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40 I UPDATE/BRIEFLY NOTED Evie Mark, Taqralik Partridge, and the Orchestre Winter 2008 Vol. 23, No. 4 symphonique de Montréal • Annie Pootoogook Print Editor: Marybelle Mitchell in Beijing • Zacharias Kunuk Awarded Honorary Managing Editor: Matthew Harrison Degree • Inuit Art Rediscovered in Toronto… advertising Sales: [email protected] and in the U.K. • Nunavut Film Opens Expanded Resource Centre CirculatioN & Editorial Assistant: Michael Caesar dEsign and 46 I letter typography: Acart Communications Inc. printing: St. Joseph’s Print Group 47 I ADVERTISERS’ INDEX / map of the canadian arctic publisher: Inuit Art Foundation Inuktitut 20 I Review ESSAY IAQ is a publication of the Inuit Art Foundation, a non-profit organization gov- translation: Mishak Allurut The New Generation: A Radical Defiance erned by a board of Inuit artists. The Inuit Art Foundation exists to facilitate Editorial Mattiusi Iyaituk Robert Kardosh the creative expressions of Inuit artists and to foster a broader understanding advisory Shirley Moorhouse Committee: Norman Vorano Fifty years after the first experiments with of these expressions worldwide. The foundation is funded by contributions Heather Igloliorte Inuit printmaking began, a new generation from Indian and Northern Affairs Canada and other public and private dIrectors, Mattiusi Iyaituk of artists is taking Cape Dorset graphics agencies, as well as private donations by individuals. Wherever possible, Inuit Art Shirley Moorhouse in some challenging directions. it operates on a cost-recovery basis. Foundation: Mathew Nuqingaq Okpik Pitseolak John Terriak Siasi Smiler

All rights reserved. Reproduction without written permission of the publisher is strictly forbidden. 09 I Guest Editorial Not responsible for unsolicited material. The It Was Worth Doing views expressed in Inuit Art Quarterly are not necessarily those of the editor or the board of Leslie Boyd Ryan directors. Feature articles are refereed. IAQ is a member of the Canadian Magazine Publishers’ Long involved in the West Baffin Co-op, Leslie Boyd Association. We acknowledge the financial Ryan looks at the past and future of printmaking in support of the Government of Canada, through the North as the 50th anniversary of the Kinngait the Publications Assistance Program (PAP) towards our mailing costs, and through a grant Studios approaches. from the Department of Indian and Northern Affairs Canada. PAP number 8986. Publications mail agreement number 5049814. Publication date 11 I FEATURE of this issue: November 2008. ISSN 0831-6708. Inuit Artists and Cover Image: Send address changes, letters to the editor Tuberculosis Patients Tattooed Women, 2008, Arnaqu Ashevak, and advertising enquiries to: in Hamilton Cape Dorset (etching and aquatint; Inuit Art Quarterly 94.5 x 73.5 cm). Courtesy of Dorset 2081 Merivale Road Susan Gustavison Fine Arts, Toronto, Ontario. Ottawa, Ontario K2G 1G9 A most improbable set x3Nd6 xy?4, rzw5 Tel: (613) 224-8189; Fax: (613) 224-2907 32 I REVIEW: EXHIBITION e-mail: [email protected] of circumstances brought In the Shadow of the Midnight Sun: website: www.inuitart.org together the Inuit of the Sámi and Inuit Art 2000–2005 Eastern Arctic, their art, Subscription rates (one year) Dorothy Speak Canada and USA: $33 (payable in Cdn$ or US$) and the people of Hamilton Overseas: US$70 in the 1950s. Cheque, money order, VISA, MasterCard and American Express accepted. GST registration no. R121033724

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Experimental Dorset: Cultivating Colour features new oil sticks on paper by contemporary graphic artists from Cape Dorset. The exhibit — at Feheley Fine Arts in Toronto, Ontario — presents work by such artists as Jutai Toonoo, Annie Pootoogook, Suvinai Ashoona, Siassie Kenneally, Papiara Tukiki, and Kakulu Saggiaktok. Until November 22, Kenojuak: From Drawing to Print includes 22 works (11 drawings 2008. Shown: Carrying Groceries, 2007, and 11 prints), as well as a large drawing commissioned by private Suvinai Ashoona, Cape Dorset. collectors in 2004. Also on display are archival photographs of h=Nw xhN, rzw5 Kenojuak, brief biographies, and photographs of some of the key artists who transformed Kenojuak’s drawings into prints. The exhibit is at the McMichael Canadian Art Collection, Kleinburg, Ontario, until November 30, 2008. Shown: (Drawing) Blue Owl, 1966–1969. Public Shown: (Print) Blue Owl, 1969. gaJ3b6 s4W4Jx6 Galleries Commercial Galleries

Small Sculptures by Great Artists comprises 60 miniature and small- scale sculptures by artists who often work in large scale. At Feheley Fine Arts, Toronto, Ontario, from December 29, 2008 to January 31, Inuit: A Selection of Works 2009. Shown: From the Earth, from the Musée national des 2008, Idris Moss-Davies, Ottawa. beaux-arts du Québec is a collec- wgE{ m{_bw={, xg? tion of 110 sculptures, including Contemporary Canadian Inuit Drawings/Chinese Drawings from Huxian, 86 miniatures on loan from the Jinshan, and Qijiang is a cross-cultural exhibition showing the common bonds Brousseau Inuit Art Collection. The between two seemingly disparate groups of artists. Thirty-two Chinese drawings exhibit runs until January 25, 2009, and eighteen Inuit drawings (from Baker Lake and Cape Dorset) illustrate a shared at the Salle Alfred-Pellan in Laval, Cape Dorset Sculptures and Others is on display connection in relation to nature, spirituality, and their social environments. It is at Quebec. Shown: Effets de l’alcool, in Paris, France, at Galerie Saint Merri until the McMichael Canadian Art Collection, Kleinburg, Ontario, until January 4, 2009. 2001, Kavavow Pee, Salluit, Nunavik. December 2008. Shown: Composition, 2005, Tukuki Shown: White Man’s Music, 1990, Kananginak Pootoogook, Cape Dorset. c??s6 W, n9o5 r?9o6 Manomie, Cape Dorset. gfr mku, rzw5 vNq8N6 SgA6, rzw5

4 I Vol.23, No.4 winter 2008 Inuit art quarterly I 5 AT THE GALLERIES

4 I Vol.23, No.4 winter 2008 Inuit art quarterly I 5 PUBLIC EXHIBITION DETAILS TRAVELLING EXHIBITIONS Contemporary Canadian Inuit Drawings/Chinese Drawings from Life in a Cold Place: Arctic Art from Inuit: A Selection of Works from the Huxian, Jinshan, and Qijiang, the Albrecht Collection, co-curated Musée national des beaux-arts du co-curated by Judith Nasby, director and by Dr. Daniel Albrecht, Martha Albrecht Québec, curated by Guislaine Lemay curator of the Macdonald Stewart Art and Dr. Ann Marshall, presents a selec- and on loan from the Brousseau Inuit Art Centre, and Feng Bin, director of the tion of prints, drawings, and sculpture Collection, is at the Salle Alfred-Pellan, Chongqing Art Museum, is at the Commercial examining the ways that artists depict their 1395 boulevard de la Concorde, Laval, McMichael Canadian Art Collection, lives and survive in a cold environment. Quebec, until January 25, 2009. 10365 Islington Avenue, Kleinburg, At the Heard Museum, 2301 North Telephone: (450) 662-4440. Itinerary: Galleries Ontario, until January 4, 2009. Central Avenue, Phoenix, Arizona, Centre d’exposition de Val-d’Or, Telephone: (905) 893-1121. Itinerary: until September 2009. Telephone: Quebec, from March 6 to April 19, 2009. Macdonald Stewart Art Centre, Guelph, (602) 252-8848. Telephone: (819) 825-0942. Ontario, from January 15 to July 19, Polar Attractions, curated by Jane Arctic Spirit: Inuit Art from the 2009. Telephone: (519) 837-0010. Winchell, presents creative responses to Albrecht Collection at the Heard the polar environment and the science Museum, curated by Ingo Hessel, at of climate change with reference to the Mashantucket Pequot Museum, PERMANENT EXHIBITIONS 47 works of contemporary art. At the 110 Pequot Trail, Mashantucket, Ontario Peabody Essex Museum’s Art & Nature Connecticut, from December 28, 2008, Art Gallery of Ontario (Toronto) Center, East India Square, 11 Essex to March 1, 2009. Telephone: Chedoke Hospital of Hamilton Health Street, Salem, Massachusetts, until (800) 411-9671. Itinerary: Louisiana Art Sciences (Hamilton) June 2009. Telephone: (866) 745-1876. and Science Museum, Baton Rouge, Macdonald Stewart Art Centre (Guelph) Louisiana, from March 25 to May 31, McMichael Canadian Art Collection Music and Dance in Inuit Art, 2009. Telephone: (225) 344-5272. (Kleinburg) curated by Darlene Coward Wight, National Gallery of Canada (Ottawa) explores music as a significant aspect The Inuit Dolls of the Kivalliq, curated Royal Ontario Museum (Toronto) by Darrin Martens, features a selection of Inuit culture. At the Winnipeg Art Toronto-Dominion Gallery of Inuit Art Gallery, 300 Memorial Boulevard, of dolls from eight communities, (Toronto) Abraham Anghik Ruben: Myths. Stories. Legends, features new works by the Winnipeg, Manitoba, from September 27 representing diverse approaches and Museum of Inuit Art (Toronto) artist. It is at the Kipling Gallery in Woodbridge, Ontario, until December 7, 2008. to March 15, 2009. Telephone: techniques of dollmaking. The exhibit Shown: (left) Seated Shaman, 2008. Shown (above) Thor, 2008, Salt Spring (204) 789-1760. will open at the Winnipeg Art Gallery, Quebec Island, British Columbia. GnsuziH w4y?3g6 xz4f6, 2008 Gbo3WxiH gx, 300 Memorial Boulevard, Winnipeg, Canadian Guild of Crafts (Montreal) 2008, n5 yKo1, St vMWx Kenojuak: From Drawing to Print, Manitoba, August 14, 2009. Telephone: Canadian Museum of Civilization curated by Shawna White, is comprised (204) 789-1760. (Gatineau) of 22 works, archival photographs, McCord Museum of Canadian History brief biographies, and photographs First Peoples of Canada: Master- (Montreal) of key printmakers. It is at the works from the Canadian Museum of Montreal Museum of Fine Arts (Montreal) McMichael Canadian Art Collection, Civilization, organized by the CMC in Musée national des beaux-arts du 10365 Islington Avenue, Kleinburg, collaboration with the National Museum Québec (Quebec) Ontario, until November 30, 2008. of China. At the Beijing Art Museum of Telephone: (905) 893-1121 or toll-free, Imperial City, 16, East Chang’an Street, Manitoba (888) 213-1121. Dongcheng district, Beijing, China, Crafts Museum, Crafts Guild of Manitoba until October 15, 2009. Telephone: (Winnipeg) The Urge to Abstraction: The Graphic 0086-10-8447-4914. Itinerary: Osaka, Eskimo Museum (Churchill) Art of Janet Kigusiuq, curated by Japan, 2009. Winnipeg Art Gallery (Winnipeg) Cynthia Waye, includes a selection of drawings and collages, as well as wall Anthem: Perspectives on Home and Nunavik hangings tracing the artist’s development Native Land, curated by Ryan Rice, Pingualuit National Park Visitor’s Centre Unique Sculpture from Whalebone Masterworks VII, featuring Palaya Qiatsuk, Manasie Akpaliapik, David Ruben Piqtoukun, from realism to pure abstraction. At the will be at the Kitchener–Waterloo Art (Kangiqsujuaq) showcases work created between the Toonoo Sharky and Pootoogook Jaw, among others, runs from November 23 to Museum of Inuit Art, 207 Queen’s Quay Gallery, 101 Queen Street North, Kitchener, 1950s and the 1960s. At Arctic Artistry, December 24, 2008, at the Canadian Arctic Gallery in Basel, Switzerland. Nunavut West, Toronto, Ontario, until January Ontario, from January 19 to March 22, Nunatta Sunakkutaangit Museum (Iqaluit) Chappaqua, New York, until February Shown: Shaman Propositions Sedna, 2006, Palaya Qiatsuk, Cape Dorset. 2009. Telephone: (416) 603-7591. 2009. Telephone: (519) 579-5860. XM/ ex5h4, rzw5 2009. Shown: Young Girl, 1999, Manasie United States Culture on Cloth, curated by Judith Akpaliapik, originally from Ikpiaqiuk Dennos Museum Center (Traverse City, Varney Burch and featuring wall hangings (Arctic Bay), Nunavut, now living in Michigan) from Baker Lake, Nunavut, is at Les Quebec. m4f4g6 x3N6, mNy Alaska Museum of History and Art x4XoxW4, w4Wx3J4, kNK5 Muséales de Tourouvre, 15 rue Mondrel, 61 190, Tourouvre, France, until December (Anchorage, Alaska) 2008. Telephone: (02) 33 25 55 55. Itinerary: Canadian Cultural Centre, Paris, France, from February to March 2009.

6 I Vol.23, No.4 winter 2008 Inuit art quarterly I 7 PUBLIC EXHIBITION DETAILS TRAVELLING EXHIBITIONS Contemporary Canadian Inuit Drawings/Chinese Drawings from Life in a Cold Place: Arctic Art from Inuit: A Selection of Works from the Huxian, Jinshan, and Qijiang, the Albrecht Collection, co-curated Musée national des beaux-arts du co-curated by Judith Nasby, director and by Dr. Daniel Albrecht, Martha Albrecht Québec, curated by Guislaine Lemay curator of the Macdonald Stewart Art and Dr. Ann Marshall, presents a selec- and on loan from the Brousseau Inuit Art Centre, and Feng Bin, director of the tion of prints, drawings, and sculpture Collection, is at the Salle Alfred-Pellan, Chongqing Art Museum, is at the Commercial examining the ways that artists depict their 1395 boulevard de la Concorde, Laval, McMichael Canadian Art Collection, lives and survive in a cold environment. Quebec, until January 25, 2009. 10365 Islington Avenue, Kleinburg, At the Heard Museum, 2301 North Telephone: (450) 662-4440. Itinerary: Galleries Ontario, until January 4, 2009. Central Avenue, Phoenix, Arizona, Centre d’exposition de Val-d’Or, Telephone: (905) 893-1121. Itinerary: until September 2009. Telephone: Quebec, from March 6 to April 19, 2009. Macdonald Stewart Art Centre, Guelph, (602) 252-8848. Telephone: (819) 825-0942. Ontario, from January 15 to July 19, Polar Attractions, curated by Jane Arctic Spirit: Inuit Art from the 2009. Telephone: (519) 837-0010. Winchell, presents creative responses to Albrecht Collection at the Heard the polar environment and the science Museum, curated by Ingo Hessel, at of climate change with reference to the Mashantucket Pequot Museum, PERMANENT EXHIBITIONS 47 works of contemporary art. At the 110 Pequot Trail, Mashantucket, Ontario Peabody Essex Museum’s Art & Nature Connecticut, from December 28, 2008, Art Gallery of Ontario (Toronto) Center, East India Square, 11 Essex to March 1, 2009. Telephone: Chedoke Hospital of Hamilton Health Street, Salem, Massachusetts, until (800) 411-9671. Itinerary: Louisiana Art Sciences (Hamilton) June 2009. Telephone: (866) 745-1876. and Science Museum, Baton Rouge, Macdonald Stewart Art Centre (Guelph) Louisiana, from March 25 to May 31, McMichael Canadian Art Collection Music and Dance in Inuit Art, 2009. Telephone: (225) 344-5272. (Kleinburg) curated by Darlene Coward Wight, National Gallery of Canada (Ottawa) explores music as a significant aspect The Inuit Dolls of the Kivalliq, curated Royal Ontario Museum (Toronto) by Darrin Martens, features a selection of Inuit culture. At the Winnipeg Art Toronto-Dominion Gallery of Inuit Art Gallery, 300 Memorial Boulevard, of dolls from eight communities, (Toronto) Abraham Anghik Ruben: Myths. Stories. Legends, features new works by the Winnipeg, Manitoba, from September 27 representing diverse approaches and Museum of Inuit Art (Toronto) artist. It is at the Kipling Gallery in Woodbridge, Ontario, until December 7, 2008. to March 15, 2009. Telephone: techniques of dollmaking. The exhibit Shown: (left) Seated Shaman, 2008. Shown (above) Thor, 2008, Salt Spring (204) 789-1760. will open at the Winnipeg Art Gallery, Quebec Island, British Columbia. GnsuziH w4y?3g6 xz4f6, 2008 Gbo3WxiH gx, 300 Memorial Boulevard, Winnipeg, Canadian Guild of Crafts (Montreal) 2008, n5 yKo1, St vMWx Kenojuak: From Drawing to Print, Manitoba, August 14, 2009. Telephone: Canadian Museum of Civilization curated by Shawna White, is comprised (204) 789-1760. (Gatineau) of 22 works, archival photographs, McCord Museum of Canadian History brief biographies, and photographs First Peoples of Canada: Master- (Montreal) of key printmakers. It is at the works from the Canadian Museum of Montreal Museum of Fine Arts (Montreal) McMichael Canadian Art Collection, Civilization, organized by the CMC in Musée national des beaux-arts du 10365 Islington Avenue, Kleinburg, collaboration with the National Museum Québec (Quebec) Ontario, until November 30, 2008. of China. At the Beijing Art Museum of Telephone: (905) 893-1121 or toll-free, Imperial City, 16, East Chang’an Street, Manitoba (888) 213-1121. Dongcheng district, Beijing, China, Crafts Museum, Crafts Guild of Manitoba until October 15, 2009. Telephone: (Winnipeg) The Urge to Abstraction: The Graphic 0086-10-8447-4914. Itinerary: Osaka, Eskimo Museum (Churchill) Art of Janet Kigusiuq, curated by Japan, 2009. Winnipeg Art Gallery (Winnipeg) Cynthia Waye, includes a selection of drawings and collages, as well as wall Anthem: Perspectives on Home and Nunavik hangings tracing the artist’s development Native Land, curated by Ryan Rice, Pingualuit National Park Visitor’s Centre Unique Sculpture from Whalebone Masterworks VII, featuring Palaya Qiatsuk, Manasie Akpaliapik, David Ruben Piqtoukun, from realism to pure abstraction. At the will be at the Kitchener–Waterloo Art (Kangiqsujuaq) showcases work created between the Toonoo Sharky and Pootoogook Jaw, among others, runs from November 23 to Museum of Inuit Art, 207 Queen’s Quay Gallery, 101 Queen Street North, Kitchener, 1950s and the 1960s. At Arctic Artistry, December 24, 2008, at the Canadian Arctic Gallery in Basel, Switzerland. Nunavut West, Toronto, Ontario, until January Ontario, from January 19 to March 22, Nunatta Sunakkutaangit Museum (Iqaluit) Chappaqua, New York, until February Shown: Shaman Propositions Sedna, 2006, Palaya Qiatsuk, Cape Dorset. 2009. Telephone: (416) 603-7591. 2009. Telephone: (519) 579-5860. XM/ ex5h4, rzw5 2009. Shown: Young Girl, 1999, Manasie United States Culture on Cloth, curated by Judith Akpaliapik, originally from Ikpiaqiuk Dennos Museum Center (Traverse City, Varney Burch and featuring wall hangings (Arctic Bay), Nunavut, now living in Michigan) from Baker Lake, Nunavut, is at Les Quebec. m4f4g6 x3N6, mNy Alaska Museum of History and Art x4XoxW4, w4Wx3J4, kNK5 Muséales de Tourouvre, 15 rue Mondrel, 61 190, Tourouvre, France, until December (Anchorage, Alaska) 2008. Telephone: (02) 33 25 55 55. Itinerary: Canadian Cultural Centre, Paris, France, from February to March 2009.

6 I Vol.23, No.4 winter 2008 Inuit art quarterly I 7 editorial

It Was Worth Doing

GUEST EDITORIAL BY LESLIE BOYD RYAN

he Kinngait Studios in Cape It is becoming especially chal- Magazine featured more than 20 prints Dorset are poised to celebrate their lenging to maintain the printmaking and drawings by Cape Dorset graphic T 50th anniversary next year and program in the face of rising costs and artists in a Special Arctic Issue people are already wondering what a shrinking stable of artists willing (November 2007). Initial skepticism we have in mind. Without giving too and able to contribute memorable gave way to something like amaze- much away, I can safely say that the images to the annual collections. ment after I invited their staff to the annual fall collection will reflect, as For the carvers, too, Cape Dorset has Toronto showroom to see some of much as possible, our illustrious history, become a magnet for anyone and the work currently being done. and the spring collection will, once everyone looking for everything The Winnipeg-based arts magazine, again, look to the future with work from souvenirs to “masterworks.” Border Crossings, followed suit with a from the younger generation. Predictably, we are seeing too much profile of Cape Dorset artists Suvinai A number of public institutions of the former and not enough of the Ashoona, Kavavaow Mannomee, and are eager to join the party, with exhibitions focussed on the printmaking tradition in Cape Dorset. We will also host a documentary film crew For those of us who strive from Site Media Inc., and producers Arts InduvIk CAnAdA InC. of the 2006 film, Annie Pootoogook, to keep the bar high, Inuit Art Wholesale Distributors who will track the production of the 50th collection as a way of illumi these are trying times Sculptures, Prints, Drawings nating the past, present, and future of this remarkable place and enter- prise. Stay tuned to BRAVO!, TVO, latter. There is still some fine work Nick Sikkuark of Gjoa Haven. Several and the Knowledge Network in the being done, but the buying environ- major public museums and galleries fall of 2009. ment is so competitive that efforts to are on a quest to catch up and keep In light both of the changes that encourage innovation inevitably fall current with developments in con have engulfed the North in the past flat. For those of us who strive to keep temporary Inuit art. 50 years and the present reality, it is the bar high, these are trying times. This renewed interest is fuelled and not surprising that the West Baffin That being said, there are a number driven by a few forward-looking com- Eskimo Co-operative and its studios among the Cape Dorset artists who are mercial galleries. The majority of Inuit are experiencing something of a clearly on the cusp of something new art galleries, however, are content to mid-life crisis. As in most critical and exciting. Annie Pootoogook’s rely on a more traditional collector junctures, the times call for a new crossover success showed us that the base, and, for the moment, there is path to be laid; this can be arduous contemporary art audience in the enough diversity in the work being and lonely work. South is eager for a connection with done to satisfy both. This is a brief the “new North.” Annie’s work was moment, however; if Inuit art is the direct flight. to remain a vital expression of a The ensuing interest in contem changing culture, it must keep pace “TRANSFORMATION”, Original drawing — pen, ink and coloured pencil, porary Inuit art and artists is unpre with the times. Artist: Germaine Arnaktauyok, Size: 28h X 32w cm cedented in recent times. Walrus Iqaluit: Montreal: Vancouver: Box 760 410, St. Jacques Leonard Zurkowski Iqaluit, NU X0A 0H0 Lachine, P.Q. H8R 1E8 5588 Frigate Road Phone (867) 979-5578 Phone (514) 731-1127 Ladner, B.C. V4K 4Z5 FAX (867) 979-1103 FAX (514) 731-7767 Phone (604) 946-0933 1 800 561- 3553 Canada and USA FAX (604) 946-4114 E-mail: [email protected]

Inuit art quarterly I 9 editorial

It Was Worth Doing

GUEST EDITORIAL BY LESLIE BOYD RYAN

Inuit art quarterly I 9 IAQ Portfolio Fofeaturecus on

and Cape Dorset’s recent release and professional artists who will sus- That cry has fallen on deaf ears Inuit Artists of the folio, Nine Works by Seven tain the studios into the foreseeable for a long time. The Government of Artists, was a deliberate attempt future. How to approach this is the Nunavut has only recently begun to to show the changing face of Inuit vexing question. address the whole area of arts policy graphic art and to showcase those Paper and drawing materials are and programs, and it remains to be Tuberculosis Patients individuals who are doing the most always available at the studios, but seen whether its recent strategy paper, interesting work. It took a couple of few take advantage of this and stop by focussing on “brand recognition” and years to build the collection and we to pick them up. There is now little “market share,” will effectively address did not assume that it would meet incentive to become a visual artist some of the critical and longstanding in with immediate commercial success. in the North. When arts advisor Bill local concerns. Hamilton BY SUSAN GUSTAVISON Nevertheless, we feel strongly that Ritchie is in town animating the To name one: the stone sites have this is our role and that these artists lithography studio, more are inclined been neglected for years and the old (and hopefully more who will join to participate and try new approaches, guard — those individuals who have hrough a most improbable set their ranks) represent the future of such as the renewed experimentation taken it upon themselves to travel and of circumstances, the Inuit of Inuit graphic art. As predicted, the in large-format works in oil stick transport stone back to the commu- Tthe Eastern Arctic, their art, and collection garnered rave critical and pastel. Other recent forays into nity — are tired of the backbreaking the people of Hamilton came together and dangerous work and uncertain in the 1950s through the auspices of remuneration. The co-op has always the Mountain Sanatorium. During the We join in the cri de cœur of bought stone to supply to carvers at 1930s, the few medical officers in a nominal mark-up, but the cost the Arctic began calling attention and the quality have become issues, to the high incidence of tuberculosis the broader arts community in not to mention the whole question among the Inuit. In the early 1940s, of whether or not we will even see the chorus was joined by doctors the call for funding to support the finished work, given the options attached to American military bases available. Young carvers are neither in the North who reported on the infrastructure, experimentation, equipped — with suitable boat, motor, shocking condition of Inuit health and staff — nor interested in the pur- and medical care. In 1945, respon suit of raw material. I’m told that it sibility for northern health needs and development in all spheres of might be a quiet winter for carving was transferred to the newly created in Cape Dorset. Department of National Health and artistic development in the North It will not be a quiet winter in Welfare. With doctors now in the the studios; that much we know. driver’s seat, and the incidence of In October, work will begin on the tuberculosis among the Inuit at the 50th annual print collection. The reviews, but only a limited number community outreach involved Paul alarmingly high rate of one in seven for two and a half years or more at a Inuit patients working on soapstone carvings, of commercial galleries got behind it. Machnik of Studio PM (Montreal) success and longevity of the studios people, a methodical campaign against stretch (Tester, McNicoll, and Irniq 1955. wkw5 x8ix=ox3ymJ5 nNax3g5 This is not sustainable either, for who distributed etching plates to just was never predicted nor predictable. tuberculosis began. The annual supply 2001:124). And, of course, there 1955 Bxjb8 obvious financial reasons. The arts about every household in town. Over We’re here because, as Terry Ryan, ships were used as floating medical were those who did not survive to All photos are courtesy of Health Sciences Library, McMaster University, Hamilton, Ontario division of the West Baffin Eskimo 200 images resulted, most by young longtime general manager of the bases to survey and x-ray the popu return north (Inuktitut Magazine Co-op has been fortunate, indeed, to people and most experimental in co-op, once said, “It was worth doing, lation (Grygier 1994:58–67). 1990; Wilson 1995). be self-sustaining and not dependent nature and amateur in execution. This so we did it.” By the time the tuberculosis epi- However well-meaning and medi- Minnie Aodla Freeman, from Cape on outside sources of funding. This, is to be expected. It will take time and demic was brought under control, cally necessary these stays in the Hope Island in James Bay, described too, is changing. The harsh reality persistence to nurture professional Leslie Boyd Ryan has been employed it is estimated that half of all Inuit sanatorium were, the hardships on her experience as a patient in the of maintaining the infrastructure built results. In the meantime, we join in by the West Baffin Eskimo Co-operative had spent some time in sanato- patients and family alike, caused by hospital at Moose Factory: “The up over the years is a given, but the the cri de cœur of the broader arts for close to 30 years. She has lived and riums in southern Canada, often removing the afflicted from their doctors would bring with them a greatest challenge, I believe, is in community in the call for funding to worked in Cape Dorset. She now resides homes, communities, and cultural translator and tell the patient that he building a new stable of creative support infrastructure, experimenta- in Toronto, where she is director of milieu, can hardly be imagined. The or she had to go south to Hamilton. tion, and development in all spheres the co-op’s marketing division, forced evacuation was startlingly No preparation, no warning, no of artistic development in the North. Dorset Fine Arts. abrupt, especially in the early years.

10 I Vol.23, No.4 winter 2008 InInuituit artart quarterlyquarterly II 1111 IAQ Portfolio Fofeaturecus on

10 I Vol.23, No.4 winter 2008 InInuituit artart quarterlyquarterly II 1111 summer, when the northern supply An Inuk patient working and medical ship, the C.D. Howe, on a soapstone carving. docked in Quebec City. The subse- wkw5 x8ix=ox3ymJ5 nNax3g5 Bxjb8 quent arrival of Inuit sculpture in a few retail outlets was widely anti choice, and no reason given why cipated by fledgling collectors. This they had to go so far away to be is quite different, of course, from An Inuk carving over today’s practice of regularly shipping newspaper. wk4 nNax3g6 cured. One afternoon we boarded scomZ3u4 x9Cc3Li Bxjb8 the train to Hamilton” (Freeman stone sculpture south by air freight, 1978:174; d’Argencourt 1988). sometimes as often as each week. It material — through the use of panto- Inuit patients arrived at the is also quite a different scenario from mime due to the language barrier — Mountain Sanatorium with limited or the steady sale of Inuit art and handi- the nurses brought them wood, a no possessions beyond the clothing decade 1953–63. Since the records Enter Inuit Art crafts happening at the Mountain material that, apart from occasional Sanatorium and the Charles Camsell driftwood, was outside their experi- on their backs, often beautiful car- prior to 1953 do not identify patients At the same time, Inuit art was just Hospital during the 1950s. ence in the Arctic (Croft 1958:28). ibou skin parkas, far too warm for as Inuit, the actual total must have beginning to be seen on the national By all accounts, the late Dr. Hugo Hamilton’s climate. Most had an been higher, as there were significant cultural scene. It was not as widely T. Ewart, medical superintendent Inuktitut-language Bible tucked numbers of Inuit patients in those available, neither in Canada nor Art as Occupational Therapy at the Mountain Sanatorium from into their parkas; despite the lack of preceding years.1 abroad, as it is today. The first major As their health progressed, Inuit 1947–70, was very sympathetic schools across the North, 80 per cent At the end of 1956, the height sale of Inuit sculpture was held as patients joined in the many well- to the plight of Inuit patients. At of the population were literate in of the epidemic, there were 319 Inuit recently as 1949 at the Canadian organized occupational therapy numerous meetings and in the press, their own language. patients in the Mountain Sanatorium. Handicrafts Guild in Montreal. In activities and school programs run he commented on their intelligence 1952, an exhibition of Cape Dorset by 30 full-time teachers assisted by and cooperation, including their sculpture was shown at the National part-timers. Within the Hamilton ability to adapt to the southern hos- Gallery in Ottawa. That same school system, the Mountain It is staggering to realize that pital experience, an ability that was year, sales were held in New York, Sanatorium was a discrete school a thousand times better than south- Winnipeg, Quebec City, and board. As former patient Minnie the Inuit patients in Hamilton erners would ever display in adapting Montreal (Wight 1990:72). Gimpel Aodla Freeman describes it: to Baffin Island (Hamilton Spectator, Fils Gallery in London, England, also “Teachers came around, each trying March 10, 1995). It appears to have constituted, in effect, the largest organized an important exhibition to find out who would like to take up been his idea to have carvingstone of Inuit sculpture to mark the something. But permission had to be shipped from Pamour Mines (now Inuit “settlement” in all of Canada coronation of Queen Elizabeth II. granted by the doctors if a patient owned by Kinross Gold Corporation) Prints arrived in southern Canada wanted to take on an extra project” near Timmins, in northern Ontario, even later. A small exhibition of (1978:177). Other items might include bobby To put this number in perspective, to the sanatorium for the patients’ An Inuk patient. experimental work from Cape An internal radio station, avail- wk4 x8ix=ox3ymJ6 nNax3g6 Bxjb8 pins, chewing gum, cigarettes, we can compare it with the then- use (Hamilton Spectator, July 4, 1992). and a portable sewing machine population of fewer than 100 at Cape Dorset was shown in Winnipeg in able at each bedside, broadcast December 1958, and another in Anglican and Roman Catholic ser- (Croft 1958:22). Dorset, one of the larger hamlets in Where There is Production, As the designated treatment the Eastern Arctic. It is staggering Stratford during the 1959 summer vices daily. Both in Hamilton and centre for the Eastern Arctic, the to realize that the Inuit patients in theatre season. Annual print collec- Edmonton, the women were indus- There are Sales Mountain Sanatorium in Hamilton Hamilton constituted, in effect, the tions from other communities did trious, spending most of their time In September 1953, a shop was eventually received 1,274 Inuit largest Inuit “settlement” in all of not appear until the 1960s. sewing clothing and dolls, knitting, opened on the premises of the children and adults during the Canada. During the same period, Also of interest, in light of the crocheting, and embroidering. The Mountain Sanatorium, staffed by the Charles Camsell Hospital in significant and continuing Inuit pres- men carved wood, stone, or other volunteers under the direction of Edmonton was the treatment centre ence in Hamilton during the 1950s, materials if they were available. Thelma Poag. Among the items for for the Mackenzie River basin and is the fact that Inuit sculpture arrived Apparently, when some of the men sale, Inuit handicrafts and sculptures the Western Arctic (Staples and in the South only at the end of each first indicated their desire for carving were a big attraction. To cover costs, McConnell 1993). the shop added 10 per cent to items selling for less than $3, and 5 per cent

12 I Vol.23, No.4 winter 2008 Inuit art quarterly I 13 summer, when the northern supply An Inuk patient working and medical ship, the C.D. Howe, on a soapstone carving. docked in Quebec City. The subse- wkw5 x8ix=ox3ymJ5 nNax3g5 Bxjb8 quent arrival of Inuit sculpture in a few retail outlets was widely anti choice, and no reason given why cipated by fledgling collectors. This they had to go so far away to be is quite different, of course, from An Inuk carving over today’s practice of regularly shipping newspaper. wk4 nNax3g6 cured. One afternoon we boarded scomZ3u4 x9Cc3Li Bxjb8 the train to Hamilton” (Freeman stone sculpture south by air freight, 1978:174; d’Argencourt 1988). sometimes as often as each week. It material — through the use of panto- Inuit patients arrived at the is also quite a different scenario from mime due to the language barrier — Mountain Sanatorium with limited or the steady sale of Inuit art and handi- the nurses brought them wood, a no possessions beyond the clothing decade 1953–63. Since the records Enter Inuit Art crafts happening at the Mountain material that, apart from occasional Sanatorium and the Charles Camsell driftwood, was outside their experi- on their backs, often beautiful car- prior to 1953 do not identify patients At the same time, Inuit art was just Hospital during the 1950s. ence in the Arctic (Croft 1958:28). ibou skin parkas, far too warm for as Inuit, the actual total must have beginning to be seen on the national By all accounts, the late Dr. Hugo Hamilton’s climate. Most had an been higher, as there were significant cultural scene. It was not as widely T. Ewart, medical superintendent Inuktitut-language Bible tucked numbers of Inuit patients in those available, neither in Canada nor Art as Occupational Therapy at the Mountain Sanatorium from into their parkas; despite the lack of preceding years.1 abroad, as it is today. The first major As their health progressed, Inuit 1947–70, was very sympathetic schools across the North, 80 per cent At the end of 1956, the height sale of Inuit sculpture was held as patients joined in the many well- to the plight of Inuit patients. At of the population were literate in of the epidemic, there were 319 Inuit recently as 1949 at the Canadian organized occupational therapy numerous meetings and in the press, their own language. patients in the Mountain Sanatorium. Handicrafts Guild in Montreal. In activities and school programs run he commented on their intelligence 1952, an exhibition of Cape Dorset by 30 full-time teachers assisted by and cooperation, including their sculpture was shown at the National part-timers. Within the Hamilton ability to adapt to the southern hos- Gallery in Ottawa. That same school system, the Mountain It is staggering to realize that pital experience, an ability that was year, sales were held in New York, Sanatorium was a discrete school a thousand times better than south- Winnipeg, Quebec City, and board. As former patient Minnie the Inuit patients in Hamilton erners would ever display in adapting Montreal (Wight 1990:72). Gimpel Aodla Freeman describes it: to Baffin Island (Hamilton Spectator, Fils Gallery in London, England, also “Teachers came around, each trying March 10, 1995). It appears to have constituted, in effect, the largest organized an important exhibition to find out who would like to take up been his idea to have carvingstone of Inuit sculpture to mark the something. But permission had to be shipped from Pamour Mines (now Inuit “settlement” in all of Canada coronation of Queen Elizabeth II. granted by the doctors if a patient owned by Kinross Gold Corporation) Prints arrived in southern Canada wanted to take on an extra project” near Timmins, in northern Ontario, even later. A small exhibition of (1978:177). Other items might include bobby To put this number in perspective, to the sanatorium for the patients’ An Inuk patient. experimental work from Cape An internal radio station, avail- wk4 x8ix=ox3ymJ6 nNax3g6 Bxjb8 pins, chewing gum, cigarettes, we can compare it with the then- use (Hamilton Spectator, July 4, 1992). and a portable sewing machine population of fewer than 100 at Cape Dorset was shown in Winnipeg in able at each bedside, broadcast December 1958, and another in Anglican and Roman Catholic ser- (Croft 1958:22). Dorset, one of the larger hamlets in Where There is Production, As the designated treatment the Eastern Arctic. It is staggering Stratford during the 1959 summer vices daily. Both in Hamilton and centre for the Eastern Arctic, the to realize that the Inuit patients in theatre season. Annual print collec- Edmonton, the women were indus- There are Sales Mountain Sanatorium in Hamilton Hamilton constituted, in effect, the tions from other communities did trious, spending most of their time In September 1953, a shop was eventually received 1,274 Inuit largest Inuit “settlement” in all of not appear until the 1960s. sewing clothing and dolls, knitting, opened on the premises of the children and adults during the Canada. During the same period, Also of interest, in light of the crocheting, and embroidering. The Mountain Sanatorium, staffed by the Charles Camsell Hospital in significant and continuing Inuit pres- men carved wood, stone, or other volunteers under the direction of Edmonton was the treatment centre ence in Hamilton during the 1950s, materials if they were available. Thelma Poag. Among the items for for the Mackenzie River basin and is the fact that Inuit sculpture arrived Apparently, when some of the men sale, Inuit handicrafts and sculptures the Western Arctic (Staples and in the South only at the end of each first indicated their desire for carving were a big attraction. To cover costs, McConnell 1993). the shop added 10 per cent to items selling for less than $3, and 5 per cent

12 I Vol.23, No.4 winter 2008 Inuit art quarterly I 13 As late as 1961, a Hudson’s knives. A final application of boiled linseed oil was rubbed in Bay Company executive with a polishing cloth to finish the surface (Hamilton Health Sciences complained to the federal Bulletin, 1961). In 1960, a selection of Inuit sculp- government that sales from ture from the National Gallery of Canada collection was displayed at the Mountain Sanatorium the Mountain Sanatorium for the benefit of the patients. A photograph were unfair competition accompanying the press coverage showed Paulosee Akiterk from and injurious to his northern Igloolik inspecting the exhibition (Hamilton Spectator, January 26, 1960). The display was described as business an attempt to bring some of their own culture to the patients. However, The annual income derived from (Paci 1996:52).2 By 1961, the federal since the initiative was organized by the sale of Inuit art and handicrafts government resolved this dilemma by the federal Department of Northern from the Mountain Sanatorium was creating a special tag for items made Affairs and Natural Resources, which astonishing, in some years greater by Inuit while in southern hospitals. was always anxious to maintain the than that of most Eastern Arctic A white card was printed with a red quality of Inuit art in the market- communities (Ayre 1999). Sculpture silhouette of a bird, whose stylized to those retailing for more. Patients Inuit buying craft supplies supervised by place, it can be surmised that the real produced and sold at the sanatorium feet evoked the design of the double- wkw5 is=3g5 received the rest. Apparently, no nurse Miss Yasunaka, 1955. objective was to inspire the patients turned up on the shelves of the bar-cross symbol so familiar from The annual income nNaxDt4ni4 1955 Bxjb8 patient ever realized more than $500 by showing them examples of sculp- Hudson’s Bay Company, as well years of fundraising campaigns con- derived from the per year, as rest and treatment were ture deemed to have passed the test as in department stores in Toronto ducted by the Canadian Tuberculosis the first priority in the daily schedule It can be deduced from photo- of “quality.” (Simpson’s) and Vancouver Association (Snowdon 1962). sale of Inuit art (Globe and Mail, December 1, 1956). graphs that patients sometimes (Woodward’s). Patients spent their modest earn- worked in bed with newspapers Quantity and/or Quality With the burgeoning success of A Northern Passion ings on their own needs, including spread out on the covers to catch the Inuit art during the 1950s, cheap The whole question of quality and In addition to their financial and handicrafts materials and tools to make more dust. Other photographs show carvers imitations started to appear. To quantity provides a fascinating successes, sales of Inuit arts and art, as well as such items as watches, using their rolling patient bedside ensure that nothing would demean behind-the-scenes look at the art crafts from the Hamilton Mountain from the Mountain cameras, and fabric. A few were able table as a work surface. Masks were Inuit fine art or affect its market- produced by the Inuit patients at the Sanatorium provided welcome occu- to send money home to their families worn as protection against the dust, ability, the Handicrafts Committee Mountain Sanatorium. In Canada, a pational therapy for Inuit. As late in the North. at least while pictures were being created the “igloo symbol” tag of Sanatorium was Handicrafts Committee, established as 1961, a Hudson’s Bay Company While some of the patients were taken. Interestingly, the stone avail- authenticity that is still in use today. in the mid-1950s, orchestrated the executive complained to the federal accomplished artists, others were able was sawn blocks — squares or Use of this tag was strictly limited astonishing, in marketing of Inuit art. This com- government that sales from the new to carving stone. Consequently, rectangles — of five different sizes to art that was non-functional mittee had three-way representation Mountain Sanatorium were unfair some sculptures were priced as high (Croft 1958:28). In their own com- in nature, made by Inuit living some years greater from the Department of Northern competition and injurious to his as $40 to $50, while others were munities, the stone used by artists in the Arctic, and for which the 3 Affairs and Natural Resources, the northern business. Beyond the more modestly priced, anywhere would have been irregularly shaped. artist had received more than $2 than that of most Canadian Handicrafts Guild, and sanatorium, Inuit were a catalyst in from $1.50 to $20. In the peak years Indeed, the stone’s shape often (Paci 1996:52). the Hudson’s Bay Company (Paci creating a passion for Inuit art within of the 1950s, six tons of stone arrived sparked the creative process. Where the Inuk artist was living 1996). It seems, however, to have Hamilton and the surrounding Eastern Arctic at the sanatorium and were carved The tools used in the sanatorium was an important criterion deter- operated without any representation communities. into about 200 sculptures per month were the usual variety of wood- mining who could use the igloo tag. from Inuit. In 2003, I curated an exhibition of communities Since Inuit living in the sanatorium (Ayre 1999). Highest annual sales working tools: hacksaws, heavy rasps, Inuit art entitled A Northern Passion: did not meet the definition of “Inuit reached $16,000. In 1960, as the a series of graduated files, and pocket Hamilton Collects Inuit Art for the numbers of Inuit patients dwindled, living in the Arctic,” their sculptures a shipment of two tons of carving could not have the igloo tag attached stone eventually realized $11,000.

14 I Vol.23, No.4 winter 2008 Inuit art quarterly I 15 As late as 1961, a Hudson’s knives. A final application of boiled linseed oil was rubbed in Bay Company executive with a polishing cloth to finish the surface (Hamilton Health Sciences complained to the federal Bulletin, 1961). In 1960, a selection of Inuit sculp- government that sales from ture from the National Gallery of Canada collection was displayed at the Mountain Sanatorium the Mountain Sanatorium for the benefit of the patients. A photograph were unfair competition accompanying the press coverage showed Paulosee Akiterk from and injurious to his northern Igloolik inspecting the exhibition (Hamilton Spectator, January 26, 1960). The display was described as business an attempt to bring some of their own culture to the patients. However, The annual income derived from (Paci 1996:52).2 By 1961, the federal since the initiative was organized by the sale of Inuit art and handicrafts government resolved this dilemma by the federal Department of Northern from the Mountain Sanatorium was creating a special tag for items made Affairs and Natural Resources, which astonishing, in some years greater by Inuit while in southern hospitals. was always anxious to maintain the than that of most Eastern Arctic A white card was printed with a red quality of Inuit art in the market- communities (Ayre 1999). Sculpture silhouette of a bird, whose stylized to those retailing for more. Patients Inuit buying craft supplies supervised by place, it can be surmised that the real produced and sold at the sanatorium feet evoked the design of the double- wkw5 is=3g5 received the rest. Apparently, no nurse Miss Yasunaka, 1955. objective was to inspire the patients turned up on the shelves of the bar-cross symbol so familiar from The annual income nNaxDt4ni4 1955 Bxjb8 patient ever realized more than $500 by showing them examples of sculp- Hudson’s Bay Company, as well years of fundraising campaigns con- derived from the per year, as rest and treatment were ture deemed to have passed the test as in department stores in Toronto ducted by the Canadian Tuberculosis the first priority in the daily schedule It can be deduced from photo- of “quality.” (Simpson’s) and Vancouver Association (Snowdon 1962). sale of Inuit art (Globe and Mail, December 1, 1956). graphs that patients sometimes (Woodward’s). Patients spent their modest earn- worked in bed with newspapers Quantity and/or Quality With the burgeoning success of A Northern Passion ings on their own needs, including spread out on the covers to catch the Inuit art during the 1950s, cheap The whole question of quality and In addition to their financial and handicrafts materials and tools to make more dust. Other photographs show carvers imitations started to appear. To quantity provides a fascinating successes, sales of Inuit arts and art, as well as such items as watches, using their rolling patient bedside ensure that nothing would demean behind-the-scenes look at the art crafts from the Hamilton Mountain from the Mountain cameras, and fabric. A few were able table as a work surface. Masks were Inuit fine art or affect its market- produced by the Inuit patients at the Sanatorium provided welcome occu- to send money home to their families worn as protection against the dust, ability, the Handicrafts Committee Mountain Sanatorium. In Canada, a pational therapy for Inuit. As late in the North. at least while pictures were being created the “igloo symbol” tag of Sanatorium was Handicrafts Committee, established as 1961, a Hudson’s Bay Company While some of the patients were taken. Interestingly, the stone avail- authenticity that is still in use today. in the mid-1950s, orchestrated the executive complained to the federal accomplished artists, others were able was sawn blocks — squares or Use of this tag was strictly limited astonishing, in marketing of Inuit art. This com- government that sales from the new to carving stone. Consequently, rectangles — of five different sizes to art that was non-functional mittee had three-way representation Mountain Sanatorium were unfair some sculptures were priced as high (Croft 1958:28). In their own com- in nature, made by Inuit living some years greater from the Department of Northern competition and injurious to his as $40 to $50, while others were munities, the stone used by artists in the Arctic, and for which the 3 Affairs and Natural Resources, the northern business. Beyond the more modestly priced, anywhere would have been irregularly shaped. artist had received more than $2 than that of most Canadian Handicrafts Guild, and sanatorium, Inuit were a catalyst in from $1.50 to $20. In the peak years Indeed, the stone’s shape often (Paci 1996:52). the Hudson’s Bay Company (Paci creating a passion for Inuit art within of the 1950s, six tons of stone arrived sparked the creative process. Where the Inuk artist was living 1996). It seems, however, to have Hamilton and the surrounding Eastern Arctic at the sanatorium and were carved The tools used in the sanatorium was an important criterion deter- operated without any representation communities. into about 200 sculptures per month were the usual variety of wood- mining who could use the igloo tag. from Inuit. In 2003, I curated an exhibition of communities Since Inuit living in the sanatorium (Ayre 1999). Highest annual sales working tools: hacksaws, heavy rasps, Inuit art entitled A Northern Passion: did not meet the definition of “Inuit reached $16,000. In 1960, as the a series of graduated files, and pocket Hamilton Collects Inuit Art for the numbers of Inuit patients dwindled, living in the Arctic,” their sculptures a shipment of two tons of carving could not have the igloo tag attached stone eventually realized $11,000.

14 I Vol.23, No.4 winter 2008 Inuit art quarterly I 15 Art Gallery of Hamilton. The selec- Experience Gallery. At its most Grygier, Pat Sandiford tion process was a happy challenge; fundamental level, the A Northern 1994 A Long Way from Home: INUIT ART SPRING SYMPOSIUM for, the collectors were eager to lend Passion exhibition celebrated the The Tuberculosis Epidemic among and there were many outstanding importance of the creative impulse the Inuit. Montreal and Kingston: INITIATING VITAL CONNECTIONS FOR THE 21ST CENTURY drawings, prints, and sculptures avail- that precedes the act of collection. McGill-Queen’s University Press. able. Eventually, the choices were Creativity played an important role whittled down to 45 drawings, prints, in patients’ therapy during their Hamilton Health Sciences June 12-14, 2009 or wall hangings, and 32 sculptures. lengthy stays at the Mountain 1961 Hamilton Health Sciences A number of the lenders to this Sanatorium, called igluyuak by the Bulletin, 20:2. Carleton University, Ottawa, ON exhibition traced their first experi- Inuit. At that “big, fake igloo,” ence with Inuit people and their creativity was a bridge between the Paci, Christopher art to the Hamilton Mountain cultures of the North and the South, 1996 “Commercialization of Inuit featuring Sanatorium. The late Jordan and art was the stuff of dialogue art: 1954–1964,” Études/Inuit/Studies, artistArts Ali vpresentationse Ad to come Livingston was, for example, presi- between peoples. 20, 1:51–53. dent of the Hamilton Chamber of Commerce, which had spearheaded Susan Gustavison is an independent Snowdon, Donald S. round table discussions the mass x-ray survey of the area curator living in Toronto, Ontario. 1962 “Eskimo Fine Crafts,” population for tuberculosis during North, 9, 1:26–27. Inuit Art Alive: a Virtual Exhibition launch NOTES 1950 and 1951. He met often with guided tours of Inuit art at the National Gallery Dr. Ewart at the sanatorium and 1 Telephone conversation with Staples, Annalisa R., and saw many Inuit patients. He told me the late Jordan Livingston, Ruth L. McConnell of Canada and other institutions with some emotion about how heart- March 31, 2003. Mr. Livingston 1993 Soapstone and Seed Beads: Arts rending it was for the Inuit to be in was a frequent visitor to the and Crafts at the Charles Camsell the hospital for months and years Mountain Sanatorium in 1950 Hospital, a Tuberculosis Sanatorium. without family or income.4 He took and 1951. Edmonton: Provincial Museum to handing out dollar bills to the 2 Paci cites one Edmonton buyer of Alberta. presented by the INUIT ART FOUNDATION Inuit patients who had no money who was exporting both authentic www.inuitart.org [email protected] tel: (613) 224-8189 for gum, candy, cigarettes, or other Inuit art and Japanese imitations Tester, Frank James, Paule ◦ ◦ needs. In time, the Inuit returned his of Inuit art to the New York McNicoll, and Peter Irniq favours by presenting him with small market. See also Ayre 1999. 2001 “Writing for our Lives: The sculptures that they had made. These 3 Letter from H.W. Sutherland to Language of Homesickness, Self- sculptures from the Livingston col- R.A.J. Phillips, February 15, 1961. esteem, and the Inuit TB ‘Epidemic,’ ” lection, along with others belonging Cited by Ayre 1999. Études/Inuit/Studies, 25, 102:124. to Dr. Ewart, form the nucleus of the 4 Interview with Jordan Livingston Check our website for updates! 54 sculptures on permanent display (now deceased) in Hamilton on Wight, Darlene Coward in the Wilcox and Ewart buildings November 28, 2002. 1990 The First Passionate Collector: of the Chedoke Hospital site of the 5 Interview with Miriam Lebow in The Ian Lindsay Collection of Inuit Hamilton Health Sciences network Hamilton on January 23, 2003. Art. Winnipeg: Winnipeg Art (Inuit Art Quarterly, fall, 1992). Gallery. Similarly, the late Julius Lebow was introduced to the power of REFERENCES Wilson, Paul Inuit art through his part-time Ayre, John 1995 “Granite Images Recall Lives of work teaching art at the sanatorium. 1999 “The Gasparski and Ridd 36 Inuit: Inuktitut-English Ceremony This interest prompted him to open Collections,” Inuit Art Quarterly, Planned for TB Victims Who Did Westdale Gallery in 1959, which is 14, 3:42–43. Not Go Home,” Hamilton Spectator, still in business under a new owner.5 May 27. In time, other galleries have been Croft, Frank established in Hamilton — the 1958 “The Changeling Eskimos of Beckett Gallery, Petteplace Gallery, the Mountain San,” MacLean’s, and, more recently, the Arctic February 1, 22, 28.

Freeman, Minnie Aodla 1978 Life Among the Qallunaat. Edmonton: Hurtig.

16 I Vol.23, No.4 winter 2008 Inuit art quarterly I 17 Art Gallery of Hamilton. The selec- Experience Gallery. At its most Grygier, Pat Sandiford tion process was a happy challenge; fundamental level, the A Northern 1994 A Long Way from Home: INUIT ART SPRING SYMPOSIUM for, the collectors were eager to lend Passion exhibition celebrated the The Tuberculosis Epidemic among and there were many outstanding importance of the creative impulse the Inuit. Montreal and Kingston: INITIATING VITAL CONNECTIONS FOR THE 21ST CENTURY drawings, prints, and sculptures avail- that precedes the act of collection. McGill-Queen’s University Press. able. Eventually, the choices were Creativity played an important role whittled down to 45 drawings, prints, in patients’ therapy during their Hamilton Health Sciences June 12-14, 2009 or wall hangings, and 32 sculptures. lengthy stays at the Mountain 1961 Hamilton Health Sciences A number of the lenders to this Sanatorium, called igluyuak by the Bulletin, 20:2. Carleton University, Ottawa, ON exhibition traced their first experi- Inuit. At that “big, fake igloo,” ence with Inuit people and their creativity was a bridge between the Paci, Christopher art to the Hamilton Mountain cultures of the North and the South, 1996 “Commercialization of Inuit featuring Sanatorium. The late Jordan and art was the stuff of dialogue art: 1954–1964,” Études/Inuit/Studies, artistArts Ali vpresentationse Ad to come Livingston was, for example, presi- between peoples. 20, 1:51–53. dent of the Hamilton Chamber of Commerce, which had spearheaded Susan Gustavison is an independent Snowdon, Donald S. round table discussions the mass x-ray survey of the area curator living in Toronto, Ontario. 1962 “Eskimo Fine Crafts,” population for tuberculosis during North, 9, 1:26–27. Inuit Art Alive: a Virtual Exhibition launch NOTES 1950 and 1951. He met often with guided tours of Inuit art at the National Gallery Dr. Ewart at the sanatorium and 1 Telephone conversation with Staples, Annalisa R., and saw many Inuit patients. He told me the late Jordan Livingston, Ruth L. McConnell of Canada and other institutions with some emotion about how heart- March 31, 2003. Mr. Livingston 1993 Soapstone and Seed Beads: Arts rending it was for the Inuit to be in was a frequent visitor to the and Crafts at the Charles Camsell the hospital for months and years Mountain Sanatorium in 1950 Hospital, a Tuberculosis Sanatorium. without family or income.4 He took and 1951. Edmonton: Provincial Museum to handing out dollar bills to the 2 Paci cites one Edmonton buyer of Alberta. presented by the INUIT ART FOUNDATION Inuit patients who had no money who was exporting both authentic www.inuitart.org [email protected] tel: (613) 224-8189 for gum, candy, cigarettes, or other Inuit art and Japanese imitations Tester, Frank James, Paule ◦ ◦ needs. In time, the Inuit returned his of Inuit art to the New York McNicoll, and Peter Irniq favours by presenting him with small market. See also Ayre 1999. 2001 “Writing for our Lives: The sculptures that they had made. These 3 Letter from H.W. Sutherland to Language of Homesickness, Self- sculptures from the Livingston col- R.A.J. Phillips, February 15, 1961. esteem, and the Inuit TB ‘Epidemic,’ ” lection, along with others belonging Cited by Ayre 1999. Études/Inuit/Studies, 25, 102:124. to Dr. Ewart, form the nucleus of the 4 Interview with Jordan Livingston Check our website for updates! 54 sculptures on permanent display (now deceased) in Hamilton on Wight, Darlene Coward in the Wilcox and Ewart buildings November 28, 2002. 1990 The First Passionate Collector: of the Chedoke Hospital site of the 5 Interview with Miriam Lebow in The Ian Lindsay Collection of Inuit Hamilton Health Sciences network Hamilton on January 23, 2003. Art. Winnipeg: Winnipeg Art (Inuit Art Quarterly, fall, 1992). Gallery. Similarly, the late Julius Lebow was introduced to the power of REFERENCES Wilson, Paul Inuit art through his part-time Ayre, John 1995 “Granite Images Recall Lives of work teaching art at the sanatorium. 1999 “The Gasparski and Ridd 36 Inuit: Inuktitut-English Ceremony This interest prompted him to open Collections,” Inuit Art Quarterly, Planned for TB Victims Who Did Westdale Gallery in 1959, which is 14, 3:42–43. Not Go Home,” Hamilton Spectator, still in business under a new owner.5 May 27. In time, other galleries have been Croft, Frank established in Hamilton — the 1958 “The Changeling Eskimos of Beckett Gallery, Petteplace Gallery, the Mountain San,” MacLean’s, and, more recently, the Arctic February 1, 22, 28.

Freeman, Minnie Aodla 1978 Life Among the Qallunaat. Edmonton: Hurtig.

16 I Vol.23, No.4 winter 2008 Inuit art quarterly I 17 Where do you always find Houston: The family that launched Inuit Art onto the world stage. beautiful Inuit art? at www.arcticartistry.com “Inuk Seal Hunter” Unidentified Artist Inukjuak

c. 1950’s H 5.75" L 4" D 7" , c.1957, unknown Bird artist, Head , area Nunavut c.1957, of (whalebone). Spence Bay,

inc. 110 Montague Street, Box 1055, Since 1983 Lunenburg, Nova Scotia, Canada, B0J 2C0 Chappaqua, New York 10514 tel: 866. 634. 8869 fax: 902. 634. 8332 914-238-4123 [email protected] [email protected]

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Images Art Gallery • Please

Recent Acquisitions Ron Apangalook, by visit “Polar Bear Shaman” 2007 Joe Talirunili, Miki, Pangnark, Kavik, Barnabus, Tiktak, our website 5225 Old Orchard Road, Suite 45 Luke Iksiktaaryak, Skokie, Illinois, 60077 Tattener & others Gallery Showroom by imagesinuitart.com Appointment Only • (847) 858-4827 3345 Yonge Street, Toronto, ON M4N 2M6 new web site (Tel.) 416-481-9584 www.nativearttraders.com Where do you always find Houston: The family that launched Inuit Art onto the world stage. beautiful Inuit art? at www.arcticartistry.com “Inuk Seal Hunter” Unidentified Artist Inukjuak

c. 1950’s H 5.75" L 4" D 7" , c.1957, unknown Bird artist, Head , area Nunavut c.1957, of (whalebone). Spence Bay,

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The New Generation: A Radical Defiance

BY ROBERT KARDOSH

All photos courtesy of Dorset Fine Arts, Toronto, Ontario

ifty years after the first experi- impressive publication has justly For a community of artists and ments with Inuit printmaking been welcomed as both a timely printmakers living and working far Fgot underway, a new generation tribute to Canada’s longest con- from the centres of contemporary art, of northern artists is taking the Cape tinuously running print studio, and both events — Ashevak’s award and Dorset graphic tradition into some a useful addition to the literature the general retrospective — testify different and challenging directions, on 20th-century Canadian art. to the success of their collective confronting old stereotypes in the A second, no less momentous, endeavours. Fifty years of work is a process. A recent portfolio of prints occasion was the announcement in milestone in any field, artistic or other. showcases, for the first time, their early 2008 that Kenojuak Ashevak, unique and unconventional visions. one of the cooperative’s first partici- A New Project The past year has been an unusu- pants and now its reigning elder, had At the same time as the history ally eventful period in the life of the won the Governor General’s Award of the workshop was being cele- West Baffin Eskimo Co-operative, in Visual and Media Arts. Although brated, a new project was also the body that has overseen the pro- this is not the first time that reaching its final form. Initially duction of Cape Dorset’s graphics Ashevak has been honoured with a planned for release in spring 2007, almost since its inception five decades prestigious award — she received Nine Works by Seven Artists was ago. It began with the fall 2007 pub- a National Aboriginal Award for presented to the public earlier this lication and launch of Cape Dorset Lifetime Achievement in 1996, and year as a supplemental print folio Prints: A Retrospective, a major new she holds honorary degrees from for spring/summer 2008. This small book that analyzes and celebrates two Canadian universities — the and diverse collection of prints is the 50 years of printmaking in this “GG” award is nevertheless special, first to be devoted in its entirety to a remote Baffin Island community. since it is the highest distinction that younger generation of Dorset graphic With contributions from several a visual artist can receive in Canada. artists, most of them the children of the printmaking program’s key Ashevak’s medal, the first for an and grandchildren of the artform’s participants (including members of Inuit artist, is a well-deserved recog- early pioneers. its southern Canadian marketing nition for both her and the artform division, Dorset Fine Arts), this with which she has so long been identified. (Right) Angel in Town, 2008, Suvinai Ashoona, Cape Dorset (etching and aquatint; 75.7 x 57 cm). xwqo kNo4i5g6 h=Nw xHn, rzw5

20 I Vol.23, No.4 winter 2008 Inuit art quarterly I 21 review EssAy

The New Generation: A Radical Defiance

BY ROBERT KARDOSH

All photos courtesy of Dorset Fine Arts, Toronto, Ontario

20 I Vol.23, No.4 winter 2008 Inuit art quarterly I 21 Instead of the classic (and at times Until now, the exciting new devel- comparable to Pootoogook’s dis- in Town, one of two prints by her in opments in drawing have not been turbing depictions of spousal abuse the new collection. Here, Ashoona idealizing) depictions of hunting scenes, much reflected in the community’s and the destructive effects of alcohol. pictures a section of the Cape Dorset annual fall print releases. These have (Pootoogook, who no longer lives townsite from above; instead of domestic life, and shamanism, the continued to focus on traditional in Cape Dorset, is not herself repre- igloos and skin tents, we are shown imagery, notwithstanding the intro- sented in the collection.) But the an unexceptional group of clapboard new generation may be just as likely Cape Dorset life have earned her duction of new and more sophisti- prints are by no means tame. By reg- buildings resting on blocks to keep a significant reputation far beyond cated printmaking techniques over istering a series of reflections on the the structures above the snow. Icicles to picture airplanes, hockey players, the specialized field of Inuit art. the years. It could be that the new, changing and increasingly hybrid hang from the edges of the roofs, Pootoogook’s breakthrough is more narrative drawing styles do not and modern interiors equipped with exceptional, but she is not the only easily lend themselves to Dorset artist of her generation to make printmaking. As John Westren puts … the whole collection emphasizes television sets and kitchen appliances new waves in the art world. The it, “a good drawing does not neces- equally unconventional drawings of sarily make a good print” (2007:271). the sensibilities of a new generation and, Since the artists represented in success with their drawings. Most Pootoogook’s older cousin, Suvinai Another factor, of course, is the the collection range in age from 38 to notable here is Annie Pootoogook, Ashoona, have similarly piqued the influence of the market for Inuit in this way, challenges any notion that 52, their experience of northern life the first Inuit artist to win the pres curiosity of the wider art world, not prints, which has generally been has been different from that of their tigious Sobey Prize, and the first least because, like Pootoogook’s more conservative in its tastes printmaking might be disappearing as parents and grandparents. Few of to have her drawings exhibited at work, they refuse to offer exoticized than has the audience for drawings. them experienced first-hand the tra- Documenta, an international show or conventional ethnographic images Traditional ethnographic subject a viable artform in the North dition of semi-nomadism, a lifestyle of contemporary art that takes place for southern consumption. Made matter and decorative appeal remain that, even by the mid-1960s, was a every five years in Kassel, Germany. with different priorities and different popular with the print-buying public, nature of contemporary northern telling of cold. The emphatic ordi- memory for most Inuit. Furthermore, Having caught the attention of cura- objectives, this work constitutes and it is notable that Pootoogook’s society, these unconventional images nariness of the scene — represented, these younger artists are products of tors and collectors of contemporary what Amy Karlinsky describes as few prints have not been big sellers, challenge us to re-examine our for example, by the footprints in the a southern-style educational system art generally, Pootoogook’s gritty, a radical defiance of commercial in spite of the impressive success of assumptions about the North and the snow between the buildings — is introduced to the North by the fed- unsentimental depictions of modern expectations (2008:66–68). her drawings within the wider art South’s relation to it. The aesthetic interrupted only by the appearance eral government in the 1960s. For world. Given the economics of print- success of the portfolio amply dem- in the street of a large angel, com- this reason, all of the artists are making, and especially the need to onstrates that the most vital art is plete with wings and a white gown. bilingual, and their ability to speak find multiple buyers for each edi- that which most dynamically reflects Anxious faces appear at the windows English has inevitably made their tioned image, it is perhaps not sur- its time and place. of some of the buildings. The incon- experience of modernity and prising that the studios have tended, gruous angel is wearing sandals, southern culture different from that as it were, to play it safe. Confronting Stereotypes hardly appropriate for the Arctic The new Dorset folio can be winter. Full of gentle humour, of the older generations. Given Of all the artists represented in seen, then, as an attempt to address Ashoona’s image reflects obliquely that such changes in the North con- the collection, none exemplifies the discrepancy that has recently on the play of outsider and insider, tinue at an ever-accelerating rate, it Karlinsky’s notion of radical defiance emerged between drawing and print- native and foreign influences, in is no surprise to find in these young better than Suvinai Ashoona. The making. In fact, according to Leslie today’s North. artists new forms of artistic expres- granddaughter of graphic artist Boyd Ryan, director of the coopera- Along with five others in the col- sion. Instead of the classic (and Pitseolak Ashoona (1904–1983) tive’s Toronto-based marketing lection, this print is an etching and at times idealizing) depictions of and daughter of sculptor Kiawak division, the images were selected aquatint, a combination of tech- hunting scenes, domestic life, and Ashoona, Suvinai began making specifically with an eye to contem niques first introduced to the Dorset shamanism, the new generation may drawings for the cooperative in the porary subject matter rather than printmakers in the mid-1990s by be just as likely to picture airplanes, early 1990s. Perhaps best known the more traditional. As a result, the Paul Machnik who runs Montreal’s hockey players, and modern interiors for her series of dense, obsessively whole collection emphasizes the sen- Studio PM. The introduction of this equipped with television sets and drawn, cavernous landscapes, her sibilities of a new generation and, in method to northern printmaking kitchen appliances. strange imagery possesses a psycho- this way, challenges any notion that has had a revolutionary impact, Some members of this group have logical complexity and tension printmaking might be disappearing giving even traditional prints already had commercial and critical unique not just to Inuit art but, as a viable artform in the North.1 released in the regular portfolios a also, to contemporary Canadian For the most part, the images more contemporary look. To judge Tattooed Women, 2008, Arnaqu art generally. avoid socially controversial or by the five prints in Nine Works by Ashevak, Cape Dorset (etching Ashoona, now 47, is often deliber- and aquatint; 94.5 x 73.5 cm). strongly political subject matter. Seven Artists (all of them also pro- ately modern in her subject matter. x3Nd6 xy?4, rzw5 There is nothing in the collection duced in collaboration with Studio Her commitment to providing a contemporary representation of northern society is powerfully evident in Angel

22 I Vol.23, No.4 winter 2008 Inuit art quarterly I 23 Instead of the classic (and at times Until now, the exciting new devel- comparable to Pootoogook’s dis- in Town, one of two prints by her in opments in drawing have not been turbing depictions of spousal abuse the new collection. Here, Ashoona idealizing) depictions of hunting scenes, much reflected in the community’s and the destructive effects of alcohol. pictures a section of the Cape Dorset annual fall print releases. These have (Pootoogook, who no longer lives townsite from above; instead of domestic life, and shamanism, the continued to focus on traditional in Cape Dorset, is not herself repre- igloos and skin tents, we are shown imagery, notwithstanding the intro- sented in the collection.) But the an unexceptional group of clapboard new generation may be just as likely Cape Dorset life have earned her duction of new and more sophisti- prints are by no means tame. By reg- buildings resting on blocks to keep a significant reputation far beyond cated printmaking techniques over istering a series of reflections on the the structures above the snow. Icicles to picture airplanes, hockey players, the specialized field of Inuit art. the years. It could be that the new, changing and increasingly hybrid hang from the edges of the roofs, Pootoogook’s breakthrough is more narrative drawing styles do not and modern interiors equipped with exceptional, but she is not the only easily lend themselves to Dorset artist of her generation to make printmaking. As John Westren puts … the whole collection emphasizes television sets and kitchen appliances new waves in the art world. The it, “a good drawing does not neces- equally unconventional drawings of sarily make a good print” (2007:271). the sensibilities of a new generation and, Since the artists represented in success with their drawings. Most Pootoogook’s older cousin, Suvinai Another factor, of course, is the the collection range in age from 38 to notable here is Annie Pootoogook, Ashoona, have similarly piqued the influence of the market for Inuit in this way, challenges any notion that 52, their experience of northern life the first Inuit artist to win the pres curiosity of the wider art world, not prints, which has generally been has been different from that of their tigious Sobey Prize, and the first least because, like Pootoogook’s more conservative in its tastes printmaking might be disappearing as parents and grandparents. Few of to have her drawings exhibited at work, they refuse to offer exoticized than has the audience for drawings. them experienced first-hand the tra- Documenta, an international show or conventional ethnographic images Traditional ethnographic subject a viable artform in the North dition of semi-nomadism, a lifestyle of contemporary art that takes place for southern consumption. Made matter and decorative appeal remain that, even by the mid-1960s, was a every five years in Kassel, Germany. with different priorities and different popular with the print-buying public, nature of contemporary northern telling of cold. The emphatic ordi- memory for most Inuit. Furthermore, Having caught the attention of cura- objectives, this work constitutes and it is notable that Pootoogook’s society, these unconventional images nariness of the scene — represented, these younger artists are products of tors and collectors of contemporary what Amy Karlinsky describes as few prints have not been big sellers, challenge us to re-examine our for example, by the footprints in the a southern-style educational system art generally, Pootoogook’s gritty, a radical defiance of commercial in spite of the impressive success of assumptions about the North and the snow between the buildings — is introduced to the North by the fed- unsentimental depictions of modern expectations (2008:66–68). her drawings within the wider art South’s relation to it. The aesthetic interrupted only by the appearance eral government in the 1960s. For world. Given the economics of print- success of the portfolio amply dem- in the street of a large angel, com- this reason, all of the artists are making, and especially the need to onstrates that the most vital art is plete with wings and a white gown. bilingual, and their ability to speak find multiple buyers for each edi- that which most dynamically reflects Anxious faces appear at the windows English has inevitably made their tioned image, it is perhaps not sur- its time and place. of some of the buildings. The incon- experience of modernity and prising that the studios have tended, gruous angel is wearing sandals, southern culture different from that as it were, to play it safe. Confronting Stereotypes hardly appropriate for the Arctic The new Dorset folio can be winter. Full of gentle humour, of the older generations. Given Of all the artists represented in seen, then, as an attempt to address Ashoona’s image reflects obliquely that such changes in the North con- the collection, none exemplifies the discrepancy that has recently on the play of outsider and insider, tinue at an ever-accelerating rate, it Karlinsky’s notion of radical defiance emerged between drawing and print- native and foreign influences, in is no surprise to find in these young better than Suvinai Ashoona. The making. In fact, according to Leslie today’s North. artists new forms of artistic expres- granddaughter of graphic artist Boyd Ryan, director of the coopera- Along with five others in the col- sion. Instead of the classic (and Pitseolak Ashoona (1904–1983) tive’s Toronto-based marketing lection, this print is an etching and at times idealizing) depictions of and daughter of sculptor Kiawak division, the images were selected aquatint, a combination of tech- hunting scenes, domestic life, and Ashoona, Suvinai began making specifically with an eye to contem niques first introduced to the Dorset shamanism, the new generation may drawings for the cooperative in the porary subject matter rather than printmakers in the mid-1990s by be just as likely to picture airplanes, early 1990s. Perhaps best known the more traditional. As a result, the Paul Machnik who runs Montreal’s hockey players, and modern interiors for her series of dense, obsessively whole collection emphasizes the sen- Studio PM. The introduction of this equipped with television sets and drawn, cavernous landscapes, her sibilities of a new generation and, in method to northern printmaking kitchen appliances. strange imagery possesses a psycho- this way, challenges any notion that has had a revolutionary impact, Some members of this group have logical complexity and tension printmaking might be disappearing giving even traditional prints already had commercial and critical unique not just to Inuit art but, as a viable artform in the North.1 released in the regular portfolios a also, to contemporary Canadian For the most part, the images more contemporary look. To judge Tattooed Women, 2008, Arnaqu art generally. avoid socially controversial or by the five prints in Nine Works by Ashevak, Cape Dorset (etching Ashoona, now 47, is often deliber- and aquatint; 94.5 x 73.5 cm). strongly political subject matter. Seven Artists (all of them also pro- ately modern in her subject matter. x3Nd6 xy?4, rzw5 There is nothing in the collection duced in collaboration with Studio Her commitment to providing a contemporary representation of northern society is powerfully evident in Angel

22 I Vol.23, No.4 winter 2008 Inuit art quarterly I 23 Angijuqtaq (Dress), 2008, Ningeokuluk Teevee, Cape Dorset (etching and aquatint; 96 x 76.5 cm). iqsfl4 t=, rzw5

The New Generation: A Radical Defiance

Looking South, 2008, Itee Pootoogook, Cape Dorset (lithograph; 30.7 x 40.8 cm). xwt SgA6, rzw5

Fish Tails, 2008, Siassie Kenneally, Cape Dorset (etching and aquatint; 63.5 x 50 cm). yxy rio, rzw5

24 I Vol.23, No.4 winter 2008 Inuit art quarterly I 25 Angijuqtaq (Dress), 2008, Ningeokuluk Teevee, Cape Dorset (etching and aquatint; 96 x 76.5 cm). iqsfl4 t=, rzw5

The New Generation: A Radical Defiance

Looking South, 2008, Itee Pootoogook, Cape Dorset (lithograph; 30.7 x 40.8 cm). xwt SgA6, rzw5

Fish Tails, 2008, Siassie Kenneally, Cape Dorset (etching and aquatint; 63.5 x 50 cm). yxy rio, rzw5

24 I Vol.23, No.4 winter 2008 Inuit art quarterly I 25 These are prints that, from an authentic contemporary perspective, challenge both those accounts of northern art that see it as merely traditional, and those that see tradition as having no relevance at all for contemporary art production

PM), the medium’s ability to create in the traditional Inuit manner, and Fish appear as well in Siassie String of Pearls, 2008, graduated tonal areas is especially her long, braided hair is also tradi- Kenneally’s small and elegantly Suvinai Ashoona, Cape well suited to the expressive needs of tional. The other woman’s hair is simple print, another etching with Dorset (etching and the current generation. In Angel in modern, as is the full-body tattoo aquatint. Showing parts of two aquatint; 57.5 x 80 cm). h=Nw xhN, rzw5 Town, for example, areas of shifting that leaves only a small area around orange and yellow fish in isolation luminous white and grey nicely sug- her shoulder blades exposed. The against a textured grayish ground, gest the uneven surfaces of snow- play of symmetry and asymmetry Fish Tails references time-honoured formal device: the magnified close- a whole history of movement on the material makes this one of the most covered streets and rooftops. turns Ashevak’s mysterious image activities such as the harvesting and up. In this work, a pair of bony hands land, and, in that context, the title appealing images in the collection. Like Ashoona, Arnaqu Ashevak, into a powerful metaphor for the consumption of fish that continue in is shown at close range, prying open clarifies the image, transforming it But the image is also about the non- 52, comes from an artistic family. relationship between continuity northern domestic life. Kenneally’s an oyster shell. There is an almost into a reflection on contemporary contemporary. Yesterday (a title taken The adopted son of the great graphic and discontinuity, traditional and fish are not purely representational, surreal physicality at work here. Each northern culture’s unavoidable, and from the Beatles’ song) is tinged with artist Kenojuak Ashevak and her contemporary life. however, since the glowing forms joint is strongly emphasized, and now historical, orientation towards nostalgia, since vinyl LPs are as rare late husband Jonniebo, also an Ningeokuluk Teevee, in her mid- are not covered in scales, but in a the thickly outlined nails mirror the the South. in Nunavut as they are elsewhere. artist, Ashevak has evolved a style 40s, is an artist who is already well more abstract, modern grid of small shell, itself, in their hard and resis- A similar use of cropping charac- Kavavaow Mannomee’s colourful of expression entirely his own. A known for her traditional imagery, squares. At 38, Kenneally, a new- tant greyish surfaces. Echoing the terizes Ningeokuluk Teevee’s second and whimsical lithograph, Wild World, sculptor as well as a printmaker- having contributed several works comer to the printmaking and exaggerated mode of representation image in the collection, a portrait also makes use of conscious framing, technician, he produces relatively based on wildlife and Inuit folklore drawing programs, is the youngest is the inexplicable, comic presence of of a 1970s-era record player whose but not, this time, through cropping. little graphic work, but all of it to the community’s annual fall col- artist represented in the collection. If a group of pearls, just visible through hinged lid is open to reveal a Beatles The elements of Mannomee’s explo- is exceptional. lections. Her contemporary work, her debut print is any indication, she the shell’s opening, already joined on LP spinning on the turntable inside. sive composition instead push Tattooed Women is one of his however, deserves even more atten- will soon emerge as another strong a string. This is, perhaps, an image, Behind the record player, a stack of beyond the frame: humans with life- strongest images to date. In this large tion. In Angijuqtaq, Teevee shows a artistic voice in the North. of art’s reliance on, but simultaneous album covers leans against the wall. less puppet-like hands and feet, tradi- etching and aquatint, Ashevak pre modern dress suspended from a metal distance from, nature. The sharply angled perspective and tional hunting implements and tools, sents two standing unclothed women coat hanger. On the dress’s shim- Inventive Perspectives and Itee Pootoogook, now in his 50s seemingly accidental framing of this strands of kelp from the sea, stick from behind, each with her hands mering deep-blue surface are undu- Unconventional Framing Devices and another newcomer to print- intimate still life fit well with a sub- figures reminiscent of prehistoric placed over her head in an identical lating schools of fish threading across Many of the new prints make use of making, enjoys drawing the treeless ject matter that speaks to the influ- petroglyphs, formless yellow and pose. Although the figures are por- the garment in both directions. The inventive perspectives and uncon- northern landscape, which he typi- ence of popular culture in today’s blue-green shapes. All these are pic- trayed with skilful realism and pattern reflects the artist’s interest ventional framing devices that give cally reduces to more or less feature- North. At the same time, Teevee’s tured as a floating jumble, turning dimensionality, their symmetry and in nature, as does the gently swaying the works a contemporary, almost less horizontal bands representing image manages to ignore the rules of round a centre in some chaotic mael- isolation on the page also give the bed of kelp at the bottom of the filmic feel. Suvinai Ashoona is the land, sky, and sometimes sea. His illusionistic perspective in favour strom or cosmic spin. A series of thin image a strong graphic presence, dress. But this image of printed cloth artist whose practice most con- small lithograph, Looking South, of expressionism. Some of the graphic lines suggest overlapping, uncoloured almost as though the figures have would seem equally to be a self- sciously extends and explores the revolves formally around a pair of clarity here derives from the medium: shapes, which, on closer inspection, been manually cropped and removed referential meditation on artistic pro- medium in this way. If Angel in Town northern-style boots viewed at close this is the sole stonecut in the collec- emerge as birds. At the centre of the from a once-visible naturalistic set- duction. Teevee’s use of the aquatint shows a northern town from an aerial range against a minimalist green and tion, with some additional stencilling composition is a large human eye ting. If there is an abstract force to technique to represent water shows viewpoint, her second print, String of blue horizon. The radical cropping providing the light blue and caramel with a yellow cross emblazoned on the form, the image plays, as well, great understanding of the medium. Pearls, makes use of another favourite of the form prevents us from seeing colouring. The play between the its dark blue pupil. Here, in extreme with the idea of Inuit subject matter. It also makes for a thoroughly con- the wearer’s body. The boots evoke traditional effects of relief printing One of the women has been tattooed temporary take on the classic Inuit and the contemporary thematic graphic convention of a single object isolated on the page.

26 I Vol.23, No.4 winter 2008 Inuit art quarterly I 27 These are prints that, from an authentic contemporary perspective, challenge both those accounts of northern art that see it as merely traditional, and those that see tradition as having no relevance at all for contemporary art production

26 I Vol.23, No.4 winter 2008 Inuit art quarterly I 27 The New Generation: A Radical Defiance

Yesterday, 2008, Ningeokuluk Teevee, Cape Dorset (stonecut and stencil; 45.5 x 33 cm). iqsfl4 t=, rzw5

New Age Christ, 2008, Jutai Toonoo, Cape Dorset (etching and aquatint; 62 x 57 cm). Jbw gk, rzw5

Wild World, 2008, Kavavaow Mannomee, Cape Dorset (lithograph; 51.2 x 66.7 cm). c??s6 mku, rzw5

28 I Vol.23, No.4 winter 2008 Inuit art quarterly I 29 The New Generation: A Radical Defiance

Yesterday, 2008, Ningeokuluk Teevee, Cape Dorset (stonecut and stencil; 45.5 x 33 cm). iqsfl4 t=, rzw5

New Age Christ, 2008, Jutai Toonoo, Cape Dorset (etching and aquatint; 62 x 57 cm). Jbw gk, rzw5

Wild World, 2008, Kavavaow Mannomee, Cape Dorset (lithograph; 51.2 x 66.7 cm). c??s6 mku, rzw5

28 I Vol.23, No.4 winter 2008 Inuit art quarterly I 29 close-up, is a rectangular frame Strong words. Inuit art has rarely Pootoogook, Teevee, and Toonoo within the frame, the eye that sees been the vehicle for the expression have managed to bring vitality and and makes the world. The title is apt, of this kind of political and moral a powerful sense of contemporary underlining both the wild flow in rage. But Toonoo is an unusual Inuit purpose to an artistic tradition today’s rapidly changing world and artist. In his stone sculptures, as that is now half a century old. the wild pleasure a viewer might in this print, he often combines Prior to the official release of the take in its unpredictability. written text and image, typically by new Dorset folio, Leslie Boyd Ryan said she was unsure whether or not the cooperative would issue a second collection of contemporary work The aesthetic success of the portfolio as a follow-up to the current folio. Ryan and her colleagues at the amply demonstrates that the most vital cooperative were, presumably, waiting to measure the reception of this first art is that which most dynamically collection before deciding on the future. Such caution is understand- reflects its time and place able. Fortunately, the initial response from curators, critics, dealers, and collectors has been strong enough At 50, Mannomee has worked for engraving directly onto the sculpture that plans are now firmly in place many years as a printer, translating surface. Alongside this juxtaposition for the release of a second instal- the drawings and designs of other of image and text as modes of signifi- ment, tentatively scheduled for artists into stonecuts and lithographs. cation, Toonoo’s use of English also spring 2009. The future of Inuit He has also contributed several of his evidences a highly contemporary printmaking has never seemed own images to Dorset’s annual fall attitude. However, even more than so bright. collections, many of which have these formal aspects, what most reflected his strong environmental gives New Age Christ its power is Robert Kardosh is the Assistant concerns. With Wild World, he is the textual content. Toonoo’s writing Director of the Marion Scott Gallery, now emerging as an artist with a spares nothing and no one in its Vancouver, British Columbia. whimsical and powerful vision that denunciation of hypocrisy. is simultaneously rooted in the NOTES North and fully contemporary. Innovation within Tradition 1 E-mail interview with Leslie Boyd 100 YEARS OF EXCELLENCE The most political or socially con- Canadian Within the long history of contem- Ryan, June 16, 2008. Inuit art, art of the First Nations, troversial print in the collection is porary Inuit art, the images in Nine undoubtedly Jutai Toonoo’s New Age Guild of Crafts Contemporary Fine Crafts Works by Seven Artists are highly REFERENCES Christ, an etching and aquatint that unconventional expressions of seven renders two bald human heads, both Karlinsky, Amy Featuring works by : different, yet related, contemporary apparently male, in an almost car- 2008 “Land of the Midnight Sons sensibilities. At the same time, they • Mattiusi Iyaituk toon style. A spiral of English text and Daughters: Contemporary remain firmly connected to and emerges from the open mouth of one Inuit Drawings,” in Border Crossings, • Eli Elijasiapik rooted in the Cape Dorset graphic man, whose angry expression is in 105:66-68. • Pits Qimirpik

tradition in terms of technique and Ronald Labelle contrast to the more serene attitude • Toonoo Sharky studio environment, and in terms of of the listener. The text reads as fol- Westren, John A. • Ashevak Tunnillie their conscious reshaping of tradi- PHOTO: lows: “I am the New Age Christ and 2007 “Toward the Millennium.” tional motifs. These are prints that, • Pudlalik Shaa I have been lurking in the shadows Cape Dorset Prints: A Retrospective. from an authentic contemporary • Nuna Parr for the past several centuries raping San Francisco: Pomegranate. perspective, challenge both those and plundering the earth and its • Kiawak Ashoona accounts of northern art that see it

inhabitants while I preach peace • Oviloo Tunnillie Mattiusi Iyaituk as merely traditional, and those that and financial prosperity in the • Pitseolak Niviaqsi see tradition as having no relevance midst of hunger.” at all for contemporary art produc-

tion. With these images, Ashevak, SCULPTURE: Ashoona, Kenneally, Mannomee, 1460 Sherbrooke West, Suite B Montreal (Quebec) H3G 1K4 t 514.849.6091 www.canadianguildofcrafts.com [email protected]

30 I Vol.23, No.4 winter 2008 close-up, is a rectangular frame Strong words. Inuit art has rarely Pootoogook, Teevee, and Toonoo within the frame, the eye that sees been the vehicle for the expression have managed to bring vitality and and makes the world. The title is apt, of this kind of political and moral a powerful sense of contemporary underlining both the wild flow in rage. But Toonoo is an unusual Inuit purpose to an artistic tradition today’s rapidly changing world and artist. In his stone sculptures, as that is now half a century old. the wild pleasure a viewer might in this print, he often combines Prior to the official release of the take in its unpredictability. written text and image, typically by new Dorset folio, Leslie Boyd Ryan said she was unsure whether or not the cooperative would issue a second collection of contemporary work The aesthetic success of the portfolio as a follow-up to the current folio. Ryan and her colleagues at the amply demonstrates that the most vital cooperative were, presumably, waiting to measure the reception of this first art is that which most dynamically collection before deciding on the future. Such caution is understand- reflects its time and place able. Fortunately, the initial response from curators, critics, dealers, and collectors has been strong enough At 50, Mannomee has worked for engraving directly onto the sculpture that plans are now firmly in place many years as a printer, translating surface. Alongside this juxtaposition for the release of a second instal- the drawings and designs of other of image and text as modes of signifi- ment, tentatively scheduled for artists into stonecuts and lithographs. cation, Toonoo’s use of English also spring 2009. The future of Inuit He has also contributed several of his evidences a highly contemporary printmaking has never seemed own images to Dorset’s annual fall attitude. However, even more than so bright. collections, many of which have these formal aspects, what most reflected his strong environmental gives New Age Christ its power is Robert Kardosh is the Assistant concerns. With Wild World, he is the textual content. Toonoo’s writing Director of the Marion Scott Gallery, now emerging as an artist with a spares nothing and no one in its Vancouver, British Columbia. whimsical and powerful vision that denunciation of hypocrisy. is simultaneously rooted in the NOTES North and fully contemporary. Innovation within Tradition 1 E-mail interview with Leslie Boyd 100 YEARS OF EXCELLENCE The most political or socially con- Canadian Within the long history of contem- Ryan, June 16, 2008. Inuit art, art of the First Nations, troversial print in the collection is porary Inuit art, the images in Nine undoubtedly Jutai Toonoo’s New Age Guild of Crafts Contemporary Fine Crafts Works by Seven Artists are highly REFERENCES Christ, an etching and aquatint that unconventional expressions of seven renders two bald human heads, both Karlinsky, Amy Featuring works by : different, yet related, contemporary apparently male, in an almost car- 2008 “Land of the Midnight Sons sensibilities. At the same time, they • Mattiusi Iyaituk toon style. A spiral of English text and Daughters: Contemporary remain firmly connected to and emerges from the open mouth of one Inuit Drawings,” in Border Crossings, • Eli Elijasiapik rooted in the Cape Dorset graphic man, whose angry expression is in 105:66-68. • Pits Qimirpik

tion. With these images, Ashevak, SCULPTURE: Ashoona, Kenneally, Mannomee, 1460 Sherbrooke West, Suite B Montreal (Quebec) H3G 1K4 t 514.849.6091 www.canadianguildofcrafts.com [email protected]

30 I Vol.23, No.4 winter 2008 review:exhibition

In the Shadow of the Midnight Sun: Sámi and Inuit Art 2000–2005 Was at the National Gallery of Canada, Ottawa, May 23–August 17, 2008

reviewed BY DOROTHY SPEAK

his is a disappointing exhibition In this exhibition, there is next an aesthetic that has been carried of often spectacular works that to no attempt by the curators to into contemporary forms; also that Tare robbed of potentially rich group the works in a way that invites drums were used by Sámi elders to associations through weak presenta- comparisons; to draw, through labels, voyage to the realm of the spirit, that tion. While Canadian museumgoers thematic or stylistic parallels between they were hung with talismans to may be expected to be reasonably them; to explain iconography, or make them more powerful or deco- familiar with the influences that to enlighten the visitor as to the rated with holy signs and symbols shaped contemporary Inuit art, they will undoubtedly know next to nothing of the Sámi, about whom Blodgett, in assembling the Inuit works, has we learn little in this exhibition. There is a lamentable absence gone out of her way to find unusual pieces of information on the cultural and political history of the Sámi, their reflecting experimentation with new media experiences of acculturation, their current geographic locale and way of life, nor how the artists selected for meaning of individual pieces or from Sámi mythology, and that they this show represent or address any the motives of their creators. For were embellished with a reddish of these concerns. As a result, the example, the mythological source of paint made from elder bark and spit. ability of the viewer to appreciate Floyd Kuptana’s powerful Abductor None of this information is provided the works on anything but a visceral of Souls is touched on in Blodgett’s to the exhibition visitor. level is severely impaired. catalogue essay, but not explained Blodgett, in assembling the Inuit in an exhibition label. Similarly, works, has gone out of her way to it would have been helpful if the find unusual pieces reflecting experi- (Left), Untitled (On the Land), 2005, Janet viewer had known that Hilde mentation with new media (for Nungnik, Baker Lake (wool, felt, printed Skancke Pedersen’s group of photo- instance, Nick Sikkuark’s drawings cotton, beads, embroidery floss, and thread; graphs entitled Sign of Life incorpo- on black paper), exploration of 146 x 93 cm). xtcq5g6 GkNu5g5H, 2005, /i5 N1i6, cmi5gx6 rates the colours of the Sámi flag. unconventional subject matter Further reading of the catalogue (Suvinai Ashoona’s frank drawings All images courtesy of The Art Gallery of Hamilton, Hamilton, Ontario tells us that, because the Sámi were of contemporary life and Arnaqu traditionally a nomadic society, historic objects were always blunt and rounded, to make them easy to pack,

32 I Vol.23, No.4 winter 2008 Inuit art quarterly I 33 review:exhibition

In the Shadow of the Midnight Sun: Sámi and Inuit Art 2000–2005 Was at the National Gallery of Canada, Ottawa, May 23–August 17, 2008

reviewed BY DOROTHY SPEAK

32 I Vol.23, No.4 winter 2008 Inuit art quarterly I 33 review

Patriotic Shaman, 2002, Floyd Kuptana, Paulatuk and Toronto (stone, antler, metal, and inlay; 31 x 39.5 cm). Xz4f6, 2002, Klw5 f2bN, XsMg4 x7m gM8g

Throat Singers, 2003, Silas Kayakjuak, Hall Beach and Ottawa (ivory and stone; 5 x 6.5 cm). vb0/4g5, 2003, nwMy c/3Jx6, niC/4 x7m xg?

Abductor of Souls, 2005, Floyd Kuptana, Ashevak’s enigmatic Memorial), executed Inuit pieces have no Paulatuk and Toronto (stone, antler, ivory, virtuoso miniatures (three gems by trouble holding their own in this leather, hair, and mirror; 51 x 53.5 cm). Silas Kayakjuak), unconventional show. Most of them were borrowed tA/siq5 b3iq5, 2005, Klx5 v2bN, XsMg4 x7ml gM8g interpretations of traditional subjects from commercial galleries and private (Floyd Kuptana’s Patriotic Shaman) collections, with heavy reliance on and works verging on the abstract that of John and Joyce Price of Seattle. (Janet Kigusiuq’s Arctic Landscape). Puzzlingly, Irene Snarby’s discourse Janet Nungnik’s breathtaking wall on Sámi artists devotes a good deal hanging, Untitled (On the Land), of space to historic precedents and Low Tide, 2003, Suvinai Ashoona, pushes the art of Inuit tapestry to deceased artists, neither of which Cape Dorset (etching and aquatint; new heights. casts significant illumination on the 60.6 x 76 cm). tizJ6, 2003, Blodgett’s inspired decision to contemporary works on exhibit. She h=Nw xhN, rzw5 confine the show to works from the provides only a perfunctory analysis years 2000 to 2005 results in a rich of the pieces in this show. Many of and rewarding concentration of bold the Sámi artists included in this new directions by younger artists. The richly imagined and brilliantly

34 I Vol.23, No.4 winter 2008 Inuit art quarterly I 35 review

Patriotic Shaman, 2002, Floyd Kuptana, Paulatuk and Toronto (stone, antler, metal, and inlay; 31 x 39.5 cm). Xz4f6, 2002, Klw5 f2bN, XsMg4 x7m gM8g

Throat Singers, 2003, Silas Kayakjuak, Hall Beach and Ottawa (ivory and stone; 5 x 6.5 cm). vb0/4g5, 2003, nwMy c/3Jx6, niC/4 x7m xg?

34 I Vol.23, No.4 winter 2008 Inuit art quarterly I 35 Oviloo Tunnillie, Cape Dorset Cape Tunnillie, Oviloo

Blodgett’s inspired decision to confine the show to works from the years 2000 Celebrating 25 years of Excellence to 2005 results in a Discover the Finest Inuit and Aboriginal Art rich and rewarding

destiny. How difficult would it have Gollegiisa, 2002, Inga Nordsletta Pedersen, concentration of bold been for the organizers to interview Karasjok, Norway (wool; 100 x 125 cm). Zopn, wz kx5yob, vC{J4, these Sámi artists (some of them 2002, 201 Queens Ave., London ON N6A 1J1 new directions by kx?w 519-672-7770 conveniently grouped in one village) Toll free: 1-866-589-9990 in order to inform the visitor, a in order to, as stated in the cata- Visit our website for details on younger artists methodology widely practised today logue’s foreword, “identify cultural Anniversary Celebrations by curators who see the value in threads of connection that unite and www.innuitgallery.com exhibit moved, sometime after 1970, inviting artists to reflect on their distinguish the art of the Canadian to the Norwegian village of Masi and own work, and one enthusiastically Inuit and Scandinavian Sámi,” that became known as the Masi Group. applauded by museumgoers? would “reflect on the shared social, “What they had in common,” writes Many of the acculturative experi- historical and topographical con- Snarby, “was that they were certain ences of the Sámi — the burning by ditions that influence the work of their Sámi identity, and they missionaries of the drums that con- of these artists.” worked actively to promote Sámi nected the Sámi to the spirit world, Would that this worthy objective culture.” According to her, their the destruction of sacred sculptures, had been achieved. Though the materials and subjects are inspired in the repression of the Sámi language, exhibit was at least five years in the part by their own culture and origins. and assimilation campaigns that making, it lacks a solid premise and This group’s efforts led to the for- persisted into the middle of the has the feeling of something hastily mation, in 1979, of the Sámi Artists’ 20th century — parallel the experi- assembled and thinly researched. Union, which now has 70 members ence of the Canadian Inuit, yet no across Norway, Sweden, Finland, and effort is made by the curators in Dorothy Speak is a fiction writer and Russia. Given this solidarity, it would the exhibition or in the catalogue art reviewer. be surprising if the works of some to draw comparisons, though this of these artists did not, to a degree, is precisely what they tell us they A catalogue of In the Shadow of the reflect their common history and the set out to do. Midnight Sun: Sámi and Inuit Art acculturative forces that altered their The inspiration for the exhibition 2000–2005 can be purchased at the was the 2002 visit of Norway’s following: ABC Art Books Canada: royalty to Canada. Eventually, (877) 871-0606; Art Gallery of the concept was expanded to Hamilton Shop: (905) 527-6610; or include Sámi artists from Sweden National Gallery of Canada Bookstore: and Finland. The project was taken (613) 990-0962. up by The Art Gallery of Hamilton www.inuitart.org

36 I Vol.23, No.4 winter 2008 Inuit art quarterly I 37 Oviloo Tunnillie, Cape Dorset Cape Tunnillie, Oviloo

Blodgett’s inspired decision to confine the show to works from the years 2000 Celebrating 25 years of Excellence to 2005 results in a Discover the Finest Inuit and Aboriginal Art rich and rewarding

36 I Vol.23, No.4 winter 2008 Inuit art quarterly I 37 A big BenefactorS ($5,000 and up) An important component of the rene & Carolyn Balcer Inuit Art Foundation’s budget, 3f/8N`u4 patronS ($2,500 - $4,999) donations are used to directly Jean Sawtelle (thank you) partnerS ($1,000 - $2,499) support artists. These carefully Daniel & Martha Albrecht to all our generous Susan Carter managed funds are used to Christ Church Cathedral (Cincinnati) supporters, wherever Fath group/O’Hanlon Paving support such activities as Helga & Erivan Haub you are! John & Joyce Price stone quarrying, material Ig PIC The Sutton Family Charitable Fund purchases, education T aSSociateS ($500 - $999) B Andrew Codos outreach, workshops, u Anne Meekitjuk Hanson E Jaan Whitehead and much more. r SupporterS ($100 - $499) H Jurg & Christel Bieri Marie Frezzo E Charles C Kingsley T Paul Mayer Thomas C r Proctor Peter & Elizabeth Solis roy W Stahlhut Debra L Vannet

friendS (up to $99) WarkInuit

LegacieS & BequeStS Virginia J Watt Perpetual Strength in Numbers: our greatest Charitable Foundation number of donations came from Ontario, Canada

Hurray for Hollywood! In 2007-08 over 20% of our donations came wvJ34`t5 from Californians. Inuit Art Foundation Supporting the Artists: the average North American donation was $200 The Inuit Art Foundation exists to facilitate the creative Spreading the News: though modest expressions of Inuit artists in value, overseas donations doubled and to foster a broader in 2008 over the previous year understanding of these expressions worldwide. Loyal and Supportive: most of our 2081 Merivale road donors have contributed several Ottawa, Ontario K2g 1g9 Canada years in a row Tel: (613) 224-8189 [email protected] www.inuitart.org

Canadian and American donors are provided with tax Educated & Involved: virtually all of receipts and all donations are acknowledged in IAQ. our donors also subscribe to IAQ Charitable reg. # 12103 3724 rr0001

38 I Vol.23, No.4 winter 2008 Inuit art quarterly I 39 A big BenefactorS ($5,000 and up) An important component of the rene & Carolyn Balcer Inuit Art Foundation’s budget, 3f/8N`u4 patronS ($2,500 - $4,999) donations are used to directly Jean Sawtelle (thank you) partnerS ($1,000 - $2,499) support artists. These carefully Daniel & Martha Albrecht to all our generous Susan Carter managed funds are used to Christ Church Cathedral (Cincinnati) supporters, wherever Fath group/O’Hanlon Paving support such activities as Helga & Erivan Haub you are! John & Joyce Price stone quarrying, material Ig PIC The Sutton Family Charitable Fund purchases, education T aSSociateS ($500 - $999) B Andrew Codos outreach, workshops, u Anne Meekitjuk Hanson E Jaan Whitehead and much more. r SupporterS ($100 - $499) H Jurg & Christel Bieri Marie Frezzo E Charles C Kingsley T Paul Mayer Thomas C r Proctor Peter & Elizabeth Solis roy W Stahlhut Debra L Vannet

friendS (up to $99) WarkInuit

LegacieS & BequeStS Virginia J Watt Perpetual Strength in Numbers: our greatest Charitable Foundation number of donations came from Ontario, Canada

38 I Vol.23, No.4 winter 2008 Inuit art quarterly I 39 update

BRIEFLY NOTED featured such items as a fur dance parka, a Orchestre symphonique de Montréal Goes to Nunavik pair of ivory snow goggles, and an ivory and whale baleen whaler’s pail, will travel to BY JIM BELL Annie Pootoogook Print Osaka, Japan, in 2009. Photos by Jim Bell, Nunatsiaq News Included in Touring Exhibition As IAQ went to press, One World Residents of three Nunavik communities Annie Pootoogook’s 2005 print, Pitseolak’s International Printmaking Exhibition had were treated to a musical feast earlier this Glasses, has embarked on a two-year, seven- moved on to Hanyang University in Seoul, fall, when the Orchestre symphonique de city tour of China, South Korea, the United South Korea. The show will travel to gal Montréal (OSM) teamed up with the Avataq States, and Canada as part of the One World leries in Nova Scotia, Florida, Texas, and Cultural Institute for a unique northern tour. International Printmaking Exhibition. The Massachusetts through 2010. The tour, from September 11 to 14, 2008, exhibition, featuring one work from each of stopped in Kuujjuaq, Inukjuak, and 12 contemporary artists from 4 host coun Kangiqsujuaq and saw the OSM share the tries, opened in Beijing last summer in Zacharias Kunuk Awarded spotlight with well-known Nunavik throat advance of the 2008 Olympic Games. Honorary Degree Nunavik throat singers Evie Mark (left) and Taqralik singers Evie Mark and Taqralik Partridge. The is called The River and that’s one of their Heather Anderson of the National Gallery Trentof University. Courtesy Partridge performed at an event held May 25 at pair performed an original work written for of Canada, Gail Tuttle of Newfoundland’s [throat] songs. The orchestra bubbles behind Montreal’s McCord Museum. This fall, they toured them by Alexina Louie, one of Canada’s most them so that I’m painting a picture of a Kuujjuaq, Inukjuak, and Kangiqsujuaq with Kent Sir Wilfred Grenfell College, and Laurie successful composers of modern concert music. musical river,” Louie said. Nagano and seven members of Nagano’s Orchestre Dalton of Acadia University chose the For Nunavik audiences, Louie’s new com Louie first visited northern Canada in symphonique Montréal. kN=4u vb/4t5 w= 12 Canadian artists to appear in the show. position proved to be a highlight. “I inte August 2000 with Adrienne Clarkson, then m4 GnsuziH x7ml bCo4 XgE5 vb/4g4 mw Dalton, who suggested including one of @% m8gExu bf/Zc3=4u. srx4n6 isDvbMs3g4 grate the instruments with the throatsingers Pootoogook’s works, said the jury wanted to Governor General, on a tour of the Northwest f4Jx6,wk4Jx6, x7ml vq3L4Jx6 r85 NZk Kent Nagano (left) with composer Alexina Louie so that they’re not a separate entity but really Territories. After being moved by the beauty wMs9li x7ml &_aJ5 i/sy/3t5 m8gExusbw5. at a press event held May 25 at the McCord highlight the arrival of an important new a part of a musical unit,” Louie said. She of the Western Arctic, Louie wanted to com xpos3bsJ6 p7 Ws9 kN5yx3 W?9oxJ5 Museum in Montreal. Louie finished writing a new artist in Canada for international audiences. said the composition, commissioned by pose a northern-themed piece. “When I saw northern-tinged composition inspired by the sound “Annie Pootoogook represents a new way of Kent Nagano, musical director of the OSM, the Mackenzie River delta, I had tears in my of Inuit throat singing. r85 NZk G bo3WxiH thinking and working in Inuit art,” she said. The composer, who now lives in Toronto, xe4hwp i/syj5 xo4yN lw sc9M4t9lQ5 comprises a series of short movements eyes,” she said. When Nagano asked Louie has created numerous pieces for orchestra mw @% bf/Zc3=4u m8gExu. lw ttCEMs3g6 “I think the issues she is raising are very inter inspired by Inuit culture and the North. to write a piece for the OSM’s upcoming and solo piano. She was named Canadian srs3b3gu i/syu4 gn9li vb4/4gi4 xe4b=ix. esting. She’s really challenging what a lot of “Each one paints its own picture. One of them Nunavik tour, she jumped at the opportunity. composer of the year in 1986 and won Juno x0pos3bsJ6 p7 Ws9 kN5yx3 W?9oxJ5 people have come to expect from Inuit art.” awards in 1988 and 1998. In 2005, she was Similarly, Anderson noted the “particular, Igloolik filmmaker Zacharias Kunuk receiving an honorary degree from Roberta Bondar, Chancellor named an officer of the Order of Canada. During the tour, the OSM musicians held unique perspective” brought to the exhibition by Pootoogook’s depiction of her grand of Trent University in Peterborough, Ontario. Her new piece is not the only acknowl workshops with students at local elementary w4lo4usb6 x0posEp /vMwx fk4 g8iE/ edgment of Inuit culture that Nunavik resi and high schools. These included an intro mother Pitseolak Ashoona’s distinctive black- sJ6 wonE/sJtu4 wo8ix3=4Jx3u5 CS5 X8g dents heard during the OSM tour. The duction to orchestral instruments and pre rimmed glasses. “These exhibitions are meant x8tsEsu musicians also adapted a piece by the sentations on the composers whose works to celebrate artistic and cultural diversity. I Russian composer Igor Stravinsky, Soldier’s were performed in the evening. A film crew really want the work to reflect the entire Trent University has awarded an honorary Tale, which includes spoken text originally will produce a documentary using footage country, and that must include northern degree to Igloolik filmmaker Zacharias written in French. An Inuk actor recited an shot during the tour. and indigenous artists,” said exhibition orga Kunuk in recognition of his efforts to pre Inuktitut version of the text prepared by Nagano, who was named musical director nizer and printmaker Peter MacWhirter. He serve and represent Inuit culture and gen Zebedee Nungak. of the OSM in 2006, is a much-admired helped launch the inaugural International erate employment in Nunavut. Kunuk, Nunavik audiences also heard an old conductor who has worked with numerous Printmaking Exhibition in 2006. Germaine co-founder of Igloolik Isuma Productions, favourite, Eine Kleine Nachtmusik, by orchestras and opera companies in Germany, Arnaktauyok’s etching Kakuarshuk appeared Canada’s first Inuit-owned independent Wolfgang Amadeus Mozart. “One of the France, the United Kingdom, and the United in galleries in Japan, South Korea, and production company, received the degree at things that musicians all over the world States. He also serves as musical director Canada as part of that show. a convocation ceremony in Peterborough, share is the idea that music becomes much of the Bavarian State Opera. His Nunavik Supported partly by the Canadian Ontario, on June 5. He was awarded the more meaningful when we share our music tour was financed by a long list of Embassy in China and Heritage Canada, honour along with five other leading with others,” Nagano said. In a gesture of sponsors, including Hydro-Québec, Canadian the One World exhibition received signifi Canadians in the fields of music, film, busi friendship at the tour announcement at Royalties Inc., Air Inuit, Makivik Corp., the cant attention in Beijing as a feature of the ness, humanitarianism, and literature. Montreal’s McCord Museum last spring, J. Armand Bombardier Foundation, and 2008 Cultural Olympiad. According to An officer of the Order of Canada and Nagano and Avataq president Charlie many others. MacWhirter, no fewer than 17 print, radio, winner of the 2001 Caméra d’Or at Cannes Arngak exchanged a conductor’s baton and a and television journalists attended the International Film Festival for his work on traditional woven basket with a sealskin The article, which first appeared in Nunatsiaq opening at the Amelie Art Gallery in Beijing’s Atanarjuat: The Fast Runner, Kunuk has carving mounted on the handle. News, has been reprinted with permission from 798 Art District, a decommissioned military been capturing Inuit culture on film since This fall, Evie Mark (left), one of two Nunavik throat singers performed a composition written by composer Jim Bell, editor. Minor editorial changes have factory that has been transformed into a hub 1981, when he sold three soapstone sculp Alexina Louie, with Charlie Arngak (centre), president of the Avataq Cultural Institute, and Kent Nagano, been made. for contemporary art in China. tures to purchase a video camera during a musical director of the Orchestre symphonique Montréal. w= m4, mD9lt4 kN=4uz3g4 srx4n6 The appearance of Pootoogook’s work in trip to Montreal. Kunuk is now at work on vb?Ms3g4 wqstz nN/s9li xo4yN lw, x7ml no x3N4 Getxi5g6H, xzJcaJ6 x?b6 the exhibition coincided with a heightened a 60-minute documentary entitled Exile, wodyoEp4f8k5 x7ml r85 NZk, i9oxJi4 gros3t m8gExusb6. x0pos3bsJ6 p7 Ws9 Chinese interest in Inuit artefacts that had which recreates the Inuit point of view of kN5yx3 W?9oxJ5 been sparked by First Peoples of Canada: the 1950s relocation of families from Masterworks from the Canadian Museum of Inukjuak in northern Quebec to Ellesmere Civilization, an exhibit that opened in Island, 1,500 kilometres to the north. Beijing last summer. The exhibit, which

40 I Vol.23, No.4 winter 2008 Inuit art quarterly I 41 update

and the Royal Ontario Museum in Toronto, BRIEFLY NOTED Purchased with the help of $10,000 in Inuit Art Rediscovered in Toronto… among others, to make acquisitions. “Since funding from Indian and Northern Affairs many of the objects in our historical explo Nunavut Film Opens Expanded Canada, the library materials cover such film ration collection come from the Canadian production essentials as writing, story A new Inuit art study centre at the recently work in resurrecting Inuit culture and tra- … and in the U.K. Resource Centre redesigned Art Gallery of Ontario (AGO) in ditions that were suppressed or forgotten After decades on the margins of the British Arctic, this will enable us to tell a much boarding, directing, producing, editing, set Toronto aims to reveal the depth and origin during the course of the 20th century. art world, Inuit artworks will soon once more nuanced story about its past and The opening of a new resource centre at the design, and lighting. Texts on documentary of the gallery’s extensive Inuit art collection. Other highlights of the redesigned AGO again have a permanent dedicated gallery present,” Lewis-Jones said. Currently, SPRI’s Nunavut Film Development Corporation’s filmmaking and animation are also available, The study centre, which includes a glass- include works by artists such as Manasie space in the United Kingdom. Slated to open collection includes approximately 50 sculp (NFDC) head office in Iqaluit means that as are a number of current film-related soft fronted storage area for approximately Akpaliapik, David Ruben Piqtoukun, and in 2010, the new gallery will form one wing tures and 10 prints. Although many pieces independent filmmakers in Nunavut now ware programs for use at the resource centre. 500 sculptures, also allows visitors a behind- Suvinai Ashoona in various Canadian and of the Scott Polar Research Institute’s (SPRI) are significant, Lewis-Jones said the collec have access to a wide range of materials cov The centre’s opening coincides with NFDC’s the-scenes look into the gallery’s daily cura contemporary galleries, as well as a large, redeveloped Polar Museum in Cambridge, tion “lacks coherence or unity,” while the ering all aspects of the filmmaking process. recent move to a more spacious office torial, conservation, and collections six-panel print by Kenojuak Ashevak and England. A £200,000 ($400,000 Cdn) grant available range of stories and themes for “It’s one of the most comprehensive libraries in Iqaluit. Taken together, Brown said the management work. In addition, computer Harold Klunder. Annie Pootoogook’s from the Heritage Lottery Fund’s Collecting curatorial display is limited. of its kind in North America,” said NFDC developments are reflective of the growing terminals are available for public research. monumental 4 x 8 foot work, Drawing My Cultures program will fund the acquisition In addition to the new permanent Inuit project manager and acting director Sarah interest in filmmaking in the North. According to the curator of Canadian Art, Grandmother’s Glasses, is also on display for of an estimated 250 Inuit artworks created art gallery, the refurbished Polar Museum will Brown. “These resources are available for In 2008, NFDC received a record 30 film Gerald McMaster, this kind of presentation the first time since its purchase by the gallery from 1950 to 1990. According to SPRI feature a temporary exhibition space to show people who are already involved in the film proposals requesting almost $350,000; mirrors a trend in a number of North at the 2007 Toronto International Art Fair. Curator of Art, Huw Lewis-Jones, approxi case the work of established artists such as industry in Nunavut, and also for anyone funding of $150,000 was awarded to 17 of American galleries and museums. Given its “We’re very well represented historically mately 80 per cent of those pieces will come Pitseolak Ashoona and Parr, as well as con who’s interested, including students.” those proposals. distinct variations in style by community, with Inuit works from the 1950s to the from the Canadian Arctic. temporary artists such as Annie Pootoogook. Inuit art presents an ideal subject for such 1980s, but we need to be much more vigi A UK-based advisory committee will Museum staff will also work with the a display. lant in collecting pieces from the last decade work with representatives from Dorset Fine private, London-based Narwhal Inuit Art Launched in November as part of the and a half,” says McMaster. Arts, the Museum of Inuit Art in Toronto, Gallery to organize a touring exhibition of AGO’s $276 million redesign, the centre sculpture and graphics. The tour, scheduled will also feature regular thematic displays, to begin in 2010, is expected to stop at beginning with an exhibit on representa venues in Ireland, Scotland, and England tions of the Sedna myth in Inuit sculpture. (perhaps including a showing at the Royal In addition to the study centre, the AGO Geographical Society in London). has reinstalled the Sarick Gallery, a dedi Hoping to match the current grant with cated Inuit art exhibition space capable of additional funds, Lewis-Jones said he also displaying up to 50 artworks. Although intends to seek support for an Inuit artist-in- relatively small, McMaster said the gallery residency program at Cambridge University, occupies a prime location on a “main thor where SPRI is housed. “Through collection, oughfare” within the overall Canadian art exhibitions, and other outreach events, we gallery. The space will host new exhibits at hope to engage a new audience with this fine least annually. “This will provide us with the sculpture and graphic material, not as a opportunity to show new works, old works, ‘tribal’ or ‘touristic’ handicraft, but as beau and new ideas, and also give the public a tiful and sophisticated contemporary art, better sense of the depth of our collection,” deeply rooted to the history, culture, and McMaster said. The AGO’s extensive hold environment of the Arctic.” ings comprise over 5,000 pieces of Inuit According to Lewis-Jones, the current sculpture, works on paper, and wall hangings. lack of a permanent gallery in the United A new installation, Ancient Memory, is Kingdom devoted to Inuit art was a major With the help of a diamond-bladed, 14-inch cutoff saw, carver Jackie Milortok cuts into a piece located in the Canadian wing. A chrono factor in the success of SPRI’s grant pro posal. Although “incredibly popular” back of serpentine stone near Repulse Bay, Nunavut. The gas-powered saw was purchased by the logical display — from the ancient art of the Aivilik Arts Society earlier this year with a $2,500 Community Initiatives Grant from the Inuit Art in the 1950s and 1960s — thanks to the Thule to Inuit works of the historic and Foundation in Ottawa. The saw significantly reduces the time carvers spend quarrying stone with efforts of U.K. advocates such as Charles post-contact era — it ends with the contem hand tools such as hammers and picks. Use of the saw is free to carvers, managed on a first- porary films of Zacharias Kunuk. McMaster Gimpel — Inuit art has since “fallen off the come, first-served basis. The Inuit Art Foundation typically awards two to three grants annually says that Kunuk has been singled out for his face of the Earth in terms of the way it is to assist artists in their efforts to acquire carvingstone. wvJ3bs9lt4 tyJu4 nNaxDtc3Lt4 exhibited over here,” he said. “I genuinely sx/j3gu4 r9lt, 14 w8yu4 xqio4u4 r9ltc3Li, nNax3tsJ6 /r ul3g6 nNax3g6 hope that, by our efforts to curate Inuit art nNaxZ4nu4 Ns/5 ciQ/iu, kNK5u. Zyj3g6 r9lt is=3bsMs3ymJ6 xw=o4 nNax- Eskimo hunter, pre-1955, Kopeekolik, Puvirnituq, here and to accord it the same professional 3goEpq8k5 xCAu wlxi xrc3Li R@,%)) kNo4k5 gCzJ5 rNs/3bE/sJ8N3gi5 wkw5 a sculpture in Scott Polar treatment, display, and respect that other nNax3t5 wo8ix3=zi5. xfisi3n6 W/wZ/3Lt4 xZjDt4 h3l vsZ3yJtjDt4. r9lt Research Institute’s artists are given, we can go some way towards xg3bsiz xrcq5g6 rNgw8N3j5 nNax3tsJk5 yK9osJ5 Wc3g5 Wc5b3Lt4. wMQ/z growing collection. redressing the neglect that we’ve seen in wvJ3t4f5 xsMbq8k5, wkw5 nNax3t5 wo8ix3=4 mD4i4 Wzhi4l8i5 g8iE4yc5b3g5 wk4 xaNh4t, 1955, recent years.” rNs/i4 xCAbm5 wvJbsNh4gi4 nNax3tsJ5 vtmpq8k5 nNaxZoEJtbCh4gk5 gzi, dWDo4, S=3i3g6 nNaxZ4n3bCh4gk9l. Courtesy of Scott Polar Research Institute

42 I Vol.23, No.4 winter 2008 Inuit art quarterly I 43 update

42 I Vol.23, No.4 winter 2008 Inuit art quarterly I 43 Cultivating Colour Jutai Toonoo • Arnaqu Ashevak • Shuvinai Ashoona Siassie Kenneally • Papiara Tukiki • Kakulu Saggiaktok

The ﬁnest in Inuit art: sculpture, prints and drawings

Jutai Toonoo, oil stick on paper, 2008, 45 x 45" Kananginak Pootoogook, “Swimming Bears”, stencil , 19” x 30”

Albers Gallery of Inuit Art PO Box 2 (415) 751-6500 or (888) 45 INUIT Guildhall, Vermont, USA 05905 14 Hazelton Avenue, Toronto, Canada M5R 2E2 Email: [email protected] tel 802 • 676 • 3967 kipling 416-323-1373ad2 9/22/08 • www.feheleyfinearts.com 11:55 AM Page 3 http://www.albers-inuit.com

“Bear with cubs” by Jimmy Iqaluq, Sanikiluaq, NU Canada’s Leading Retailer

ABRAHAMANGHIKRUBEN of Inuit Arts & Crafts

Yellowknife 867-873-5944

Inuvik 867-777-2786

Churchill 204-675-2681 www.northernimages.ca

Detail Detail th th November 5 to December 7 , 2008 northern images 7938 Kipling Avenue, Woodbridge, Ontario L4L 1Z5 A Division of Arctic Co-operatives Ltd. T. 905.265.2160 E. [email protected] www.kiplinggallery.com Cultivating Colour Jutai Toonoo • Arnaqu Ashevak • Shuvinai Ashoona Siassie Kenneally • Papiara Tukiki • Kakulu Saggiaktok

The ﬁnest in Inuit art: sculpture, prints and drawings

Jutai Toonoo, oil stick on paper, 2008, 45 x 45" Kananginak Pootoogook, “Swimming Bears”, stencil , 19” x 30”

“Bear with cubs” by Jimmy Iqaluq, Sanikiluaq, NU Canada’s Leading Retailer

ABRAHAMANGHIKRUBEN of Inuit Arts & Crafts

Yellowknife 867-873-5944

Inuvik 867-777-2786

Churchill 204-675-2681 www.northernimages.ca

Disappointing and Overly Critical simple fact that it has embraced Also, keep in mind that this all I am writing to comment on the Inuit art as a legitimate and worthy has occurred in a very short period review of the book, Arctic Spirit, component of North American of time, compared to museums in ADVERTISERS’ INDEX which focuses on the Albrecht Aboriginal art is, in itself, somewhat Toronto, Montreal, Winnipeg, etc., remarkable and should be widely and must, therefore, be viewed as a ABoriginArt Galleries Feheley Fine Arts Native Art Traders Collection of the Heard Museum in Vancouver, British Columbia...... 17 Toronto, Ontario...... 44 Skokie, Illinois...... 19 Phoenix, Arizona (summer 2008). applauded in the Inuit art world. work in progress. I found the review disappointing I have spent a considerable time in I do not know whether Newton Albers Gallery Galerie Elca London North Star Inuit Gallery and overly critical. frustrating arguments with American has visited the Heard Museum San Francisco, California...... 45 Montreal, Quebec...... 46 Yellowknife, Northwest Territories...... 48 My wife and I have spent over museums and curators debating this recently and compared it to other Alec Lawson Tuckatuck Houston North Gallery 40 years in the passionate collection point, usually to no avail. permanent museum exhibits or That a world-renowned museum books describing them in the United Dorval, Quebec...... 18 Lunenberg, Nova Scotia...... 19 Northern Images of Inuit art, which was completely Yellowknife, influenced by our own personal taste. in the United States has embraced States. If, indeed, she is focused on Appleton Galleries Images Art Gallery Northwest Territories...... 45 Vancouver, British Columbia...... 31 With this background, I would, there- Inuit art to this extent (and one “the southern reception and percep- Toronto, Ontario...... 18 must personally see the attention it tion” of Inuit art in any of its varied The North West Company fore, like to present another perspec- Mississauga, Ontario...... I.B.C. Arctic Artistry The Innuit Gallery tive. I shall not take issue with the receives in its exhibition space to forms, I think her essay should have Chappaqua, New York...... 18 London, Ontario...... 37 Nunavut Gallery Inc. fact that the current collection and fully appreciate this fact) should be recognized this portrayal of Inuit cause for great celebration in the art in a larger perspective, one that Winnipeg, Manitoba...... 37 book represent mainly one man’s Arctic Nunavut Inuit Images Toronto, Ontario...... 19 Waddington’s taste, Dan Albrecht’s. But what is Inuit art world. This remarkable is, indeed, a most positive and Sandwich, Massachusetts...... 19 accomplishment would never have salutatory event. Toronto, Ontario...... 8 collecting by an individual except Arts Induvik occurred without Albrecht’s absolute The book, the Albrecht collection, Kipling Gallery William Jamieson about taste? And several people’s per- Iqaluit, Nunavut; Woodbridge, Ontario...... 44 Toronto, Ontario...... 48 ceptions of “richness and diversity” devotion and his donation of a vast and the Heard Museum are deserving Montreal, Quebec; amount of time and personal income of far more comprehensive attention Vancouver, British Columbia...... 8 (Hessel and Albrecht) are, in my Look North opinion, worthy of more thoughtful to this end. In my opinion, the assis- and congratulation by IAQ. Guildhall, Vermont...... 45 tance and advice of Ingo Hessel has Lawrence L. Michaelis, M.D. Canadian Guild of Crafts consideration in Jessica Newton’s Montreal, Quebec...... 31 review — for the same reason. been of considerable help as well. Carefree, Arizona Marion Scott Gallery Vancouver, British Columbia. O.B.C. The Heard Museum is home to It is a seminal and disruptive occur- David Ruben Piqtoukun rence that, I am convinced, will Sutton West, Ontario...... 48 what many consider to be the largest MIA Gallery have far-reaching and positive effects and finest collection of southwestern Toronto, Ontario...... I.F.C., 1 American art in the world. The on all of Inuit art.

Galerie Elca London InuIt Masterworks

LatchoLassie akesuk Mathew aqigaaq BarnaBus arnasungaaq kiawak ashoona Davie atcheaLak osuitok ipeeLee John pangnark DaviD ruBen piqtoukun MiriaM qiyuk pauta saiLa Lucy tasseor JuDas uLLuLaq *video catalogue available upon request interested in purchasing quality works of inuit art

NEW ADDRESS 224 St. Paul Street West, Montreal, Quebec H2Y 1Z9 Tel: (514) 282-1173 • Fax: (514) 282-1229 E-mail: [email protected] http://www.elcalondon.com

46 I Vol.23, No.4 winter 2008 Inuit art quarterly I 47 Letter

Galerie Elca London InuIt Masterworks

NEW ADDRESS 224 St. Paul Street West, Montreal, Quebec H2Y 1Z9 Tel: (514) 282-1173 • Fax: (514) 282-1229 E-mail: [email protected] http://www.elcalondon.com

46 I Vol.23, No.4 winter 2008 Inuit art quarterly I 47 Did you know? WANTED WILLIAM JAMIESON Artists are protected under the Collector seeks Soapstone Carvings from the 1940s, 50s, 60s and 70s. Canadian Copyright Act and Especially work by these artistes: you need their permission if you Andy Miki, Pauta Saila, Niviaxie, Osuitok Ipeelee, Karoo Ashevak, Luke Iksiktaaryuk, Ennutsiak, want to reproduce their work. Jessie Oonark, Luke Anguhadluq, John Kavik, John Tiktak, Joe Talirunili, John Pangnark  The Inuit Art Foundation now  offers a copyright service for  Northwest Coast, Eskimo, Woodland and Plains Inuit art reproduction. We will Indian Clothing, Pottery, Weapons, Sheilds, Blankets, Woodcarvings, Beadwork, Masks, Pipes, Rattles, contact artists on your behalf to Totem Poles, Argellite Carvings, and Eskimo Ivories. negotiate the consent required Also seeking ethnographic material and artefacts; to use their artwork. Indonesian, Oceanic, Pre-Columbian, African Artifacts and oddities & curiosities from around the world.

Free Identification Of Material. Discretion Assured. Call (613) 224-8189 for more Please mail or email photos to: Billy Jamieson information about this service. 468 Wellington St. W. Tel: 416.596.1396 Suite 201, Toronto Ontario Fax: 416.596.2464 C Canada M5V1E3 Email: [email protected] North Star Inuit Gallery

an online site featuring Fine Inuit Carvings Original Drawings

Box 305, Yellowknife NT, Canada, X1A 2N3 Tel: 867-444-6936

[email protected]

www.northstarinuitgallery.com Did you know? WANTED WILLIAM JAMIESON Artists are protected under the Collector seeks Soapstone Carvings from the 1940s, 50s, 60s and 70s. Canadian Copyright Act and Especially work by these artistes: you need their permission if you Andy Miki, Pauta Saila, Niviaxie, Osuitok Ipeelee, Karoo Ashevak, Luke Iksiktaaryuk, Ennutsiak, want to reproduce their work. Jessie Oonark, Luke Anguhadluq, John Kavik, John Tiktak, Joe Talirunili, John Pangnark  The Inuit Art Foundation now  offers a copyright service for  Northwest Coast, Eskimo, Woodland and Plains Inuit art reproduction. We will Indian Clothing, Pottery, Weapons, Sheilds, Blankets, Woodcarvings, Beadwork, Masks, Pipes, Rattles, contact artists on your behalf to Totem Poles, Argellite Carvings, and Eskimo Ivories. negotiate the consent required Also seeking ethnographic material and artefacts; to use their artwork. Indonesian, Oceanic, Pre-Columbian, African Artifacts and oddities & curiosities from around the world.

an online site featuring Fine Inuit Carvings Original Drawings

Box 305, Yellowknife NT, Canada, X1A 2N3 Tel: 867-444-6936

[email protected]

www.northstarinuitgallery.com C M Y K

Paper North Baker Lake Drawings Past and Present

JANUARY, 2009

Luke Anguhadluq (1895-1982) untitled (mother and child) circa 1975 MSG MARION SCOTT GALLERY

308 Water Street, Vancouver, BC, Canada V6B 1B6 Tel: 604-685-1934 www.marionscottgallery.com

50 I Vol.23, No.4 winter 2008