Piliriqatigiinniq: Collaboration in Inuit Art Collections Management

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Piliriqatigiinniq: Collaboration in Inuit Art Collections Management Krista Ulujuk Zawadski, Government of Nunavut Nicole Fletcher, Winnipeg Art Gallery Outline • Primer on Inuit art • History of the Government collection • Government of Nunavut (GN) & Winnipeg Art Gallery (WAG) partnership • Triumphs & challenges of the partnership • Questions Inuit societal values from GN website. What is Inuit art? Map showing Inuit Nunangat. Smithsonian Inst., NMNH, A353408. Smithsonian Inst., NMNH, A371933. Clockwise from top left: Napachie Pootoogook, Pauloosie Karpik, Oviloo Tunillie, and Angela Hovak Johnston Oviloo Tunnillie. Football Zacharias Kunuk, Shaman, Player, 1981. GN Collection. 1983. GN Collection. Ningeokuluk Teevee. Kenojuak Ashevak. The Shaman Revealed, 2007. Enchanted Owl, 1960. WAG. GN Collection. Jessie Oonark. Untitled, Mary Yuusipik Singaqti, Untitled, c. 1973. GN Collection. 1977. GN Collection. Government of Nunavut Collection Map of the Territory of Nunavut showing regions. Graph showing number of works collected per year. The Partnership Exhibition celebrating the agreement between the GN and WAG. Map showing locations of GN Fine Art Collection prior to consolidation. Prince of Wales Northern Heritage Centre, Yellowknife, Northwest Territories One of the layouts created for the packing of the trailers. Preparator, Luke and Conservator, Vitaliy, moving a GN sculpture during a press event. WAG online collections database including the GN works. Lianed photographing Man by Eric Niuqtuq. Inuit artists at WAG. WAG Preparator, Serge and Chief Curator, Andrew WAG Curator, Jaimie looking at Inuit artist, installing wall hangings at Iqaluit airport Couzyn’s stonecut print made into a t-shirt. Challenges & Triumphs A drawer of small ivory sculptures being inventoried. Exhibition of WAG and GN works at the new Iqaluit airport. Nivinngajuliaat from Baker Lake exhibition curated by Krista Zawadski at the Winnipeg Art Gallery Hannah Kigusiuq. Inuttuit, 1974. GN Collection. Contact Krista Ulujuk Zawadski, Gov. of Nunavut [email protected] Nicole Fletcher, Winnipeg Art Gallery [email protected].

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Sophie Frank
LINEAGES AND LAND BASES FINAL DIDACTICS 750 Hornby Street Vancouver BC V6Z 2H7 Canada Tel 604 662 4700 Fax 604 682 1787 www.vanartgallery.bc.ca lineages and land bases The artworks gathered for this exhibition address differing understandings lineages and land bases presents works from the Vancouver Art Gallery’s of the self and personhood in relation to nature, a concept that is culturally, permanent collection by artists who have challenged the nature-culture historically and linguistically informed. divide, seeking new ways to conceptualize and represent their relation to the world around them while grappling with the troubled inheritance of settler Sḵwx̱wú7mesh sníchim (the Squamish language) has no word for nature, colonialism. At the centre of the exhibition is a case study that assesses the although it has many words that relate to the land and water. Within this intersections between the basketry of Sewiṉchelwet (Sophie Frank) (1872– worldview, people are intimately bound to non-human entities, such as plants, 1939), a woman from the Sḵwx̱wú7mesh Úxwumixw (Squamish Nation), and rocks, animals or places, locating subjectivity well beyond humans. In contrast, the late landscape paintings of Emily Carr (1871–1945). The two women were the modern Euro-Canadian distinction between nature and culture provided close contemporaries and friends for 33 years, a relationship also shaped by the foundation, in the early 20th century, for the development of a national the profound inequalities of their time. The comparison of these two distinct, art and identity in Canada. Paintings of vast empty landscapes premised yet interconnected, perspectives both prefigures and extends the critique of an idea of wilderness that effectively erased Indigenous presence from the the separation of nature and culture seen elsewhere in the exhibition, urging us representation of nature at the same time that these communities were being to think anew about the meaning of self and its ties to the non-human world.
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