BUILDING BRIDGES
Linda Grussani returns to Canadian Museum of History to manage First Nations works of art
Fifteen years ago, the Canadian Museum of History invested time and money in Linda Grussani, a young aboriginal student intern with roots in the Kitigan Zibi Anishinabeg First Nation at Maniwaki, Que. The investment paid off. The eight-month-long internship propelled Grussani into a job at the National Gallery of Canada, helping the federal institution take what was then considered the radical step of placing aboriginal art alongside The Group of Seven, Cornelius Krieghoff and other leading artists in the permanent Canadian art galleries. Then Grussani went to the Indigenous and Northern Affairs Department to manage its large art collection and became a widely respected champion of emerging indigenous artists.
And now, as Grussani says, she has come “home” to the Canadian Museum of History to manage one of the most important collections of First Nations, Métis and Inuit art in the country.
There’s a definite sigh of relief in the aboriginal art community, which had been worried that the former Canadian Museum of Civilization had lost interest in acquiring and exhibiting aboriginal art. The museum had even briefly discussed the possibility of turning over its contemporary aboriginal art collection to the National Gallery.
Grussani’s predecessor as aboriginal art curator, Lee-Ann Martin, left 2-1/2 years ago. The delay in replacing Martin concerned artists. There was no one to champion them and their art. Therefore, Grussani’s hiring has been greeted positively.
Ottawa-based multi-media artist Barry Ace says Grussani “is an unequivocally competent and talented curator and arts administrator.”
Jeff Thomas, an Ottawa-based photo-artist and curator, agrees.
“I have known Linda for a number of years and I can’t think of a better person,” he says. “I say that because I trust her judgment and compassion for contemporary indigenous art. I have never heard a negative comment about her and she has great energy. And a great sense of humour, which is critical for surviving and trying to get things done in an institution like that.”
Indeed, Grussani, who is known for her hearty and frequent laughter, jokes that she took the job at the history museum “to return laughter to the halls of the museum.” The transition from Civilization to History imposed on the museum by the last Conservative government has been a trying one for many museum employees and Grussani’s laughter may be a welcome tonic.
Grussani originally planned a career in economics. But a friend urged her to take an art history class as an elective in her first year at Carleton University.
By Thanksgiving that year, Grussani had found her calling and switched her major to art history. While still a student, she worked on indigenous art projects for Carleton University Art Gallery.
Since those days, major institutions such as the National Gallery and Art Gallery of Ontario have stopped treating aboriginal art as second-class “ethno-cultural art” and now exhibit it as fine art.
So, why should the history museum also collect and exhibit aboriginal art? Essentially, says Grussani, the history museum must show the continuum of indigenous art from ancient days to the present.
“The art we create today informs everything we do,” Grussani said in a recent interview. “So, I think it’s important for this institution to have those collections so that years from now they tell the story about indigenous people of Canada.”
Grussani says indigenous art is a great way to build bridges between indigenous and non-indigenous Canadians.
“Art is a great way to build understanding between people. It’s something that you can relate to on a whole number of levels. It can make you feel very strong emotions. Art is fundamental to understanding each other.”
Grussani is one of 90 graduates of the history museum’s internship program in its 23-year history. Others include Ryan Rice, who has had several top curatorial posts in Canada and the United States and now is with the Ontario College of Art and Design University, Gregory Brass is the assistant executive director of the Aanischaaukamikw Cree Cultural Institute in Oujé-Bougoumou, Que., Michel Savard is a curator at the Huron-Wendat Museum near Quebec City, and Deanna Nebenionquit is collections manager at the Art Gallery of Sudbury.
Clearly, the history museum’s internship program is having an influence on the aboriginal art world and now the museum itself is reaping some of the dividends.
Art is a great way to build understanding between people. It’s something that you can relate to on a whole number of levels. It can make you feel very strong emotions. Art is fundamental to understanding each other. — Linda Grussani