Statement of Concern from Members of the International Indigenous Arts Community to Institutions Worldwide

november 28, 2023

“Decolonizing museums should not be left to the handful of Indigenous people that work in museums. It’s like it’s piled on, do my job and then decolonize the museum as well, … it’s got to be the whole institution. It has to be the people who think it’s not their job.”

-Lucy Bell (Haida), APTN, April 9, 2021

Canada’s public art institutions have reversed course on their much lauded, highly publicized and commodified commitments towards decolonization and Indigenization.

Cultural practices are the lifeblood of our Indigenous communities. Our cultural world and creative practices extend back to our very origins across our lands and bring us to this day and into tomorrow, beyond the current moment of colonialism in which we find ourselves. We continue to endure systematic oppression strategized through settler colonial aspirations, worldwide. Our practices, powerful and central to articulating our relation to one another and the land, have been targeted, commodified and suppressed. We have been dispossessed of our languages, lands, life-sustaining resources and ceremonial objects which are vital to our cultural continuance, intellectual economies and systems of revitalization. We have been omitted from art history canons, underrepresented in galleries, and all that was stolen from our communities is exhibited and stored in private collections and museums around the world.

Indigeneity is marked by settler colonial violence and oppression, both historical and contemporary. Given this inheritance, our capacity for pattern recognition allows us to acknowledge our shared circumstances and intersectionality with global Indigenous populations. We have no time to excuse the suffering of those we recognize as our own.

In 2017, the Art Gallery of Ontario (AGO) created a highly publicized, newly renamed “Department of Canadian and Indigenous Art,” hiring their first Indigenous curator – Anishnaabekwe artist, curator and word warrior, Wanda Nanibush. We emphasize “word warrior” because Wanda was hired by the AGO with this being an integral component of her biography and professional reputation, and it’s not an aspect of her character or commitment that should have ever been a surprise to the institution. She has a gifted ability to beautifully articulate and communicate her Nishnaabekwe thoughts and ways of knowing the world through her writing.

We were both impressed and wary of the heavy level of responsibility of this newly created position. And yet we watched as Nanibush quickly moved into her new role: simultaneously launching Rebecca Belmore’s solo exhibition, Facing the Monumental, while at the same time, bringing together a global gathering of Indigenous artists, curators and academics for the first aabaakwad (it clears after a storm) symposium in the Fall of 2018. During her tenure she oversaw several renditions of aabaakwad symposiums, all of which fostered generative discussions and established international relationships among global communities and collaborations continuing to this day.

So, you can imagine our dismay at Nanibush’s notably silent departure which many of us haphazardly learned of only through a social media post alerting the public that the Art Gallery of Ontario had scrubbed her professional biography from their website. This decision to erase Nanibush’s institutional presence happened without the usual media fanfare upon which the AGO has built its international “decolonizing and Indigenizing” reputation, while bolstering gallery membership and attendance through Wanda Nanibush’s work and name. We see the statements being made by AGO Director Stephan Jost in response to the media’s repeated questions as devoid of meaningful engagement with the issues at hand, providing inadequate context for the public’s understanding of what is happening.

Who does this silence and misdirection protect?

Is this respectful and/or decolonial behavior?

This departure follows Lucy Bell (Haida), Head of Indigenous Collections and Repatriation Department, who stepped down from the Royal British Columbia Museum and Archives (RBCM) in 2020 due to admitted, “acts of racism and discrimination at the museum, with Indigenous team members subjected to acts of discriminatory behaviour.” Shortly after, Troy Sebastian (Ktunaxa), Curator, Indigenous Collection, also left the RBCM at the end of his contract, after publicly calling for change. A report written by the RBCM Board of Directors in June 2021 stated, “The whole Museum must be reimagined and decolonized to ensure that we do better as we work to earn back the confidence and trust of those who were made to feel unsafe, excluded, isolated, or unwanted.”

In November 2022, Kanyen’keháka artist and curator Greg Hill was also dismissed from the National Gallery of Canada (NGC) with little transparency from the NGC save for a statement from the interim director and CEO who said they, “needed to look at how [they] can do things differently and move away from traditional ways of working that are no longer reflective of the kind of institution we need and want to be.”

Three weeks ago, Galleries West quoted the new Director of the National Gallery of Canada, Jean-Francois Bélisle, as blatantly stating,

“I think there’s a way to make our society better, make our galleries better, which is the part where I’m concerned — is making the gallery better. But what is decolonization? What would it entail? I’m not even sure I’m interested in thinking about it. I’m interested in building something, not de-building it.”

See: National Gallery director not interested in decolonization

It’s appalling to us that the NGC, situated on unceded Algonquin territory, has chosen Bélisle to lead the gallery into the future. His comments reflect an abject failure on behalf of the institution and flies directly in the face of the Truth and Reconciliation Commission’s Calls to Action for Museums and Archives (2015) and the National Inquiry for Missing and Murdered Indigenous Women and Girls’ Calls for Justice (2019).

The harms inflicted upon our community members working in these institutions MUST CEASE. A requirement of employment should not entail facing regular systemic discrimination, racism and subsequent stress-related obstacles. Though we’ve only cited a few cases where Indigenous arts workers have been pushed out of institutions, we know there are MANY MORE. We are concerned about the safety and security of colonized people working in public institutions worldwide.

We are calling for a genuine response from the Art Gallery of Ontario and a public acknowledgement of the departure of their first Indigenous Curator in the Indigenous and Canadian Art Department and of Wanda Nanibush’s contributions to the International art world and meaningful engagement with issues of Indigeneity and decolonization during her tenure with the AGO.

We call upon ALL institutions in Canada and worldwide to acknowledge the precarious labour positions of Indigenous peoples by instituting policies which ensures us the constitutionally protected freedom to speak about our experiences and understandings of settler colonialism, violence, and injustice and/or engage in activism and dialogues pertaining to our communities and shared concerns, values and ways of being. This includes protections for social media accounts which we rely upon as spaces of digital resistance, inter-community connections, collaborations and sharing of thoughts and information – on an international scale. In spaces where they’ve taken our livelihoods, we have found each other in order to survive.

Globally, we call upon galleries, museums, artist-run-centres, academic institutions, and arts organizations to review and revise the inner workings and cultures of their institutions and to genuinely support and commit to practiced policies of decolonization and Indigenization.

In Global Solidarity,

Aylan Couchie, Interdisciplinary Artist/Writer/Curator, PhD Candidate, Nipissing First Nation

Biung Ismahasan, Bunun, Atayal and Kanakanavu Nations of Taiwan Indigenous Peoples, Curator/Community Facilitator/Assistant Researcher (Professor) in Indigenous Art and Curatorial Practice, Center for General Education / Chief for Section of Extracurricular Activities, Office of Student Affairs, National Chi Nan University, TAIWAN

Michelle Sylliboy, Interdisciplinary Artist, Mi’kmaq Nation

Monique Mojica, Theatre Artist/Author, Guna and Rappahannock

Raymond Boisjoly, Artist/Associate Professor, The School for Contemporary Arts SFU, Haida Nation

Tannis Nielsen, RR Metis. Lecturer. OCAD University

Susan Blight, Chair, Indigenous Visual Culture, OCAD University, Anishinaabe Nation of Treaty #3

Tsēmā Igharas, Artist, Tahltan

Raven Davis, Anishinaabe, Artist and Educator, Toronto, Ontario

Theo Cuthand, nêhiyaw/Scots Filmmaker, Artist, and Writer, Toronto Ontario

Laura Grier, Sahtu Dene Artist and PhD Student

Hulleah J. Tsinhnahjinnie, Professor, Artist, Bear Clan, Seminole-Muscogee-Navajo

Tara Beagan, Ntlaka’pamux, theatre artist/filmmaker, co-director ARTICLE 11, Mohkinstsis, AB

Peter Morin, Crow Clan, Tahltan Nation, Artist, Graduate Program Director: Interdisciplinary Master’s in Art Media and Design, and Special Advisor to the VP Academic, OCAD University

Vanessa Dion Fletcher, Lenape and Potawatomi, Artist, Writer, Educator, Toronto, Ontario

Joi Arcand, Muskeg Lake Cree Nation, Artist

Bear Witness, Cayuga, Artist

Archer Pechawis, Artist, Assistant Professor of Performance Art, York University

Ruth Cuthand, visual artist, Plains Cree, Little Pine First Nation, Saskatchewan

Mel Lefebvre, Red River Métis, Traditional Tattoo Practitioner, Interdisciplinary Artist, Writer, PhD Candidate, Concordia University

Michelle Sound, Wapsewsipi Swan River First Nation and Métis, Visual Artist

Eliot White-Hill, Kwulasultun, Artist, Snuneymuxw First Nation

Gabrielle L’Hirondelle Hill, Cree and English, Artist and Assistant Professor, Emily Carr University of Art and Design

Heather George, Kanienʼkehá꞉ka and Euro-Canadian, Curator, PhD Candidate, Six Nations of the Grand River Territory

Greg A. Hill, Kanyen’keháka and settler French, artist and curator

Jeneen Frei Njootli Vuntut Gwitchin, artist, Old Crow Yukon

Wally Dion, visual artist, Binghamton NY.

Chief Lady Bird (Nancy King), Anishinaabe artist, Chippewas of Rama First Nation

Jordan Bennett, Artist/Associate Professor, NSCAD University, Mi’kmaq Nation.

Elle-Máijá Tailfeathers, filmmaker/artist, Kainai First Nation & Sápmi

Shelley Niro, Visual Artist, Mohawk, Turtle Clan, Six Nations

Smokii Sumac, Ktunaxa poet and playwright, PhD Candidate, Trent University

Audra Simpson, Professor of Anthropology, Columbia University, Kahnawake Mohawk

Liisa-Rávná Finbog (PhD), associate researcher, Tampere University Finland/ External Curator, KORO ( Norway’s National body responsible for curating, producing, and activating art in public space), Sámi Nation (Sápmi)

Tara Williamson, Musician, writer, Co-Research Director Indigenous Law Research Unit, University of Victoria, member of the Opaskwayak Cree Nation

Suzanne Morrissette, Métis (MMF), Artist, Curator, and Assistant Professor, OCAD University

America Meredith, writer, editor, artist, Cherokee Nation

Adrienne Huard, performer, curator, PhD Candidate, Couchiching First Nation

Paul Seesequasis (Willow Cree) Writer, curator, researcher

Megan Tamati-Quennell

Brook Garru Andrew, Ngunnawal and Wiradjuri

Jordan Wilson, curator/PhD candidate (NYU), Musqueam First Nation

Cheryl L’Hirondelle – Halfbreed, interdisciplinary artist, PhD candidate (SMARTlab / University College Dublin)

Armando Perlaj, Mestizo (Nahua and Euro-settler), El Salvador

Lisa Myers, Artist/Curator, Associate Professor, York University, Toronto. Beausoleil First Nation

Chief Scott McLeod, Anishnaabe, Musician, Nipissing First Nation

Chris Pappan – Kanza, Osage Lakota; artist; co-founder of Center for Native Futures, Chicago.

Eli Hirtle, nêhiyaw/mixed european, Director of Programs, Indigenous Curatorial Collective / Collectif des commissaires autochtones (ICCA).

Debra Yepa-Pappan, (Jemez Pueblo/Korean) Co-founder and Director of Exhibitions and Programs at Center for Native Futures in Chicago

Tarah Hogue, Métis and white settler, Curator (Indigenous art), Remai Modern

c̓aʕ̓n̓ Mariel Belanger Syilx Nation Artist Scholar

Beaska Niillas, Artist, decolonization advocate, Sámi Nation (Sápmi)

‘Verified Anonymous’, Cherokee Nation of Oklahoma

Mikinaak Migwans, Anishinaabe of Wiikwemikoong Unceded Territory, Asst Professor and Curator of Indigenous Art at University of Toronto

Andrea Carlson, artist, Anishinaabe and European descent

Maria-Margaretta, Red River Métis, artist

X, Indigenous artist

X, Indigenous artist, PhD, Turtle Island

Kristen Bos, Red River Métis, Assistant Professor of Indigenous STS at University of Toronto

Jackson Polys, Artist, Tlingit

Zack Khalil, Artist, Anishinaabe, Sault Ste Marie Tribe of Chippewa Indians

Terri Monture, Poet & Writer, Mohawk Wolf Clan Six Nations, Protect the Tract contributor

Joseph Tisiga, artist, Kaska Dena

Meranda Roberts, Citizen of the Yerington Paiute tribe, Anti-Colonial Scholar, and Curator

Crystal Semaganis, Multi-disciplinary Artist, Nehiyaw Iskwew, Battle River Cree Nation, Treaty No 6

Whess Harman, Artist & Curator, grunt gallery, Carrier Wit’at (Lake Babine Nation)

Lauren Crazybull, Niitsitapi, Denè artist

Cody Tolmie, Artist, Sq’éwlets

Natalie King, Anishinaabe (Algonquin), Timiskaming First Nation, Artist, Curator, Arts Administator

Caroline Monnet, artist, Anishinaabe

Kahero:ton, Artist, Kanien’keha:ka Nation, Kahnawake

Bracken Hanuse Corlett – Wuikinuxv and Klahoose Nations, Artist and Teacher at Capilano University – IDEA School of Design

Cynthia Nault, Niizhiwag Anishnaabekwe, Wolverine Clan, multimedia artist from Opwaaganisiniing

Sage Paul, arts worker and artist, Executive & Artistic Director, Indigenous Fashion Arts

Kablusiak, Inuvialuk artist

Adam Martin, Artist, Kanyen’kehà:ka, Six Nations of the Grand River Territory.

Krystle Silverfox, interdisciplinary artist, wolf clan, Selkirk First Nation.

Shandra Spears Bombay, Anishinaabe, Rainy River First Nations, actor/singer/writer

Marcia V. Crosby, Ph.D. , Independent Writer, Scholar & curator, Tsimshian & Haida

Lori Beavis, Micchi Saagiig Anishinaabe – Irish/ Welsh, Hiawatha First Nation, executive director, daphne, Tiohtià:ke / Montreal

Tania Willard, Secwépemc artist and curator

Ashley Bomberry, Kanienʼkehá꞉ka, Six Nations of the Grand River Territory. Arts and Culture worker

Hana Steinwand, Tłı̨chǫ (Dogrib) Dene artist

Nadya Kwandibens, Anishinaabe, Artist / Photographer, Red Works Photography, Canon Canada Ambassador, City of Toronto Photo Laureate

Melaw Nakehk’o: Dene/Denesuline, Łiidlii Kue, Denendeh Multidisciplinary Artist, Filmmaker, Moosehide Tanner Land Based Indigenous Arts Educator

Kali Spitzer, artist, Kaska Dena

Mitchell Ellam, Media Artist/Arts Administrator, Anishnawbe

Quach George, Shawnee x Mohawk, Arts Curator & Consultant, Program Manager for Native Women in the Arts, Tsi Tkaronto

Anne Riley, Multidisciplinary artist, Dene, Fort Nelson First Nation

Dylan Robinson, Stö:lō (Skwah First Nation), Associate Professor, University of British Columbia

Mary Ann Maiangowi Manatch, Odawa Algonquin Land Based Artist, Wiikwemkoong & Rapid Lake First Nations, OCADu Indigenous Visual Culture Student

Emily Johnson, Yup’ik Nation, Artist and organizer

Dayna Danger, Metis-Saulteaux-Polish, Two-Spirit, artist

Marianne Nicolson, visual artist & activist, Musgamakw Dzawada’enuxw First Nations

Clothilde Bullen, Wardandi/Badimaya Nyoongar Senior Curator, Writer and Advocate, First Nations art and culture, Australia

Jessie Ray Short, Michif and settler, Doctoral student, independent artist, curator and filmmaker

Franchesca Hebert-Spence, Anishinaabe Independent Curator, member of Sagkeeng First Nation & PhD Candidate.

Rose C. Stella – Artistic Director of the Centre for Indigenous Theatre

X, nēhiyaw artist

Kerry Potts, Anishnabai/British, Native Women in the Arts, imagineNATIVE, NIMAC, Images

X, Anishnaabe Arts Worker, Academic

Alan Michelson, Mohawk artist, curator, and writer, Six Nations of the Grand River

Nici Cumpston, Barkandji artist, Senior Curator, writer and Artistic Director, Aboriginal and Torres Strait Islander Art, Australia

Mishiikenh Kwe, Anishinaabe Artist, Magnetawan First Nation

Julie Gough, Trawlwoolway, curator, artist, writer, Lutruwita (Tasmania)

Ali Gumillya Baker, Mirning artist, Associate Professor Indigenous and Australian Studies, Flinders University, Kaurna Country, Australia

Marc Merilainen, Ojibwe musician/producer, Toronto, ON, Chippewas of Nawash – Neyaashiinigmiing Anishinaabek

Missy LeBlanc, Métis/nêhiyaw/polish, curator and writer

r e a, Interdisciplinary experimental artist (Gamilaraay, Wailwan & Biripi)

Judy Watson, Waanyi artist, Qld Australia

Leela Gilday– Sahtúgot’ine Singer/Songwriter, Advocate, Activist, Community Member- Denendeh (NT).

Tony Albert Artist, Kuku Yalanji/Australia

brett graham, (Ngāti Koroki Kahukura)

Lisa Reihana (MNZM) Artist Nga Puhi

proppaNOW, Indigenous art collective, Australia (comprising of: Vernon Ah Kee – Kuku Yalandji/ Waanji/ Yidinji/ Gugu Yimithirr, Tony Albert – Kuku Yalandji, Richard Bell – Kamilaroi/ Kooma/ Jiman/ Gurang Gurang, Shannon Brett – Wakka Wakka/Butchulla/Gooreng Gooreng. Megan Cope – Quandamooka, Lily Eather – Mandandanji, Jennifer Herd – Mbarbarrum, Gordon Hookey – Waanji, Warraba Weatherall – Kamilaroi)

Sonya Kelliher-Combs, Artist, Iñupiaq and Koyukon Athabascan