When it was founded in 1961, the Canadian Eskimo Arts Committee (later the Canadian Eskimo Arts Council) sought to support the Inuit art market by ensuring that works met particular standards before they were made available for sale to the public. There are no extant review guidelines produced by the committee, at the outset composed exclusively by arts professionals from the South. Rather, judgements were based on committee members’ personal aesthetic tastes and what they felt would be marketable within Canada and internationally.
From Iglulik to the Venice Biennale, Isuma has had an immense and far-reaching impact on Indigenous filmmaking, language and cultural storytelling. Reflecting on a trip North in the early 1990s, a curator and writer delves into the collective’s legacy, their presentation of time and what Isuma’s work means for us all.
The revolutionary impact of the Iglulik-based collectives Isuma and Arnait Video Productions are explored through their diverse bodies of work that, together, have significantly contributed to the revitalization of culture and language by harnessing the power of film to retain, recall and preserve collective memory.
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?
On the cusp of Isuma’s representation of Canada at the 58th International Art Exhibition/La Biennale di Venezia and on the occasion of a recently renovated Canada Pavilion, we take a look at the history of the international exhibition, Canada’s national pavilion and what these platforms mean for us today.
Despite the fact that love and sex in the Canadian Arctic is not new, images of erotic scenes have rarely graced the pages of the Inuit Art Quarterly. Here, a writer and curator pushes past voyeuristic taboos to bring us into the pulse of recent erotic Inuit art.
Independant curator and Associate Dean, Faculty of Liberal Arts and Sciences, School of Interdisciplinary Studies at OCAD University Ryan Rice reflects on the legacy of a foundational national collection and its power to reframe dialogues on the scope and shape of what a nation might be.
This award-winning artist took the Inuit art world by storm with her stirring, evocative graphic works. As a result, her artistic legacy has been defined by her meteoric and unprecedented rise to global fame. In this piece, the lesser-known currents of Pootoogook’s oeuvre are explored, providing a new lens through which to consider the profound impact of her work.
The late Kinngait-based graphic artist Siassie Kenneally was known for her dense illustrations, steeped in personal histories an rendered from memory. This interview, conducted last year and presented in English and Inuktut, focuses on a single, exceptional work that intimately documents a life lived, in all its striking detail.