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The Transformations of Sedna Into an Icon of Survivance in the Visual Arts Through the Eyes of Four Contemporary Urban Inuit Artists

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The Transformations of Sedna Into an Icon of Survivance in the Visual Arts Through the Eyes of Four Contemporary Urban Inuit Artists Tail/Tale/Tell: The Transformations of Sedna into an Icon of Survivance in the Visual Arts Through the Eyes of Four Contemporary Urban Inuit Artists Kathryn Florence A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada September 2019 © Kathryn Florence, 2019 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Kathryn Florence Math Entitled: Tail/Tale/Tell: The Transformations of Sedna into an Icon of Survivance in the Visual Arts Through the Eyes of Four Contemporary Urban Inuit Artists and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Examiner Dr. Johanne Sloan Examiner Dr. Anne Whitelaw Thesis Supervisor Dr. Heather Igloliorte Approved by Dr. Kristina Huneault, Graduate Program Director Dr. Rebecca Taylor Duclos, Dean of Faculty of Fine Arts Date ii Abstract Tail/Tale/Tell: The Transformations of Sedna into an Icon of Survivance in the Visual Arts Through the Eyes of Four Contemporary Urban Inuit Artists Kathryn Florence Inuit visual arts have been a feature of Canadian popular culture since it was thrust onto the world stage in 1949. Vibrant owls, dancing bears, and drumming shamans have pervaded museum galleries and trade showrooms for seven decades. One popular, recurring figure is Nuliajuk—also known by other names throughout the circumpolar world—epithetic-ally called the Sea Woman and colloquially referred to as Sedna. Qallunaat (non-Inuit) have constructed their own narrative around these images and their art history, which can ignore the role that art plays in the lives of the artist resulting in a skewed narrative and misinterpretation. In this thesis, I interview four contemporary Inuit artists to reveal how the figure of Sedna has transformed morphologically and semantically since she first appeared on the art market nearly 70 years ago. The results of my research propose that Sedna has become an icon of Inuit identity as well as a symbol of survivance against the tides of colonialism and attempts at cultural extermination. These contemporary artists are reclaiming her in their work, asserting her importance to their identity as Inuit and her ongoing influence in their world. Exploring her story in their art is a way for artists raised in the variety of situations and combinations of living within and outside of Inuit Nunangat to anchor their identity as Inuk. iii Acknowledgements My birthplace of Indianapolis, Indiana is on the historical lands included in Cession 99, which involved what is now the Miami Nation of Oklahoma. As Montreal has been my home for the past two years, I would also like to acknowledge that the lands and waters on which the city is located are unceded Kanien’kehá:ka territory called Tiohtiá:ke. Both Indianapolis and Montreal are home to diverse populations of Indigenous and other peoples. I respect the continued connections with the past, present and future in my ongoing relationships with Indigenous and other peoples within these communities. Warm thanks to Dr. Heather Igloliorte for leading me to Concordia University and being my advisor for this project. I am forever thankful for your guidance and instruction. You are an incredible woman who does so much for so many, and yet you found time to take me on as a student (Seriously. What project aren’t you involved with? When do you sleep?). I can only hope that I will inspire others the way you have for me. This project would not have been possible without the participation of Michael Massie, David Ruben Piqtoukun, Heather Campbell, and Glenn Gear. This manuscript is as much theirs as it is mine. I will keep your stories with me, always. I am grateful for Concordia University for supporting my academic career these past two years and for the Inuit Futures in Arts Leadership SSHRC Partnership Grant for letting me participate as a student co-ordinator. Thank you to my family for bearing my absence; my cohort for their comradery and support; the board/staff/volunteers of The People’s Potato for their friendship and meals; everyone at Native Montreal for providing me with community and belonging; and the board/members of the Canadian Latin American Archaeology Society for their acceptance as I write a thesis completely lacking in Mesoamerican archaeology. Dedication For my mother, Julie, and my ancestor, Grandma Rumor (a.k.a Sarah Callie Thompson). You put me on the path and held my hand as I took the first steps. Because of you, I know I am never alone. iv Table of Contents Lists of Figures ............................................................................................................................. vi Introduction ................................................................................................................................... 1 Methodology ............................................................................................................................... 6 The People.................................................................................................................................... 11 The Artists ................................................................................................................................. 15 Sedna ......................................................................................................................................... 19 Making Art .................................................................................................................................. 27 (Re)Telling a Tale ........................................................................................................................ 33 Making Meaning ......................................................................................................................... 39 Specter....................................................................................................................................... 40 Provider ..................................................................................................................................... 41 Protector .................................................................................................................................... 42 Mother ....................................................................................................................................... 44 Survivor..................................................................................................................................... 45 Conclusion ................................................................................................................................... 47 Final Thoughts .......................................................................................................................... 50 References .................................................................................................................................... 52 Images .......................................................................................................................................... 60 Appendices ................................................................................................................................... 66 Appendix A: Artist Index.......................................................................................................... 66 Appendix B: Interview Transcripts ........................................................................................... 68 David Ruben Piqtoukun Interview............................................................................................ 68 Michael Massie Interview ......................................................................................................... 86 Heather Campbell Interview ................................................................................................... 100 Glenn Gear interview .............................................................................................................. 109 v Lists of Figures Figure 1. Nunavut Development Corporation (NDC) Showroom. Photo curtesy of author. 2018. Figure 2. Canadian Arctic Producers (CAP) Showroom. Photo curtesy of author. 2018. Figure 3. Nunavut Development Corporation (NDC) backroom. Photo curtesy of author. 2018. Figure 4. Bart Hanna’s Swimming Sedna in the Canadian Arctic Producers (CAP) Showroom. Photo curtesy of author. 2018. Figure 5. Sedna Epic Expedition logo. Photo curtesy of https://www.sednaepic.com. Figure 6. David Ruben Piqtoukun, Journey to the Great Woman. 1995, Brazilian soapstone/wood. Image curtesy of artist. Figure 7. Heather Campbell, Methylmercury. 2017, pen and ink on stone paper, 20"x28". Image curtesy of artist; Heather Campbell. Image curtesy of artist. Figure 8. Alec Lawson Tuckatuck, Facing Forgiveness. 2010. muskox horn and serpentine. Photo curtesy of artist. Figure 9. David Ruben Piqtoukun, Qalupilak. 1997, steatite, 5 x 7.5 x 5 inches. Image courtesy of Spirit Wrestler Gallery at http://www.spiritwrestler.com. Figure 10. Kenojuak Ashevak, Rabbit Shaman with Bird Spirits. 1988-89, ink, coloured pencil, 20 x 26 inches. Image courtesy of Spirit Wrestler Gallery at http://www.spiritwrestler.com. Figure
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