By looking at the lives and work of other Indigenous artists who have exhibited as part of the Venice Biennale and surrounding projects, what are the implications in having Isuma, a community-based, principally Inuktitut language video art collective based in Iglulik, NU, represent Canada at arguably the world’s most visible and scrutinized international art event?
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