Beaverbrook Art Gallery hosts national art annual meeting

The National Art Gallery of Canada held their annual meeting at the Beaverbrook Art Gallery last Sept. 8, 2025. (Malachi Lafurgey/AQ)

On Sept. 8, Jean-François Bélisle, CEO of the National Art Gallery of Canada and chair of the board of directors, Paul Geneste, came to the Beaverbrook Art Gallery to host this year’s annual public conference. 

The purpose of this event was to raise awareness and bring unknown Canadian artists to the forefront, not just locally but also nationally.  

“Canadian art, artists, and museums have a major role to play in affirming who we are in reflecting our shared values and punctuating where we are heading,” said Geneste.  

Art galleries have not been at the forefront of the young generation’s minds. 

While discussing the National Gallery's five-year plan, engagement was its top priority, especially within the school board and students.  

Prime Minister Mark Carney’s Canada Strong Pass allowed children 17 and under to view the gallery free of charge, while students aged 18 to 24 received reduced admission during the summer of 2025. 

“There was an 11 per cent increase in visitors under 24, which led to a 4 per cent increase in overall attendance,” said Bélisle. 

Three panellists attended the event, including artists such as Emma Hassencahl-Perley, Anna Torma and Mario Doucette. 

Hassencahl-Perley, a Wolastoqey visual artist, is now transitioning to become the full-time Indigenous curator for the Beaverbrook Art Gallery. She has already begun working on strengthening the relationship between major urban centres and rural areas.  

“That might mean working with curators of different [Indigenous] regions who have those relationships, who can pinpoint these [unknown] artists who don't have valid representation,” said Hassencahl-Perley.  

Originally from the farmlands of Hungary, Torma stated that national galleries shouldn't be separated from or against local ones.  

“I believe big exhibitions need to produce because resources are not endless,” said Torma “[Big and small galleries] need to co-produce exhibitions.” 

Doucette, a modern Acadian artist, said Acadian art has only ever existed in the last 60 years.  

“The art market is almost non-existent in our community,” said Doucette.. “It leaves Acadian artists at a disadvantage because Acadian artists are not in major collections.”  

The National Gallery is struggling to find funding. Hoping to expand their presence in Canada.  

“It’s tough,” said Bélisle. “The federal government’s expenditure review is forcing everyone to cut back by 15 per cent. We are subjected to that.” 

Even though art institutions in Canada are facing harsh economic conditions, it is important to promote Canadian artists, which in turn keeps Canadian culture alive.  

“Art can really build national unity [and] national experiences,” said Bélisle.