The National Gallery of Canada (NGC) is a leading art institution with a mission to inspire people from all walks of life by offering them access to works from the world’s foremost artists. In recent months, there have been significant changes to the leadership team at the NGC with Sasha Suda resigning her post as Director and Chief Executive Officer and Angela Cassie being appointed as her successor. In this blog post, we will explore the reasons for these changes, discuss the background of Angela Cassie, review any unmet expectations associated with her new role, and offer our closing thoughts on the current state of affairs at the NGC.
Sasha Suda’s Resignation and Angela Cassie’s Appointment
In March 2021, prominent Canadians such as author Margaret Atwood called for more competence in leadership at the NGC after Sasha Suda resigned her post due to low morale among staff members. After a thorough search process that included many qualified candidates, Angela Cassie was chosen as Suda’s successor. She has a long history in arts management; she holds an Honours Bachelor of Arts degree in Art History from York University, has worked in various roles at galleries such as Carleton University Art Gallery and Agnes Etherington Art Centre, and has served on several boards in Canada including Toronto Biennial of Art 2020-2022. Since taking over her role at NGC in April 2021, Cassie has made swift movements such as forming a Strategic Planning Committee and hiring new staff members. Her confidence is bolstered by a commitment to collaboration which she believes will be essential for creating an effective strategic plan for the gallery moving forward.
Unmet Expectations and Missing Strategies
Despite Cassie’s bold moves since assuming her role as Director and CEO of NGC, there remain some unmet expectations among gallery staff members. One such expectation is that more effort should be made to bridge the gap between public visitors to the gallery and its staff members who are often removed from direct contact with those visitors. Additionally, some critics believe that efforts should be made towards better strategic planning – including expanding premises or offering additional services – rather than relying solely on ideas generated internally within small groups or committees formed by Cassie herself.
Last July, the National Gallery of Canada attempted to answer demands for competency in leadership when their director, Sasha Suda, resigned from her position. The cries came from 16 prominent Canadians who were critical of what was seen as a lacklustre approach to Native and Inuit art, among other issues. While many have questioned why this shake-up had to take place now, one thing is certain: the search continues for a director who can revive the NGC into the premier arts organization it once was. With a commitment to true, equitable representation of all cultural backgrounds in their featured works and an emphasis on promoting inspiring exhibits exclusive to Canada, there’s plenty of exciting potential ahead for the Gallery.
Angela Cassie is an unexpected and ambitious pick to take the top spot at the Royal Museum of Arts following the retirement of long-term director Claire Suda. Despite having no background or education in art, Cassie’s credentials have impressed and surprised many since being hired in early 2021. This could indicate a shift away from the conventional approach to curating, opening up new possibilities for how museums are run. Her appointment could see the radical reimagining of museum operations, offering a fresh perspective on art and providing new opportunities for public engagement with culture and tradition. For those long-time admirers of the Royal Museum of Arts, Angela Cassie’s revolutionary vision could be a welcome change that provides exciting prospects for the future.
In July 2021, Cassie took the helm as interim director of a struggling business. With a clear mandate to turn things around, she wasted no time in making changes – starting with the senior managers who had steered the company close to collapse. Her bold decision to fire them despite their long service and experience was met with mixed reactions from the staff. While some applauded her assertiveness in taking decisive action, others were more cynical about the potential outcome of such an abrupt shift in direction and leadership. Despite these mixed opinions from her colleagues, Cassie remained firm in her resolve – confident that she could lead the business back from the brink of disaster.
Cassie has always been a strong leader, her artless confidence and commitment to collaboration visible in her decision-making. However recently it appears that she is neglecting both the general public, which relies heavily on her work and also her precious staff who need leadership and direction to carry out their tasks. This lack of engagement could have serious implications for the success of Cassie’s project if it continues. Now is the perfect time for Cassie to make positive changes for the future, such as reaching out to those around her and developing more efficient methods of communication with the public. Doing so will ultimately build trust and be beneficial for all involved.
The current strategic plan in place at the gallery needs some serious revision. The plan promises to increase the gallery’s visibility and customer base, yet it fails to explain how these goals will be achieved. Furthermore, there are no directions or concrete steps provided for how to expand or upgrade the gallery’s premises or offerings. It seems that this plan is nothing but a collection of vague abstractions and buzzwords; without any useful details or substance, it does nothing to address how the gallery might progress in any meaningful way.
The recent changes at The National Gallery of Canada have been met with both enthusiasm and caution depending on whom you ask; while some people are impressed with Angela Cassie’s swift movements since taking over her role as Director and CEO others are disappointed by what they feel are unmet expectations regarding strategies for connecting public visitors to gallery staff members or expanding services offered by NGC itself. It remains to be seen how things will play out under Ms. Cassie’s leadership but one thing is certain – it is likely going to be an interesting few months ahead for everyone involved! Intended Audience: Art enthusiasts interested in learning about current developments at The National Gallery of Canada
