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Contains variations of the Inuit legend of Keeveeok, in text and illustration. Baker Lake artist Victoria Mamnguqsualuk transforms these myths visually in a catalogue of 20 drawings, which 'read' like comic strips: characters are seen in a succession of acts. Includes French translation. Foreword by Charles Moore. Chapters by Charles Moore, Victoria Mamnguqsualuk, and K.J. Butler. Foreword by Charles Moore.
Catalogue produced for an exhibition of 20 drawings, 5 prints and 1 wall hanging by Baker Lake artist Victoria Mamnguqsualuk. Artwork is based on Inuit myths and legends.
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.
Catalogue produced for an exhibition of 20 drawings, 5 prints and 1 wall hanging by Baker Lake artist Victoria Mamnguqsualuk. Artwork is based on Inuit myths and legends.
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.
In an age where southern power-holders look north and see only vacant polar landscapes, isolated communities, and exploitable resources, it is important to note that the Inuit homeland encompasses extensive philosophical, political, and literary traditions. Stories in a New Skin is a seminal text that explores these Arctic literary traditions and, in the process, reveals a pathway into Inuit literary criticism. Author Keavy Martin considers writing, storytelling, and performance from a range of genres and historical periods—the classic stories and songs of Inuit oral traditions, life writing, oral histories, and contemporary fiction, poetry and film—and discusses the ways in which these texts constitute an autonomous literary tradition. She draws attention to the interconnection between language, form and context and illustrates the capacity of Inuit writers, singers and storytellers to instruct diverse audiences in the appreciation of Inuit texts. Although Eurowestern academic contexts and literary terminology are a relatively foreign presence in Inuit territory, Martin builds on the inherent adaptability and resilience of Inuit genres in order to foster greater southern awareness of a tradition whose audience has remained primarily northern.
L'intérêt de ce modeste album est de mettre en regard une vingtaine de légendes et une cinquantaine de reproductions de sculpture qui s'éclairent les unes les autres et nous instruisent sur la culture inuit. [SDM].