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Art Gallery of Hamilton |
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Art Gallery of Hamilton |
In the Shadow of the Midnight Sun: Inuit and Sami Art 2000-2005
Jean Blodgett & Irene Snarby
This publication offers the first in-depth comparative analysis of contemporary artforms of two distinct cultures: the Inuit people of the Canadian North and the Sami people of northern Scandinavia. While both peoples are indigenous, they are far apart geographically and historically. Like the Inuit people, the Sami function as a single culture across national boundaries. Unlike the Inuit people, the Sami have long had regular contact with European civilization. But both have long histories of making specially crafted objects for functional and religious use and, in their contemporary artistic manifestations, both show varying degrees of connection with earlier times as well as clear indications of change. Two of the world's foremost experts on indigenous art break through cultural stereotypes to reveal two Northern peoples who create contemporary art of international quality. Jean Blodgett is one of Canada's most respected Inuit art curators. Irene Snarby is curator at Sami Museum, Karasjok, Norway.
Art Gallery of Hamilton (03/2007) 66 pp 70 ill. (35 col.) 9 x 9 in softcover 978- 0-919153-86-8 $40.00 (30 euros)
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Art Gallery of Windsor |
Sugluk Sculpture in Stone 1953-1959
Ted Fraser
Publication stemming from the discovery of the Birmingham, Michigan collection of Peter Landry. Essays and interviews with the artists give voice to the brief period of artistic production from this community in Arctic Québec.
Art Gallery of Windsor (1992) 72 pp. 75 ill. 9 x 9 in 0919837026 softcover $10.00 (7 euros)
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Burnaby Art Gallery |
Inuit Dolls of the Kivalliq
Darrin Martens
The women of the Kivalliq region of Nunavut have created dolls for centuries, each with their own technique and purpose. Since the creation of Nunavut, a resurgence in traditional arts and crafts has emerged. Dolls are no exception. They are utilized to relate oral stories and legends and to provide opportunities for intergenerational teaching of traditional sewing and beading. This book illustrates each of the doll-makers, their dolls and explores how they pursue a unique cultural identity within a changing world.
Burnaby Art Gallery (October 2008) 86 pp 67 col. Ill. 8 x 9 in softcover 978 -0-9783892-6 -0 $21.95 Can. ($24.95 U.S. /20 euros)
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Carleton University Art Gallery |
The Arctic Lithograph: Inuit Prints from the Collection of the Carleton University Art Gallery
Jennifer Cartwright & Jessica Tomic-Bagshaw
Cartwight provides a brief history of the introduction of graphic art into Canada's Arctic and Tomic-Bagshaw interviews master printmaker, Pitseolak Niviaqsi.
Carleton University Art Gallery (1998) 23 pp 8 ill 9x6 in 0770904483 $15.00 (11 euros)
Making Art Work in Cape Dorset
Shannon Bagg
A look at the influence marketing and the spectacular commercial success has had on the style and character of Inuit art.
Carleton University Art Gallery (1997) 44 pp 23 ill 9x6 in 0770904289 $15.00 (11 euros)
From Iceberg to Iced Tea
Victoria Henry and Shelley Niro (et al)
The co-curators record through their correspondence their experience organizing an exhibition of thirteen First Nations and Inuit photographers and filmmakers.
Carleton University Art Gallery. (1994) 52 pp ill 9x7 in 0770903622 $12.00 (9 euros)
Patiently I Sing: Selections from the Tyler/Brooks Collection of Inuit Art
Marion E. Jackson (ed)
This publication documents an exhibition of Inuit prints by women artists selected from the collection of Priscilla Tyler and Maree Brooks.
Carleton University Art Gallery. (1994) 62 pp ill 7x4 in 0770903665 $5.00 (4 euors)
Qiviuq: A Legend in Art
Jennifer Gibson
The essay presents a sequence of the Qiviuq stories of the Canadian north as a complement to the works in the exhibition of Inuit prints and sculpture from several Arctic communities.
Carleton University Art Gallery (1996) 58 pp 10 ill 9x6 in 0770903959 $15.00 (11 euros)
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National Gallery of Canada |
Inuit Sculpture Now
Christine Lalonde
This publication focuses on sculpture from past decade and considers some of the subtle changes that have come to play in the artists' approaches to their subjects and their media. Disponible en français sous le titre: La sculpture inuit d'aujourd'hui.
National Gallery of Canada (2005) 36 pp 21 col. ill. 11 x 7 in softcover No ISBN $8.00 Can./U.S (6 euros)
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The Winnipeg Art Gallery |
The Harry Winrob Collection of Inuit Sculpture
Darlene Coward Wight and Zebedee Nungak
As a doctor, Harry Winrob was fascinated by bone sculpture and collected works in whalebone, bone, and antler. The Winrob Collection, donated to the Gallery as a legacy, contains the most significant assemblage of sculpture created from these materials, which due to declining availability, makes such sculptures quite rare. The collection is also notable for its wealth of innovative sculpture from the Nunavik communities of Puvirnituq, Inukjuak, and Kangiqsualujjuaq. Among the artists are Nick Sikkuark and Karoo Ashevat. Magnificently illustrated with full page colour plates.
The Winnipeg Art Gallery (03/2008) 150 pp 145 ill. 11 x 9 in hardcover 978-0-88915-240-3 $39.50 (32 euros)
Early Masters: Inuit Sculpture 1949-1955
Darlene Coward Wight
The period 1949 to 1955 represents an early phase of what has come to be known as "Inuit art". Buying for southern markets on an ongoing basis began in Inukjuak in 1949, extended to Puvirnituq in 1950, and Cape Dorset in 1951. Purchase of carvings gradually spread to other communities, but the initial three remained prevalent until 1955. Carvers in this early period did not usually sign their pieces and the "Igloo tag" had not yet been developed. This publication is the culmination of a singular journey that is both theoretical and physical. Commited to finally attributing authorship to these early works, Darlene Coward Wight developed a unique data base and traveled to these isolated communities to interview the few original artists who are still alive, as well as family members of those who are not. An invaluable resource for collectors and researchers alike, this generously illustrated book features never before published biographical information about the "early masters" and demonstrates unique stylistic characteristics of their work to aid in future identifications.
The Winnipeg Art Gallery (11/2006) 200 pp 200 ill. (180 col.) 11 x 9 in softcover 0-88915-234-9 $45.00 (36 euros)
Napachie Pootoogook
Darlene Coward Wight & Leslie Boyd Ryan
Cape Dorset artist Napachie Pootoogook created over 5,000 drawings from the late 1950s until her death in 2002. In the last years of her life, Pootoogook worked on an autobiographical series of drawings that record life as it was in the 1930s to the 1950s. Many of her images are concerned with the particular experiences of women and depict societal taboos such as arranged marriage and spousal abuse. But there were happy times as well, remembered with nostalgia, as women and children entertained themselves in the camp while the men were away hunting. This publication provides a unique opportunity to gain insights into the life of an Inuit woman who experienced the dramatic social, economic and religious upheavals that occurred in the Canadian Arctic in the 1950s. A tour of the show is planned for 2005-2006. In English and French.
L'artiste de Cap Dorset Napachie Pootoogook a produit plus de 5 000 dessins depuis la fin des années 50 jusqu'à son décès en décembre 2002. Durant les dernières années de sa vie elle a travaillé sur une série de dessins autobiographiques portant sur son enfance dans les camps traditionnels du sud de l'IÎe de Baffin ainsi que son rôle d'épouse. Ces œuvres abordent des tabous sociétaux tels que les mariages forcés et la violence conjugale. Cette publication nous offre une chance unique de porter un regard sur une femme exceptionnelle qui a traversé des changements et chambardements sociaux, économiques et religieux qui se sont déroulés dans l'arctique canadien des années 1950. Une tournée de l'exposition est planifiée pour 2005-2006. En français et anglais.
The Winnipeg Art Gallery (2004) 86 pp 69 col. ill. 12 x 9 in softcover 0-88915-228-4 $21.95 (17 euros)
The Faye and Bert Settler Collection
Darlene Wight, Robert Enright & Jean Blodgett
The Settlers were art dealers for over 50 years and their shop, The Upstairs Gallery, is a Canadian landmark. Until her recent death, Faye Settler featured regular exhibitions of art by Inuit and Manitoba artists. Her first trip to Baker Lake was made in 1973 and she soon established herself as a specialist in Baker Lake art, introducing many collectors to the distinctive prints, sculptures and wall hangings from that Kivalliq community. From the 1960s until the early 1980s, Settler acquired Inuit sculptures including many by the daughters of renowned Baker Lake artist Jessie Oonark. As the essays attest, this once private collection - like that of Jerry Twomey - reflects a diversity of aesthetic interests and years of experience.
The Winnipeg Art Gallery (2004) 160 pp 100 col. ill. 9 x 6 in hardcover 0-88915-229-2 $24.95 (20 euros)
The Jerry Twomey Collection at the Winnipeg Art Gallery: Inuit Sculpture from the Canadian Arctic
Darlene Coward Wight
Scientist/geneticist Jerry Twomey was one of the very early collectors of Inuit art. He was also the first to research individual artists, exhaustively classifying his collection by artist, community and family group. Beginning in the early 1950s and over the next 30 years, he had gathered nearly 4,000 sculptures by artists from every art-producing community, including Nunavik (Arctic Quebec), Qikiqtaalik (Baffin) and Kivalliq (Keewatin). Reflecting Twomey's own research and organized by region, community and artist, the publication also contains a biographical essay revealing the fascinating story of a man who, having purchased his first three Inuit carvings for $8.00 in 1952 from the Hudson's Bay Company, went on to create the world's largest private collection. This definitive overview of Inuit carving activity across the Canadian Arctic, when Inuit sculpture was first exposed to the world, is an important resource for anyone wishing to learn more about the art and artists of the early contemporary period of Inuit art.
The Winnipeg Art Gallery (2003) 128 pp 150 col. ill. 12x9 in softcover 0-88915-223-3 $29.95 (28 euros)
Rankin Inlet Ceramics
Darlene Coward Wight & Jim Shirley
The town of Rankin Inlet, located on the coast of Hudson's Bay, was created in the 1950s as a nickel mining community populated by an indigenous, and previously nomadic, people. Twenty years later the mine's closing had resulted in significant social strife, including the death of a once thriving artistic community. Shirley's Matchbox Gallery, established in the 1990s, enabled veteran ceramicists to work again and to teach younger graphic artists and sculptors the medium of clay. This publication features recent ceramic works produced by a new generation of artists and allows comparison of newer techniques with pieces from the earlier period. Shirley writes eloquently about the importance and the fragility of the venture. An excellent complement is the earlier publication Rankin Inlet/Kangirliniq (see below).
The Winnipeg Art Gallery (2003) 9x6 in 25 ill (18 col.) 64 pp softcover 0889152241 $14.95 ( 11 euros)
Holman: Forty Years of Graphic Art
Darlene Coward Wrght
This fully-illustrated publication traces the artistic development of the Holman artists, particularly their prints and drawings from sealskin stencils and stonecuts in the 1960s and, in recent years, lithography. In English and French.
The Winnipeg Art Gallery (2001) 96 pp 12x9 in softcover 0889152063 $25.00 (18 euros)
Art and Expression of the Netsilik
Darlene Coward Wight
The Netsilik Inuit artists of the central Arctic use their legends and history to create awe-inspiring sculpture. The product of 20 years of involvement with the people and their art , this publication provides the history of the people, the arts and crafts development as well as biographies of the artists.
The Winnipeg Art Gallery (2000) 192 pp ill. 12x9 in softcover 0889151954 $40.00 (28 euros)
Jessie Oonark: A Retrospective
Jean Blodgett & Marie Bouchard
Documents the life and art of an extraordinarily productive artist working within and beyond tradition. With chronology, bibliography and map. In English and Inuktitut.
The Winnipeg Art Gallery (1986) 148 pp 113 ill. (21 col.) 30x23 cm softcover 0889151326 $28.95 (20 euros)
Baffin Island
Contains 4 essays, chronological history of the region, a map and selected bibliography.
The Winnipeg Art Gallery (1983) 128 pp 81 b/w ill. 8.5x5.5 in
Baker Lake Prints and Print-Drawings 1970-1976
Sheila Butler & Bernadette Driscoll
Works by nineteen Inuit artists.
The Winnipeg Art Gallery (1982) 91 pp 117 ill. (14 col.) 20 x 25.5 cm 0889151113 $12.95 (9 euros)
Inuit Myths, Legends and Songs
Bernadette Driscoll
The Winnipeg Art Gallery (1982) 80 pp 82 ill. (7 col.) 30.5 x 23 cm 0889151040 $12.95 (9 euros)
Eskimo Point/Arviat
Contains 3 essays, interviews with artists, bibliography, selected biographies, and a map.
The Winnipeg Art Gallery (1982) 110 pp 12 ill. 8.5x5.5 in 0889151975 $7.95 (6 euros)
Belcher Islands/Sanikiluaq
Contains 4 essays, chronological history of the region, a map and selected bibliography.
The Winnipeg Art Gallery (1981) 128 pp 133 ill. 8.5x5.5 in 0889150958 $7.95 (6 euros)
Rankin Inlet/Kangirliniq
Bernadette Driscoll et al
Contains 4 essays, selected bibliography and a map.
The Winnipeg Art Gallery (1981) 97 pp 95 ill. 8.5x5.5 in 0889150885 $7.95 (6 euros)
The Inuit Amautik: I Like My Hood to be Full
Discusses the amautik, the traditional parka of the Inuit woman and its place in Inuit history, culture, art and society.
The Winnipeg Art Gallery (1980) 128 pp 114 ill. (4 col.) 12x9 in/30x23 cm softcover 0889150850 $12.50 (9 euros)
Port Harrison/Inoucdjouac
Contains 4 essays, selected bibliography and a map.
The Winnipeg Art Gallery (1977) 80 pp 121 ill.8.5x5.5 in 0889150958 $7.95 (6 euros)
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