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Contemporary Inuit Drawing
Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts. -
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. -
Ecopy Sample 3
Canadian Eskimo Arts Council, RG85-E-2 (R216), vols. 2160-2194 85-34 Level of Media / Box / Date 1 Date 2 RG# Title / Titre Ecopy number Dates descri Support Boîte yyyy-mm-dd yyyy-mm-dd ption Reports, correspondence and articles sub-series December 23, 85 File Text 2160 Report - Keewatin by John Evans e011269624 1968-12-23 1968-12-23 1968 85 File Text 2160 Report - Keewatin by Alaistair Macduff e011269625 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by John Robertson e011269626 April 5, 1968 1968-04-05 1968-04-05 85 File Text 2160 Report - Keewatin Arts and Crafts Activities by George Swinton e011269627 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by Doris Shadbolt e011269628 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by Alma Houston e011269629 March 21, 1968 1968-03-21 1968-03-21 [Report - Inuit Arts and Crafts by Eric Mitchell]. Original title: November 12, 85 File Text 2160 e011269630 1968-11-12 1968-11-12 Report - Eskimo Arts and Crafts by Eric Mitchell 1968 85 File Text 2160 Proposal for a Film - Northern Settlements by John Robertson e011270234 1968 1968-01-01 1968-12-31 [Marketing of Inuit Arts and Crafts - Meeting at Canadian Guild January 11, 85 File Text 2160 of Crafts]. Original title: Marketing of Eskimo Arts and Crafts - e011270235 1968-01-11 1968-01-11 1968 Meeting at Canadian Guild of Crafts Report - CEAC Activities and Recommendations by George 85 File Text 2160 e011270236 April 29, 1968 1968-04-29 1968-04-29 Swinton September 19, 85 File Text 2160 Report - Keewatin -
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. -
View Pdf Catalogue
INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project. -
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. -
Examining Emerging Geographies of Inuit Art in Canada Through the Lens of the Winnipeg Art Gallery's In
Communities of Access: Examining Emerging Geographies of Inuit Art in Canada Through the Lens of the Winnipeg Art Gallery’s Inuit Art Centre and Kenojuak Cultural Centre and Print Shop by Chrys Avgi Apostolatos A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Chrys Avgi Apostolatos, August, 2019 ABSTRACT COMMUNITIES OF ACCESS: EXAMINING EMERGING GEOGRAPHIES OF INUIT ART IN CANADA THROUGH THE LENS OF THE WINNIPEG ART GALLERY’S INUIT ART CENTRE AND KENOJUAK CULTURAL CENTRE AND PRINT SHOP Chrys Avgi Apostolatos Advisor: University of Guelph, 2019 Dr. Sally Hickson This thesis investigates how access to Inuit art and culture is changing through the development of new museum practices in the north and south of Canada, analyzing two new sites that are central to these emerging geographies. Opening in 2020, the Winnipeg Art Gallery’s Inuit Art Centre is the first large-scale exhibition space in the world that focuses on Inuit art and culture. Located in Cape Dorset, the Kenojuak Cultural Centre and Print Shop (2018), serves as a cultural centre for the production/exhibition of Inuit art in the north. Looking at the development of these two institutions within the historiography of Inuit cultural stewardship and Canadian institutional culture, I examine, through a thematic examination of print, news articles and social media posts, how new geographic centres of Inuit art are changing accessibility to Inuit culture, particularly in relation to the communities that produce it. ACKNOWLEDGEMENTS First and foremost, I would like to thank my advisor Dr. -
2017-2018 Annual Report
AR 2017/18 COVER: New this year, monthly stroller-friendly tours give parents and caregivers an opportunity for conversation in the galleries, while connecting kids with art, like this happy little guy. PHOTO BY Breanne Lucky. Message from the Chair of the Board Traveling to the Embassy of Canada to the United States in Washington, D.C. to launch Ningiukulu Teevee: Kinngait Stories was a true highlight this past year. The WAG is a cultural advocate that uses art to connect, inspire, and inform, and this was very clear as we celebrated Inuit art in the U.S. capital. Graphic artist Ningiukulu Teevee spoke about finding inspiration in traditional stories and the changes she sees around her in contemporary Cape Dorset. It was such a pleasure to meet and hear from her, and see her artwork up close. Looking towards the 2020 opening of the WAG Inuit Art Centre, we continue to build bridges between Canada’s North and South through art and stories. The excitement was mounting that night and keeps on rising! As members and supporters of the WAG, YOU made a year of amazing art possible for our community. Thank you! Dr. Ernest Cholakis CHAIR, BOARD OF DIRECTORS L-R: Dr. Anastasia Kelekis-Cholakis, artist Ningiukulu Teevee, Dr. Ernest Cholakis, Dr. Darlene Coward Wight, Hazel Borys and Dr. Stephen Borys. PHOTO PROVIDED BY THE Embassy of Canada to the United States, Washington, D.C. Message from the Director & CEO I will remember 2017-18 for many incredible moments but the opening of INSURGENCE/RESURGENCE really stands out.