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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.
Some fifty years ago, the remote Arctic community of Cape Dorset was introduced to the ancient traditions of Japanese printmaking by a Canadian artist, James Houston, who had studied printmaking in Japan with the revered master printmaker Un'ichi Hiratsuka. The remarkable story of that artistic encounter and its extraordinary results are the focus of this groundbreaking book. With two major essays and detailed captions, it features 49 exquisite and rare artworks (including Inuit prints from 1947 to 1963 and Japanese prints that were brought to Cape Dorset in 1959, as well as never-before-seen works by James Houston), and shows how Cape Dorset graphic artists selectively borrowed and actively transformed Japanese influences. It includes the voice of Cape Dorset printmaker Kananginak Pootoogook, as well as previously unplished historic photographs from Japan and Cape Dorset.
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.
Remarkable paintings grace the pages of Maria Chapdelaine, a novel written by a Frenchman yet embraced by generations of Canadian readers. Renowned Canadian artist Clarence Gagnon used a meticulous process to create fifty-four small paintings for Louis Hémon's early twentieth-century story set in the Quebec countryside. Gagnon's vivid illustrations depict the strength of body and soul necessary to survive such a harsh environment. In Clarence Gagnon: The "Maria Chapdelaine" Illustrations, art historian and curator Ian M. Thom provides insight into Gagnon's life and an appreciation of his art. All of the Gagnon Maria Chapdelaine illustrations are reproduced in this book, with excerpts from the novel. The complete set of paintings resides in the McMichael Canadian Art Collection, where it is considered a rare treasure.
Implementation in Canada of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) is a pivotal opportunity to explore the relationship between international law, Indigenous peoples' own laws, and Canada's constitutional narratives. Two significant statements by the current Liberal government - the May 2016 address by Indigenous Affairs Minister Carolyn Bennett to the Permanent Forum on Indigenous Issues at the United Nations and the September 2017 address to the United Nations by Prime Minister Justin Trudeau - have endorsed UNDRIP and committed Canada to implementing it as “a way forward” on the path to genuine nation-to-nation relationships with Indigenous peoples. In response, these essays engage with the legal, historical, political, and practical aspects of UNDRIP implementation. Written by Indigenous legal scholars and policy leaders, and guided by the metaphor of braiding international, domestic, and Indigenous laws into a strong, unified whole composed of distinct parts, the book makes visible the possibilities for reconciliation from different angles and under different lenses.
Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination.
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.
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.
Two generations of Inuit artists challenging the parameters of tradition. Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl, a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist. Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut. Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangitfeatures more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.