DOCSLIB.ORG

CAPE D O RSET a Nnual Print C Ollection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CAPE D O RSET a Nnual Print C Ollection 2017 CAPE DORSET Annual Print Collection © Copyright 2017 Dorset Fine Arts is a Division of West Baffin Eskimo Co-operative Ltd. ALL RIGHTS RESERVED The copyright in the works of art reproduced herein is the property of the artists. Reproduced herein is by special arrangement with the West Baffin Eskimo Co-operative Ltd., agents for the artists who own the copyright of the works of art. _______________________________________________________________________________ ALL PRINTS IN THE ANNUAL COLLECTION ARE IN EDITIONS OF FIFTY (50) unless noted. In addition, five proofs have been pulled. The printer is indicated by the personal chop which appears on each print. Each of the prints is individually signed by the artist with the exception of print numbers 1, 3 and 4 signed by Mary Pitsiulak Spelling correction: As of March 2017 Ningeokuluk Teevee is now Ningiukulu Teevee All sizes are given in centimeters, height before width. Paper sizes will vary from print to print. Dorset Series prints are available through West Baffin Eskimo Co-operative Ltd in Cape Dorset Special Releases & Commission prints are available through the galleries noted. _______________________________________________________________________________ CREDITS Content Editor: Kate Vasyliw, John Westren, Paige Connell Designer: David Hannan Printing: Colour Innovations Inc Printed in Canada www.dorsetfinearts.com Foreword On a recent trip to Cape Dorset, I sat down with the artists and printmakers at Kinngait Studios in hopes of learning more about the inspiration and processes behind their work in the 58th Annual Print Collection. I quickly learned that their artwork goes beyond aesthetics. Unlike many Southern artists, the artists from this picturesque hamlet in Nunavut seldom receive formal training in studio arts, so their artistic practices are largely informed by mentorship and collaboration within the community. The resulting prints simultaneously embody tradition and contemporaneity, creating a captivating visual record of both the history and present day culture of Kinngait. One of the youngest artists, Ooloosie Saila, has only been working with the studio for a year, but art has always been a vital part of her life growing up in Cape Dorset. When she was a young girl, Ooloosie remembers watching in awe as her friend’s grandmother, the celebrated Inuk artist Kenojuak Ashevak, worked on her drawings in their home. Ooloosie looked on smiling as we flipped through prints in this year’s collection, enthusiastically pointing out the works of distinguished artists and community leaders like Nuna Parr, Pitaloosie Saila, Ningiukulu Teevee, Shuvinai Ashoona, and the late Tim Pitsiulak, who tragically passed away in December of 2016. An ornate drawing of a yellow owl is the first work of Ooloosie’s to be reproduced as a stonecut print Ornamental Owl 17-13 which, to her delight, is included in this year’s collection. She spoke about her experience getting to work with stonecutter Qiatsuq Niviaqsi excitedly announcing, “I got to choose the colour!” Senior lithographer Niveaksie Quvinaqtuliaq, who has been working at Kinngait Studios since the early 90’s, explained that the proofing process could take as long as two months, so a close relationship between printmaker and artist is critical. Transforming the original drawing into a print requires the technical expertise of the lithographer or stonecutter to effectively communicate the artist’s creative vision—a collaborative spirit that exists throughout the entire community. With 10 works in the collection, my conversation with Ningiukulu Teevee was a remarkably catalytic moment in my understanding of how essential art production is to the members of this small Arctic community. I had already developed an enormous admiration for her whimsical and expressive depictions of animals and life in the North, but listening to Ningiukulu describe the narratives behind each image pushed me to view each of the works in the collection through a new lens. She explained some of her works were simply the product of her imagination, whereas others were inspired by stories she had grown up with or Inuit legends she has studied in her adult life. One story in particular entirely transformed the way I saw the print it had inspired—that of the owl and the raven Raven’s Boots 17-29. According to Ningiukulu’s account, long ago, both the raven and the owl were white until, one day, they agreed to paint each other’s feathers with soot. The raven painted the owl first, and the owl was so happy with his new look that he gave the raven a pair of boots as a thank you. When it was the raven’s turn to be painted, he was so excited with his new footwear that he couldn’t sit still, and the owl had to paint the raven all black. Ningiukulu’s drawing of a raven’s head with a small pair of boots peeking out in the corner provides a playful and distinctly contemporary perspective on this well-known Inuit legend. I approached this work with the mind of a collegiate art historian, however, Ningiukulu showed me that her drawings demand more than simple formal analysis, as they are truly material expressions of Inuit culture. After our conversation I thanked Ningiukulu for taking the time to share these stories, and for welcoming me into her beautiful hometown. “Cape Dorset is the best place in the world,” she responded, a sentiment that is documented by every drawing she creates. Artist and seasoned stonecutter Qavavau Manumie’s work illustrating a shaman calling on the polar bear spirit to help his people may seem entirely incongruent Arniniq Inuusiq (Breath of Life) 17-10 with Saimaiyu Akesuk’s graphic, almost neon, bird prints, but they are each the product of this remarkable artistic tradition. Through its inclusion of works by individuals from multiple generations, this collection is fundamentally Inuit in content, while still showcasing the diverse styles and perspectives of these contemporary artists in Cape Dorset. - Claire Foussard TIM PITSIULAK QUVIANAQTUK PUDLAT SAIMAIYU AKESUK KAKULU SAGGIAKTOK QAVAVAU MANUMIE ANNIE PARR NICOTYE SAMAYUALIE OOLOOSIE SAILA NUNA PARR PITALOOSIE SAILA CEE POOTOOGOOK MALAIJA POOTOOGOOK SHUVINAI ASHOONA SIMEONIE TEEVEE NINGIUKULU TEEVEE 2017 CAPE DORSET Annual Print Collection TIM PITSIULAK 1. 2. 3. TIM PITSIULAK TIM PITSIULAK TIM PITSIULAK 1. Soper River Crossing 2. Sedna’s Rescue 3. Qilalugaq (Beluga) Stonecut Stonecut Stonecut Paper: Kizuki Kozo White Paper: Kizuki Kozo Natural Paper: Kizuki Kozo White Printer: Qiatsuq Niviaqsi Printer: Qavavau Manumie Printer: Qavavau Manumie 35.5 x 94.2 cm 54.5 x 70.5 cm 61.8 x 97 cm 4. TIM PITSIULAK 4. Ancient Beluga Etching & Chine Collé Paper: Arches White & Tengu-Jo Tissue Blue Printer: Studio PM 64 x 80 cm QUVIANAQTUK PUDLAT 5. QUVIANAQTUK PUDLAT 5. Sparring Owls Stonecut Paper: Torinoko Kozo Natural Printer: Qiatsuq Niviaqsi 68.8 x 48.6 cm SAIMAIYU AKESUK 8. 6. SAIMAIYU AKESUK 6. Together Stonecut & Stencil Paper: Kizuki Kozo White Printer: Cee Pootoogook 82.3 x 62 cm 7. SAIMAIYU AKESUK 7. Exuberant Spirit Lithograph Paper: BFK Rives White Printer: Niveaksie Quvianaqtuliaq 76.5 x 57 cm 8. SAIMAIYU AKESUK 8. Transfiguration Lithograph Paper: BFK Rives White Printer: Niveaksie Quvianaqtuliaq 49 x 38.3 cm KAKULU SAGGIAKTOK 9. KAKULU SAGGIAKTOK 9. Counting Caribou Etching & Aquatint Paper: Arches White Printer: Studio PM 79.7 x 86.5 cm QAVAVAU MANUMIE 10. ANNIE PARR 11. NICOTYE SAMAYUALIE 6. 6. 12. QAVAVAU MANUMIE ANNIE PARR NICOTYE SAMAYUALIE 10. Arniniq Inuusiq (Breath of Life) 11. Roaming Bears 12. Morning Breeze Stonecut and Stencil Etching & Aquatint Etching & Aquatint Paper: Kizuki Kozo White Paper: Arches White Paper: Arches White Printer: Qavavau Manumie Printer: Studio PM Printer: Studio PM 62 x 79 cm 34 x 47 cm 80 x 87 cm OOLOOSIE SAILA 13. OOLOOSIE SAILA NUNA PARR PITALOOSIE SAILA 13. Ornamental Owl 14. Hunting Bear 15. Loon & Char Stonecut Etching & Aquatint Stonecut Paper: Kizuki Kozo White Paper: Arches White Paper: Kizuki Kozo White Printer: Qiatsuq Niviaqsi Printer: Studio PM Printer: Ashoona Ashoona 45.8 x 61.8 cm 48.4 x 56.8 cm 53.5 x 62 cm NUNA PARR SIMEONIE TEEVEE 14. PITALOOSIE SAILA 15. CEE POOTOOGOOK 16. CEE POOTOOGOOK CEE POOTOOGOOK MALAIJA POOTOOGOOK 16. Summer Buzz 17. Jubilant Bird 18. Clash Etching & Aquatint Etching & Aquatint Etching & Aquatint Paper: Arches White Paper: Arches White Paper: Arches White Printer: Studio PM Printer: Studio PM Printer: Studio PM 80 x 100.7 cm 61 x 64.5 cm 76.8 x 110.9 cm 17. MALAIJA POOTOOGOOK 18. SHUVINAI ASHOONA 19. SHUVINAI ASHOONA 19. Journey to the Past Etching & Aquatint Paper: Hahnemuhle Copperplate Bright White Printer: Open Studio 40.7 x 39.3 cm SIMEONIE TEEVEE 20. SIMEONIE TEEVEE 20. Saputiit (Handmade Fish Weir) Stonecut & Stencil Paper: Kizuki Kozo White Printer: Ashoona Ashoona 47.5 x 67 cm NINGIUKULU TEEVEE 21. NINGIUKULU TEEVEE NINGIUKULU TEEVEE NINGIUKULU TEEVEE 21. Caribou Legs 22. Tundra Waves 23. Nocturnal Owl Stonecut Lithograph Lithograph Paper: Kizuki Kozo Natural Paper: Arches Cover White Paper: BFK Rives Cream Printer: Tapaungai Niviaqsi Printer: Niveaksie Quvianaqtuliaq Printer: Niveaksie Quvianaqtuliaq 81.4 x 61.5 cm 33 x 30 cm 34 x 31 cm 22. 23. 24. NINGIUKULU TEEVEE NINGIUKULU TEEVEE NINGIUKULU TEEVEE 24. Tiguaq (Adopted) 25. Ptarmigans 26. Innocent Owl Stonecut Stonecut & Stencil Etching & Aquatint Paper: Kizuki Kozo White Paper: Kizuki Kozo White Paper: Arches White Printer: Qiatsuq Niviaqsi Printer: Tapaungai Niviaqsi Printer: Studio PM 39.3 x 52 cm 30.5 x 36.5 cm 46 x 47 cm 25. 26. 27. 28. 29. NINGIUKULU TEEVEE NINGIUKULU TEEVEE NINGIUKULU TEEVEE 27. Flirtatious Owl 28. Mythical Kudlik 29. Raven’s Boots Lithograph Stonecut & Stencil Stonecut & Stencil Paper: Arches Cover White Paper: Kizuki Kozo White Paper: Kizuki Kozo White Printer: Niveaksie Quvianaqtuliaq Printer: Cee Pootoogook Printer: Tapaungai Niviaqsi 57 x 76.5 cm 38 x 34.5 cm 34.5 x 31 cm 30.
Load more

Recommended publications
  • Contemporary Inuit Drawing
    Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts.
    [Show full text]
  • Visionary Inuit Artist Kenojuak Ashevak Dies at 85 - the Globe and Mail 1/24/13 5:42 PM
    Visionary Inuit artist Kenojuak Ashevak dies at 85 - The Globe and Mail 1/24/13 5:42 PM INUIT ART Visionary Inuit artist Kenojuak Ashevak dies at 85 SANDRA MARTIN The Globe and Mail Published Tuesday, Jan. 08 2013, 11:07 AM EST Last updated Tuesday, Jan. 08 2013, 9:05 PM EST The Inuit had been communing with the natural and spiritual world for thousands of years by drawing and carving images. They had no concept that they were making art, however, until southerners, such as the artist and dealer James Houston, travelled to the North in the late 1940s and recognized the beauty of the objects they were making. In the past 60 years, the world has come to recognize and revere Inuit art and artists, none more so than Kenojuak Ashevak, the premier artist and guiding visionary who died Tuesday of lung cancer at her home in Cape Dorset. “She was the star of the Dorset artists but she was also a national icon transcending Inuit art,” said her long-time dealer and friend, Pat Feheley, of Feheley Fine Arts. Ms. Ashevak’s art was “the backbone” of the annual collection of prints from Cape Dorset, Ms. Feheley said, noting her work appeared in most releases stretching from 1959 until 2012. “Everybody knows the image of the The Enchanted Owl and everybody knows her name,” but “what mattered to her most was to make the picture beautiful,” Ms. Feheley said. “It was all a desire to create what was in her head, but to do it in a beautiful way.” Ms.
    [Show full text]
  • Goose Lane Books Have Come out with Their Fall Line-Up and There Are Lots of Fabulous Canadian Books for All Readers. If You
    Canada's oldest independent publisher has the books you want to read Ottawa Life Magazine By: Chloé Statham August 25, 2020 Original URL: https://www.ottawalife.com/article/goose-lane- books?c=18#:~:text=August%2025%2C%202020- ,Canada's%20oldest%20independent%20publisher%20has%20the%20books%20you%20want%20to,Can adian%20books%20for%20all%20readers Goose Lane Books have come out with their fall line-up and there are lots of fabulous Canadian books for all readers. If you feel the pull from your artistic side you can explore the work of Alex Colville or see some of the world class works from the Beaverbrook Art Gallery in Fredericton or get immersed in a superb book on Inuit art. If you love travel and history you can pick up Restigouche to learn about this spectacular region of New Brunswick or read ‘From the Forest to the Sea’ about the spectacular work of British Columbia’s Emily Carr.The choices are endless. Here are some of our favourites. Read em and reap! Author: Philip Lee Paperback: 272 pages ISBN: 9781773100883 The Restigouche River flows through the remote border region between the provinces of Quebec and New Brunswick, its magically transparent waters, soaring forest hillsides, and population of Atlantic salmon creating one of the most storied wild spaces on the continent. In Restigouche, Philip Lee follows ancient portage routes into the headwaters of the river, travelling by canoe to explore the extraordinary history of the river and the people of the valley. They include the Mi'gmaq, who have lived in the Restigouche valley for thousands of years; the descendants of French Acadian, Irish, and Scottish settlers; and some of the wealthiest people in the world who for more than a century have used the river as an exclusive wilderness retreat.
    [Show full text]
  • 3-6 Oct . 2019 Montréal
    3-6 OCT. 2019 MONTRÉAL 2 21st Inuit Studies Conference 21e Congrès d’Études Inuit October 3rd–6th, 2019 | du 3 au 6 octobre 2019 Université du Québec à Montréal Montréal, Québec, Canada Preliminary Programme | Programme préliminaire (September 22, 2019 | 22 septembre 2019) 2 3 Important Notes | Informations importantes Pre-Final Version | Version pré-finale Please note that this is not the final version Veuillez noter quʼil ne sʼagit pas de la ver- of the schedule and that some information may sion finale du calendrier et que certaines infor- change between now and the conference. Ad- mations peuvent changer dʼici le congrès. Des ditional information can be found on the con- informations supplémentaires se trouvent sur le ference website. site Web du congrès. Logo The conference logo was designed by Le logo du congrès a été conçu par le graphic artist/designer Thomassie Mangiok. graphiste et designer Thomassie Mangiok. Digital Version | Version numérique An interactive version of the schedule is Une version interactive de lʼhoraire est available online and on the Grenadine Event disponible en ligne, ainsi quʼavec lʼappli Guide app (App Store and Google Play), us- «Grenadine Event Guide» (App Store et ing the code ISC2019. Google Play), en utilisant le code ISC2019. Smart Phone App | Appli pour téléphone intelligente Vous pouvez télécharger et obtenir des Vous pouvez télécharger et receveoir ver- mises à jour sur la conférence à lʼaide sion interactive de lʼhoraire est disponible en de lʼapplication pour smartphone Grenadine ligne, ainsi quʼavec lʼappli «Grenadine Event Event Guide (App Store et Google Play), en Guide» (App Store et Google Play), en utilisant saisissant le code ISC2019.
    [Show full text]
  • Imitation Coral Reconstruction in Cross‐Cultural Contexts
    Ber. Wissenschaftsgesch.43(2020): 341–366www.bwg.wiley-vch.de DOI: 10.1002/bewi.202000010 Outofthe Ivy and into theArctic: ImitationCoral Reconstruction in Cross-Cultural Contexts** DonnaBilak* Summary: This essay discusses imitation coral reconstruction workshops based on arecipe from asixteenth-century “book of secrets” that took place in three different educational contexts:Columbia University,Nuna- vut Arctic College, and UniversitätHamburg. It reflects on the utility of re- construction and material literacy as present-day history of science meth- odologies in which scholarly textual interpretationmeets physical re- search. It also considers the nature of cultural heritage in shaping material practice through an Inuit cultural context, in which the acquisition and disseminationofknowledge is not rooted in textual traditions, but bodily embedded in oral histories, craft technology,and land stewardship. The essay also presents suggestionsfor new collaborative practices between humanists, artisans, and scientists that can be facilitated by reconstruc- tion methodology. Keywords: imitationcoral, wonder,reconstruction, Arctic,pedagogy, ex- periential learning Introduction Sometime during the1580s, in or around Toulouse,amanset aboutthe task of compilinga“book of secrets.”1 It broughttogetherhis knowledgeofdifferent kindsofartisanal technologiesgainedfromtexts,hearsay,and first-hand experi- ence,and by thetimehefinishedrecording allthis, perhapswithpublication in mind,hehad filled 170 folios with hundreds of entries. Thefirst entryinthis
    [Show full text]
  • Interconnected Worlds: Kinngait Drawings in the North and South
    Interconnected Worlds: Kinngait Drawings in the North and South by Amy Rebecca Prouty A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University Ottawa, Ontario © 2016, Amy Rebecca Prouty 2 Abstract The critical success of Annie Pootoogook’s drawings has often been credited with precipitating a major shift within Inuit art towards more hybridized subject matter that led to the critical recognition of graphic artists such as Shuvinai Ashoona, Tim Pitsiulak, Itee Pootoogook, and Jutai Toonoo. Despite being characterized as a stylistic break within Inuit art history, I argue that these drawings display a sense of continuity with older generations of artists in Kinngait. My examination of factors in the contemporary art world indicates that the popularity of Inuit drawing was due to marketing by agents in the southern art world as well as the shift from modernism to the contemporary period. Such shifts altered the demands for authenticity in Inuit art and now privilege hybridized subject matter. I propose that the contemporary art world overlooks the complex ways in which Inuit have responded to modernity and use drawings to aid resiliency. 3 Acknowledgements I would like to acknowledge the Social Sciences and Humanities Research Council whose funding made this research possible. I also owe an enormous amount of gratitude to my thesis supervisor, Ruth Phillips, who tirelessly edited my writing and guided me through a challenging topic. I would like to thank my committee members, Sandra Dyck and Christine Lalonde, for their invaluable feedback on this project.
    [Show full text]
  • Inuit Artworks Reflect a Cultural Response to Arctic Sea Ice and Climate Change Kaitlyn J
    ARCTIC VOL. 73, NO. 1 (MARCH 2020) P. 67 – 80 https://doi.org/10.14430/arctic69945 “She is Transforming:” Inuit Artworks Reflect a Cultural Response to Arctic Sea Ice and Climate Change Kaitlyn J. Rathwell1 (Received 23 March 2017; accepted in revised form 6 September 2019) ABSTRACT. Seven Inuit artists reflect their lived experience of disappearing sea ice and climate change in their artworks. Living in Pangnirtung and Cape Dorset, Nunavut, for five months in 2013 and one month in 2015 enabled me to build relationships with artists and to initiate collaborations for this project. I examine how the artworks and artists use symbolism, metaphor, and other aesthetic devices to convey messages about their lived experience of sea ice and climate change. Stories told by artists about their artworks emphasize the importance of adaptation and interconnectedness and embrace themes about transformation and renewal. The insights provided by the artists participating in this research are crucial in the context of bridging knowledge systems to enhance our understanding of and potential responses to environmental change. Connecting with the intangible aspects of knowledge systems, such as emotional response, values, and identity, is an ongoing challenge; yet, accounting for these aspects of knowledge is a critical component of salient and legitimate environmental governance. Artists and their artworks can illuminate the less tangible aspects of knowledge about change and hence have an important role to play at the interface of diverse knowledge systems. Key words: bridging knowledge systems; Indigenous knowledge; Inuit art; climate change; Arctic sea ice; resilience; adaptation; values RÉSUMÉ. Sept artistes inuits illustrent, par le biais de leurs œuvres, leur expérience vécue en ce qui a trait à la glace de mer en train de disparaître et au changement climatique.
    [Show full text]
  • Inuit Art Trajectories of Transformation
    Inuit Art Trajectories of Transformation Symposium January 25 2013 Winnipeg Art Gallery FEatURING Alethea Arnaquq-Baril Shuvinai Ashoona Cheryl Ashton Darlene Coward Wight Ingo Hessel Zacharias Kunuk Christine Lalonde Jamasie Pitseolak Tim Pitsiulak William Ritchie Norman Vorano Film Screening Tunniit: Retracing the Lines of Inuit Tattoos Saturday, Jan 26, 7pm Followed by a Q&A with filmmaker Alethea Arnaquq-Baril Free for symposium delegates. Included with Gallery admission for the general public. Tunniit details young Inuk director Alethea Arnaquq-Baril’s journey to discover more about the Inuit tradition of facial tattooing. Tattoos were once worn by Inuit women to mark their entry into adulthood, but disappeared during the last 100 years due to the influence of Christian missionaries, who disapproved Public Opening of the “shamanistic” practice. Over the course of the film, Arnaquq-Baril travels Creation and to several Inuit communities to speak Transformation to elders who still remember the art of tattooing and the cultural significance Defining Moments behind it. When Arnaquq-Baril decides in Inuit Art to get her own facial tattoos, her fiancé is supportive, but her mother and father Friday, Jan 25, 7pm are not. Tunniit explores what it means to not only revive a cultural practice but A fascinating look at the history of wear that practice as a marker of identity. Inuit art over the past six decades, ABOVE: Ningeokuluk Teevee, Tattooed Woman, 2010. Coloured pencil, black highlighting artistic developments, ink on paper. 65 x 49.8 cm. Aquired with funds from the Estate of Mr. and Mrs. influential artists, and new media.
    [Show full text]
  • Examining the Potential of Inuit Art and Artistic Processes to Facilitate Knowledge System Bridging About Environmental Change
    Examining the Potential of Inuit Art and Artistic Processes to Facilitate Knowledge System Bridging About Environmental Change by Kaitlyn Rathwell A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in Social and Ecological Sustainability Waterloo, Ontario, Canada, 2016 ©Kaitlyn Rathwell 2016 Author’s Declaration This thesis consists of material all of which I authored or co-authored: See Statement of Contributions included in the thesis. This is a true cope of the thesis, including any required final revisions, as accepted by my examiners. ii Statement of Contributions In the School of Environment, Resources and Sustainability, two forms of presentation of the doctoral dissertation are permitted: (1) a standard dissertation monograph, and (2) a manuscript option centred on three or four published or publishable learned journal-type manuscripts on related matters, packaged with introductory and concluding chapters that integrate the purposes/research agenda and findings/implications, with the required result forming a conceptual whole. This thesis used the manuscript option. Specific requirements relating to the manuscript option, which have been met, are as follows: ñ The manuscript-based dissertation must reflect a consistent overall conceptual foundation and research agenda and the parts must be integrated to form a coherent package. The whole must be related to the overall purposes of the School of Environment, Resources and Sustainability (SERS) doctoral program, and the individual components of the dissertation must originate from the doctoral research. ñ The manuscripts must be dominated by the intellectual effort of the student. While members of the advisory committee and others involved in the research may, as appropriate, be listed as secondary authors on individual manuscripts, the manuscripts must be written by the student, and the student must be the first author on each manuscript.
    [Show full text]
  • Canada Council for the Arts Funding to Artists and Arts Organizations in Nunavut, 2009-10
    Canada Council for the Arts Funding to artists and arts organizations in Nunavut, 2009-10 For more information or additional copies of this document, please contact: Research and Evaluation Section 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 613-566-4414 / 1-800-263-5588 ext. 4526 [email protected] Fax 613-566-4428 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e This publication is a companion piece to the Annual Report of the Canada Council for the Arts 2009-10. www.canadacouncil.ca/annualreports Publication aussi offerte en français Research and Evaluation Section – Canada Council for the Arts Table of Contents 1.0 Overview of Canada Council funding to Nunavut in 2009-10 ................................................................. 1 2.0 Statistical highlights about the arts in Nunavut ............................................................................................ 2 3.0 Highlights of Canada Council grants to Nunavut artists and arts organizations ............................... 3 4.0 Overall arts and culture funding in Nunavut by all three levels of government .............................. 7 5.0 Detailed tables of Canada Council funding to Nunavut ......................................................................... 10 List of Tables Table 1: Government expenditures on culture, to Nunavut, 2007-08 ............................................................ 8 Table 2: Government expenditures on culture, to all provinces and territories, 2007-08 ......................
    [Show full text]
  • ARCTIC and INTERNATIONAL RELATIONS SERIES FALL 2020, ISSUE 7 Preface
    Arctic and International Fall 2020, Issue 7 Relations Series ISSN 2470-7414 The Right to Sea Ice: Canadian Arctic Policy and Inuit Priorities (from top to bottom) Front Cover Artist Credits – Ningiukulu Teevee, Untitled (There is no excuse for abuse), 2015, graphite, colored pencil, ink, chalk pastel on paper, 63.7 x 214.8 cm Collection of the Winnipeg Art Gallery. Acquired with funds from the Estate of Mr. and Mrs. Bernard Naylor, funds administered by the Winnipeg Foundation, 2017-82. Photo: Ernest Mayer – Tim Pitsiulak, Armoured Whale, 2014, colored pencil and black ink on wove paper, 119 x 246 cm. Purchased 2015, National Gallery of Canada, Ottawa, Photo: NGC Table of Contents Preface from the Editors 5 Nadine C. Fabbi and Michelle R. Koutnik Letter from Expert Evaluator 8 Whit Fraser Biography of Whit Fraser, Expert Evaluator 9 Introduction 11 Claire Cowan PART I: PRESERVING THE ARCTIC ENVIRONMENT 17 Chapter 1: Effects of Climate Change and Shipping on Arctic Wildlife 19 Johnna Bollesen Chapter 2: Arctic Solid Waste Infrastructure 25 Gabrielle Coeuille PART II: CLOSING THE GAPS IN SOCIETAL HEALTH 33 Chapter 3: Mining in the Arctic: Problems Associated with Economic Opportunity 35 Hsin Yi Chen Chapter 4: Inuit Housing Infrastructure 41 Kimiko Boswell PART III: MOBILIZING INUIT KNOWLEDGE 49 Chapter 5: Inuit and Rights of the Environment 51 Kendrick Lu Chapter 6: Inuit Legal Approaches in the Arctic 59 Caitlin Clarke Chapter 7: From Vision to Implementation: Self-Government in Nunavut 67 Nadene Paltep Chapter 8: Inuit Art in Arctic Policy
    [Show full text]
  • Inuit Qaujimajatuqangit
    Inuit Qaujimajatuqangit / Presented in partnership with EVOQ archi- That which has long been tecture, in collaboration with Land InSights, known by Inuit / the Inuit Qaujimajatuqangit: Art, Architec- ture and Traditional Knowledge exhibition is the result of a contest that involved Inuit from all over the Inuit Nunangat territory (Nunatsiavut, Nunavik, Nunavut and Inu- vialuit). This initiative is the first of its kind in the relatively recent history of Canadian Inuit art. Called upon to submit a work of art to be integrated into the architecture of the new Canadian High Arctic Research Station (CHARS) built in Ikaluktutiak (Cambridge Bay), Nunavut, the artists created works illustrating the contribution of traditional knowledge to the development of sciences and technologies of international caliber, Ikaluktutiak, Nunavut, Canada still in use today, thus putting to light past and present Inuit peoples’ ingenuity and in- ARCHITECTS EVOQ and NFOE in joint venture ventiveness (Qanuqtuurniq). The fifty or so drawings and sculptures presented in this ENGINEERS SNC-Lavalin exhibition were created by the winners of PROJECT MANAGER PSPC this competition and all fall under the same CLIENT INAC theme: Honoring the timeless creative ge- nius of past and present Inuit. STATION MANAGER Polar Knowledge Canada EVOQ CANADIAN HIGH ARCTIC ARCHITECTURE RESEARCH STATION Public space flooring / 14 Public corridor The Canadian High Arctic Knowledge Sharing Centre/ 06 Research Station 16 Glazing Guiding principles and Main entrance 08 Cultural references 18 vestibule Art Biography curator/ 10 integration 20 Isabelle Laurier Knowledge Sharing Centre Media Contents 12 /Flooring 21 Coverage EVOQ CANADIAN HIGH ARCTIC 6 ARCHITECTURE RESEARCH STATION 7 The Canadian The Canadian High Arctic Research constitute a major break away from High Arctic Station (CHARS) was built in the old scientific research station Ikaluktutiak (Cambridge Bay), Nun- model in Arctic communities.
    [Show full text]