The Inuit Art Quarterly is the only publication that focuses solely on the vibrant and dynamic world of Inuit art. Published by the Inuit Art Foundation since 1986, this quarterly art magazine connects readers around the world with the Arctic by way of feature articles on well-known and emerging artists, timely and topical commentary and exclusive interviews.
Coinciding with Isuma’s historic representation of Canada at the 58th Venice Biennale, the special Summer issue of the Inuit Art Quarterly is dedicated to the expansive and expressive media of film. From experimental shorts and animations to feature-length documentaries, this issue explores the artists working across the circumpolar world who use moving images to transport us with sound, movement and story.
Looking at the complex and often unseen aspects of film, critic and curator Sarah Milroy reflects on what Isuma’s work means for audiences around the world on the occasion of their exhibition at the Venice Biennale. The nuances of Zacharias Kunuk, OC and Norman Cohn’s work over the past 30 years is revisited through the lens of a trip to the Arctic in the early 1990s to witness the production of the film Saputi (Fish Trap). These tender and revealing personal histories are carried through in another Feature by Blandina Attarjuaq Makkik, who captures the impact of film on culture and history in the community of Iglulik, NU. From the early filming of Isuma’s Atanarjuat: The Fast Runner (2001) to the formation of the women’s collection Arnait Video Productions, film is highlighted as an integral medium for celebrating, honouring and relaying a distinct Inuit worldview. These currents appear again in an intimate cover story by Editor-at-Large Taqralik Partridge on the experimental 16 mm works of Vancouver-based Lindsay McIntyre.
Rounding out the issue, Robert Kardosh touches on the motifs in the late works of celebrated Kinngait (Cape Dorset), NU, artist Kananginak Pootoogook (1935-2010) while a following feature by Dr. Heather Igloliorte centres on the experiences of past Indigenous artists who have exhibited in the Biennale or as part of surrounding events to situate what Isuma’s representation of Canada means for Inuit art, artists and institutional reconciliation.
Other highlights of the issue include:
- A Legacy section that time-travels with the archive of Igloolik Isuma Productions held at the National Gallery of Canada in Ottawa, ON;
- Tanya Tagaq’s re-writing of Inuit presence in front of and behind the camera;
- Reviews of films, surrounding Isuma events and much more…
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Publication dates are as follows:
Spring – March 15
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Winter – December 5