Key Takeaways:
- The National Portrait Gallery of Canada is a long-awaited institution that has been championed by various groups since 2006.
- The gallery could take many forms, including a physical space, distributed hubs in different cities, or a mix of both.
- There are over 20,000 portraits in storage at Library and Archives Canada, with new acquisitions being made in recent years.
- A National Portrait Gallery could be a nation-building and community-building project, providing a space for Canadians to come together and reflect on their shared stories.
- The current group championing the National Portrait Gallery is open to different forms and ideas, with a focus on making the collection accessible to Canadians.
Introduction to the National Portrait Gallery of Canada
The concept of a National Portrait Gallery of Canada has been around for almost two decades, with various groups and individuals advocating for its establishment. The idea was first proposed in 2006, but it was met with resistance from the government, which ultimately led to the project being stalled. However, the passion and dedication of portrait enthusiasts have kept the idea alive, with a new generation of champions emerging to take up the cause. One such champion is Sarah Lazarovic, a communications strategist based in Toronto, who has been instrumental in organizing the National Portrait Gallery of Canada of Bloorcourt show at Gallery 1065 in Toronto.
The Importance of Portraits
Portraits have a unique ability to tell stories and convey emotions, making them an essential part of any cultural institution. They provide a window into the past, present, and future, allowing us to connect with individuals and communities in a way that is both personal and universal. Portrait galleries, in particular, offer a welcoming and accessible space for people to engage with art and history, making them an ideal platform for nation-building and community-building. The National Portrait Gallery in London, which Lazarovic fell in love with during her time living in the city, is a prime example of the impact that such an institution can have on a nation’s cultural landscape.
The Current State of the National Portrait Gallery of Canada
Despite the lack of a physical space, the National Portrait Gallery of Canada has a significant collection of over 20,000 portraits in storage at Library and Archives Canada. New acquisitions have been made in recent years, including works by notable Canadian artists such as Louie Palu, Martin Weinhold, and Lana Slezic. The Kingston Prize, an annual juried competition, also provides a platform for Canadian portrait artists to showcase their work. However, the absence of a dedicated physical space limits the potential of these collections and initiatives, making it difficult for Canadians to engage with and appreciate their national portrait heritage.
The Future of the National Portrait Gallery of Canada
The current group championing the National Portrait Gallery of Canada, led by Michael Wernick and Malea Richardson, is committed to making the collection accessible to Canadians. They envision a gallery that could take many forms, including a physical space, distributed hubs in different cities, or a mix of both. This approach would allow for greater flexibility and creativity in showcasing the collection, as well as providing opportunities for community engagement and participation. The group is also open to different ideas and perspectives, recognizing that the National Portrait Gallery of Canada should reflect the diversity and complexity of Canadian society.
The National Portrait Gallery of Canada of Bloorcourt Show
The National Portrait Gallery of Canada of Bloorcourt show, organized by Lazarovic and curator Jode Roberts, is a testament to the power of portraits to bring people together. The show features over 150 submissions, including a healthy number of dog portraits, and provides a platform for artists and community members to share their stories and connect with one another. The show is a small but significant step towards realizing the vision of a National Portrait Gallery of Canada, and it demonstrates the potential for such an institution to be a vibrant and inclusive space for Canadians to engage with their national portrait heritage.
Conclusion
The National Portrait Gallery of Canada is a long-overdue institution that has the potential to be a powerful tool for nation-building and community-building. With a collection of over 20,000 portraits and a dedicated group of champions, the gallery is poised to become a reality. The National Portrait Gallery of Canada of Bloorcourt show is a testament to the power of portraits to bring people together, and it provides a glimpse into the potential of a dedicated physical space. As Canadians, we owe it to ourselves and to future generations to make this vision a reality, and to create a space that reflects the diversity, complexity, and beauty of our national portrait heritage.
