SHUVINAI ASHOONA Date of Birth
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Liz Magor I Have Wasted My Life
Andrew Kreps 22 Cortlandt Alley, Tue–Sat, 10 am–6 pm Tel. (212)741-8849 Gallery New York, NY 10013 andrewkreps.com Fax. (212)741-8163 Liz Magor I Have Wasted My Life May 21 - July 3 Opening Reception: Friday, May 21, 4 - 7 pm Andrew Kreps Gallery is pleased to announce I Have Wasted My Life, an exhibition of new works by Liz Magor at 22 Cortlandt Alley. On the wall, a new sculpture titled Perennial is formed from a duffle coat, which in the 1960s and 1970s had become a de-facto uniform for student protestors, including those part of the nascent environmental movement in Vancouver, where Greenpeace was founded in 1971. A near artifact from this time, the coat carries with it the accumulated wear from these actions. The artist’s own interventions seek to repair the garment, though in lieu of erasure, Magor marks the damage using paint, ink, and sculptural material. Simultaneously, Magor adds vestiges of the coat’s past activity, such as two cookies cast in gypsum placed in its pocket to resuscitate it to its prior use. Magor often positions humble objects at the center of her sculptures, the stuff that plays fleeting roles in our lives as repositories for memories and affection before being replaced. Three found workbenches, positioned throughout the galleries, become stages for these objects, suggesting sites for their rehabilitation. On each, a meticulously molded and cast toy animal rests between an array of accumulated items that range from the deeply personal, such as small collections of rocks, shells, and dried flowers, to those that are ubiquitous, such as Ikea Lack furniture, which is produced in a way that it is no longer contained to one place, or time. -
Social18 Sponsor
PRESENTING SOCIAL18 SPONSOR THURSDAY SEPTEMBER 27 Fundraising Dinner and Auction SETTING TIME THURSDAY SEPTEMBER 27 2018 VENUE EVERGREEN BRICK WORKS 550 BAYVIEW AVENUE SCHEDULE 6PM COCKTAIL RECEPTION+ SILENT AUCTION 7PM DINNER 9PM LIVE AUCTION CONDUCTED BY STEPHEN RANGER of WADDINGTON’S Canadian Art is the preeminent platform for journalism and criticism about art and culture in Canada. Our print, digital, educational and programming initiatives deliver smart, accessible ideas, stories and opinions. A national non-profit foundation, Canadian Art develops and supports art writers, and engages with the work of artists, established and new. Most important, we empower diverse audiences to understand, debate and be inspired by art. Now in its 23rd year, Social 2018 offers one of the largest live and silent contemporary art auctions in Canada, and is an essential source of funding for Canadian Art. The great selections in this year’s auction reflect a discerning, mindful and generous art advisory committee, co-chaired by Jessica Bradley and Stefan Hancherow. These are people commit- ted to reflecting the values of our publication—in other words, to assembling artworks you can talk about, debate, and that alter and enrich in meaning as you think about and look at them. Many thanks to all of the artists and gallerists who have donated works this year. You keep our conversations on art interesting, and ongoing. David Balzer Canadian Art Editor-in-Chief and Co-Publisher 3 LETTER FROM THE PRESENTING SPONSOR Art inspires important conversations. It can also be a catalyst for change, driving us to evolve, examine and shape our communities. -
Contemporary Inuit Drawing
Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts. -
Celebrating 30 Years of Supporting Inuit Artists
Celebrating 30 Years of Supporting Inuit Artists Starting on June 3, 2017, the Inuit Art Foundation began its 30th Similarly, the IAF focused on providing critical health and anniversary celebrations by announcing a year-long calendar of safety training for artists. The Sananguaqatiit comic book series, as program launches, events and a special issue of the Inuit Art Quarterly well as many articles in the Inuit Artist Supplement to the IAQ focused that cement the Foundation’s renewed strategic priorities. Sometimes on ensuring artists were no longer unwittingly sacrificing their called Ikayuktit (Helpers) in Inuktut, everyone who has worked health for their careers. Though supporting carvers was a key focus here over the years has been unfailingly committed to helping Inuit of the IAF’s early programming, the scope of the IAF’s support artists expand their artistic practices, improve working conditions extended to women’s sewing groups, printmakers and many other for artists in the North and help increase their visibility around the disciplines. In 2000, the IAF organized two artist residencies globe. Though the Foundation’s approach to achieving these goals for Nunavik artists at Kinngait Studios in Kinnagit (Cape Dorset), NU, has changed over time, these central tenants have remained firm. while the IAF showcased Arctic fashions, film, performance and The IAF formed in the late 1980s in a period of critical transition other media at its first Qaggiq in 1995. in the Inuit art world. The market had not yet fully recovered from The Foundation’s focus shifted in the mid-2000s based on a the recession several years earlier and artists and distributors were large-scale survey of 100 artists from across Inuit Nunangat, coupled struggling. -
Shuvinai Ashoona's Singular Style and Bold Artistic Experimentation
FOR IMMEDIATE RELEASE Shuvinai Ashoona’s singular style and bold artistic experimentation, including collaborations with Shary Boyle, has overturned stereotypical notions of Inuit art. Today she is an internationally renowned artist. The Art Canada Institute announces the publication of its free online art book about innovative Inuit artist Shuvinai Ashoona. LEFT: Shuvinai Ashoona, Happy Mother, 2013, coloured pencil, graphite and ink on paper, 123 x 127.5 cm, Montreal Museum of Fine Arts. RIGHT: Photograph of Shuvinai Ashoona, c. March 2, 2005. Photograph by William Ritchie. TORONTO, ON – In the tiny hamlet of Kinngait, Nunavut, Shuvinai Ashoona (b. 1961) is a pearl—an artist protected from the world at large, who relishes the daily routine and support of working at Kinngait Studios. She is the granddaughter of iconic Inuit artist Pitseolak Ashoona and the daughter of renowned sculptor Kiugak Ashoona. In the mid- 1990s Shuvinai began producing detailed drawings that were made into lithographs, etchings, and stonecut prints. Her early works were primarily monochromatic depictions of natural landscapes and traditions of the North, but by the late 1990s, her attentions shifted to depictions of fantastical creatures, dream-like landscapes, and aerial- perspective representations of a global community, expressed in vivid colour. Shuvinai is an artist of superlative talent, her work characterized by full and elabo- rate depictions of the natural landscape and social networks of the North. Shuvinai Ashoona: Life & Work celebrates the influences of an artist whose rich graphic imagery conveys an intricate and textured interior world. Her distinctive style situates her in a category apart from other contemporary artists. -
Arctic Community Exploration Tour August 5 - 12, 2020 Join Host Dr
Arctic Community Exploration Tour August 5 - 12, 2020 Join host Dr. Darlene Coward Wight on a Discovery Tour of Inuit Art in Canada’s Arctic Winnipeg Art Gallery Arctic Community Exploration Tour 5 – 12 August 2020 In the lead-up to the opening of the WAG Inuit Art The Winnipeg Art Gallery holds in trust more than Centre in fall 2020, this tour will be escorted by Dr. 13,000 Inuit artworks – each one with stories to tell. Darlene Coward Wight, who has been the Curator of Sharing these stories with the world is at the core of Inuit Art at the WAG since 1986. Darlene has received the WAG Inuit Art Centre project. The WAG Inuit Art a BA (Hons) in Art History and an MA in Canadian Centre will be an engaging, accessible space where Studies from Carleton University and an honorary you will experience art and artists in new ways. Doctor of Letters from the University of Manitoba in On this tour you will visit two of the main centres for 2012. She has curated over 90 exhibitions and written Inuit art, Cape Dorset and Pangnirtung. You will also 26 exhibition catalogues, as well as many smaller have a chance to meet several of the artists and publications and articles. She is also the editor and engage with them as you learn about the inspirations major contributor for the book Creation & for the tremendous art they create. Transformation: Defining Moments in Inuit Art. Inclusions: • Includes tour escort Darlene Coward Wight, Curator of Inuit Art at the WAG • Round trip airfare Ottawa – Pangnirtung – Cape Dorset – Iqaluit – Ottawa • One-night accommodation Hilton Garden Inn Ottawa Airport • Two nights accommodation Auyuittuq Lodge Pangnirtung, with full board • Two nights accommodation Cape Dorset Suites, with full board • Two nights accommodation Frobisher Inn Iqaluit (no meals included) Exclusions: • Boating excursion to Auyuittuq National Park (duration approx. -
FOR IMMEDIATE RELEASE Thursday February 28, 2019 from Holocaust
FOR IMMEDIATE RELEASE Thursday February 28, 2019 From Holocaust survivor to one of Canada’s most acclaimed painters and cultural philanthropists: Gershon Iskowitz: Life & Work chronicles one man’s remarkable trajectory from Auschwitz to famed Canadian artist TORONTO, ON — A few days after teenaged Gershon Iskowitz (1920 or 1921–1988) was accepted into the Academy of Fine Arts in Warsaw, the Nazis invaded Poland. As a Jew, Iskowitz was sent to Auschwitz and Buchenwald concentration camps, where he drew as a means of resilience. Surviving the war, he immigrated to Canada in 1948 where he quickly became one of its most important painters. Today the Art Canada Institute releases its online art book Gershon Iskowitz: Life & Work, by Ihor Holubizky which—for the first time ever—makes the story of this Canadian hero available to audiences, free of cost, in both English and French. “The book is of critical importance,” says Sara Angel, Founder and Executive Director of the Art Canada Institute, “because Iskowitz not only created some of the most important artistic documents of the Holocaust, he became an internationally renowned abstract painter and founded the Gershon Iskowitz Prize which became the country’s most important visual arts award of its kind.” The book also tells of Iskowitz’s 1967 transformative artistic experience when a Canada Council grant enabled him to take a trip to Churchill, Manitoba, where an aerial view of scattered clouds and vibrant colours inspired a new artistic direction. Over his mature career, Iskowitz produced a unique, coherent, and compelling body of abstract works. “For him the sky was a universal view, one we can all experience regardless of where we live,” says Ihor Holubizky, author of Gershon Iskowitz: Life & Work. -
Wigwam Wigwam
VOLUME 21.03 WIGWAM TO WIGWAM YOUR HOUSE TO HOUSE NEWS ONE TINY INVESTMENT SMALL STEPS NOW; BIG REWARDS LATER See page 2 for a job opportunity and some reminders WHAT’S A WAY FORWARD? IDEAS FOR WHAT YOU CAN DO TODAY See page 3 for information on career coaching and more GOT SOME RAW TALENT? MAKE THE MOST OF THESE RESOURCES! See page 4 for more information FERTILE FOUNDATIONS BE INSPIRED BY THOSE WHO’VE GONE AHEAD Featured artist and craft ideas on page 5! 1 WIGWAM TO WIGWAM WHAT ONE TINY INVESTMENT? Summer Recreation Jobs with City of Toronto Want to be a Rink Guard? A Tram Driver? A Youth Leader? A Special Needs Coordinator? A Visual Arts Instructor? A Personal Trainer? A Lift Operator? You can find job descriptions and qualifications for these roles and more on https://jobs.toronto.ca/recreation/ • Some positions hire at 14 years of age • Most positions pay higher than minimum wage • Hours of work are flexible (after school and weekends) • Seasonal and year-round opportunities are available Commit to some new responsibilities, save up some cash, and gain valuable skills and experience to use in even bigger roles and responsibilities in the near future! Friendly Reminders for All Wigwamen Tenants 1. Report changes in your income, assets or household composition. A household receiving RGI assistance must report and provide documents of an increase in income or assets of more than $33 per month, within 30 calendar days of the change. Households who do not report changes may lose their eligibility for RGI assistance. -
Astral Bodies Shuvinai Ashoona Karen Azoulay Shary Boyle Spring Hurlbut Pamela Norrish
Mercer Union, a centre for contemporary art 1286 Bloor Street West, Toronto, ON M6H 1N9 Canada T 416-536-1519 F 416-536-2955 www.mercerunion.org Astral Bodies Shuvinai Ashoona Karen Azoulay Shary Boyle Spring Hurlbut Pamela Norrish 25 November 2016 – 4 February 2017 The group exhibition Astral Bodies brings together works that imagine spaces beyond the physical – emotional, mythological, cosmological – tracing efforts to understand the nature of divinity and how we fit into the universe. Featured practices connect to ideas of being, animism, and the power of making the imagination take form. In works that span drawing, sculpture, and video, these artists court intoxicating historical visions that haunt modern imagination in our perpetual quest for knowledge and enlightenment. Here, the night sky recreated with candle flame, hypnotic swirls of human ash, and daydreams on eternity evoke personal positions in relation to the vastness of the world. They also offer fantastical reflections on the juncture between reason and dreams, existing at the meeting point of perception, awareness and philosophy. In the context of Astral Bodies, this assembly of viewpoints results in an exploration of contemporary Western pathologies, contradictions, and anxieties about what lies beyond our immediate reality. Curated by York Lethbridge Artist Biographies Shuvinai Ashoona was born in Cape Dorset in 1961, the daughter of artists Kiawak Ashoona and Sorosilutu. She began drawing in 1996, and was first included in the Cape Dorset annual print collection in 1997. Ashoona’s work has appeared in exhibitions including: Three Women, Three Generations, McMichael Canadian Collection (1999); Toronto’s Nuit Blanche (2008); Justina Barnicke Gallery, Toronto (2009); The 18th Biennale of Sydney and Sakahans, National Gallery of Canada (both 2013), and SITElines 2014: Unsettled Landscapes, Sante Fe, New Mexico. -
Shuvinai Ashoona
REVIEWS / APRIL 23, 2019 Shuvinai Ashoona The Power Plant, Toronto, January 26 to May 12, 2019 Shuvinai Ashoona, Composition (People, Animals, and the World Holding Hands, 2008. Photo: Brad van der Zanden, Feheley Fine Arts. by Adrienne Huard Shuvinai Ashoona draws inspiration from blockbuster films and monstrous entities for her drawings of Arctic landscapes. Her exhibition “Mapping Worlds” departs from what may be considered traditional, and pushes the boundaries of Inuit art in a global contemporary art context. She comes from a long lineage of artists (Annie Pootoogook is her cousin) yet she deviates from the style for which her family community has become known. The artist invokes her dynamic imagination to create a series of fantastical scenes, seen, for example, in her unique portrayals of hybrid creatures and women giving birth, as well as recurring depictions of fictional globes. Among the immense illustrations that make up the exhibition, Sinking Titanic (2012) sits modestly in the back corner of the gallery. The coloured-pencil-and-ink drawing is influenced by James Cameron’s 1997 film adaptation, and reveals Ashoona’s imaginative reflections on pop culture. In the image, the sinking ship sits at an angle while lifeboats float away and screaming patrons plummet into the icy water. It’s a truly horrific image. And yet, inside the sinking “Unsinkable Ship,” the band continues to play, except, in Ashoona’s version —and with her characteristic tongue-in-cheek humour—there’s peculiar imagery: the classical band has been replaced by a rock-and-roll band, complete with electric guitars, amps and drums—rocking out as the capsizing ship meets its fate. -
Brave New Worlds Shuvinai Ashoona’S Art
ART CANADA INSTITUTE INSTITUT DE L’ART CANADIEN BRAVE NEW WORLDS SHUVINAI ASHOONA’S ART Shuvinai Ashoona has forged a fantastical, elaborate style of drawing by fusing Inuit tradition and Western popular culture with her extraordinary imagination. ACI’s new online exhibition explores how her astonishing images of surreal settings and otherworldly creatures have made this Nunavut-based artist an internationally celebrated name. Shuvinai Ashoona, Composition (People, Animals, and the World Holding Hands), 2007–8, Collection of Edward J. Guarino In 2017, the Art Canada Institute published Shuvinai Ashoona: Life & Work by Nancy G. Campbell, a book about the internationally acclaimed Kinngait (Cape Dorset)-based talent whose startlingly original work defied expectations of what Inuit art should look like. The star of Shuvinai (she is known by her first name), b.1961, continued to soar and one year later she became the first Inuk recipient of the Gershon Iskowitz Prize, an accolade accompanied by a solo exhibition at the Art Gallery of Ontario that will open this winter. In 2019, the artist was the focus of a multi-venue exhibition organized by The Power Plant Contemporary Art Gallery: Shuvinai Ashoona: Mapping Worlds. Today ACI launches its related online counterpart, the second in our new series of virtual gallery shows. For your enjoyment, here’s an excerpt of the exhibition, which reveals why Shuvinai is one of the most extraordinary artists in this country. Sara Angel Founder and Executive Director, Art Canada Institute AN EYE TO POP CULTURE Shuvinai Ashoona, Sinking Titanic, 2012, Winnipeg Art Gallery Now 59 years old, Shuvinai grew up in Kinngait (formerly Cape Dorset) with access to Western popular culture that she often brings into her art. -
ASHOONA, Shuvinai
SUVINAI ASHOONA (SUVENAI) Date of Birth: August 5, 1961 Male/Female: Female E7-1954 Place of Birth: Cape Dorset Mother: Sorosolutu Ashoona Father: Kiawak Ashoona Shuvenai was born in Cape Dorset in August, 1961. She is the daughter of Kiawak Ashoona and Sorosilutu, both well known for their contributions to the arts in Cape Dorset. Shuvenai began drawing in 1993. She works with pen and ink, coloured pencils and oil sticks and her sensibility for the landscape around the community of cape Dorset is particularly impressive. Her recent work is very personal and often meticulously detailed. Shuvenai’s work was first included in the Cape Dorset annual print collection in 1997 with two small dry-point etchings entitled Interior (97-33) and Settlement (97-34). Since then, she has become a committed and prolific graphic artist, working daily in the Kinngait Studios Shuvenai’s work has attracted the attention of several notable private galleries as well as public institutions. She was featured along with her aunt, Napachie Pootoogook, and her grandmother, the late Pitseolak Ashoona, in the McMichael Canadian Collection’s 1999 exhibition entitled “Three Women, Three Generations”. More Recently she was profiled along with Kavavau Manumee of Cape Dorset and Mick Sikkuak of Gjoa Haven in the Spring 2008 issue of Border Crossings, a Winnipeg-based arts magazine. In an unusual contemporary collaboration, Suvinai recently worked with Saskatchewan-based artist, John Noestheden, on a "sky-mural" that was exhibited at the 2008 Basel Art Fair and was shown again at Toronto’s 2008 "Nuit Blanche". It later traveled to the 18th Biennale of Sydney in 2012 and in 2013 it was part of ‘Sakahans’ an exhibition of international Indigenous art at the National Gallery of Canada.