The onus is on the Art Gallery of Alberta (AGA) to draw more visitors through its doors, a challenge that sits at the heart of a debate over public funding for cultural institutions. This comes as galleries, theatres, and museums are recognized for their essential contribution to a city's culture and livability, yet often face scrutiny from taxpayers who may not use them.
The Public Funding Dilemma
In a column published on December 16, 2025, commentator Lorne Gunter addressed the controversy surrounding venues like the AGA. He acknowledges that for residents who never visit, being asked to fund these places through taxes can be a point of contention. A significant part of the problem, Gunter suggests, is that much contemporary art seems designed to shock or offend rather than uplift or provoke thoughtful reflection, making it unapproachable for the average patron.
This disconnect can lead visitors to question why they help fund such institutions. However, Gunter aligns with the sentiment expressed by Adrienne Stewart, co-chair of Women for the AGA (WAGA), who stated, "I don't want to live in a city that doesn't have a beautiful art gallery." Gunter agrees that Edmonton would be a poorer place without its symphony, ballet, museums, and live theatre, even if their immediate value isn't always apparent to every citizen.
Art as an Acquired Taste
Gunter posits that appreciating culture can be like acquiring a taste for scotch or asparagus. Furthermore, artistic tastes are not static; they evolve over time. He notes that 19th-Century British and American landscapes were often overly romanticized, while the now-revered Impressionists were initially rejected by the Paris Salon. The term "Impressionist" itself was originally a derogatory label from critics who found the works unfinished.
Reflecting on his own journey, Gunter admits to once comparing the works of abstract pioneers like Jackson Pollock and Wassily Kandinsky to chimpanzees throwing paint. He later came to appreciate their technique and vision with deeper study. This underscores a key point: understanding context and method can transform one's perception of art.
The Risk and Reward of Cultural Consumption
Not every curated piece is a masterpiece. Gunter points out that curators and artistic directors can sometimes fall prey to "Emperor's New Clothes Syndrome," feeling pressured to praise unconventional works to avoid seeming unsophisticated. This reality means that every gallery-goer or theatre attendee accepts the risk that not every experience will be stellar.
Gunter illustrates this with a personal anecdote: he and his wife recently left a local comedy review at intermission because they found it boring and unfunny. "It happens," he writes. Yet, they were still glad they made the effort to support local performers and enjoy a night out. The value lies in the attempt and the broader support of the cultural ecosystem.
The core challenge remains for institutions like the AGA. To secure their future and validate public investment, they must find ways to make their offerings compelling and accessible to a broader segment of the Edmonton population, bridging the gap between avant-garde expression and public appreciation.
