Art galleries, while often perceived as neutral spaces for artistic appreciation, have deep roots in colonial practices and can perpetuate colonial narratives. Public art collections and exhibition practices have at times overlooked or minimized the perspectives and experiences of Indigenous peoples and other marginalized communities. The MacKenzie Art Gallery in Regina, Saskatchewan, has been working since the 1970s to change this. 

Reconciliation in art galleries focuses on acknowledging the historical and ongoing relationship between Indigenous and non-Indigenous peoples, using art as a tool for dialogue, healing, inspiration, and understanding. This involves showcasing Indigenous art, fostering collaborations between Indigenous and non-Indigenous artists, and promoting Indigenous voices and perspectives within the cultural landscape. 

The MacKenzie Art Gallery has one of Canada’s longest and most meaningful histories of championing Indigenous art. For over 50 years, the Gallery has presented Indigenous art as contemporary art, including landmark exhibitions like Radical Stitch and Indian Theater. 

“Our regional identity is deeply rooted in Indigenous cultures, particularly those of this territory: Saulteaux, Nêhiyawak, Lakota, Dakota, Nakota, and Métis,” says John G. Hampton, Executive Director & CEO, MacKenzie Art Gallery. “We honour the artists, curators, leaders, and diverse communities that bring Saskatchewan’s cultural identity to national and international audiences. This means ensuring Indigenous voices are foregrounded alongside all the diverse peoples who now call Saskatchewan home.” 

Radical Stitch garnered significant media attention, reaching more than 60 million people across more than 80 print, online, and broadcast stories—underscoring the MacKenzie’s expanding cultural influence and vital voice in the national and international arts landscape. 

 

The MacKenzie is also revered for boldly appointing the first Indigenous Head Curator, the first Indigenous Director of Programs, and the first Indigenous Executive Director & CEO of a non-Indigenous public art gallery in Canada. 

 

Building on this long, unique history of embracing reconciliation through art, the Gallery’s new strategic plan identifies Reimagining the Gallery, rooted in Indigenous values, as one of three top priorities. Beyond exhibitions and artworks, reconciliation at the MacKenzie is an ongoing process of healing and building trust through truth-telling, dialogue, and concrete actions. 

According to a statement released by the Gallery’s Equity Task Force in 2019, “Our communities are demanding reform across our sector. We intend to respond to this call with boldness, transparency, and accountability.”

While looking inward, the Gallery is continuing to reflect on the role museums have played in colonial history and ongoing legacies. We’re finding new ways to better live the ideals of equality and access that museums intended to embody—recognizing that culture shapes who we are, and it belongs to everyone. 

From the very start, the values of museums have been influenced by Indigenous values, while also being used to suppress those very values here at home. Understanding how to renew the Museum for today’s context, for this territory rooted in Indigenous values, supporting all peoples in the community required additional help. This meant finding an extraordinary person to help connect the Gallery with its communities and with the knowledge held all around us, as the Gallery continues its journey towards decolonization. 

In February 2025, The MacKenzie announced the appointment of Joely BigEagle-Kequahtooway to the position of TD Curatorial Fellow—Indigenous Relations. The position is part of a two-year program funded through a $200,000 donation from TD Bank Group. This program aligns with TD’s history of collaborating with Indigenous Peoples and our shared recognition that there is more work to be done on our collective journey towards Truth and Reconciliation. 

 

“The MacKenzie really has laid the foundation for diversity, equity, and inclusion… incorporating UNDRIP, the United Nations Declaration on the Rights of Indigenous Peoples, into the strategic plan,” said BigEagle-Kequahtooway in an interview with CBC. “My job is to implement that.” 

Joely is a multi-hyphenate artist who has seen her art given as a gift by the prime minister and received by the pope. Her main source of inspiration is Tatanga (the Buffalo), as it connects her to ancestral memories and the land, and acts as the metaphysical glue that keeps her world together. 

 

Joely is a fashion and textile designer, visual and literary artist, beader, storyteller, and co-founder of the Buffalo People Arts Institute. She is Nakota/Cree/Saulteaux from the White Bear First Nations—signatory to Treaty 4. She holds degrees in Civil Engineering and Mathematics, as well as a Master of Fine Arts degree. 

The Governor General of Canada recently recognized Joely and her husband, Lorne Kequahtooway, with a Meritorious Service Medal for their work in sharing traditional knowledge. Through buffalo hide workshops, they shed light on the history of the buffalo as our relative, their essential role in shaping North America, and their continued importance in the lives of Indigenous peoples. 

 

“Joely is a passionate, visionary advocate for this territory, with deep connections to artists, changemakers, knowledge keepers, and community members,” says Hampton. 

Internally, Joely facilitates trust-building and learning in all aspects of the Gallery’s operations. She guides the Gallery in centring Indigenous values and self-determination at its roots—offering traditional knowledge, teachings, programming, and sometimes warm hugs. 

“I have been working with leadership focusing on Indigenization and Decolonization, which is visionary and imperative to transforming the culture and landscape of art galleries,” says BigEagle-Kequahtooway. “A big part of it is bringing people who work at the Gallery to the community.” 

Employees are encouraged to participate in talking circles and ceremony with Elders. They’re continuously learning about Indigenous history, culture, and protocol, including tipi-raising protocol for the Gallery’s new tipi. Joely is also organizing a sweat lodge ceremony to help guide the MacKenzie team through the next chapter of the Gallery’s journey of healing and inspiration. 

 

Externally, Joely works closely with the community to strengthen relationships and increase Indigenous People’s sense of belonging and engagement at the Gallery. 

The MacKenzie tipi will make its first public appearance at Treaty 4 Days in Fort Qu’Appelle. Indigenous youth attending from all over Southern Saskatchewan are invited to step inside and imagine their future selves through writing manifestos—a self-determination exercise inspired by the Gallery’s Indian Theater: Native Performance, Art and Self-Determination since 1969 exhibition. 

“We’re honoured to work with Joely as she passionately creates programs that build trust and participation,” says Hampton. “Together we’re strengthening relationships with Indigenous community members and creating a world where art heals and inspires across generations.” 

Joely’s work will lay the groundwork for the future of the Gallery. A future that honours both the Gallery’s and TD’s past and present approach to working with the community—through learning, listening, collaboration, and determining action where it will have the most impact. 

“I am truly grateful for this opportunity to build upon my knowledge whilst contributing to the health and well-being of my community,” says Joely. “Mitakuye Oyasin…wâhkôhtowin. All my relations.” 

Like the buffalo, the MacKenzie’s future lies in its humble spirit, strength, and determination to define and discover more about what it means to embrace reconciliation and decolonization. 

 

To learn more about the Mackenzie’s vision and values, visit: https://mackenzie.art/vision-and-values/ 

 

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TD Ready Commitment, TD’s corporate citizenship platform, supports programs focused on helping emerging artists and professionals facing barriers in the music, arts and culture sector. 

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