Shades of Strength: Daphne Odjig’s Impact on Indigenous Art and Culture

Daphne Odjig was at the forefront of an Indigenous cultural revival that began in the 1970s. She converted her small Winnipeg craft shop, Odjig Indian Prints Ltd., into one of the first Indigenous-owned art galleries: the New Warehouse Gallery. In addition to selling original works and prints from other Indigenous artists, it was here that she met and had discussions with likeminded peers about the state of Indigenous art in Canada.

Traditionally, Indigenous art in Canada was seen as handicraft or a type of folk art. To better advocate for the equitable representation of contemporary Indigenous art in the fine art world, and to bring this art to galleries across Canada, Odjig co-founded Professional Native Indian Artists Inc. (PNIAI) in 1973. Known as the “Indian Group of Seven,” PNIAI also included Norval Morrisseau, Alex Janvier, Jackson Beardy, Eddie Cobiness, Carl Ray, and Joseph Sánchez.

“In the beginning, […] we weren't accepted anywhere. [We weren’t in] any galleries, […] any museums. So, the idea was that we would band together, and with the larger number [of artists] put pressure on the institutions to start showing Indigenous work,” says Sánchez. “The idea was that the more established artists would help bring the younger artists into the picture.”

The group found mainstream success in Canada with their first group exhibition at the Dominion Gallery in Montreal. “[That first exhibition] opened the doors to have more exhibitions at major galleries. […] To have work like this appear changed the whole cannon of Canadian art.”

Subsequent group exhibitions followed, including showings at the Wallack Galleries in Ottawa and at the Art Emporium in Vancouver in 1975. During this time, the members of PNIAI were also finding individual success, bolstered by the efforts and advocacy of the group. Sánchez was commissioned to create a painting for the Juno Awards in 1974.

“Daphne not only provided the space for us to meet, but she was the vision behind [PNIAI], and in a sense the glue that held us all together. The artists have such respect for Daphne,” says Sánchez. “She was like the epitome of truth in a very difficult time for artists. […] Daphne really helped everybody understand that you don't have to paint like what's in the galleries, you have to paint what you have inside of you.”

Although PNIAI disbanded a short while later, through their art exhibitions, advocacy, and support for other Indigenous artists, the group’s work had a resounding impact. They helped to redefine how Indigenous art was viewed not only in Canada, but within the context of the art world at large.

Today, the group has even more accomplishments under its belt, including a cross-Canada exhibition with the Mackenzie Art Gallery, as well as three solo exhibitions at the National Gallery of Canada. “That actually broke the glass ceiling,” says Sánchez. “The idea […] took 50 years, but they actually got [their art] to the National Gallery.”

Through her work with PNIAI and afterwards, Odjig continued to share her knowledge and support for the arts—even partnering with organizations to help provide grants and scholarships to Indigenous youth. Today, Sanchez gives back to the community by volunteering and teaching art.

As a curator and museum director, Sánchez continues to amplify the legacy of the group. “[Daphne] bought my painting and the rights to make a print and that's how it all started. And that piece is now at the Winnipeg Art Museum,” says Sánchez. “Now, [I get] to share [the group’s] work and the way that our work […] influenced each other in the beginning, and how we continue to influence each other at the end of our lives. […] Daphne was tremendous at [inspiring other people]. She inspired generations, and I hope I've done the same.”