An internal audit of the Indigenous Art Centre found that 132 artworks could not be currently located. This finding is particularly alarming, given the lack of proven best practices for the stewardship of culturally important pieces. This final report, published in November 2024, is available on the CIRNAC website. Making visible the work behind the scenes, Think Indigenous highlights the importance of continuing to build trust with Indigenous artists and communities through a high standard of care.
This network consists of 5% of their collection valued at $14.4 million. It showcases significant works from celebrated Indigenous artists such as Christi Belcourt, Elisapee Ishulutaq, Kent Monkman, and Norval Morrisseau. This rare assemblage is recognized as an important component of Canada’s cultural heritage.
What the audit finds is that most of the items they couldn’t account for were actually reproductions — in other words, not original works of art. Though many of the artworks had been recovered, as the report shows, a lot of pieces are still very much missing. It’s heartbreaking to read how after knowing their last known places, they are still missing.
Alec Wilson, a representative from the department, stated, “In several cases, duplicate records were discovered, and some artworks have since been located. It has been determined that many of the items identified as missing were reproductions, rather than original artworks.”
The audit paints a disturbing picture of risks inherent in mismanaging these irreplaceable and culturally significant pieces. This would undermine the department’s credibility and jeopardize its relationship with Indigenous stakeholders. The report focuses on the urgent need to clarify roles and responsibilities in overseeing the collection in order to meet the department’s stated commitment to this important mandate.
Continuing to earn the trust of Indigenous artists and communities means exercising the highest standards of care and stewardship. The department has accepted fully each of the auditor’s recommendations. They have implemented additional steps to improve record-keeping and collection management practices. Wilson added.
Lori Beavis, co-chair of the Indigenous Curatorial Collective, said she was disappointed by the report’s findings. She’s the executive director of Montreal-based non-profit Daphne. She noted that having one’s work acquired for the Indigenous Art Centre represents a significant vote of confidence for artists.
“It’s a collection that’s unique to Canada,” Beavis remarked. “You can sort of understand how they can lose track (of artworks), and I don’t think it’s necessarily a new thing either.” She expressed concern about the potential permanent loss of some works, stating, “It is disheartening to think that some works may be permanently lost.”
Members of Parliament Conservative MP Jamie Schmale expressed his dismay when the audit report landed in his inbox. More importantly, he was shocked at how many artworks were missing. He imparted that the most important aspect of caring for Indigenous art is accountability.
They’re still collecting, but aren’t even really aware of whether it stays or goes. And that’s deeply important given that they are purchasing often historic facsimiles of Indigenous culture and heritage, Schmale stated. He lamented that if a piece by a more famous artist, such as one from the Group of Seven, were to disappear, there would be an outcry. Instead, there would be increased public outrage and perception at the loss.
They were shocked to the true reality that they were really lacking those pieces,” Schmale said.
The department further explained these artworks are indeed considered lost. In doing so, they claimed that there has been no evidence provided of any wrongdoing. After reading the audit’s findings, Schmale was inspired to spearhead the effort. Fletcher plans to have departmental representatives testify at the House of Commons Indigenous Affairs Committee and explain why this happened.
