Dejardin’s swan song as he retires from the McMichael Canadian Art Collection, is the current Tom Thomson: North Star exhibition aimed at dusting off the cultural clichés that have come to surround the artist
The McMichael Canadian Art Collection in Kleinburg, Ont., sits in green woodlands with pleasing views of sweeping pines and big maples. With that classic northern backdrop outside his office window, director Ian Dejardin considers a Canadian problem: a certain sense of cultural inadequacy.
Arriving at the McMichael soon after both the Art Gallery of Ontario and the Royal Ontario Museum had named Americans as their directors, Dejardin’s appointment caused some head-scratching. Why was a Brit being hired to run the quintessentially Canadian McMichael, the only major museum in the country dedicated exclusively to Canadian and Indigenous art?
Dejardin feels the museum has finally pulled free of what he describes as its “toxic” background: the fights between the province and collectors Robert and Signe McMichael over control of the institution in the 1980s and 1990s, and the unusual move by Ontario premier Mike Harris in 2000 to reimpose the founders’ narrow definition of Canadian art, legislation that was only changed in 2011.
These shows are masterminded by the gallery’s chief curator, Sarah Milroy, who Dejardin hired soon after his arrival and who will take over as director on Nov. 1. A former Globe and Mail art critic and editor of Canadian Art magazine, she has provided Dejardin with the local context needed by someone who only made his first visit to Canada in 2007, while he has mentored her as museum professional.
If Milroy has brought the McMichael into increasing contact with living Canadian artists, Dejardin has not abandoned Thomson and the Group. Indeed, his swan song is Tom Thomson: North Star, the current exhibition aimed at dusting off the cultural clichés that have come to surround the artist.
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