Shuvinai Ashoona (Suvenai)
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Sophie Frank
LINEAGES AND LAND BASES FINAL DIDACTICS 750 Hornby Street Vancouver BC V6Z 2H7 Canada Tel 604 662 4700 Fax 604 682 1787 www.vanartgallery.bc.ca lineages and land bases The artworks gathered for this exhibition address differing understandings lineages and land bases presents works from the Vancouver Art Gallery’s of the self and personhood in relation to nature, a concept that is culturally, permanent collection by artists who have challenged the nature-culture historically and linguistically informed. divide, seeking new ways to conceptualize and represent their relation to the world around them while grappling with the troubled inheritance of settler Sḵwx̱wú7mesh sníchim (the Squamish language) has no word for nature, colonialism. At the centre of the exhibition is a case study that assesses the although it has many words that relate to the land and water. Within this intersections between the basketry of Sewiṉchelwet (Sophie Frank) (1872– worldview, people are intimately bound to non-human entities, such as plants, 1939), a woman from the Sḵwx̱wú7mesh Úxwumixw (Squamish Nation), and rocks, animals or places, locating subjectivity well beyond humans. In contrast, the late landscape paintings of Emily Carr (1871–1945). The two women were the modern Euro-Canadian distinction between nature and culture provided close contemporaries and friends for 33 years, a relationship also shaped by the foundation, in the early 20th century, for the development of a national the profound inequalities of their time. The comparison of these two distinct, art and identity in Canada. Paintings of vast empty landscapes premised yet interconnected, perspectives both prefigures and extends the critique of an idea of wilderness that effectively erased Indigenous presence from the the separation of nature and culture seen elsewhere in the exhibition, urging us representation of nature at the same time that these communities were being to think anew about the meaning of self and its ties to the non-human world. -
Liz Magor I Have Wasted My Life
Andrew Kreps 22 Cortlandt Alley, Tue–Sat, 10 am–6 pm Tel. (212)741-8849 Gallery New York, NY 10013 andrewkreps.com Fax. (212)741-8163 Liz Magor I Have Wasted My Life May 21 - July 3 Opening Reception: Friday, May 21, 4 - 7 pm Andrew Kreps Gallery is pleased to announce I Have Wasted My Life, an exhibition of new works by Liz Magor at 22 Cortlandt Alley. On the wall, a new sculpture titled Perennial is formed from a duffle coat, which in the 1960s and 1970s had become a de-facto uniform for student protestors, including those part of the nascent environmental movement in Vancouver, where Greenpeace was founded in 1971. A near artifact from this time, the coat carries with it the accumulated wear from these actions. The artist’s own interventions seek to repair the garment, though in lieu of erasure, Magor marks the damage using paint, ink, and sculptural material. Simultaneously, Magor adds vestiges of the coat’s past activity, such as two cookies cast in gypsum placed in its pocket to resuscitate it to its prior use. Magor often positions humble objects at the center of her sculptures, the stuff that plays fleeting roles in our lives as repositories for memories and affection before being replaced. Three found workbenches, positioned throughout the galleries, become stages for these objects, suggesting sites for their rehabilitation. On each, a meticulously molded and cast toy animal rests between an array of accumulated items that range from the deeply personal, such as small collections of rocks, shells, and dried flowers, to those that are ubiquitous, such as Ikea Lack furniture, which is produced in a way that it is no longer contained to one place, or time. -
Social18 Sponsor
PRESENTING SOCIAL18 SPONSOR THURSDAY SEPTEMBER 27 Fundraising Dinner and Auction SETTING TIME THURSDAY SEPTEMBER 27 2018 VENUE EVERGREEN BRICK WORKS 550 BAYVIEW AVENUE SCHEDULE 6PM COCKTAIL RECEPTION+ SILENT AUCTION 7PM DINNER 9PM LIVE AUCTION CONDUCTED BY STEPHEN RANGER of WADDINGTON’S Canadian Art is the preeminent platform for journalism and criticism about art and culture in Canada. Our print, digital, educational and programming initiatives deliver smart, accessible ideas, stories and opinions. A national non-profit foundation, Canadian Art develops and supports art writers, and engages with the work of artists, established and new. Most important, we empower diverse audiences to understand, debate and be inspired by art. Now in its 23rd year, Social 2018 offers one of the largest live and silent contemporary art auctions in Canada, and is an essential source of funding for Canadian Art. The great selections in this year’s auction reflect a discerning, mindful and generous art advisory committee, co-chaired by Jessica Bradley and Stefan Hancherow. These are people commit- ted to reflecting the values of our publication—in other words, to assembling artworks you can talk about, debate, and that alter and enrich in meaning as you think about and look at them. Many thanks to all of the artists and gallerists who have donated works this year. You keep our conversations on art interesting, and ongoing. David Balzer Canadian Art Editor-in-Chief and Co-Publisher 3 LETTER FROM THE PRESENTING SPONSOR Art inspires important conversations. It can also be a catalyst for change, driving us to evolve, examine and shape our communities. -
Social Hierarchy and Societal Roles Among the Inuit People by Caitlin Amborski and Erin Miller
Social Hierarchy and Societal Roles among the Inuit People by Caitlin Amborski and Erin Miller Markers of social hierarchy are apparent in four main aspects of traditional Inuit culture: the community as a whole, leadership, gender and marital relationships, and the relationship between the Inuit and the peoples of Canada. Due to its presence in multiple areas of Inuit everyday life, the theme of social hierarchy is also clearly expressed in Inuit artwork, particularly in the prints from Kinngait Studios of Cape Dorset and in sculptures. The composition of power in Inuit society is complex, since it is evident on multiple levels within Inuit culture.1 The Inuit hold their traditions very highly. As a result, elders play a crucial role within the Inuit community, since they are thought to be the best source of knowledge of the practices and teachings that govern their society. Their importance is illustrated by Kenojuak Ashevak’s print entitled Wisdom of the Elders, which she devotes to this subject.2 She depicts a face wearing a hood from a traditional Inuit jacket in the center of the composition with what appears to be a yellow aura, and contrasting red and green branches radiating from the hood. Generally, the oldest family members are looked upon as elders because their age is believed to reveal the amount of wisdom that they hold.3 One gets the sense that the person portrayed in this print is an elder, based on the wrinkles that are present around the mouth. In Inuit society, men and women alike are recognized as elders, and this beardless face would seem 1 Janet Mancini Billson and Kyra Mancini, Inuit Women: their powerful spirit in a century of change, (Lanham: Rowman & Littlefield, 2004), 56. -
Contemporary Inuit Drawing
Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts. -
Celebrating 30 Years of Supporting Inuit Artists
Celebrating 30 Years of Supporting Inuit Artists Starting on June 3, 2017, the Inuit Art Foundation began its 30th Similarly, the IAF focused on providing critical health and anniversary celebrations by announcing a year-long calendar of safety training for artists. The Sananguaqatiit comic book series, as program launches, events and a special issue of the Inuit Art Quarterly well as many articles in the Inuit Artist Supplement to the IAQ focused that cement the Foundation’s renewed strategic priorities. Sometimes on ensuring artists were no longer unwittingly sacrificing their called Ikayuktit (Helpers) in Inuktut, everyone who has worked health for their careers. Though supporting carvers was a key focus here over the years has been unfailingly committed to helping Inuit of the IAF’s early programming, the scope of the IAF’s support artists expand their artistic practices, improve working conditions extended to women’s sewing groups, printmakers and many other for artists in the North and help increase their visibility around the disciplines. In 2000, the IAF organized two artist residencies globe. Though the Foundation’s approach to achieving these goals for Nunavik artists at Kinngait Studios in Kinnagit (Cape Dorset), NU, has changed over time, these central tenants have remained firm. while the IAF showcased Arctic fashions, film, performance and The IAF formed in the late 1980s in a period of critical transition other media at its first Qaggiq in 1995. in the Inuit art world. The market had not yet fully recovered from The Foundation’s focus shifted in the mid-2000s based on a the recession several years earlier and artists and distributors were large-scale survey of 100 artists from across Inuit Nunangat, coupled struggling. -
Discover Inuit
) DiscoverDiscover InuitInuit ArtArt What do polar bears look like when they stand up on their hind legs? What kinds of creatures are the heroes of Inuit legends? How did Inuit mothers keep their babies warm through the freezing arctic days and nights? What does an Inuit summer camp look like? What are some of the big concerns for young Inuit today? You’ll learn the answers) to all these questions, and The detail in Inuit sculpture hundreds more, through and colourful drawings will open more doors than you can imagine. the wonderful world Many of the older Inuit artists working today grew up in a traditional way. They of Inuit art. lived in igloos in winter and tents made of animal skins in summer. Their families returned to their winter and summer camps each year when the sea mammals and animals (like seals, whales and caribou), came in greatest numbers. Mothers carried their babies in an amauti — the big hood on their parkas. When the family travelled, it was on a sled pulled by a dog team. What Inuit art shows This traditional way of life is one of the big subjects in Inuit art. By showing us in drawings and sculptures how their ancestors lived, Inuit artists are keeping their history alive. Art helps them remember, and treasure, the ways their ancestors hunted and made protective clothing and shelter. In their Stories of ) art, many Inuit are making a visual history to show how their ancestors adapted to living in one of the harshest climates shamans tell on earth. -
I AM a HAPPY OWL: the Graphic Art of Kenojuak Ashevak by E. J. Guarino
I AM A HAPPY OWL: The Graphic Art of Kenojuak Ashevak By E. J. Guarino Even when she was well into her eighties, Inuit artist Kenojuak Ashevak (usually simply referred to as Kenojuak) continued to produce powerful images that were always fresh and surprising. Her unique vision made her one of Canada’s most important contemporary artists whose work is sought after by museums and collectors worldwide. Her body of work ranges from highly stylized representational pieces to the delightfully surreal. In Kenojuak’s fantastical world an owl can be blue, a swan pink, a polar bear yellow, a fox bright red, a goose literally golden, and a fish can even have leaf-like fins. Because of her emphasis on composition, relying on placement of imagery, fluid lines, the use of positive and negative space and the interplay of colors and shapes, rather than a strict conformity to reality, Kenojuak’s art can be appreciated by anyone for its utter beauty and requires no knowledge of Inuit culture. Kenojuak Ashevak’s art is about happiness - the sheer joy of living. She did not explore the darker aspects of life. It should be noted that it was extremely rare for artists of Kenojuak’s generation to do so and the same was true of the generation that followed. It was not until the third generation that a wide range of Inuit artists began to explore controversial subject matter. Kenojuak, instead, gives us vibrant works that make the viewer feel happy to be alive. Early on in my collecting all I knew of this artist were her prints of fantastical birds but I was told by a staff member at the now defunct Isaacs/Innuit Gallery in Toronto that this was merely a small part of her artistic output. -
Canada 150 Bank Note Design Fact Sheet
CELEBRATING CANADA’S 150TH The Canada 150 bank note—a unique design depicting our history, land and culture 5 7 The front of the note depicts four parliamentarians, who together, remind 6 us that the Canada of today was shaped by people of different backgrounds. Their vision, courage and effort helped 4 create a better country. 2 9 1 3 8 OUR HISTORY 1 Sir John A. Macdonald 5 Names of Canada’s Provinces and Macdonald was Canada’s first prime Territories minister and a Father of Confederation. The names of all of Canada’s provinces Under his leadership and vision, the and territories and the dates when they Dominion of Canada was founded, grew entered Confederation are repeated in and expanded until it stretched from sea English and French across the top and to sea to sea. bottom of the large window. 6 Hall of Honour 2 Sir George-Étienne Cartier The central corridor of the Centre Block A Father of Confederation and principal on Parliament Hill leads from architect of Canadian federalism, Cartier Confederation Hall to the Library of was a proponent of Confederation as a Parliament. The House of Commons is means of safeguarding French Canada directly to the west, the Senate Chamber and other minorities. to the east. 7 Memorial Chamber Arch 3 Agnes Macphail This arch is located inside the Memorial A champion of equality and human rights, Chamber of the Peace Tower on Macphail became, in 1921, the first Parliament Hill. The chamber honours all woman elected to the House of Commons Canadian men and women who gave their in Canada. -
Shuvinai Ashoona's Singular Style and Bold Artistic Experimentation
FOR IMMEDIATE RELEASE Shuvinai Ashoona’s singular style and bold artistic experimentation, including collaborations with Shary Boyle, has overturned stereotypical notions of Inuit art. Today she is an internationally renowned artist. The Art Canada Institute announces the publication of its free online art book about innovative Inuit artist Shuvinai Ashoona. LEFT: Shuvinai Ashoona, Happy Mother, 2013, coloured pencil, graphite and ink on paper, 123 x 127.5 cm, Montreal Museum of Fine Arts. RIGHT: Photograph of Shuvinai Ashoona, c. March 2, 2005. Photograph by William Ritchie. TORONTO, ON – In the tiny hamlet of Kinngait, Nunavut, Shuvinai Ashoona (b. 1961) is a pearl—an artist protected from the world at large, who relishes the daily routine and support of working at Kinngait Studios. She is the granddaughter of iconic Inuit artist Pitseolak Ashoona and the daughter of renowned sculptor Kiugak Ashoona. In the mid- 1990s Shuvinai began producing detailed drawings that were made into lithographs, etchings, and stonecut prints. Her early works were primarily monochromatic depictions of natural landscapes and traditions of the North, but by the late 1990s, her attentions shifted to depictions of fantastical creatures, dream-like landscapes, and aerial- perspective representations of a global community, expressed in vivid colour. Shuvinai is an artist of superlative talent, her work characterized by full and elabo- rate depictions of the natural landscape and social networks of the North. Shuvinai Ashoona: Life & Work celebrates the influences of an artist whose rich graphic imagery conveys an intricate and textured interior world. Her distinctive style situates her in a category apart from other contemporary artists. -
Thank You to Our Donors Donor Report 2013
DONOR REPORT 2013 THANK YOU TO OUR DONORS AA decade ago, ago, T HEThe WalrusWALRUS was WbornAS BORN. A decade ago, The Walrus was born, filled with stories about Canada Your contribution makes a huge difference. Every dollar has an and its place in the world. Published by the charitable, non-profit impact, and your gift demonstrates your commitment to the Walrus Foundation, the magazine relies on gifts from the philan- environment, arts and culture, politics and world affairs, law and thropic community to engage, connect, and inform Canadians. justice, fiction and poetry, and health and science—and to Canada. Thanks to you, The Walrus experienced a significant milestone in You make The Walrus possible. And for that, all of us at the Walrus 2013: the tenth anniversary of the magazine. Generous support Foundation are truly grateful. from members of the Walrus community made this achievement Thank you for your support in 2013, and please help us keep the possible, in spite of tumultuous changes in the media and conversation going for years to come. economic landscapes. You helped sustain a forum for smart, thoughtful, intelligent conversation on vital matters. Thanks to you, The Walrus features works by leading illustrators, painters, photographers, and designers, from Bruce Mau and Gary Taxali to Joanne Tod and Douglas Coupland, along with many Michael Decter emerging artists. Chair, Board of Directors Thanks to you, The Walrus offers the best of long-form journalism and fiction by Canada’s foremost writers and thinkers, including Katherine Ashenburg, Ron Graham, Charlotte Gray, John Lorinc, Lisa Moore, Craig Davidson, Kamal Al-Solaylee, and Zsuzsi Gartner, as well as young up-and-coming voices. -
Arctic Community Exploration Tour August 5 - 12, 2020 Join Host Dr
Arctic Community Exploration Tour August 5 - 12, 2020 Join host Dr. Darlene Coward Wight on a Discovery Tour of Inuit Art in Canada’s Arctic Winnipeg Art Gallery Arctic Community Exploration Tour 5 – 12 August 2020 In the lead-up to the opening of the WAG Inuit Art The Winnipeg Art Gallery holds in trust more than Centre in fall 2020, this tour will be escorted by Dr. 13,000 Inuit artworks – each one with stories to tell. Darlene Coward Wight, who has been the Curator of Sharing these stories with the world is at the core of Inuit Art at the WAG since 1986. Darlene has received the WAG Inuit Art Centre project. The WAG Inuit Art a BA (Hons) in Art History and an MA in Canadian Centre will be an engaging, accessible space where Studies from Carleton University and an honorary you will experience art and artists in new ways. Doctor of Letters from the University of Manitoba in On this tour you will visit two of the main centres for 2012. She has curated over 90 exhibitions and written Inuit art, Cape Dorset and Pangnirtung. You will also 26 exhibition catalogues, as well as many smaller have a chance to meet several of the artists and publications and articles. She is also the editor and engage with them as you learn about the inspirations major contributor for the book Creation & for the tremendous art they create. Transformation: Defining Moments in Inuit Art. Inclusions: • Includes tour escort Darlene Coward Wight, Curator of Inuit Art at the WAG • Round trip airfare Ottawa – Pangnirtung – Cape Dorset – Iqaluit – Ottawa • One-night accommodation Hilton Garden Inn Ottawa Airport • Two nights accommodation Auyuittuq Lodge Pangnirtung, with full board • Two nights accommodation Cape Dorset Suites, with full board • Two nights accommodation Frobisher Inn Iqaluit (no meals included) Exclusions: • Boating excursion to Auyuittuq National Park (duration approx.