Happy Nunavut Day! In honour of the 25th anniversary of the land claims agreement that initiated the establishment of the territory, we’re celebrating by bringing you a selection of work by artists from Nunavut including Laakkuluk Williamson Bathory, Alethea Aggiuq Arnaquq-Baril, Tim Pitsiulak, Jesse Tungilik, Andrew Qappik, Jessie Oonark, Lucy Tasseor Tutsweetok, Kenojuak Ashevak and Hinaani Design.
“There is this Inuk teaching, the more you give the more you get. So if I’m gifted seal flippers, I’ll give a pair of earrings to the huntress or hunter that gave them to me. It’s an exchange and it just keeps giving me more and more.”
On Thursday, May 31, 2018 Inuit Art Quarterly staff met with Martha Kyak during Indigenous Fashion Week in Toronto. They discussed what being part of Indigenous Fashion Week means to Martha and how her sought-after sealskin necklace came to be.
In the study of art, a seam in time can sometimes unexpectedly open, spilling a packet of the past. All the spark and vitality of a moment long passed has somehow been saved and can now be relived afresh. Such was the experience of eighty-two-year-old, New York-based writer and educator Richard Lewis, who was quietly performing that most monotonous of domestic chores—cleaning his basement—when he came across a manila envelope containing a blast from his past. Inside were 27 pristine drawings on coloured card stock, the work of the Qamani’tuaq (Baker Lake), NU, artist Jessie Oonark, OC, RCA (1906–1985), drawings made with coloured pens when the artist was in her prime, in the late 1960s. Read More
In 2013, Bart Hanna completed his most ambitious sculpture to date: Migration, a monumental ship with a cast of unique characters carved from a single block of stone weighing over 700 pounds, retrieved more than 300 miles north of Iglulik (Igloolik), NU, outside of Ikpiarjuk (Arctic Bay). In this interview with IAF Executive Director Alysa Procida, Hanna explains the significance of this singular work. Read More
After venturing out from their home community of lgloolik to hunt caribou and fetch relatives from an outpost camp, carver Lukie Airut and filmmaker Zacharias Kunuk take a detour through the frozen Fury and Hecla Strait, a narrow channel that runs between Baffin Island and the Melville Peninsula. Airut suddenly revs his Ski-Doo snowmobile engine and bolts ahead, disappearing in the dim December light. Read More
While encounters with Nunatsiavummiut have been well documented for over four centuries, and a number of excellent studies from the related fields of archeology, anthropology and ethnohistory exist, the art historical literature is scant. Scholarly publications, museum collections, and exhibitions of Inuit art and visual culture have been noticeably light on Nunatsiavut content; most seminal texts on Inuit art ignore Labrador completely or mention it only in passing; and only a handful of journal articles and catalogue essays over the last 60 years since Confederation deal with Nunatsiavummiut art in any depth or breadth. Yet in spite of the lack of an enduring arts industry, a cooperative system, institutional support or scholarly interest, Nunatsiavut continues to produce such exceptional artists as metal smith Michael Massie, stone sculptor John Terriak, and graphic artist Heather Campbell. Read More