Copyright et mentions

Jason Sikoak, Sacrilege (Sacrilège), 2015, plume et encre sur papier, 124,5 × 132,1 cm.

Acknowledgements

De l’Institut de l’art canadien

L’Institut de l’art canadien remercie chaleureusement la générosité de Power Corporation du Canada, commanditaire de la saison 2026-2027.

Nous tenons également à remercier sincèrement les commanditaires de cette publication :

Gouvernement du Canada, par l’entremise du ministère du Patrimoine canadien (Fonds pour l’histoire du Canada), commanditaire principal

Fondation de la famille Jack Weinbaum, commanditaire Or

Canada Life, commanditaire Argent

Jason Donville, commanditaire Argent

Mike et Kim Downs, commanditaires Bronze

Conseil des arts de l’Ontario, commanditaire Bronze

Nous remercions également le commanditaire fondateur de l’Institut de l’art canadien, BMO Groupe financier.

Nous saluons enfin la générosité de toutes les personnes qui soutiennent l’Institut de l’art canadien et rendent notre travail possible.

De l’auteur

Ce livre, Art, vérité et réconciliation : témoignages autochtones dans l'après-pensionnat, paraît dans le cadre de la toute nouvelle série Art et idées de l’Institut de l’art canadien. Je suis reconnaissant envers l’Institut de l’art canadien pour son leadership, pour la vision à l’origine de cette série et pour son engagement envers une écriture sur l’art qui soit rigoureuse, accessible et attentive aux idées qui façonnent la pratique artistique et la vie publique. Je remercie Sara Angel, Emma Doubt, Jessa Laframboise, Victoria Nolte et Melissa Rombout pour leurs conseils, leur attention et leur soutien indéfectible tout au long du processus de publication de ce livre.

Avant toute chose, je tiens à reconnaître les concepts cris des Plaines qui ont guidé la structure de ce livre, ainsi que les responsabilités éthiques qu’implique le fait d’écrire en relation avec eux. Je suis particulièrement reconnaissant envers Floyd Favel et Eric Tootoosis pour leurs conseils et leur générosité. Leur accompagnement m’a amené à réfléchir plus attentivement au langage, à la redevabilité relationnelle et aux responsabilités liées à l’interprétation — à ce que signifie non seulement voir, mais voir avec responsabilité.

Je suis également profondément reconnaissant envers Michael Rattray, dont le travail éditorial a renforcé le manuscrit dans son ensemble. L’attention minutieuse qu’il a portée à la structure, à la clarté et au ton a permis au texte de trouver sa forme la plus précise, tout en demeurant attentif aux responsabilités éthiques et interprétatives qu’exige le sujet.

Je remercie les nombreuses personnes, autochtones et non autochtones, de partout au Canada, dont les connaissances, le temps et l’aide concrète ont soutenu la recherche et la rédaction de ce livre. Mes sincères remerciements à Nancy Campbell (commissaire indépendante spécialisée en art inuit); Susan Blight (Université de l’ÉADO); Léuli Eshrāghi (Musée des beaux-arts de Montréal); Shannon Parker (Musée des beaux-arts de la Nouvelle-Écosse); Kiriko Watanabe (Audain Art Museum); Emma Hassencahl-Perley (Musée des beaux-arts Beaverbrook); Allan J. Ryan (retraité, ancien titulaire de la chaire New Sun sur l’art et la culture autochtones de l’Université Carleton); Carmen Robertson (Université Carleton); Norman Vorano (Université Queen’s); Jocelyn Piirainen et Christine Lalonde (Musée des beaux-arts du Canada); Chris Batten (The Rooms); Leah Garven (Galerie Allen Sapp); Alyssia Maiorano et Anna Hudson (Université York); Karen Duffek (Musée d’anthropologie de l’UBC); Crystal Mowry, Felicia Gay et John Hampton (Galerie d’art MacKenzie); Toby Lawrence (Galerie d’art de Victoria); Julie Bronson (Galerie d’art de l’Université McMaster); Kaitlin McCormick (Musée canadien de l’histoire); Jennifer Kramer (Musée d’anthropologie de l’UBC); Guislaine Lemay (Musée McCord); Andrea Walsh (Université de Victoria); Alicia Boutilier (Galerie d’art Agnes Etherington); Catherine Crowston (Galerie d’art de l’Alberta); Vivian Ayoungman, le chef Samuel Crowfoot et le Blackfoot Crossing Heritage Park; ainsi qu’aux nombreuses autres personnes qui ont contribué à ce projet, de façon visible ou dans l’ombre.

J’exprime également ma profonde reconnaissance à celles et ceux qui ont parlé au nom des artistes et des familles, ainsi qu’aux dépositaires de leurs œuvres et de leur mémoire : Pam Buffalo (famille de Gerald Tailfeathers); Cory Dingle (succession de Norval Morrisseau); David Neel (famille d’Ellen Neel); Helen McPhadon (Stardale Women’s Group); Anong Beam (famille de Carl Beam); Jill et Jackie Janvier (famille d’Alex Janvier); David Hannan (Dorset Fine Arts); Katherine Ruben (famille de David Ruben); et April Martin (famille de Daisy Laing). Leur volonté de partager leurs connaissances, d’accorder des autorisations et de contribuer à la mise en valeur de ces œuvres a joué un rôle essentiel dans la réalisation de ce projet.

Enfin, je tiens à souligner le soutien discret et indéfectible de ma famille, qui a rendu ce travail possible et qui m’a été offert, au fil du temps, avec patience, compréhension et bienveillance.

Toute erreur ou omission m’est imputable.

sources photographiques

Tout a été fait pour obtenir les autorisations de l’ensemble des objets protégés par le droit d’auteur dans cette publication. L’Institut de l’art canadien corrigera cependant toute erreur ou omission.

L’Institut de l’art canadien remercie les personnes et organismes suivants de leur aide : Centre d’art Agnes Etherington, Université Queen’s (Gabriel Moore Forell Bevilacqua); Alberta Foundation for the Arts (Kristin Stoez); Galerie Allen Sapp (Leah Garven); Archives des jésuites au Canada (Henria); Musée des beaux-arts de l’Ontario (Alexandra Cousins); Audain Art Museum (Cassidy Luteijn et Michaela Morrissey); Archives provinciales et Musée royal de la Colombie-Britannique (Ross Gamble); Buxton Contemporary, University of Melbourne (Christine Elias); Banque d’art du Conseil des arts du Canada (Saada El-Ahkrass); Galerie de la Maison du Canada; Postes Canada; Musée canadien pour les droits de la personne (Jenna Baraschuk-Modha); Musée canadien de l’histoire; La Presse canadienne (Andrea Gordon); Galerie d’art de l’Université Carleton (Patrick Lacasse); Catriona Jeffries Gallery (Wakana Shimamura et Steven Cottingham); Archives de la Ville de Vancouver (Chak Yung); COVA-DAAV (Isabella Adrian); Centre d’art autochtone de Relations Couronne-Autochtones et Affaires du Nord Canada (RCAANC) (Eric Burant); Dorset Fine Arts (David Hannan); The Eastern Door; succession d’Ellen Neel; succession de George Mully (Georgina Born); succession de Norval Morrisseau (Cory Dingle); Feheley Fine Arts (Pat Feheley); Archives du Synode général de l’Église anglicane du Canada (Laurel Parson); Bibliothèque et Archives Glenbow; Glenbow Museum (Nadia Singleton); Janvier Gallery (Jill Janvier); Kipling Gallery (Laura Ciampa); Bibliothèque et Archives Canada; Macaulay + Co. (Barbara Pizzinini); Galerie d’art MacKenzie (Marie Olinik); Musée du Manitoba (Nancy Anderson); Musée McCord Stewart (Anne-Frédérique Beaulieu); Collection McMichael d’art canadien (Hanna Broker); Metropolitan Museum of Art; Galerie Morris and Helen Belkin, Université de la Colombie-Britannique (Teresa Sudeyko); Moving Images (Karen Wong); Musée national des beaux-arts du Québec, Québec (Julie Bouffard); Musée d’anthropologie de l’Université de la Colombie-Britannique (Kate Ferrante); Centre national pour la vérité et la réconciliation (Kimberly Hayden); Musée des beaux-arts du Canada (Emily Putman); Newfoundland and Labrador Heritage; Archives de la Nouvelle-Écosse; Open Space Arts Society (Amena Sharmin); Osoyoos Museum (Kara Burton); The Rooms (Kate Wolforth); Galerie de l’École d’art de l’Université du Manitoba; Collection permanente de SK Arts (Robin Canham); Archives de l’Église Unie du Canada; Collection d’art de l’Université de la Saskatchewan; Université de Victoria; Musée des beaux-arts de Vancouver (Natalie Camacho); Bibliothèque publique de Vancouver; Vernon Public Art Gallery; Musée des beaux-arts de Winnipeg (Nicole Fletcher); Judy Anderson; Sonny Assu; Mark Atleo; Michael Barber; Byron Beardy (représentant de Jackson Beardy); Henry Grant Beaudry (représentant de Henry Poundmaker Beaudry); Christi Belcourt; Rebecca Belmore; Amber Bracken; Rain Cabana-Boucher; Mary Caesar; Ailah Carpenter; Quill Christie-Peters; Dana Claxton; Jeffrey Cook; Abby Crowchild; Ruth Cuthand; Faye Delorme (représentante d’Allen Sapp); Geraldine Dick (représentante de Beau Dick); Freda Diesing; Hailley Fayle; Michelle Gazely; Oakley Gray; James Hart; Emma Hassencahl-Perley; Faye HeavyShield; Brent Henry; Robert Houle; Shawn Hunt; Lisa Jackson; Ursula Johnson; Jack Kimble; Gina (Daisy) Laing; Duane Linklater; George Littlechild; Jim Logan; Luke Marston; Kevin McKenzie; Meryl McMaster; Kent Monkman; Caroline Monnet; Tim Moore; Peter Morin; Saige « Nalakwsis » Mukash; Nadia Myre; Carey Newman; Davidee Ningeok, Sr.; Shelley Niro; Daphne Odjig; Luke Parnell; Dionne Paul; Amelia Picard; Edward Poitras; Jane Ash Poitras; Barry Pottle; William Richie; Abraham Anghik Ruben; Teharihulen Michel Savard; Jason Sikoak; Michelle Sound; Doreen Speck (représentante du chef Henry Speck); Greg Staats; Adrian Stimson; Alan Syliboy; Pam Buffalo Tail Feathers (représentante de Gerald Tailfeathers); Phyllis Tate; Jeff Thomas; Art Thompson; Jesse Tungilik; Andrea Walsh; Jim Wastasecoot; Chris Wattie; Tania Willard; Lawrence Paul Yuxweluptun.

L’IAC remercie les propriétaires de collections privées qui ont donné leur accord pour que leurs œuvres soient publiées dans cet ouvrage.

Mentions de sources des images de la page couverture

yellow school house in a green field with children in the yard

orange figures walking at night in across a valley

Mentions de sources des images des bannières

An iron bedstead in a room at a residential school

Deux portraits côte à côte : à gauche, une personne en tenue traditionnelle autochtone tenant un éventail de plumes ; à droite, une personne en robe noire vue de dos sur un fond neutre.

An Inuit man is torn between a Raven spirit and a Catholic missionary.

Mentions de sources des œuvres d'art

An artwork depicting 415 hanks of braided hair.

A composite image of a painted portrait and a colour photograph of a man standing in front of a monument.

stone carving of a person gliding above an airplane and igloo

A lithograph featuring a young woman and hundreds of minute icons, from her mother’s qulliq (oil lamp) and a harpoon to John Lennon’s spectacles and a lone Royal Canadian Mounted Police badge.

sled in the winter being pulled by horses

Split painting, one half with an indigenous woman in traditional cloths facing front. The right she is facing with her back the the viewer wearing a black jacket.

A woman clad in t-shirt and jeans kneels. Her mouth is taped with a piece of duct tape.

Small red identification discs on a ring.

A floral motif worked in thread and beads on black cloth.

A painting of a beach, done in sinuous bands of blue and light green.

Layered imagery of women and girls in regimented poses.

Cartoon portrayal of an Indigenous man with a speech bubble.

A decorated wooden box with faces carved on the sides.

A black and white, close-up image of the face of a young girl.

A dimly-lit scene of a young girl at a keyhole.

Several chairs stand in a gloomy tableau.

painting of a horse walking into the scene looking at two tents and truck

colourful painting of a figure facing the the right

Back of a stretched canvas featuring red writing.

Artwork by Jim Thomas. Four mounted images in a row.

Black and white photo of a man in buffalo regalia dancing in a desert.

A pen and ink drawing of an Inuu man in a parka burdened by crosses.

A figure in red regalia dances against a black background.

illustration of adult and child beside a desk

Soapstone carving of a recumbent shaman figure.

A piece of paper bearing a grid of the phrase "Do’-gah"

A black and white photograph overlayed with brightly-coloured speech bubbles.

A painting of three figurs on a blue background in the woods.

Artwork by Judy Anderson constructed of seed beads, porcupine quills and deer hide.

An image of a ceremonial textile that records lineage and history and will be passed on to future generations

illustration of jesus being crucified with people in robes bowing down and guards nearby

A image of a priest posed in front of a school with several children.

A painting depicting a school and the abuse inflicted by a nun.

A carved pole in unpainted wood stands in a gallery.

Black and orange graphic of two figures dancing infront of a winged insect with the text "Every child matters"

photo composition of students at the residential school

a worn studio chair once housed in a former residential school

painting of two figures facing each other

Two stained glass windows in a dark gallery.

A stained glass window depicting a woman and nature motifs

Detail of a stained glass window featuring the date "2008."

A grandmother figure, rendered in a black-and-white photograph, sitting at a kitchen table, surrounded by painted luminous colour.

A painting of a dark-haired girl getting a hair cut. A white hand holding scissors enters from the left of the frame.

A circular carving depicting a stylized hawk.

Three figures—a mother and her two daughters—in elaborate, colourful regalia

A girl wearing a school uniform holds a lie-sized photograph of a school uniform.

A boy wearing a school uniform holds a lie-sized photograph of a school uniform.

Collage featuring a black and white photograph of a group of Indigenous people.

Artwork by Nadia Myre, entitiled Indian Act. Glass beads, copy of one of the 54 pages of the Canadian Federal Government’s Indian Act, masking tape, thread, felt.

A shadow-box of a document, shotgun, ribbons and other elements against green baize.

colourful painting of indian jesus looking to the left

A gloomy living room. The tv is on in front of a recliner.

Four framed images of a young man with long hair being subsumed by blue crystals.

Five tipi poles propped on a wooden box in a gallery.

photograph of wooden totem pool of an eagle with wings spread

Children playing hockey on a small icy lake at duck

stone carving of a woman holding her two children

Yellow beads piled on a piece of leather.

A white sheet is draped on a table and wall. Yellow beads are arranged on the sheet.

A school desk and chair sit in a gallery. A bar of soap is on the desk.

ledger drawing depicting a person with spear through their head, and another figure with a horse

Wooden mask, pale wood with red painted markings.

stone carving a people in a canoe going over large waves

A plexiglass box with engraved sides in a gallery.

Painting of a dark-haired girl in a red-collared green dress, identified by her school number.

A photograph of a woman in a white t-shirt dancing is mounted on a board pierced by small lightbulbs.

A housefront structure painted in acrylic on birch plywood, pine, and presswood, fifty-five contributors transformed it into a neon-painted butterfly where each panel embodies a personal interpretation of reconciliation.

An artwork on canvas by Gerald McMaster. A grid of images in on red, yellow, blue and green backgrounds.

A woman wearing a decorated red cape and a red facemask.

Grid of individual sheets of paper depicting the silhouette of a woman.

A stylized flag featuring a red cruciform shape.

wood carving of a woman with her eyes closed and mouth open

A lone child amid tilted power poles, derelict vehicles, and candy-coloured houses

A red cedar barck mask with green, black and red pigment.

Work on paper featuring a yellow cruciform shape.

Grid of abstract works depicting the Last Supper.

Dramatic portrait of a young woman with a background of of a red, white, black and gold roundel.

Painting of a gray building with multi-coloured spirits bursting from it.

people gathered in a field putting up the polls for a sundance

Painting of a procession of five holy women. The leader wears a red robe and cowl.

An artwork depicting the head of a raven.

A carved pole stands, surrounded by grass and trees.

Painting of two people walking down a path towards distant buildings

An Inuit child kneels as a suited authority figure, likely a teacher, is poised to strike the youth’s hands with a ruler.

Collection of four paintings of spaces of memory, a bed, chalkboard, table and chairs, and home

green single bed and cross isolated on paper

painting of a schoolhouse window with 'sauvage' painted in red with a white gun in a display case below

A girl in a uniform stands in a darkened school.

A woman in an apron sits at a kitchen table

A busy schoolroom with uniformed students.

An installation of scars stitched into small canvases

Scarlet-coated Royal Canadian Mounted Police officers and black-robed clergy swarming across a sunlit yard outside a modest house.

A manila poster with the various slogans in vintage wood type.

A man in a blue shirt stands in a snowy landscape.

In a sequence of fixed, frontal photographic images, an Indigenous woman returns the camera’s gaze as the words on her shirt change, each iteration naming another facet of dispossession.

metal bed frame in an empty room with three windows shining light on the blanket on the bed.

Two standing figures face each other. A flock of birds fly above them.

A multi-panel artwork of black and white photocopies of photographs and floor plans.

Painting of a sockeye salmon in a net, seen from above.

Sepia-toned poster featured the words Spanish Reunion '88 in red type.

An assemblage fashioned from animal bones, hair, and other organic materials native to Nunavut

three black and white ladies against a bright yellow flat background

illustration of a person with lines crossing the page

A white-clad male figure poses in a forest.

A soapstone sculpture of a face surrounded by flowing forms.

This Has Touched My Life (Ceci a touché ma vie), sculpture par Oviloo Tunnillie

Scattered items—drums and regalia—on a gallery floor

Two people, one man and a woman, perform in a gallery before an artwork on the floor.

wood carving of a bird sitting on top of a bear in the indigenous style

six people gathered around a table with a pink table cloth signing a paper

A woman stands in a snowy forest, Faded text on the right in a diptych.

Black and white family photos against a painted maritime background.

Washed out painting of people at residential school

A work on paper in pencil crayon depicting a plane flying over a snowy landscape.

A mixed-media self-portrait presents a young face divided by light and shadow.

Drawing of a boat in a harbour, the word "Stranger" appears on the side of the boat

Child's drawing on paper shows a tipi set against rolling foothills, smoke rising gently as figures move across open ground.

Child's drawing of a pair of cowboy boots.

Graphic illustration of a water spirit, renddered in red, ochre and blue.

Abstract painting including hand prints and a hand written message

A Canadian flag, the red areas obscured by white thread.

A walkway and platform painted with bright flowers.

Gallery installation of a sprawling panorama of decorated wooden frames.

A white-clad figure leans against a tree.

drawing of bear and eagle connected by a line

A photograph of a two-story institutional building in a snowy landscape.

Mentions de sources des photographies et documents d’archives

Andrea Walsh and Mark Atleo, Ahousaht First Nation and Survivor of the Alberni IRS.

An art installation of blankets in a large gallery.

A crowd of Residential School survivors at a repatriation ceremony.

A junior girls’ class, Alberni Indian Residential School, undated.

People gather around a bentwood box in a ceremony.

Black and white photograph of a child painting at an easel

Black-and-white photograph of a group of young boys doing crafts at a table.

black and white photo of children in classroom

Students work on a large mural on a yellow scaffolding.

black and white photograph of woman carving indigenous work

black and white photo of group of students and teachers in front of school

children wearing a first nations mask of a black bird with red eyes

A photograph of children on the steps of a Residential school.

Black-and-white photograph of a Residential School. A ceremonial pole stands in the foreground.

Portrait of a team of Indigenous soccer players in 1897, posing with a trophy.

A photograph depicting childrens’s artwork mounted on a wall.

A black-and-white photograph of girls in a residential school, kneeling on the beds, praying.

Moccasins and cut flowers arranged on a a wooden surface

black and white photo of boys in a pottery class hand building and on the wheel

Sepia-toned photograph of a Residential School.

A crowd wearing orange shirts and carrying placards march in protest of Residential Schools.

First nation person wearing a head dress

Photograph of three family members posing before an illustrated family portrait.

Indigenous leader Murray Sinclair listens during the Truth and Reconciliation Commission of Canada.

old tattered photograph of group of school children in front of school

Father and son holding a painting by the father.

The artist Norval Morriseau crouched over a painting he is working on outdoors.

A ceremony outside a carved and painted wooden house.

photograph of the Canadian pavilion building

A man with a drum kneels in front of two sculptures

Glyphs carved into natural stone depicting a whale and a boat.

architectural drawings oh residential school

Canadian Prime Minister Stephen Harper and other members of Parliament listen as National Chief of the Assembly of First Nations Phil Fontaine speaks in the House of Commons on Parliament Hill in Ottawa, June 11, 2008.

A carved pole is being raised on a university campus.

A red dress hangs in commemoration of children who died at the Kamloops Residential School

A man and an older woman in full regalia, carrying an orange t-shirt, lead a parade.

Group of indigenous people holding their framed artworks

A young Cree schoolboy poses for a portrait.

An age-yellowed piece of paper bearing a treaty that promises medicine, rations, and aid in times of famine

black and white photograph of three children wearing parkas

A gallery scene featuring a black blanket decorated with a white map.

Installation view of Here I am -- can you see me? by George Littlechild.

Two rows of small, framed square prints on a gallery wall.

Paintings line the walls of a dimly-lit gallery with green walls.

Équipe

Édition

Sara Angel

Rédaction en chef

Victoria Nolte

Responsable des acquisitions éditoriales

Melissa Rombout

Graphisme

Audrey Peters

Édition (révision de fond)

Michael Rattray et Rosemary Shipton

Révision linguistique

Imoinda Romain

Traduction

Christian Martel

Correction des épreuves

Christian Martel et Imoinda Romain

Recherche iconographique

Jessa Laframboise

Conception et production

Stephen Gregory et Meredith Holigroski

Maquette du site

Underline Studio

copyright

Institut de l’art canadien

Collège Massey, Université de Toronto
4, place Devonshire

Toronto (ON) M5S 2E1

Catalogage avant publication de Bibliothèque et Archives Canada

Titre : Art, vérité et réconciliation / par Gerald McMaster.

Autres titres : Art, truth & reconciliation. Français

Noms : McMaster, Gerald, 1953- auteur. | Institut de l'art canadien, éditeur.

Description : Traduction de : Art, truth & reconciliation. | Comprend des références bibliographiques.

Identifiants : Canadiana 20260166383 | ISBN 9781487104153 (HTML) | ISBN 9781487104160 (PDF)

Vedettes-matière : RVM : Art autochtone—Canada—21e siècle. | RVM : Art canadien—21e siècle. | RVM : Internats pour Autochtones dans l'art. | RVM : Internats pour Peuples autochtones.

Classification : LCC N6549.5.A54 M3914 2026 | CDD 704.03/97071—dc23