2017-2018 Annual Report
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
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. -
Philip Surrey, Artist: a Newsletter for Collectors the Vancouver Years October 1929— October1936
T.F. RIGELHOF, EDITOR Page | 0 Philip Surrey, Artist: A Newsletter for Collectors The Vancouver Years October 1929— October1936 November 2015 Issue No.1 Issue No.1 PHILIP SURREY, ARTIST: A NEWSLETTER Page | 1 FOR COLLECTORS T.F. Rigelhof, Editor [email protected] Issue No.1 November 2015 The materials in this document are for the private use of its recipients and not for further publication without the explicit consent of the editor. Any illustration of a Surrey artwork is a low resolution compression of a photograph of the work and is included only to provide guidance and avoid confusion between works of similar subject matter and/or title and fall and is included under the provisions of fair use. A ssistance in locating an exact image in available on- line from gallery and museum sites except in the case of a recent rediscovery. T.F.R. CONTENTS OF THIS ISSUE 1. The Vancouver Years: October 1929—October 1936 2. Rediscovery: Portrait of Phyllis Planta (1933) 3. Epilogue & List of B.C. Paintings 1.THE VANCOUVER YEARS: OCTOBER 1929— OCTOBER 1936 A Note on Sources: If all that you know about Philip Surrey’s years in Vancouver comes from the first ten or so minutes of Charles Hill’s interview of September 14, 1973 (posted at the National Gallery’s Canadian Painting in the 30s CYBERMUSE) then you know less than you need to know to know what it is that you don’t know. There are four other sources in the public domain: (1) the Vancouver section (pp34—53) of the 237 page untitled typescript of the 1st person narrative his wife Margaret claimed she wrote and that I refer to as Margaret’s Version (2) the 4th and 5th unnumbered pages of notes Surrey typed on April 26, 1947 (3) ©2015 T.F. -
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. -
Written Submission to Special Senate Committee on the Arctic by Stephen Borys, Phd, MBA, Director & CEO, Winnipeg Art Gallery November 2018
Written submission to Special Senate Committee on the Arctic by Stephen Borys, PhD, MBA, Director & CEO, Winnipeg Art Gallery November 2018 The Inuit Art Centre project at the Winnipeg Art Gallery As we build the new Inuit Art Centre at the Winnipeg Art Gallery, I am constantly thinking about – and rethinking – the idea of the museum; not just what it looks like, but how it functions, communicates, and what and who it stands for today. The Winnipeg Art Gallery houses the world’s largest collection of contemporary Inuit art with close to 14,000 carvings, drawings, prints, textiles, and new media. In addition, the Government of Nunavut has placed on long-term loan their entire fine art collection comprising almost 8,000 works. The WAG began collecting Inuit art in the 1950s when this art form was largely unknown in Canada’s south. Supported by an unparalleled record of exhibitions, publications, research, and outreach, this collection represents Inuit identity, culture, and history – and it lies at the heart of the Inuit Art Centre journey. To celebrate the art and to honour the people who have created these Inuit works, the WAG is building an Inuit Art Centre, the first of its kind in the world. This new 40,000 square foot structure, adjacent and connected to the Winnipeg Art Gallery, will be a centre for exhibitions and programs, research and learning, studio practice and artmaking. It will be a bridge, enabling peoples from the North and South to meet, learn, and work together. It will be a gathering place— a community hub for exploration and advancement—with the art serving as a lens on Canada’s Arctic. -
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 -
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. -
History of Art
FACULTY OF ARTS HISTORY OF ART History of art studies the relationship between a society and its artistic achievements. Art has the ability to transform space and create dialogue that invokes social change throughout different moments of time and various societies. Works of art and buildings have shaped our world with marvel and intrigue. Have you ever wondered how Michelangelo came to produce one of his most influential works on the Sistine Chapel ceiling, or why artists Goota Ashnoona and Betye Saar are so highly influential, or how the prehistoric indigenous petroforms in the Whiteshell Provincial Park were made, and what was their symbolic function? If so, you may find history of art a fascinating field of study. As an interdisciplinary program, History of Art allows you to customize your university education to fit your educational and career goals by taking courses from different disciplines, such as Indigenous Studies, English, Theatre and Film, Classics, Religion and Culture, and Philosophy. This program leads to a Bachelor of Arts degree (3-year, 4-year, or Honours) with a major in History of Art. Students taking an undergraduate degree in another major may choose to add a Minor in History of Art as a secondary area of interest. We offer two related graduate programs: Master’s in Cultural Studies and joint Master’s in History with University of Manitoba – see separate fact sheets. SAMPLE CAREERS Graduates may work as art historians or curators, or perform other jobs in galleries and museums. Some may follow career paths in teaching, business, commerce, non-profit organizations or government such as with the Manitoba Arts Council or Winnipeg Arts Council. -
Curriculum Vitae Education & Training Employment Public Art Projects Biennales Exhibitions
KC Adams Curriculum Vitae Disciplines: Visual Arts, Installation, Video, Performance, Social Practice Art, Photography, Printmaking, Ceramics, Welding, Kinetic Art, Public Art. Education & Training 1991 - 1998 Concordia University, Bachelor of Fine Arts, Major Studio Arts, Montréal, QC. 1990 - 1991 University of Manitoba, Fine Arts, Winnipeg, MB. Employment 2018 – 2019 Lecturer in Indigenous Studio Arts, Brandon University, Brandon, Manitoba. 2004 – 2008 Artist instructor (Contract), Learning Through The Arts, Winnipeg, Manitoba. 2012 – 2018 Artist instructor (Contract), Artist-in-the-Schools, Winnipeg, Manitoba. 2008 – 2009 Director, Urban Shaman Gallery, Winnipeg, Manitoba. 2004 – 2006 Program Coordinator, Urban Shaman Gallery, Winnipeg, Manitoba. 2004 – 2005 Ceramic Instructor, Art City, Winnipeg, Manitoba. 2003 – 2004 Work study, The Banff Centre, Banff, Alberta. 1999 – 2003 Administrative Coordinator, Plug In Institute of Contemporary Art, Winnipeg, Manitoba. 1998 – 1999 Assistant, Canadian Plains Gallery, Winnipeg, Manitoba. 1994 – 1998 Marketing Coordinator, Co-op Concordia Computer Store, Montreal, Quebec. Public Art Projects 2019 TBA,(Work-In-Progress), Public Art Commission, Winnipeg Foundation, Winnipeg, MB. 2018 Oct, Nimaama, Public Art Commission, The Forks, Winnipeg, MB. 2014 Oct 1 - 5, Going Home Star, Set Designer, Royal Winnipeg Ballet, Winnipeg, MB. Jan 13 - Community, Public Art Commission, United Way of Winnipeg. Winnipeg, MB. Aug 21 - Perception, Social Media artwork on Facebook. Biennales 2018 May 5 – Jun 22, Water is Life, Contemporary Native Art Biennial, installation and performance, Stewart Hall Art Gallery, Montreal, QC. 2016 April 30 – June 18, 2016, 2016, Birch Bark Ltd., Culture Shift: Contemporary Native Art Biennial, 3rd edition, Art Mur, Montreal, QC. 2017 Oct 30 - Nov 25 - Photoquai : biennale des images du monde, 1ère édition, Cyborg Hybrids, MUSEE DU QUAI BRANLY, Paris, France. -
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. -
Piliriqatigiinniq: Collaboration in Inuit Art Collections Management
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. -
Essais Bibliographiques / Book Review Essays Art Exhibition Catalogues
Document généré le 29 sept. 2021 14:02 Études/Inuit/Studies Art exhibition catalogues BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Amy Karlinsky Art et représentation Art and representation Volume 28, numéro 1, 2004 URI : https://id.erudit.org/iderudit/012645ar DOI : https://doi.org/10.7202/012645ar Aller au sommaire du numéro Éditeur(s) Association Inuksiutiit Katimajiit Inc. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Karlinsky, A. (2004). Art exhibition catalogues / BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. / WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. / WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages. Études/Inuit/Studies, 28(1), 161–170. https://doi.org/10.7202/012645ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal.