The person with the most pressure-packed job in Canadian art - Macleans.ca

It doesn’t take an expert eye to see that the National Gallery of Canada is under new management. Just inside the main entrance of the glass-and-granite Ottawa fine art institution, where regulars were used to lining up at the ticket desk, visitors this winter instead come upon a two-story structure of wooden beams and tanned hides.

But those who have worked most closely with Suda were not surprised she landed what is arguably the most prominent, and pressure-packed, role in Canadian art. She was already working at the AGO when Stephan Jost took over as director of the Toronto gallery in 2016. Jost knew she had elite credentials as a medievalist, but she didn’t strike him as destined for a career curating shows of centuries-old art. “The first time you meet somebody, you often get a strong impression,” Jost says.

Suda’s mother taught in a special-needs elementary school, while her father, who had managed ski hills, taught courses in ski-area management at Toronto’s Humber College. They took Sasha to Toronto’s AGO and the Royal Ontario Museum, but visits to New York, where an aunt lived, made a bigger impression—what Suda calls “the whole narrative” around the Metropolitan Museum, the Guggenheim and the Museum of Modern Art.

As a student, she immersed herself in art history. First drawn to modernist courses, she studied the American art of the 1960s, including minimalism and New York’s Abstract Expressionist movement. It was a leading professor of modern art who nudged her toward deepening her perspective by looking further back in the history of painting.

And yet deploying pretty things, or at least eye-catching art, to pull in crowds is part of the job. Boehm says the challenge is greater when it comes to art that doesn’t have the familiar star-quality of, say, 19th-century French Impressionism.

Measuring success at a federal cultural institution can be tricky. Early impressions of Suda are upbeat. The opening night bash for the Àbadakone Indigenous art show was an unusually packed, boisterous affair. In interviews, she praises the gallery’s “incredibly dedicated staff,” and credits them with jumping enthusiastically on her suggestion for pushing art out from the gallery’s exhibitions spaces into its meeting and walking areas.

'Ivey league' 😣

Is it a free admission gallery like UK National Gallery? They get a lot of visitors

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