recognise that many international visitors may not be familiar with the nuances of Indigenous art in Canada, so we place a strong emphasis on educational programming and guided tours. These programs, available in multiple languages, are designed to provide context and insight into the artworks and the cultures they represent.

We also leverage digital technology to enhance the visitor experience. Our mobile app offers audio guides and interactive features that allow users to explore the collection in greater depth. By providing multiple entry points for engagement, we aim to make the Indigenous collection accessible to a global audience, fostering a deeper understanding and appreciation of Canada’s Indigenous cultures.

Through innovative programming and technological integration, Dr Whitmore and her team continue to break down barriers, inviting visitors from around the world to connect with Canada’s rich tapestry of Indigenous art. For those planning a visit to Ottawa, the National Gallery offers an unparalleled opportunity to experience the artistic expressions of Canada’s First Peoples, complemented by other cultural experiences such as the ByWard Market field guide.

The Canadian Group of Seven canvases visitors miss

Question: Dr Whitmore, what can you tell us about the lesser-known works of the Group of Seven that are often overlooked by visitors?

Dr Sarah Whitmore: Many visitors flock to the more renowned works of the Group of Seven, such as Thomson’s “The Jack Pine” or Jackson’s “Red Maple.” However, our collection also includes equally compelling pieces that offer a deeper insight into the breadth of their work. One such piece is Lawren Harris’s “North Shore, Lake Superior,” which is often overshadowed but offers a sublime representation of the Canadian landscape that is both stark and serene. Another is A.Y. Jackson’s “Baffin Island,” which captures the rugged beauty of the Arctic with a palette that is surprisingly vivid and dynamic.

These works are housed in our dedicated Canadian and Indigenous Galleries, but their location can sometimes lead them to be missed. They are on display in Gallery B102, a space that provides a quieter, more contemplative experience. We rotate these pieces regularly to ensure they remain in optimal condition, so every visit might offer a slightly different selection. For those interested in exploring more about these artists, we provide guided tours that delve into the historical and cultural context of these paintings. These tours are available on weekdays at 2 PM and are included with the general admission ticket, which is $20 for adults.

It’s important to appreciate that the Group of Seven were not just landscape painters, but storytellers of the Canadian wilderness. Their lesser-known works are integral to understanding their narrative and the evolution of Canadian art.

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The allure of the Group of Seven lies not only in their celebrated canvases but also in the stories and landscapes that aren’t as frequently celebrated. Dr Whitmore’s insights remind us that a visit to the National Gallery can be a journey into both the familiar and the unexpected.

Question: Are there any upcoming exhibitions focusing on these lesser-known works or artists related to the Group of Seven?

Dr Sarah Whitmore: Absolutely. We are currently in the planning stages for an exhibition titled “Beyond the Maple: Expanding the Group of Seven,” set to open in March 2025. This exhibition will highlight not only the lesser-known works of the Group of Seven but also introduce visitors to their contemporaries and influences. For instance, works by Emily Carr, who shared their fascination with the Canadian landscape but approached it with a unique perspective, will be prominently featured.

This exhibition will provide an opportunity to examine the cross-pollination of ideas among Canadian artists of the early 20th century. It will be housed in our Special Exhibitions Pavilion, and tickets will be available online from January 2025. We anticipate a significant interest, so early booking is recommended.

“The Group of Seven were not just landscape painters, but storytellers of the Canadian wilderness.”

Rotation strategy and special exhibitions

Question: How does the National Gallery manage the rotation of its vast collection to keep the exhibitions fresh and engaging?

Dr Sarah Whitmore: Our rotation strategy is meticulously planned to balance the conservation needs of the artworks with the educational and aesthetic goals of the gallery. We typically rotate the collection every six months, although this can vary depending on the specific requirements of the pieces. For example, works on paper, such as watercolours and prints, are more susceptible to light damage and therefore have shorter display periods, often just three months.

Each rotation is an opportunity to tell a new story. We often theme these rotations around significant anniversaries or cultural events. For instance, our current rotation celebrates the 150th anniversary of the Treaty of Washington and explores its influence on Canadian art. This thematic approach not only keeps our regular visitors engaged but also attracts those interested in specific historical narratives.

In terms of logistics, the rotation process involves a highly coordinated effort between curators, conservators, and the installation team. We utilise a detailed cataloguing system to track the condition and location of artworks, ensuring that each piece is carefully monitored and preserved. This system is crucial, especially when preparing for large-scale special exhibitions that may require international loans or collaborations.

The National Gallery’s approach ensures that there is always something new to discover. Each visit is an opportunity to see different facets of the collection, making it a dynamic and evolving experience.

Question: Can you share some details about any upcoming special exhibitions that international visitors might find particularly interesting?

Dr Sarah Whitmore: We are thrilled to announce an upcoming special exhibition titled “Echoes of the Land: Indigenous Perspectives on Place,” which will open in October 2024. This exhibition will feature contemporary Indigenous artists from across Canada, showcasing their interpretations of landscape and identity. It is curated in collaboration with Indigenous communities and aims to provide a platform for voices that have historically been underrepresented in institutional settings.

“Echoes of the Land” will not only present artworks but will also incorporate multimedia installations and interactive components, allowing visitors to engage with the themes in a multi-sensory way. This exhibition will be housed in our Special Exhibitions Pavilion, and we expect it to run until March 2025. Tickets will be priced at $25, with discounts available for students and seniors.

We believe this exhibition will offer international visitors a profound insight into the diversity and dynamism of contemporary Indigenous art in Canada. It’s an opportunity to witness how traditional narratives and modern expressions coexist and inform each other.

How to plan a half-day visit

Question: What would you recommend for visitors planning a half-day at the National Gallery?

Dr Sarah Whitmore: A half-day visit to the National Gallery can be a richly rewarding experience if planned thoughtfully. I recommend starting your visit with the Indigenous and Canadian Galleries, located on the second floor. This section provides a comprehensive overview of Canadian art, from early Indigenous works to contemporary pieces, offering a narrative that is both chronological and thematic.

After exploring these galleries, take a break at the Scotiabank Great Hall. This architectural marvel, with its sweeping views of the Ottawa River and Parliament Hill, is a perfect spot for reflection. The café here offers light refreshments, including locally sourced pastries and fair-trade coffee, allowing visitors to recharge before continuing their exploration.

Following this, I suggest visiting our European and American Galleries. These collections provide a contrast to Canadian art and include masterpieces by renowned artists such as Rembrandt and Van Gogh. The juxtaposition of these works with our Canadian collection allows for a broader understanding of global art movements and their influences.

To round off your visit, a stop at the Gallery’s boutique is a must. It offers a range of art-inspired merchandise, from prints and books to jewellery crafted by Canadian artisans. For those interested in further exploration, our Parliament Hill heritage article provides insights into another iconic destination nearby.

Question: Are there any specific tips for making the most out of a brief visit in terms of timing or ticketing?

Dr Sarah Whitmore: Absolutely. To maximise your visit, I recommend purchasing tickets online in advance. This not only saves time but also allows you to take advantage of any early bird discounts. Our general admission is $20, but we offer various packages that include special exhibitions or guided tours.

Timing is also crucial. Arriving early in the morning when the gallery opens at 9:30 AM allows visitors to enjoy the galleries with fewer crowds. Additionally, many visitors find late afternoon visits, after 3 PM, to be quieter. Keep in mind that the gallery closes at 5 PM, giving you a good five to six hours to explore if you plan a half-day visit.

For those interested in a more structured experience, our audio guides provide insightful commentary and can be rented for $6. These guides are available in multiple languages, catering to our diverse international audience. A visit to the National Gallery, combined with an exploration of the ByWard Market field guide, makes for a culturally rich half-day in Ottawa.

Reflecting on our conversation with Dr Sarah Whitmore, it’s clear that the National Gallery of Canada is more than just a repository of art. It is a living, dynamic institution that connects visitors to the rich tapestry of Canadian and Indigenous narratives. Through its thoughtful curation and diverse exhibitions, the Gallery invites both introspection and discovery.

Ottawa, with its vibrant artistic and cultural scene, offers a unique window into the Canadian spirit. Whether through the serene landscapes of the Group of Seven or the contemporary voices of Indigenous artists, the city presents a compelling story that resonates on both local and international stages.