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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. -
Arctic Journeys, Ancient Memories : Sculpture
NB 249 .A,75 A4 2012 ANTH ■DLUI|JIUIC by Abraham Anghik Ruben Arctic Journeys Arctic Journeys Ancient Memories The Arctic Studies Center National Museum of Natural History National Museum of the American Indian Smithsonian Institution Kipling Gallery Published by ARCTIC STUDIES CENTER Department of Anthropology National Museum of Natural History Smithsonian Institution PO Box 30712, MRC 1 12 Washington, D.C. 2001 3-7012 www.mnh.si.edu/arctic ISBN- 978-0-9816142-1-2 Copyright © 2012 by Arctic Studies Center Smithsonian Institution Catalogue of an exhibition organized by the Smithsonian's Arctic Studies Center with assistance from Kipling Gallery, Woodbridge, ON and presented October 4, 2012 - January 2,2013 at The National Museum of the American Indian Curated by Bernadette Driscoll Engelstad Arctic Journeys, Ancient Memories: Sculpture by Abraham Anghik Ruben was produced by Perpetua Press, Santa Barbara Edited by Letitia Burns O'Connor Designed by Dana Levy Printed in Canada by Colour Innovations Object photography by Daniel Dabrowski, Silvio Calcagno, Alan Bibby, and Ernest R Mayer Front cover: To Northwestern Shores, 2008 (Detail) Back cover: Far left: Inuvialuit Inuit Way of Life, 201 I Clockwise from top left: Celtic Monk Keeper of Light, 2007 Memories:An Ancient Past, 2010 Sedna: Life Out of Balance, 2006 Odin, 2008 Study for Shaman's Message III, 201 I Migration: Umiak with Spirit Figures, 2008 CONTENTS 7 Preface by Kevin Gover 9 Foreword by William W. Fitzhugh I 2 Artist's Statement by Abraham Anghik Ruben I 5 Arctic Journeys, Ancient Memories by Bernadette Driscoll Engelstad 32 Catalogue 83 Exhibition History 85 Bibliography 87 Acknowledgments 5 PREFACE !\ AS THE DIRECTOR OFTHE NATIONAL MUSEUM OFTHE AMERICAN INDIAN, I frequently watch as exhibitions grow out of good ideas that gather energy as they are researched and discussed, written and organized and installed. -
This Dissertation Examines a Series of Catalogues for Inuit Art Exhibitions Held at the Winnipeg
ONE HUNDRED WORDS FOR CONQUEST ONE HUNDRED WORDS FOR CONQUEST: CURATING ARCTIC SOVEREIGNTY AT THE WINNIPEG ART GALLERY By MARGARET BOYCE, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University © Copyright by Margaret Boyce, June 2019 McMaster University DOCTOR OF PHILOSOPHY (2019) Hamilton, Ontario (English and Cultural Studies) TITLE: One Hundred Words for Conquest: Curating Arctic Sovereignty at the Winnipeg Art Gallery AUTHOR: Margaret Boyce, B.A. (McMaster University), M.A. (McMaster University) SUPERVISOR: Dr. Amber Dean NUMBER OF PAGES: vii, 264 ii LAY ABSTRACT In this dissertation, I look at a series of catalogues for Inuit art exhibitions held at the Winnipeg Art Gallery (WAG), spanning from 1967 to 2017. I argue that the discursive conventions of settler-Canadian art appreciation, especially those geared towards Inuit creative production, have resonances with the political strategies that Canada uses to prove effective occupation—a term from international law—of the Arctic. My research intervenes in this context by showing how art appreciation encourages modes of effective occupation that are not obviously political, insofar as these modes operate in the realm of affect. The resulting work models some strategies for critiquing forms of settler benevolence that are unique to the art world, and offers a template for how to approach exhibition catalogues as a genre—both of which are underdeveloped areas of scholarship. iii ABSTRACT This dissertation examines a series of catalogues for Inuit art exhibitions held at the Winnipeg Art Gallery (WAG), spanning from 1967 to 2017. -
News Release
News Release Aga Khan Museum Joins Sun Life Financial Museum + Arts Pass Program Toronto Public Library offers free access to 18 museums and cultural institutions Toronto (Tuesday, March 31, 2015) – The Aga Khan Museum has joined Toronto Public Library’s Sun Life Financial Museum + Arts Pass (MAP) program and now offers five passes per week at 50 library branches across Toronto. The pass grants a free family pass for two adults and three children to the Museum, and can be borrowed from Toronto Public Library using a valid adult library card, much the way someone might borrow a book from the Library’s collection. For a list of the 50 branches that now offer the Aga Khan Museum passes, visit torontopubliclibrary.ca/mappass “The MAP program offers unparalleled access to Toronto’s art galleries, museums and attractions,” said Vickery Bowles, City Librarian, Toronto Public Library. “We’re thrilled to welcome the Aga Khan Museum to the program. Families across this city can experience this wonderful addition to Toronto’s rich cultural landscape.” The Sun Life Financial Museum + Arts Pass provides full admission to families of two adults and up to five children (admission restrictions vary by venue) to a wide and eclectic range of venues, including the Art Gallery of Ontario, Bata Shoe Museum, Black Creek Pioneer Village, City of Toronto Historic Sites, Gardiner Museum, Museum of Inuit Art, Ontario Science Centre, Royal Ontario Museum, Textile Museum of Canada, Toronto Zoo and now, the Aga Khan Museum. “The Aga Khan Museum shares the Toronto Public Library’s commitment to make knowledge, experience, and information accessible to all,” said Henry Kim, Director and CEO, Aga Khan Museum. -
S .V.P. Téléchargez Un Dossier De
NOT THE MESSAGE BUT THE MESSENGERS Jim Logan 1993 Acrylique sur toile Peu après la diffusion de ma série sur la violence commise dans les pensionnats, intitulée A Requiem for Our Children, un projet de recherche qui m’a bouleversé profondément et pendant longtemps étant donné que la grande part de cet ouvrage-là a été puisée de mes entretiens avec les anciens élèves des pensionnats, j’ai peint ce tableau en guise de conclusion, d’une sorte d’apaisement personnel. Ce tableau ne vise pas tellement à réprouver les enseignements du Christ, mais davantage à blâmer ceux qui ont transmis son message, là où commence la rupture avec la bonté et la sainteté. Il y a eu de bonnes personnes qui se sont occupées des enfants là où des violences ont été commises sous le couvert Cheminement du Canada vers la vérité et la réconciliation la vérité vers Canada du Cheminement de la chrétienté. Il s’agit de l’un des événements les plus tragiques Réponse, responsabilité et renouveau responsabilité Réponse, au monde et, pourtant, on trouve très peu de renseignements à ce sujet dans l’histoire canadienne. Ce tableau fait partie de cette documentation qu’il faut continuer à enrichir. – Jim Logan 1959 - THE HEBRON RELOCATION Réponse, responsabilité et renouveau Heather Igloliorte 2002 Huile sur toile Cheminement du Canada vers la vérité et la réconciliation La réinstallation de 60 familles en 1959 par l’Église et l’État a eu des conséquences désastreuses sur ces personnes qui ont été relocalisées dans des collectivités situées dans le sud du Labrador. -
"Inuksuk: Icon of the Inuit of Nunavut"
Article "Inuksuk: Icon of the Inuit of Nunavut" Nelson Graburn Études/Inuit/Studies, vol. 28, n° 1, 2004, p. 69-82. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/012640ar DOI: 10.7202/012640ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 9 février 2017 07:10 Inuksuk: Icon of the Inuit of Nunavut Nelson Graburn* Résumé: L’inuksuk: icône des Inuit du Nunavut Les Inuit de l’Arctique canadien ont longtemps été connus par le biais des rapports écrits par les explorateurs, les baleiniers, les commerçants, ainsi que les missionnaires. Célèbres pour leurs igloos, traîneaux à chiens, kayaks et vêtements de peau, ils sont devenus les principaux «durs» de l’Arctique américain comme l’a montré le film «Nanook of the North». Maintenant qu’ils apparaissent sur la scène mondiale dotés de leurs moyens propres, leur singularité allégorique est aujourd’hui menacée. -
From Truth to Reconciliation : Transforming the Legacy of Residential Schools
AHF_School_cover_JAN23.qxd:Layout 1 1/23/08 3:57 PM Page 1 RESILIENCE OF THE FLOWER BEADWORK PEOPLE Christi Belcourt 1999 Acrylic on Canvas We have survived through incredible odds. We very easily could have been absorbed into the mainstream society. The pressures were there from all sides. No matter. We are here. Despite direct assimilation attempts. Despite the residential school systems. Despite the strong influences of the Church in Métis communities to ignore and deny our Aboriginal heritage and our Aboriginal spirituality. We are still able to say we are proud to be Métis. We are resilient as a weed. As beautiful as a wildflower. We have much to celebrate and be proud of. – Christi Belcourt (excerpt from www.belcourt.net) T r a F n s r BLOOD TEARS f o o Alex Janvier r m m 2001 i Acrylic on linen n T g From Truth to Reconciliation th r Painted on the artist’s 66 birthday, t u h Blood Tears is both a statement of e t Transforming the Legacy of Residential Schools Mr. Janvier’s sense of loss and a h L celebration of his resilience, made all e t g the more powerful with the inclusion o a c of a lengthy inscription painted in his y R own hand on the rear of the canvas. o e f The inscription details a series of c R losses attributed to the ten years o e he spent at the Blue Quills Indian s n i d Residential School: loss of childhood, c e language, culture, customs, parents, Aboriginal Healing Foundation i n l t grandparents, and traditional beliefs. -
KANATA Vol. 8 Winter 2015
2015 KANATAVolume 8: Winter 2015 The Undergraduate Journal of the Indigenous Studies Community of McGill University McGill University Montreal, Quebec, Canada KANATA acknowledges that McGill University is situated on traditional Haudenosaunee territory. i KANATA Acknowledgements Faculty, Administrative & Scholarly: Support and Advisors Orenda Boucher, Kakwiranoron Cook, André Costopoulos, Allan Downey, Gwenn Duval, Stefan Fong, Suzanne Fortier, Adriana Goreta, Minette Haddon, Kahente Horn-Miller, Paige Isaac, Amy Johnson, Michael Loft, Karen Elizabeth McAllister, Neale McDevitt, Suzanne Morton, Maria Naso, Charmaine Nelson, Ronald Niezen, Colin Scott, Ellen Sharpe, Will Straw, Daviken Studnicki-Gizbert, Allan Vicaire Organizational Support Aboriginal Sustainability Project (ASP), Arts Undergraduate Society (AUS), Jay Rajpal, Le Cagibi, Le Délit, Indigenous Access McGill (IAM), First Peoples’ House (FPH), McGill Aboriginal Outreach, The McGill Daily, McGill Institute for the Study of Canada (MISC), The McGill Tribune, MUGS, Native Friendship Centre of Montreal (NFCM), Quebec Public Interest Research Group – McGill (QPIRG-McGill), Social Work Student Association (SWSA), Society for Equity and Diversity in Education (SEDE), Student Society of McGill University (SSMU), Yale Native American Cultural Center Primary Advisors Pamela Fillion, Jaya Bordeleau-Cass, Nicolas Magnien ii 2015 Editorial Team KANATA: Volume 8 | Winter 2015 Executive Coordinators Chris Gismondi and Caleb Holden Editors-in-Chief Caleb Holden and Marta Kolbuszewska Executive -
Canadian Art Appraiser & Dealer in Toronto, Winnipeg
Canadian Art Appraiser & Dealer in Toronto, Winnipeg | Mayberry Fin... https://www.mayberryfineart.com/artwork/AW2744 (/) Menu FALCONER ABRAHAM A. RUBEN soapstone (21x9x6 inch) 2006 Sold ABRAHAM ANGHIK RUBEN (1951) Order of Canada Abraham Anghik Ruben was born in 1951, near Paulatuk, Northwest Territories. His family was engaged in hunting and fishing along the western Arctic coast. At the age of eight, he was sent away to residential school and for the next 11 years was separated from his family and culture except for two months each summer. Much to the sadness of his parents, he was soon unable to speak his native Inuktitut fluently. Upon leaving the residential school system at the age of 18, he found himself in a cultural "no man's land". He had always had a strong interest in art, which became the avenue through which he was able to reconnect with his cultural roots. In November of 1971, he met Ronald Senungetuk, Associate Professor of Design at the University of Alaska's SHARE Native Arts Centre, and was able to apprentice under him the following year.In his style and choice of (http://www.facebook.com materials, Anghik is an innovator, and his work reflects the complexity and craftsmanship of a contemporary /sharer.php?s=100&p[title]=Falconer& master. Anghik's work is on view at museums and p[summary]=Abraham Anghik public galleries across Canada, from the Royal Ontario Ruben&p[url]=http://mayberryfineart.com/artwork Museum to the Canadian Museum of Civilization in /AW2744&p[images][0]=https: Ottawa and the Winnipeg Art Gallery. -
N Ram Erican NARM N Rec M
Congratulations! Your MOA Friends membership includes participation in the following program: North American Reciprocal Museum (NARM) Program MOA Friends who present a current membership card validated with a gold North American Reciprocal sticker are entitled to the following privileges at participating museums: Free/member admission during regular museum hours member discounts at museum shops member discounts on concert/lecture tickets Guests are not included unless they present a current membership card validated by the gold North American Reciprocal sticker. PLEASE NOTE: Some museums restrict benefits o For Reynolda House Museum of American Art, NARM privileges do not extend to other institutions' members wwithin a 155 mile radius. 'Family' benefits are defined by each participating institution See the end notes at the bottom of the list foor more information and/or contact the institution prior to your visit to avoid any confusion An up-to-date list of participating museums can be found on MOA’s website: moa.wfu.edu. Los Angeles, Museum of Contemporary Art (MOCA), Los Angeles, 213-621-1794 Grand Junction, Western Colorado Center for the Arts (The Art Center), 970-243-7337x2 North American Reciprocal Museum (NARM) Los Angeles, *Skirball Cultural Center, 310-440-4500 Greenwood Village, The MADDEN Museum of Art, 303-763-1970 Participating Institutions Monterey, Monterey Museum of Art, 831 372-5477 Hotchkiss, Creamery Arts Center, 970-872-4848 Monterey, Museum of Monterey, 831-372-2608 Parker, The Wildlife Experience, 720-488-3300 -
View Pdf Catalogue
INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project. -
Reciprocal Museums 2.28.19 Copy
Reciprocal Museum Admission ALABAMA Rancho Nipomo Dana Adobe Naples Art Association KENTUCKY Jule Collins Smith Museum of Fine Art Richmond Art Center Orlando Museum of Art Hopewell Museum/Historic Abroms-Engel Institute for the Visual San Diego Automotive Museum Pérez Art Museum Miami Paris-Bourbon County Arts (AEIVA), UAB San Diego History Center Polk Museum of Art NEW! KMAC Museum San Diego Museum of Art Samuel P. Harn Museum of Art The Speed Art Museum ALASKA San Francisco Museum of Modern Art* Vero Beach Museum of Art Anchorage Museum San Jose Institute of Contemporary Art LOUISIANA GEORGIA at Rasmuson Center San Jose Museum of Art Newcomb Art Museum of Tulane Albany Museum of Art NEW! Pratt Museum Santa Barbara Museum of Art University Atlanta Contemporary Art Center Santa Barbara Historical Museum New Orleans Museum of Art ARIZONA Atlanta History Center Skirball Cultural Center, Los Angeles* Phoenix Art Museum Columbus Museum MAINE Sonoma Valley Museum of Art NEW! Scottsdale’s Museum of the West Gwinnett Environmental & Heritage Ctr. The African Center for the Sacred Arts at Surfing Heritage Georgia Museum of Art The Museum of African Art & Culture CALIFORNIA NEW! Timken Museum of Art High Museum of Art Farnsworth Art Museum* American Museum of Ceramic Art UC Berkeley Art Museum and Pacific Marietta Museum of History Maine Historical Society NEW! Art, Design & Architecture Film Archive Michael C. Carlos Museum at Emory Portland Museum of Art* Museum, UC Santa Barbara UC Botanical Garden at Berkeley University University of Maine Museum of Art Asian Art Museum UC Davis Arboretum and Public Garden Morris Museum of Art Automobile Driving Museum UC Santa Cruz Arboretum MARYLAND The William Breman Jewish Heritage California Automobile Museum NEW! University Art Museum at CSU, The Baltimore Museum of Art Museum Cantor Arts Center Long Beach Baltimore Museum of Industry Carnegie Art Museum Valene L.