Cape Dorset Prints, a Retrospective


Book Description

In 1956 artist James Houston came to Cape Dorset as the northern service officer with the Canadian government's Department of Northern Affairs. One of his duties was to foster the production of carvings and other handicrafts by the Inuit residents. By 1959 the West Baffin Eskimo Co-operative had been formed, laying the groundwork for a legendary printmaking tradition. Today the annual release of Cape Dorset prints, produced by the Co-operative's Kinngait Studios, is eagerly anticipated by collectors around the world. Cape Dorset Prints: A Retrospective is the first book to tell the full story of this historic printmaking community. - Publisher.




Inuit Art


Book Description

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.




Ningiukulu Teevee


Book Description

Ningiukulu Teevee thinks in pictures, and drawing is her language. She is a soft-spoken storyteller, but her message is clear and strong, and with it she is expanding the narrative of the North, breaking new ground for Inuit art. Teevee hails from Cape Dorset, home to a multigenerational community of artists and the Kinngait Studios, the longest continually operating print studios in Canada. Her inventive images first appeared in the studios' annual collection of limited-edition prints in 2004 and have been represented every year since. Her work is rooted in respect for traditional Inuit culture and an abiding love of family, but along with artists such as Tim Pitsiulak and Annie Pootoogook, Teevee has proven unafraid of pushing artistic boundaries. In drawings alive with mischievous charm or weighted by a grittier reality, she often merges traditional Inuit art with contemporary aesthetics, revealing positive and negative changes to life in Arctic communities. In 2009, Teevee's illustrated children's book, Alego, was shortlisted for a Governor General's award. In 2017 Ningiukulu Teevee: Kinngait Stories, curated by the Winnipeg Art Gallery, opened at the Canadian Embassy in Washington, Dithe first major retrospective of Teevee's career to date. Ningiukulu Teevee: Drawings and Prints from Cape Dorset is the first monograph on the artist's work. Presented here are more than eighty reproductions and photographs, with critical context provided by Leslie Boyd, former director of Dorset Fine Arts, Toronto. Teevee's art has been exhibited widely and is in collections around the world, among them the Art Gallery of Ontario, the McMichael Canadian Art Collection, and the National Gallery of Canada.




Inuit Women Artists


Book Description

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.




An Annotated Bibliography of Inuit Art


Book Description

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.




Pangnirtung Print Retrospective


Book Description

Catalogue to accompany selection of 35 prints produced from 1973 to 1986 for an exhibition at Expo '86 and at the Inuit Gallery of Vancouver.




Hunters, Carvers, and Collectors


Book Description

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.




Pisiulak


Book Description

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.




Mapping Modernisms


Book Description

Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano




Tim Pitsiulak


Book Description

Only a handful of years into his career, Timmuuti "Tim" Pitsiulak spearheaded a new direction in Inuit art. The nephew of renowned printmaker Kenojuak Ashevak, Pitsiulak reveled in the challenges of art and life in Cape Dorset, Nunavut, just south of the Arctic Circle. His vivid images of polar bears and bowhead whales, ATV-riding families and high-tech research equipment, speak eloquently of the artist and the man. He quietly navigated increasing modernity while honoring his cultural identity. "His love of the land and the hunting lifestyle, along with his astute observation of daily life in the community, inspired him to create an outstanding body of work that would illuminate the new and true North." Cape Dorset is home to a multigenerational community of artists and the Kinngait Studios, the longest continually operating print studios in Canada. The studios are active from fall each year through late spring, at which time editioning is completed and artists take the summer off, making frequent trips to traditional camps on the surrounding land. At the time of his death in 2016, Pitsiulak was a sought-after artist at the height of his career. The first monograph on the artist's work, Tim Pitsiulak: Drawings and Prints from Cape Dorset presents more than seventy reproductions and photographs. Critical context is provided in an essay by Leslie Boyd, former director of Dorset Fine Arts, Toronto. Pitsiulak's art has been exhibited widely and is in many private and public collections around the world, among them the Art Gallery of Ontario, the McMichael Canadian Art Collection, and the National Gallery of Canada.