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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. 2. Keep stairways and hallways clear! Leaving personal items on walkways is a trip and fall hazard, especially to older residents and those with mobility issues. It also violates fire safety laws – you don’t want to further endanger people trying to get in and out of your area during a crisis. 3. Leave nothing behind in laundry rooms. No clothes or any other items are to be stored in the laundry/furnace rooms. Common areas are for the use of all residents. Please be responsible for your belongings and make room for others once you are finished using common facilities! 2 WIGWAM TO WIGWAM CHARTING A WAY FORWARD “A ship in harbor is safe, but that’s not what ships are built for” ~ John Augustus Shedd TPL RESIDENT CAREER COACHES Toronto Public Library offers remote career & job search help for younger adults, with consultations, workshops & seminars. Coaches can help with general career advice, résumé and cover letters, job or employment searching, interview preparation, or developing personal marketing material for your LinkedIn profile, portfolio or website. Book a free one hour consultation with a Career Coach to get one-on-one advice on your career journey! For Career Coach Profiles and more information, go to https://www.torontopubliclibrary.ca/programs-and- classes/featured/career-coaches-in-residence/ IMFTO ADVERTISING WORKSHOP Do you have ideas about what should be the future of Toronto? Are you an 8-12 year old Indigenous, Black or Person of Color (POC) youth in the General Toronto Area? If you answer yes to both these questions, you can choose to join the "It's My Future Toronto" (IMFTO) project! The city is asking for fresh ideas on how it can recover from the COVID-19 pandemic & bring more justice to Indigenous, Black & POC communities. Sat Mar 20, 2021, 11:00am to 12:30pm This online synchronous workshop with advertising specialists from Sid Lee, Juliet, and OCAD University is open to 8-12 years old BIPOC youth. Connect your future ideas into a city wide advertising campaign to fund your ideas for the city. More information on COVID-19 Visit https://itsmyfutureto.ca/ to register! 3 WIGWAM TO WIGWAM COUPLE TALENT WITH HARD WORK With Help from People Who Want You to Succeed! From Dream to Reality Paola Gomez & Andrea Manica | Fri Mar 19, 2021, 2:00—3:00 pm Freelance illustrator, mural painter, and artist Andrea Manica joins Paola Gomez to share what we can learn from other artists' journeys and practic- es. Also learn how to establish a strong brand and discover tools to support your planning and organization process. The Artist's Presence in a Digital Era Paola Gomez & David Chinyama | Fri Mar 26, 2021, 2:00—3:00 pm Multi-disciplinary visual artist David Chinyama joins Paola Gomez to share best practices and tools for artists to promote their work online. The Inspiration behind Indigenous Artist Philip Cote Paola Gomez & Philip Cote | Mon Mar 29, 2021, 2:00—3:00 pm Join Paola Gomez in conversation with Indigenous Artist Philip Cote who will share his teachings and speak about what it means and how to become a successful artist. Philip Cote, is a Young Spiritual Elder, Indigenous artist, activist, educator, historian, and Ancestral Knowledge Keeper. He creates opportunities for artmaking & teaching methodologies through Indigenous symbolism, traditional ceremonies, history, oral stories, and land-based pedagogy. For more information on the above talks and other future programs, visit the TPL website or go to https://www.torontopubliclibrary.ca/programs-and-classes/featured/artrepreneur-in-residence.jsp 4 WIGWAM TO WIGWAM SHUVINI ASHOONA Shuvini Ashoona is an Inuk artist who is famous worldwide for her drawings. Her subject matter is sometimes taken from the everyday world around her and sometimes from her bold imagination. She experiments with large-scale drawings and challenges ideas about what Inuit art should be. In this three-dimensional artwork, she created a pencil crayon and ink drawing that can be folded into a cube. She is showing us Kinngait (Cape Dorset), the hamlet where she lives in the Far North, with its small houses against a background of rocky hills. As a child, Shuvinai lived in hunting © Shuvinai Ashoona, camps in the summer & Kinngait in the winter. Composition (Cube), 2009 / Courtesy of Dorset Fine Arts 2009 Shuvinai was born into a family of artists and like her cousin, Annie Pootoogook, learned to draw at Kinngait Studios in Cape Dorset (formerly the West Baffin Eskimo Coop. All information on this page was extracted & adapted from the Art Gallery of Ontario website. For more information, visit https://ago.ca/learn/ago-makes/three-dimensional-landscape AGO Makes From Home 3 Dimensional Landscape Watch AGO artist/instructor Melissa Pauw create a 3D landscape, inspired by Shuvinai Ashoona’s artwork called Composition (Cube). Grab a box, container, white gesso or paint, and your pencil crayons to make your own sculptural landscape. https://ago.ca/learn/ago-makes/three- dimensional-landscape-activity Fold Your Own Landscape Inspired by Shuvinai Ashoona’s 3-D landscape, Composition (Cube) pictured above, look around you to find a landscape you’d like to capture. See https://ago.ca/sites/default/files/ AGOMakes_AccordianLandscape_Nov2020_F A-tagged.pdf for more instructions on how to explore the horizon line, the background, middle ground, and foreground, while creating your own unique folded accordion-style story! 5 WIGWAMEN Incorporated provides safe and affordable housing to hundreds of Indigenous and non–Indigenous families, singles, and seniors throughout Toronto and Ottawa. • The Terrace (127 units for Indigenous seniors) 14 Spadina Road, Toronto, ON, M5R 3M4 • 20 Sewells Road (92 units for Indigenous/ non-Indigenous individuals & families) Scarborough, ON, M1B 3G5 • 228 Galloway Road (60 units for Indigenous/ non- Indigenous individuals & families) Scarborough, ON, M1E 5G6 • Pam Am (145 units for Indigenous/ non-Indigenous indi- Wigwamen Head Office viduals & families) 75 Cooperage Street, 23 Lesmill Road, Suite 106, Toronto, ON, M5A 0J5 Toronto, Ontario, M3B 3P6 • Scattered Housing (for Indigenous families) 214 homes located throughout the GTA Tel: 416-481-4451 | Fax: 416-481-5002 Email: [email protected] • Place Perrault (41 units for Indigenous/ non-Indigenous individuals & families) 205 Eric Czapnik Way, From York Mills Station take the 122 bus, which Ottawa, K1E0A5 stops directly in front of the building; or the 95 • 55 Thora Avenue (20 units for Indigenous individuals & bus (not the express), which stops at Upjohn, just families) Scarborough, ON, M1L 2P7 200 metres south of Head Office. Alternately, • 3738 St. Clair Avenue East (22 units for Indigenous from Pape Station, take the 25 Bus, get off at individuals & families) Scarborough, ON, M1M 1T7 York Mills and transfer to a westbound bus, or • 525 Markham Road, Scarborough, ON M1H 3H7 walk west for about 5 minutes. Wigwamen Maintenance If you have a maintenance issue, please contact Families & individuals of Indigenous descent should your building manager. If you do not have a fill out Wigwamen applications that are available: building manager on site, please call the Head Office at 416-481-4451. By mail: call 416-481-4451 to request; or Online Maintenance Request Form: Online: at www.wigwamen.com www.wigwamen.com/housing/maintenance- request-form/ You must submit proof of legal status in Canada and a In the event of an after-hours emergency (e.g. a copy of either your Status Card or an Affidavit of flood or heating failure), please call 416-481- Indigenous Descent for Housing Purposes with your 4451 (Toronto) or 613-805-9604 (Ottawa). application. Affidavits can be obtained from Aboriginal Legal Services of Toronto. This newsletter issue was compiled by Aliza Tan. MEEGWETCH! Non–Indigenous Families & Individuals should Special thanks to the following for their assistance in fill out an application that is available: offering suggestions, forwarding content, reviewing drafts and giving feedback during the process of By mail: call 416-981-6111 (Toronto) compiling this issue of Wigwam to Wigwam: or 613-702-5358 (Ottawa) to request a form Angela Klassen-Hayes, Angus Palmer and Jodi Hetherington. Photo Credits: Sandie Clarke, Tijana Drndarski Online: at www.housingconnections.ca (Toronto) and Joseph Barrientos on Unsplash or www.placeperrault.ca (Ottawa) You must submit proof of legal status in Canada and Published in March 2021 by Wigwamen Incorporated.
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.
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  • 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.
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  • 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.
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  • 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.
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  • 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.
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  • 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.
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  • 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.
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  • 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.
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  • Fall 2020 CN TOWER Fall Hours Please Note ROGERS CENTRE Monday Closed Underground Parking Is BREMNER BLVD
    exhibitions / programs / events b l y OW ORK A y s e s T. all year, all free R T. s IMCO presented by FRONT sT. convention e Centre s T. scotiabank September 2020–January 2021 AReNA Fall 2020 CN TOWeR fall hOuRs PleAse note ROGeRs CeNTRe Monday Closed Underground parking is bReMNeR blVd. * Tuesday–Wednesday Closed located directly in front of Thursday 10 aM–8 PM the gallery at Queens Quay R EES Friday 10 aM–6 PM West and Lower Simcoe s Saturday 10 aM–8 PM Street. lAKe SHORe BLVd. W. T. Sunday 10 aM–6 PM To arrive by TTC, take GARdINeR eXPy PUBLIC Open holiday Mondays the 509 or 510 streetcar PUBLIC PARKING PARKING from Union Station QueeNs QuAy W. * Open by appointment for to Harbourfront Centre. PUBLIC group visits or tours of PARKING To arrive by car from Lake harbOurfront Centre maximum 6 participants The poweR Shore Boulevard, take Lower Plant Simcoe Street directly south lOCATION to the gallery. 231 Queens Quay West Toronto, Ontario, Canada heAlTh ANd sAFeTy ConneCt with us M5J 2G8 The Power Plant is taking steps to prioritize the ThePowerPlantTO health and safety of INFORMATION ThePowerPlantTO +1.416.973.4949 visitors and staff. We have [email protected] introduced increased ThePowerPlantTO thepowerplant.org sanitation and cleaning of all high-frequency bit.ly/TPPSubscribe touch points, requirements for masks inside the gallery, and have limited capacity to help ensure physical distancing. 231 Queens Quay West 2611120 Toronto, Ontario, Canada M5J 2G8 OVERVIEW As we enter The Power Plant’s final all year, exhibition season of 2020, we pause Fall 2020 at to acknowledge the importance of all free the aLL YEAR, aLL FREE program.
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  • Pootoogook, Annie “Watching the Iraqi War on TV” (2003), Image Reproduction in the Walrus, December/January 2005
    ANNIE POOTOOGOOK Date of Birth: 1969 - 2016 Male/Female: Female Place of Birth: Cape Dorset Mother: Napatchie Pootoogook Father: Eegyvudluk Pootoogook Grandmother: Pitseolak Ashoona Grandfather: Annie Pootoogook began drawing in 1997 under the encouragement of the West Baffin Eskimo Cooperative in Cape Dorset. She quickly developed a preference for drawing scenes from her own life, and has become a prolific graphic artist in the intervening years. In 2003, Annie’s first print was released: an etching and aquatint drawn by the artist on a copper plate. The image, titled “Interior and Exterior”, is a memory of the artist’s childhood, lovingly recording the particulars of settlement life in Cape Dorset in the 1970s. Annie is the daughter of Napachie and Eegyvudluk Pootoogook, and the granddaughter of renowned artist Pitseolak Ashoona. When Pitseolak was bedridden in her final years, her granddaughter visited and watched her work; the senior artist told young Annie that some day she too would draw. Annie also notes that she has been influenced artistically by her mother’s graphics and the detailed drawings and prints of her uncle, Kananginak Pootoogook. Generally, Annie prefers to work alone at home. She approaches each drawing systematically, beginning with outlines in graphite before working up details in black ink and finishing with increasingly bold areas of coloured pencil. Her most recent drawings have employed shading to render forms more solidly in space. Annie’s artworks challenge conventional expectations of ‘Inuit’ art. Her subjects are not Arctic animals or scenes of nomadic existence from a time before settlement life; rather, her images reflect her experiences as a female artist living and working in contemporary Canada.
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  • PITSEOLAK ASHOONA Life & Work by Christine Lalonde
    PITSEOLAK ASHOONA Life & Work by Christine Lalonde 1 PITSEOLAK ASHOONA Life & Work by Christine Lalonde Contents 03 Biography 16 Key Works 39 Significance & Critical Issues 52 Style & Technique 61 Where to See 68 Notes 75 Glossary 79 Sources & Resources 91 About the Author 92 Copyright & Credits 2 PITSEOLAK ASHOONA Life & Work by Christine Lalonde Pitseolak Ashoona had “an unusual life, being born in a skin tent and living to hear on the radio that two men landed on the moon,” as she recounts in Pictures Out of My Life. Born in the first decade of the twentieth century, she lived in semi-nomadic hunting camps throughout southern Qikiqtaaluk (Baffin Island) until the late 1950s when she moved to the Kinngait (Cape Dorset) area, settling in the town soon thereafter. In Cape Dorset she taught herself to draw and was an active contributor to the annual print collection. By the 1970s she was a world-famous artist, with work exhibited across North America and in Europe. She died in 1983, still at the height of her powers. 3 PITSEOLAK ASHOONA Life & Work by Christine Lalonde EARLY YEARS In Pictures Out of My Life, an illustrated book of edited interviews with the artist, Pitseolak Ashoona recounts that she did not know the year of her birth. Based on various documents and stories handed down in the family, she is believed to have been born in the spring sometime between 1904 and 1908 at a camp on the southeast coast of Tujakjuak (Nottingham Island), in the Hudson Strait.1 Her parents were Ottochie and Timungiak; Ottochie was the adopted son of Kavavow, whose family originated in Nunavik but was expanding across the strait.
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  • 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.
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