The pictures on the walls tells a story. In my department portraits lined the long hallway leading to the busy student lounge. All were large, about half the size of a poster. Most were black and white photographs, with a few in colour, and a couple of oil paintings.
The pictures were of the deans of the department. It commemorated and celebrated their hard work in starting and maintaining such a prestigious department. No doubt it massaged their egos as well.
The people usually smiled in their portraits. Yet, I never felt the warmth implicit in their expressions. You see all the pictures were of white men. And of one white woman. Walking the gauntlet of their faces I always felt cold.
The students in my faculty reflect the multicultural reality of Toronto. So half of them are Indigenous, Black or other people of colour. None of us were reflected in the large pictures on the wall.
The pictures were a cultural dissonance in the department. In all our classes we address the core foundations of critical studies. That is we read, talk and write about how gender, race, and class, shape our worlds. Yet, each time we trekked to the popular lounge it was along a wall lined with mostly dead white men. The art collection clearly illustrated who had the power, and who mattered.
The picture were changed over the summer. On my first trek up to the lounge this term colour bubbled from the staid walls. They were filled with landscape paintings by Indigenous artists. I liked the colours, the nature scenes and the play of mythical characters.
Students paused to look at the pictures. They commented on which was their favourite and what was the meaning of the characters. People noticed.
The previous art collection memorialized and celebrated the dominance of white people in Canada. The new collection is a reminder that the country is an ancient land. It had a long past before European colonization. The new pictures show that it has a new future – one based on acknowledging the true owners of the country.