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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.
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.
"What we show in our carvings is the life we have lived in the past right up to today. We show the truth." -Paulosie Kasadluak The Inuit of the Canadian Arctic have created a contemporary art form that is recognized and appreciated around the world for its power and exquisite beauty, an art that embodies the harsh arctic environment and a unique way of life, as well as traditional myths and beliefs. Engaging and authoritative, Inuit Art: An Introduction explores Inuit art from historical, cultural and aesthetic perspectives. The engrossing story begins with an outline of the roots of Inuit art in prehistoric times and through the historical period that began with the arrival of Europeans in the sixteenth century. The emergence of Inuit art as we know it came about in the late 1940s, partly through the encouragement of writer and artist James Houston, who also introduced printmaking to Inuit artists. Inspired by his support, Inuit artists quickly brought their art to life, attracting a wide audience almost overnight, and they have continued to develop and refine their work over the past fifty years. To enrich our understanding of the art, Ingo Hessel also provides descriptions of techniques and materials.
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.
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.
Catalog of an exhibition held at The Art Gallery of Ontario May 28-July 31, 1983. Includes a variety of forms of Inuit art. Bulk of the collection is contemporary and from the Canadian Arctic although some are prehistoric pieces and from a different geographical area. Numerous photographs.
This is your invitation to find how, during the 1960s and 70s, a settler’s perspective shaped his view of what happened from his firsthand experiences, what he learned and what he did for better or worse. Then, reading on, learn how government worked in tandem with the Eastern Arctic Inuit, exploring and experimenting to enhance Inuit arts and crafts for cultural survival. Find here an account of Inuit using the limited Arctic gifts of stone, clay, bone, eiderdown, and skins. Then judge for yourself whether working together will achieve the common goal to maintain Inuit culture where their language is made visible through their arts Find here a challenge to accept that if Inuit arts and crafts fades away, so also will their unique culture. Read that this need not be! Find within a bold proposal “SEE” to accept that Inuit art/crafts, is not static, nor swallowed up in settlers ‘ways, but celebrated as Inuit resilience to change without identity loss. Meet project Ookpik. Read about Inuit survival tools, later appreciated as true art. Learn how they make carvings, and prints. Discover the use of design continuum, carving evaluation, life themes, and game drawing Engage in some humous, and a look at life in an Inuit wholistic way.
From the first magical amulets and weapons to the world-famous Cape Dorset prints, Inuit art is discussed by authorities such as Sheila Butler ("Wall Hangings from Baker Lake," "First Printmaking Year at Baker Lake"), Charlotte and Edward Lindgren ("The Pangnirtung Tapestries"), and Jean Blodgett ("The Historic Period in Canadian Eskimo Art"). For the newcomer, a solid introduction to Inuit art; for collectors and researchers, a gathering of expert knowledge in one volume.
Way up north, in the Canadian territory of Nunavut, Inuit artists at the Cape Dorset printmaking studios share their culture with the world through art. The Inuit treasure their language and stories, which often feature owls, loons, and other birds of the Arctic. This read-aloud board book presents rhyming couplets accompanying ten intriguing prints of owls and loons, brightly colored and full of fun.
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.