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Cape Dorset-born Annie Pootoogook (1969-2016) explored, celebrated, and depicted her northern community in unprecedented ways. Pootoogook belonged to a family of famed Inuit artists that included her parents Eegyvudluk and Napachie, and her grandmother, the celebrated Pitseolak Ashoona. In 1997, Pootoogook started working at the West Baffin Eskimo Co-operative's Kinngait Studios, where she produced drawings in ink and crayon on a monumental scale. In addition to depicting scenes of everyday life in the North--including people watching TV, playing cards, shopping, or cooking dinnerh--Pootoogook depicted such difficult subjects as alcoholism, domestic abuse, food scarcity, and the effects of intergenerational trauma. Pootoogook's compelling drawings resulted in her national and international recognition. Author Nancy G. Campbell reveals how the strength of Pootoogook's work speaks not to what she saw but the way she saw it, and how her distinct images of nude women, spiritual encounters, and domestic scenes led the way for the works of many contemporary Inuit artists.
This is an illustrated oral biography created from recorded interviews by Dorothy Harley Eber in 1970. In these interviews, and through her drawings and prints, Pitseolak makes what Inuit call the old way come alive, reflecting on life on the land, its pleasure and trials. Her story later became an NFB animated documentary. This second edition, appearing more than 30 years after the first, contains additional drawings and prints by Pitseolak Ashoona and a new introduction by Eber that provides more information about the artist and the circumstances under which her groundbreaking oral biography came about. Pitseolak Ashoona, who died in 1983, was known for lively prints and drawings showing the things we did long ago before there were many white men and for imaginative renderings of spirits and monsters. She began creating prints in the late 1950s after James Houston started printmaking experiments at Cape Dorset, creating several thousand images of traditional Inuit life. Pitseolak Ashoona was elected a member of the Royal Canadian Academy of Arts in 1974 and was also a member of the Order of Canada.
Marion E. Jackson,Odette Leroux,Minnie Aodla Freeman,Canadian Museum of Civilization
Author : Marion E. Jackson,Odette Leroux,Minnie Aodla Freeman,Canadian Museum of Civilization Publisher : Douglas & McIntyre Limited Page : 253 pages File Size : 53,9 Mb Release : 1995 Category : Art ISBN : 1550544705
Inuit Women Artists by Marion E. Jackson,Odette Leroux,Minnie Aodla Freeman,Canadian Museum of Civilization Pdf
The tiny Canadian hamlet of Cape Dorset, just south of the Arctic Circle, has been known since the late 1950s as the capital of Inuit art, thanks to the community’s many talented artists. Here, 12 female artists and writers reflect on a way of life that is now threatened. Each has a story to tell — of growing up female in a harsh environment, of adapting to new cultures and learning the nuances of familiar ways, of learning new art forms through which to portray the best, and worst, of their extraordinary lives. Interwoven with vivid images of a unique culture and a stern landscape are the women’s thoughtful comments on their creative inspirations. Each speaks her concerns with energy, channelling her passions through art that is at once subtle and bold, delicate in detail yet forceful. Two hundred illustrations, over 50 in full color, depict the artists’ striking graphics, sculpture, and jewelry.
Three Women, Three Generations by Jean Blodgett,Pitseolak,Marybelle Mitchell,Napachie Pootoogook,Leslie Boyd,Pat Tobin,McMichael Canadian Art Collection,Shuvinai Ashoona Pdf
Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.
Disrupting Shameful Legacies by Claudia Mitchell,Relebohile Moletsane Pdf
Disrupting Shameful Legacies: Girls and Young Women Speaking Back through the Arts to Address Sexual Violence is based on methodologies that seek to disrupt colonial legacies, by privileging speaking up and speaking back through the arts and visual practice to challenge the situation of sexual violence.
Unpacking Culture by Ruth B. Phillips,Christopher B. Steiner Pdf
"An outstanding set of studies that work well with each other to produce truly substantial and rich insights into the making and consuming of art in the colonial and post-colonial world."—Susan S. Bean, Curator, Peabody Essex Museum
Dorset Seen looks at how 20 Kinngait artists, past and present, have represented their lives and community over the last sixty years. Featuring 48 drawings and 22 sculptures, this superbly illustrated publication does not focus exclusively on the contemporary, nor does it equate earlier artists with ideas of ¿tradition.¿ Kinngait¿s artists have always been inspired by their everyday lives, regardless of aesthetic conventions or market pressures. The artists tackle Christianity and colonialism, the Hudson Bay Company and the RCMP, family and sport, architecture and community development, technology and transport, alcoholism and suicide. An essay is accompanied by interviews with artists Tim Pitsiulak and Ningiukulu Teevee.The artists featured: Kiugak Ashoona, Shuvinai Ashoona, Etidlooie Etidlooie, Isaci Etidloi, Qavavau Manumie, Ohotaq Mikkigak, Jamasie Pitseolak, Mark Pitseolak, Tim Pitsiulak, Annie Pootoogook, Itee Pootoogook, Kananginak Pootoogook, Napachie Pootoogook, Paulassie Pootoogook, Pudlo Pudlat, Kellypalik Qimirpik, Ningeokuluk Teevee, Jutai Toonoo, Samonie Toonoo, Ovilu Tunnillie. Sandra Dyck is Director of the Carleton University Art Gallery and author of numerous exhibition catalogues, notably on Shuvinai Ashoona. Leslie Boyd is Project Coordinator at the Inuit Art Foundation. Earlier positions included Director of Marketing for West Baffin Eskimo Co-operative in Cape Dorset.
Hunters, Carvers, and Collectors by Maija M. Lutz Pdf
In the 1950s, Chauncey C. Nash started collecting Inuit carvings just as the art of printmaking was introduced in Kinngait (Cape Dorset). His collection of early Inuit sculpture and prints represents a vibrant period in contemporary Inuit art. Drawing from ethnology, archaeology, art history, and cultural studies, Lutz tells the collection’s story.
Climate Change and the New Polar Aesthetics by Lisa E. Bloom Pdf
In Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom’s examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.
This wide-ranging treatment of daily life in the contemporary Inuit communities of Alaska, Canada, and Greenland reveals the very modern ways of being Inuit. Daily Life of the Inuit is the first serious study of contemporary Inuit culture and communities from the post-World War II period to the present. Beginning with an introductory essay surveying Inuit prehistory, geography, and contemporary regional diversity, this exhaustive treatment explores the daily life of the Inuit throughout the North American Arctic—in Alaska, Canada, and Greenland. Twelve thematic chapters acquaint the reader with the daily life of the contemporary Inuit, examining family, intellectual culture, economy, community, politics, technology, religion, popular culture, art, sports and recreation, health, and international engagement. Each chapter begins with a discussion of the historical and cultural underpinnings of Inuit life in the North American Arctic and describes the issues and events relevant to the contemporary Inuit experience. Leading sources are quoted to provide analysis and perspective on the facts presented.
The eleventh installment of Canada's annual volume of essays showcases diverse nonfiction writing from across the country. Culled from leading Canadian magazines and journals, Best Canadian Essays 2019 contains award-winning and award-nominated nonfiction articles that are topical and engaging and have their finger on the pulse of our contemporary psyches.
An Annotated Bibliography of Inuit Art by Richard C. Crandall,Susan M. Crandall Pdf
Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but “Inuit art” as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.
Arctic researcher, author, and photographer Norman Hallendy’s journey to the far north began in 1958, when many Inuit, who traditionally lived on the land, were moving to permanent settlements created by the Canadian government. In this unique memoir, Hallendy writes of his adventures, experiences with strange Arctic phenomena, encounters with wildlife, and deep friendships with Inuit elders. Very few have worked so closely with the Inuit to document their traditions, and, in this book, Hallendy preserves their voices and paints an incomparable portrait of a vibrant culture in a remote landscape.