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Inuit Art Foundation Archives Kinngait (Cape Dorset) Pitseolak Ashoona 3 Finding Aid This Finding Aid represents 1751 35 mm slides of artworks by Pitseolak Ashoona from Kinngait, NU. The 35 mm slides presented in this Finding Aid were formerly in the collection of the Department of Indian Affairs and Northern Development (DIAND; now Crown-Indigenous Relations and Northern Affairs Canada [CIRNAC]). The Inuit Art Foundation is not the owner of the objects depicted in the slides, and the collections where the works are currently held remain a rich area of future study. This Finding Aid is intended to provide public access and includes records that are partially processed. The information included herein is based off of original documentation from DIAND and efforts have been made to ensure the accuracy of the information. Please contact the Inuit Art Foundation to verify the information. Records from the Inuit Art Foundation’s archival holdings may not be published, exhibited or broadcast without the written permission of, and proper credit to, the Inuit Art Foundation. This project was realized as part of the National Heritage Digitization Strategy of Canada thanks to the generous support of a private donor. Ce projet a été réalisé dans le cadre de La Stratégie de numérisation du patrimoine documentaire du Canada grâce à un don généreux d’un donateur privé.

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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.
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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.
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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.
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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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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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Made with Love: Tracing Personal and Cultural Resilience in Annie Pootoogook’S Drawings
Made with Love: Tracing Personal and Cultural Resilience in Annie Pootoogook’s Drawings By Emily Lawrence A major research paper submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Toronto, Ontario, Canada, April 2018 © Emily Lawrence, 2018 ii I hereby declare that I am the sole author of this major research paper. This is a true copy of the major research paper, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this major research paper to other institutions or individuals for the purpose of scholarly research. I understand that my major research paper may be made electronically available to the public. I further authorize OCAD University to reproduce this major research paper by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. iii Abstract Looking at the drawings of Kinngait-born Inuk artist Annie Pootoogook (1969– 2016), this major research paper foregrounds deep readings of the artist’s work beyond other narratives that have historically eclipsed such analyses of Inuit art. Through examining a series of Pootoogook’s drawings pertaining to matriarchal love and Inuit-specific recurring imagery such as the amauti (mother’s coat), I propose that these works reveal a way of expressing love, doubly marking the artist’s own personal and cultural resilience. Following the groundwork laid by Inuk art historian Heather Igloliorte, I draw on tenets from Inuit Qaujimajatuqangit (living knowledge or that which Inuit have always known to be true) to suggest ways in which Pootoogook uses the medium of drawing to express love for family and culture while simultaneously strengthening relations with both.
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POOTOOGOOK, Napatchie
NAPATCHIE POOTOOGOOK (NAWPASHEE; NAWPACHEE; NAPACHEE; NEPACHEE; NAPACHIE) Date of Birth: 1938 Male/Female: Female Deceased: 2002 Place of Birth: Sako Camp, South Baffin Island Mother: Pitseolak Ashoona Father: Ashoona “Born at Sako, a traditional Inuit camp on the Southwest coast of Baffin Island, Northwest Territories, Napatchie Pootoogook is the only surviving daughter of one of Inuit art’s most important figures, Pitseolak Ashoona. Along with her sculptor brothers, [Namoonai, Koomwartok, Ottochie], Kiawak and Kaka Ashoona and her graphic artist sisters-in-law, Mayureak and Sorosiluto Ashoona, Napatchie belongs to a family with a strong artistic identity that has contributed significantly to the reputation of Cape Dorset art and the printmaking studio of the West Baffin Eskimo Co-operative. In the mid-1950’s while living at Kiaktuuq, she married Eegyvukluk Pootoogook (b. 1931), son of the important camp leader, Pootoogook, who has since become of the main printers at the Cape Dorset studio. Like her mother, Napatchie began drawing in the late 1950’s. Since 1960 her work has been included in almost every annual collection of Cape Dorset prints. Napatchie and her husband moved into Cape Dorset in 1965, where they have continued to live, except for a two-year stay in Iqaluit in the early 1970’s. Although much of her early work, such as the print, “Eskimo Sea Dreams” (1960), presents a lyrical, dream-like reflection of Inuit beliefs in the spirit world, the main thrust of her prints and drawings since the mid-1970’s have been more concerned with recording traditional life, clothing and local Inuit history.
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Influence and Instruction: James Houston, Sunuyuksuk: Eskimo Handicrafts, and the Formative Years of Contemporary Inuit
Influence and Instruction: James Houston,Sunuyuksuk: Eskimo Handicrafts, and the Formative Years of Contemporary Inuit Art By Heather L. Igloliorte, B.F.A. A Thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Canadian Art History Carleton University OTTAWA, Ontario September 8, 2006 ©2006, Heather L. Igloliorte Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18270-3 Our file Notre reference ISBN: 978-0-494-18270-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.
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Akunnittinni: a Kinngait Family Portrait Pitseolak Ashoona | Napachie Pootoogook | Annie Pootoogook Center for Contemporary Native Art
Akunnittinni: A Kinngait Family Portrait Pitseolak Ashoona | Napachie Pootoogook | Annie Pootoogook Center for Contemporary Native Art Exhibition curator Andrea R. Hanley (Navajo) will SUNDAY, JUNE 23 join us to speak about the exhibition 2:00PM – Lecture Akunnittinni: A Kinngait Family Portrait. She will discuss her curatorial process in bringing together the work of three Inuit women artists Portland Art Museum in visual conversation with each other as well Whitsell Auditorium as the cultural history of three generations in 1219 SW Park Avenue Kinngait, a remote Inuit community located in Portland, OR 97205 the Arctic region of northern Canada. Adult - $20 Senior & Students - $17 This exhibition is organized by the Institute of Children 17 and under are American Indian Arts (IAIA) Museum of Contemporary free and members are free. Native Arts, Santa Fe, New Mexico. The exhibition at the PAM is sponsored by the Native Arts and Cultures Ticketed event. Foundation (NACF) and the Portland Art Museum’s Please register online. Center for Contemporary Native Art. Andrea R. Hanley (Navajo) is an arts advocate with three decades of professional experience in the fields of exhibition development and arts management, primarily focusing on American Indian art. She is currently the membership and program manager for the IAIA Museum of Contemporary Native Arts, in Santa Fe, New Mexico. Her career has been guided by the work of contemporary American Indian artists and the American Indian fine-art field. The exhibition is on view in the Portland Art Museum’s (PAM) Center for Contemporary Native Art, and includes approximately 18 prints and drawings that chronicle a visual dialogue between an Inuk grandmother, mother, and daughter – Pitseolak Ashoona, Napachie Pootoogook, and Annie Pootoogook.
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Cape Dorset), Nunavut, Canada Roxane Shaughnessy Textile Museum of Canada, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 The nU told Story of Inuit Printed Fabrics from Kinngait Studios, Kinngait (Cape Dorset), Nunavut, Canada Roxane Shaughnessy Textile Museum of Canada, [email protected] Anna Richard Textile Museum of Canada, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Shaughnessy, Roxane and Richard, Anna, "The nU told Story of Inuit Printed Fabrics from Kinngait Studios, Kinngait (Cape Dorset), Nunavut, Canada" (2018). Textile Society of America Symposium Proceedings. 1106. https://digitalcommons.unl.edu/tsaconf/1106 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). The Untold Story of Inuit Printed Fabrics from Kinngait Studios, Kinngait (Cape Dorset), Nunavut, Canada Roxane Shaughnessy and Anna Richard, Textile Museum of Canada [email protected]; [email protected] The Textile Museum of Canada holds a collection of close to 200 printed fabrics designed by Inuit artists at Kinngait Studios in Kinngait (Cape Dorset) during the 1950s and 1960s.
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ᖃᓪᓗᓈᖅᑕᐃᑦ ᓯᑯᓯᓛᕐᒥᑦ Printed Textiles from Kinngait Studios Exhibition Guide
ᖃᓪᓗᓈᖅᑕᐃᑦ ᓯᑯᓯᓛᕐᒥᑦ Printed Textiles from Kinngait Studios December 7, 2019 – August 30, 2020 Exhibition Guide Curatorial Lead: Roxane Shaughnessy Project Advisor: Heather Igloliorte This project has been made possible in part by the Government of Canada. Supporters: Department of Canadian Heritage, Ontario Arts Council, Toronto Arts Council, Canada Council for the Arts, Government of Ontario Partners: Dorset Fine Arts, a division of the West Baffin Eskimo Cooperative Funders: The Schreibers, William and Shirley Beatty Charitable Foundation Image: Parr (1893-1969), Parr’s People (detail); cotton sateen twill; screen printed; 488 X 114 cm. Reproduced with the permission of Dorset Fine Arts. Printed Textiles from Kinngait Studios presents the little-known story of a group of Inuit artists and printmakers who produced a collection of graphic textiles in Kinngait (Cape Dorset), Nunavut in the 1950s and 60s – a period of social change that disrupted traditional language and relationships to the land. Made for interior décor during a period when artist-designed textiles were popular in North America and Europe, these mid-century designs depict legends, stories, and traditional ways of life. They provide vital points of connection between contemporary Inuit community members and the creativity and resourcefulness of previous generations. Printed Textiles from Kinngait Studios traces the evolution and impact of this textile initiative on Inuit graphic arts and explores its legacy through the work of Inuit fashion designers working today. The exhibition includes over 40 textiles that were printed at Kinngait Studios in the 1950s and 60s, four paper prints, textiles that demonstrate other Inuit graphic art traditions, archival photographs, a digital interactive app that includes interviews with members of the Kinngait community, new work by three Inuk fashion designers, and animated films from the National Film Board of Canada.
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