ASHOONA, Shuvinai
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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. -
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. -
English Version of the Press Release Follows Below)
Communiqué de presse (English version of the Press Release follows below) La galerie Pierre-François Ouellette art contemporain a l'honneur de présenter une exposition personnelle de dessins de Napachie Pootoogook (née en 1938 à Sako Island Camp, NT, Canada ; décédée en 2002 à Kinngait (Cape Dorset), NU, Canada) provenant des archives de Dorset Fine Arts. Bien que cette sélection représente la première exposition au Québec consacrée aux dessins de Napachie Pootoogook, il y a déjà eu d'importantes expositions et publications canadiennes qui témoignent de ses contributions artistiques uniques et significatives. « Dans les dessins autobriographiques de Napachie, la perspective est si intensément personnelle qu’on y sent une culture dans la culture – un monde de femmes soutenant les hommes, et leur survivant parfois. Il y a les moments heureux des travaux et des jeux partagés pendant que les hommes sont partis chasser. Il y a les périodes difficiles et solitaires où il faut endurer des mœurs sociales qui ne laissaient souvent aucun contrôle sur des étapes aussi intimes que le mariage et l’accouchement. Bien que la souffrance soit solitaire et fréquente, la large communauté, qui, souvent, réconforte ou intervient, constitue un facteur d’équilibre. Les dessins donnent une image vivante de la vie de Napachie à travers les inscriptions syllabiques, mais aussi, de façon plus puissante encore, à travers les détails, les compositions et l’émotion exprimée dans son œuvre. Les dessins sont parsemés de détails qui offrent un portrait réaliste de la culture des Inuits du sud de l’ÎLe de Baffin, les Sikusilaarmiut : sont représentés leurs vêtements, leurs coiffures, leurs outils, leurs habitats d’été et d’hiver, ainsi que les paysages. -
Discover Inuit
) DiscoverDiscover InuitInuit ArtArt What do polar bears look like when they stand up on their hind legs? What kinds of creatures are the heroes of Inuit legends? How did Inuit mothers keep their babies warm through the freezing arctic days and nights? What does an Inuit summer camp look like? What are some of the big concerns for young Inuit today? You’ll learn the answers) to all these questions, and The detail in Inuit sculpture hundreds more, through and colourful drawings will open more doors than you can imagine. the wonderful world Many of the older Inuit artists working today grew up in a traditional way. They of Inuit art. lived in igloos in winter and tents made of animal skins in summer. Their families returned to their winter and summer camps each year when the sea mammals and animals (like seals, whales and caribou), came in greatest numbers. Mothers carried their babies in an amauti — the big hood on their parkas. When the family travelled, it was on a sled pulled by a dog team. What Inuit art shows This traditional way of life is one of the big subjects in Inuit art. By showing us in drawings and sculptures how their ancestors lived, Inuit artists are keeping their history alive. Art helps them remember, and treasure, the ways their ancestors hunted and made protective clothing and shelter. In their Stories of ) art, many Inuit are making a visual history to show how their ancestors adapted to living in one of the harshest climates shamans tell on earth. -
Arctic Journeys, Ancient Memories : Sculpture
NB 249 .A,75 A4 2012 ANTH ■DLUI|JIUIC by Abraham Anghik Ruben Arctic Journeys Arctic Journeys Ancient Memories The Arctic Studies Center National Museum of Natural History National Museum of the American Indian Smithsonian Institution Kipling Gallery Published by ARCTIC STUDIES CENTER Department of Anthropology National Museum of Natural History Smithsonian Institution PO Box 30712, MRC 1 12 Washington, D.C. 2001 3-7012 www.mnh.si.edu/arctic ISBN- 978-0-9816142-1-2 Copyright © 2012 by Arctic Studies Center Smithsonian Institution Catalogue of an exhibition organized by the Smithsonian's Arctic Studies Center with assistance from Kipling Gallery, Woodbridge, ON and presented October 4, 2012 - January 2,2013 at The National Museum of the American Indian Curated by Bernadette Driscoll Engelstad Arctic Journeys, Ancient Memories: Sculpture by Abraham Anghik Ruben was produced by Perpetua Press, Santa Barbara Edited by Letitia Burns O'Connor Designed by Dana Levy Printed in Canada by Colour Innovations Object photography by Daniel Dabrowski, Silvio Calcagno, Alan Bibby, and Ernest R Mayer Front cover: To Northwestern Shores, 2008 (Detail) Back cover: Far left: Inuvialuit Inuit Way of Life, 201 I Clockwise from top left: Celtic Monk Keeper of Light, 2007 Memories:An Ancient Past, 2010 Sedna: Life Out of Balance, 2006 Odin, 2008 Study for Shaman's Message III, 201 I Migration: Umiak with Spirit Figures, 2008 CONTENTS 7 Preface by Kevin Gover 9 Foreword by William W. Fitzhugh I 2 Artist's Statement by Abraham Anghik Ruben I 5 Arctic Journeys, Ancient Memories by Bernadette Driscoll Engelstad 32 Catalogue 83 Exhibition History 85 Bibliography 87 Acknowledgments 5 PREFACE !\ AS THE DIRECTOR OFTHE NATIONAL MUSEUM OFTHE AMERICAN INDIAN, I frequently watch as exhibitions grow out of good ideas that gather energy as they are researched and discussed, written and organized and installed. -
News Release
News Release Aga Khan Museum Joins Sun Life Financial Museum + Arts Pass Program Toronto Public Library offers free access to 18 museums and cultural institutions Toronto (Tuesday, March 31, 2015) – The Aga Khan Museum has joined Toronto Public Library’s Sun Life Financial Museum + Arts Pass (MAP) program and now offers five passes per week at 50 library branches across Toronto. The pass grants a free family pass for two adults and three children to the Museum, and can be borrowed from Toronto Public Library using a valid adult library card, much the way someone might borrow a book from the Library’s collection. For a list of the 50 branches that now offer the Aga Khan Museum passes, visit torontopubliclibrary.ca/mappass “The MAP program offers unparalleled access to Toronto’s art galleries, museums and attractions,” said Vickery Bowles, City Librarian, Toronto Public Library. “We’re thrilled to welcome the Aga Khan Museum to the program. Families across this city can experience this wonderful addition to Toronto’s rich cultural landscape.” The Sun Life Financial Museum + Arts Pass provides full admission to families of two adults and up to five children (admission restrictions vary by venue) to a wide and eclectic range of venues, including the Art Gallery of Ontario, Bata Shoe Museum, Black Creek Pioneer Village, City of Toronto Historic Sites, Gardiner Museum, Museum of Inuit Art, Ontario Science Centre, Royal Ontario Museum, Textile Museum of Canada, Toronto Zoo and now, the Aga Khan Museum. “The Aga Khan Museum shares the Toronto Public Library’s commitment to make knowledge, experience, and information accessible to all,” said Henry Kim, Director and CEO, Aga Khan Museum. -
Challenging Relationships: Annie Pootoogook Memory of Eating with Family and Images of Modern Inuit Life
CHALLENGING RELATIONSHIPS: ANNIE POOTOOGOOK MEMORY OF EATING WITH FAMILY AND IMAGES OF MODERN INUIT LIFE Jason Klimock (see images after text) Annie Pootoogook, born in Cape Dorset in 1969, is a third generation Inuit artist. Both her mother Napachie Pootoogook (1938-2002) and grandmother Pitscolak Ashoona (1908-1983) directly influenced what southern Canadians consider Inuit art through their tenure as artists with the West Baffin Eskimo Cooperative.1 Beginning in the 1950s, collecting “authentic” Inuit art became very popular and the works distributed through this cooperative sold well because it was believed that they reproduced images of traditional Inuit life. Later, Inuit artists began incorporating modern elements (government helicopters, for example) into their works, but the only way that these objects were collected was if well-established artists made them.2 In this context there was a great difference in what collectors considered authentic and what the artists would continue to produce. In practice, Inuit artists were continuing a “tradition” of representing contemporary life. For the most part, however, the art market rejected these works because the images were considered to be inauthentic. Annie Pootoogook’s drawings continue the tradition of representing daily reality. The themes in her works dealing specifically with family life are disturbing and present a complicated view of the north that shatters any romantic myth of Inuit life as idyllic. Whereas there is no tradition of portraiture, in the western sense, in Inuit art, Memory of Eating with Family can be considered a portrait in the sense that it conveys a personal experience or memory. Memory of Eating with Family is interesting to consider in relation to Pootoogook’s body of work, as well as the perception of Inuit art. -
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. -
Thank You to Our Donors Donor Report 2013
DONOR REPORT 2013 THANK YOU TO OUR DONORS AA decade ago, ago, T HEThe WalrusWALRUS was WbornAS BORN. A decade ago, The Walrus was born, filled with stories about Canada Your contribution makes a huge difference. Every dollar has an and its place in the world. Published by the charitable, non-profit impact, and your gift demonstrates your commitment to the Walrus Foundation, the magazine relies on gifts from the philan- environment, arts and culture, politics and world affairs, law and thropic community to engage, connect, and inform Canadians. justice, fiction and poetry, and health and science—and to Canada. Thanks to you, The Walrus experienced a significant milestone in You make The Walrus possible. And for that, all of us at the Walrus 2013: the tenth anniversary of the magazine. Generous support Foundation are truly grateful. from members of the Walrus community made this achievement Thank you for your support in 2013, and please help us keep the possible, in spite of tumultuous changes in the media and conversation going for years to come. economic landscapes. You helped sustain a forum for smart, thoughtful, intelligent conversation on vital matters. Thanks to you, The Walrus features works by leading illustrators, painters, photographers, and designers, from Bruce Mau and Gary Taxali to Joanne Tod and Douglas Coupland, along with many Michael Decter emerging artists. Chair, Board of Directors Thanks to you, The Walrus offers the best of long-form journalism and fiction by Canada’s foremost writers and thinkers, including Katherine Ashenburg, Ron Graham, Charlotte Gray, John Lorinc, Lisa Moore, Craig Davidson, Kamal Al-Solaylee, and Zsuzsi Gartner, as well as young up-and-coming voices. -
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. -
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.