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Although the Inuit have lived in the Artic since prehistoric times, Inuit art as we know it only came about in the late 1940s. This contemporary art form is appreciated around the world for its power and exquisite beauty, an art that embodies the Inuit's harsh artic environment, unique way of life, and traditional beliefs. This historical, cultural, and aesthetic exploration of Inuit art features examples of Inuit drawings, prints, textiles, and sculpture through 125 color photos, 35 black-and-white photos, and maps.
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.
This coloring book features 22 pictures by 10 different Inuit artists from Cape Dorset. Color reproductions of the original art lines the insides of the front and back covers.
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.
Lavishly illustrated with over a hundred color reproductions, this new paperback edition is an impressive photographic tribute to an art form that is regularly featured in major art exhibitions worldwide. Born out of economic necessity, Inuit art has captured the imagination of art lovers since 1948, when it was first exhibited. Celebrating Inuit Art showcases sculpture from the period when Canadian Inuit abandoned their nomadic lifestyle to settle in small villages across the Arctic. During this tumultuous time, in a society threatened with acculturation, art played a critical social role, preserving and expressing the culture's rich oral history."
Provides a brief history of the Inuit people and discusses their customs as a background for understanding their sculpture, drawing, and printmaking.
Collection of 20 papers on contemporary Indian and Inuit art in Canada, on the occasion of the first major retrospective exhibition on the theme, in 1988-1989. Includes an overview of the evolution of native art, regional styles, individual artists and the variety of media.
Thirty reproductions of lithographs, etchings/aquatints, stonecuts, and stencils from Cape Dorset, called Kinngait in the Inuit language, artists.
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.
Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.