Journal articles: 'Inuit Art'

1

Graburn, Nelson H. H. "Authentic Inuit Art." Journal of Material Culture 9, no. 2 (July 2004): 141–59. http://dx.doi.org/10.1177/1359183504044369.

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Kamerling, Leonard. "Isuma—Inuit Video Art." Oral History Review 37, no. 2 (July 1, 2010): 278–80. http://dx.doi.org/10.1093/ohr/ohq065.

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Auger, Emily. "Inuit Woman Artists and Western Aesthetics." Dialogue and Universalism 7, no. 3 (1997): 179–86. http://dx.doi.org/10.5840/du199773/418.

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Inuit artists espouse aesthetic values which are indicative of the degree of their involvement with the western art world and of the non-artistic cultural values which they wish to convey and perpetuate in their own communities. It is in this latter expression that Inuit aesthetics may be studied as a conveyor of Inuit rather than non-Inuit culture. In this paper, the statements made by Inuit woman artists from the Keewatin district are analysed with reference to the values associated with contemporary mainstream fine art and the artists' own assertions regarding the importance of non-artistic values in the art-making process.

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Igloliorte, Heather. "Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum." Art Journal 76, no. 2 (April 3, 2017): 100–113. http://dx.doi.org/10.1080/00043249.2017.1367196.

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Bathory, Laakkuluk Williamson, Koomuatuk (Kuzy) Curley, Taqralik Partridge, Jocelyn Piirainen, and Georgiana Uhlyarik. "Tunirrusiangit: Their Gifts." Public 32, no. 64 (December 1, 2021): 32–48. http://dx.doi.org/10.1386/public_00070_1.

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Tunnirusiangit: Kenojuak Ashevak + Timotee Pitsiulak was a collaborative project in 2017-2018, led by four Inuit artists and curators, Laakkuluk Williamson Bathory, Koomuatuk (Kuzy) Curley, Taqralik Partridge, Jocelyn Piirainen, in partnership with Dr. Anna Hudson (Mobilizing Inuit Cultural Heritage (MICH) at York University) and Georgiana Uhlyarik, Curator, Art Gallery of Ontario. Designed to generate exchange between Inuit and non-Inuit about the role of art, beauty, and culture in shaping our relationships to the land and to each other, it celebrated the achievements of Kenojuak Ashevak and Timotee Pitsiulak, two Inuit artists who challenged the parameters of tradition while consistently articulated a compelling vision of the Inuit worldview. The team reflected on the project in a series of conversations in October 2020. This is an edited version of their discussions.

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Millard, Peter. "CONTEMPORARY INUIT ART–PAST AND PRESENT." American Review of Canadian Studies 17, no. 1 (March 1987): 23–29. http://dx.doi.org/10.1080/02722018709480973.

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Fry, Jacqueline. "CONTEMPORARY INUIT ART AND ART FROM OTHER “TRIBAL” CULTURES." American Review of Canadian Studies 17, no. 1 (March 1987): 41–46. http://dx.doi.org/10.1080/02722018709480975.

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8

Oen, Kiem, Brian Postl, Ian M. Chalmers, Norma Ling, Maria Louise Schroeder, Fletcher D. Baragar, Liam Martin, Martin Reed, and Paul Major. "Rheumatic diseases in an inuit population." Arthritis & Rheumatism 29, no. 1 (January 1986): 65–74. http://dx.doi.org/10.1002/art.1780290109.

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9

Zawadski. "Qaujimanira: Inuit Art as Autoethnography." ab-Original 2, no. 2 (2018): 151. http://dx.doi.org/10.5325/aboriginal.2.2.0151.

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Cornellier, Bruno. "Isuma: Inuit Video Art Michael Robert Evans." Canadian Journal of Film Studies 19, no. 1 (March 2010): 95–98. http://dx.doi.org/10.3138/cjfs.19.1.95.

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Barbre, Claude. "Art Review: Inuit: When Words Take Shape." Journal of Religion and Health 43, no. 1 (2004): 82–83. http://dx.doi.org/10.1023/b:jorh.0000009990.28222.eb.

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12

Flynn-Burhoe, Maureen. "Shape-shifting and other points of convergence: Inuit art and digital technologies." Art Libraries Journal 24, no. 3 (1999): 38–41. http://dx.doi.org/10.1017/s0307472200019623.

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Western thinking, which is predominantly linear and analytical, does not adequately give access to the complexities of Inuit visual culture. However hypertext offers new possibilities for information management, and the aboriginal communities are using it creatively to share information, as for example in the Internet record of the development of Canada’s newest territory, Nunavut. This article examines how and why interactive multimedia were the means chosen to develop a master’s thesis on the Inuit artist Jessie Oonark.

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Weldon-Yochim, Zoe. "Exposure: Native Art and Political Ecology." Journal of Curatorial Studies 12, no. 1 (April 1, 2023): 88–92. http://dx.doi.org/10.1386/jcs_00082_7.

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Review of: Exposure: Native Art and Political Ecology Curated by Kóan Jeff Baysa, Nivi Christensen (Inuit), Satomi Igarashi, Erin Vink (Ngiyampaa), Tania Willard (Secwepemc Nation) and Manuela Well-Off-Man, Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, 20 August 2021-10 July 2022

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Pupchek, Leanne Stuart. "True North: Inuit Art and the Canadian Imagination." American Review of Canadian Studies 31, no. 1-2 (June 2001): 191–208. http://dx.doi.org/10.1080/02722010109481590.

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15

Graburn, Nelson H. H. "INUIT ART AND THE EXPRESSION OF ESKIMO IDENTITY." American Review of Canadian Studies 17, no. 1 (March 1987): 47–66. http://dx.doi.org/10.1080/02722018709480976.

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Engelstad, Bernadette Driscoll. "Hunters, Carvers and Collectors: The Chauncey C. Nash Collection of Inuit Art (Lutz)." Museum Anthropology Review 9, no. 1-2 (August 31, 2015): 138–42. http://dx.doi.org/10.14434/mar.v9i1-2.19854.

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Duchemin-Pelletier, Florence. "Catharsis in inuit art: A way to heal wounds." Public 25, no. 49 (June 1, 2014): 74–89. http://dx.doi.org/10.1386/public.25.49.74_1.

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Vorano, Norman. "Inuit Art: Canada’s Soft Power Resource to Fight Communism." Journal of Curatorial Studies 5, no. 3 (October 1, 2016): 312–38. http://dx.doi.org/10.1386/jcs.5.3.312_1.

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Graburn, Nelson. "Canadian Inuit Art and Coops: Father Steinman of Povungnituk." Museum Anthropology 24, no. 1 (March 2000): 14–25. http://dx.doi.org/10.1525/mua.2000.24.1.14.

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Jørgensen, Anne Mette. "Jørgen Meldgaard’s film works and books on art from the Arctic." Études/Inuit/Studies 37, no. 1 (May 29, 2014): 127–45. http://dx.doi.org/10.7202/1025258ar.

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L’archéologue danois Jørgen Meldgaard (1927-2007) était un cinéaste passionné. Les archéologues d’aujourd’hui pourraient s’inspirer de sa passion pour ce médium qu’est le film. Il a produit trois documentaires incontournables au cours de sa carrière, chacun d’eux illustrant une tendance importante de la représentation scientifique de l’Autre durant la seconde partie du XXe siècle. Cet article analyse ses films en portant une attention particulière à la manière dont Meldgaard est passé d’une représentation des Inuit en tant qu’objets à une représentation en tant que sujets. Il effectue également une comparaison de ses films avec ses deux ouvrages sur l’art inuit et les replace dans le contexte des développements méthodologiques contemporains en archéologie et en anthropologie. Il conclut en recommandant aux futurs archéologues de suivre l’exemple de Meldgaard en s’engageant dans le partage de la connaissance, par l’intermédiaire des médias audiovisuels, avec les gens concernés par les fouilles archéologiques, plutôt que de laisser entièrement la représentation de la connaissance archéologique aux professionnels des médias.

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Thonsgaard, Kirsten. "Tuukkaq – de første år." Peripeti 16, S7 (July 28, 2019): 25–37. http://dx.doi.org/10.7146/peri.v16is7.115115.

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This article deals with the beginnings of the Tuukkaq Theatre in Denmark, focusing on the first stages in the creation of the play Inuit 1975-77 and its first performance and reception by Greenlandic audiences in Greenland on the two months´ tour in the spring of 1978. Theatre being a volatile art form I´ve also found it useful to dwell on how Inuit was televised and broadcasted by DR-TV 1977-78, as the TV-edition offers a reasonably fair impression of how the play was performed from its opening night and during the first years.

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Saucier, Céline. "Helen BURGESS et Alma HOUSTON (dir), Inuit Art, An Anthology." Recherches sociographiques 30, no. 2 (1989): 302. http://dx.doi.org/10.7202/056450ar.

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W. Norman, David. "Jessie Kleemann’s Art of Survival." Peripeti 19, no. 37 (December 19, 2022): 30–43. http://dx.doi.org/10.7146/peri.v19i37.135189.

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In her work as an educator, actor, poet and visual artist, Jessie Kleemann has persistently expanded the limits of arts discourse in Kalaallit Nunaat, not least through her unique approach to body art informed by historical Kalaallit theatrical forms and antimimetic dramaturgy. Emphasizing how Kleemann’s embodied practice prompts reflection on the potential for action amid environmental collapse, this essay situates her work alongside schools of thought that have theorized the body during moments of crisis. I focus on Kleemann’s early experimentation with analog video and recent ecocritical poetry, aligning her work with traditions ranging from ancestral Inuit performance genres to post-1945 action art and contemporary practices advocating on behalf of missing and murdered Indigenous women and girls. Kleemann’s methods, refracted through these traditions, place embodied action at the center of efforts to form more ethical relations.

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Dwyer, Melva J. "Art book publishing in Canada." Art Libraries Journal 17, no. 3 (1992): 34–37. http://dx.doi.org/10.1017/s030747220000794x.

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Canadian publishing was inhibited from the beginning by Canada’s colonial origins and dependence on Great Britain and the USA. Few art books were published until quite recently; the relatively small, scattered population, the flooding of the market with British, American and (in Quebec) French books, and limited (at best) or non-existent sales outside Canada continue to be constraining factors. The necessity to include both English and French texts adds to the cost of book production in Canada. The publication of art books, and of exhibition catalogues, depends on the availability of government grants. Publications on the art of the North American Indian and Inuit peoples are an exception, attracting widespread interest and leading in some instances to co-publishing initiatives. In addition to the larger publishing houses, a number of small presses produce occasional art books, thanks to grants and in a few cases with the added benefit of sales abroad achieved through international networking. A government programme of support for Canadian publishing, launched in 1986, is continuing.

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25

Harris, James M. "People, Animals, and the Environment as Depicted in Contemporary Inuit (ESKIMO) Art." Anthrozoös 3, no. 4 (December 1990): 227–29. http://dx.doi.org/10.2752/089279390787057487.

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26

Freeman, Na’ama. "Printed Textiles from Kinngait Studios." Public 32, no. 63 (September 1, 2021): 122–25. http://dx.doi.org/10.1386/public_00063_4.

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Printed Textiles from Kinngait Studios, curated by Roxane Shaughnessy of the Textile Museum of Canada in consultation with independent curator Nakasuq Alariaq, examines the legacy of newly-discovered textile prints from Kinngait Studios and their contribution to art history on both national and global scales. The exhibition shares and preserves a little-known history, drawing connections to contemporary Inuit artistic production and centers Inuit voices in telling this story. At its core, Printed Textiles fromKinngait Studios highlights the powerful way in which visual language can inspire intergenerational connections and jump-start new conversations between artists, community members, and the public at large. This review was prepared in partial completion of a masters-level course, and as such, the author did not have the capacity to consult with members of Kinngait community. In future writings, the author hopes to consult and collaborate alongside community members.

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Sonne, Birgitte. "Who’s afraid of Kaassassuk? Writing as a tool in coping with changing cosmology." Études/Inuit/Studies 34, no. 2 (June 16, 2011): 107–27. http://dx.doi.org/10.7202/1004072ar.

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Education, literacy, and art were technologies used by Greenlanders in adapting to and coping with changes brought about by colonial impacts from Denmark. Stories orally transmitted through the ages were among the first texts to be written by Greenlanders. This article focuses on changes in symbolic meanings of the environmental setting in the pan-Inuit myth about the maltreated orphan Kaassassuk who became a strong man and took a terrible revenge. Beginning with the traditional pan-Inuit and Greenland variants, the analysis ends up with Hans Lynge’s play Kâgssagssuk, staged in 1966. Traditionally, the symbolism of the natural forces underscored Kaassassuk’s brutal character, but later it structured the literary composition of his story and changed him into a re-socialised individual. In Lynge’s play, the natural forces even gave way to contemporary moral and psychological considerations during the political upheaval leading to Greenland’s Home Rule.

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Konopka, Emiliana. "Antropologia sztuki rdzennej ludności regionu nordyckiego: reprezentacja Kalaallit Nunaat i Sápmi w muzeach skandynawskich." Porta Aurea, no. 22 (December 29, 2023): 154–71. http://dx.doi.org/10.26881/porta.2023.22.08.

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This essay is an attempt to present the most important points of the current discussion about the cultural remains of colonialism in Scandinavia by analyzing the representation of indigenous art in museums. I would like to focus on the reasons why Saami and Inuit art was usually excluded from the traditional art history narrative and placed almost exclusively in collections of ethnographic or historical museums. On the examples of the strategies applied by three museums: the National Museum of Denmark in Copenhagen, Nordic Museum in Stockholm, and the National Museum of Art, Architecture and Design in Oslo, the following issues are considered: what determines the selection of indigenous artists and their works, how they are exhibited, what place indigenous art holds in the national canon of art today, and how these museum strategies perpetuate, or not, stereotypes of Kalaallit Nunaat and Sápmi. For the sake of this paper, based on ethnohistory, historical anthropology and anthropology of art in a Nordic context, the terms ‘art’ and ‘artist’ go beyond the traditional definitions used in art history.

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Chisholm, Dianne. "The enduring afterlife of Before Tomorrow: Inuit survivance and the spectral cinema of Arnait Video Productions." Essai hors thème 40, no. 1 (June 14, 2017): 211–27. http://dx.doi.org/10.7202/1040152ar.

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This essay investigates how the filmmakers of Igloolik-based women’s collective Arnait Video Productions invent and combine various techniques and strategies of spectrality and survivance to create a powerful, cinematic form of Inuit cultural resistance and resilience. I borrow the concept of “survivance” from Anishnaabe literary theorist Gerald Vizenor who uses it to explain how Aboriginal literary and linguistic traditions continue to flourish in contemporary media despite and in response to colonialism’s systemic suppression of oral traditions. With this concept I analyze the way Arnait’s films re-enact and revive Inuit culture and oral tradition in the abiding voice and spirit of the dead whose creative art of living resists extinction. Arnait has to date produced three feature films: two fictional films Before Tomorrow (2009) and Uvanga (2013), and a documentary Sol (2014). I demonstrate that all three films exhibit this uncanny mix of spectrality and survivance with focus on Arnait’s debut film as a case study.

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Routledge, Marie. "THE DEVELOPMENT OF AN INUIT ART COLLECTION AT THE NATIONAL GALLERY OF CANADA." American Review of Canadian Studies 17, no. 1 (March 1987): 73–78. http://dx.doi.org/10.1080/02722018709480978.

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Thisted, Kirsten. "De-framing the Indigenous Body. Ethnography, Landscape and Cultural Belonging in the Art of Pia Arke." Nordlit 16, no. 1 (May 1, 2012): 279. http://dx.doi.org/10.7557/13.2318.

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The article presents the Greenlandic-Danish artist Pia Arke (1958-2007) and gives readings of various of her artworks, arguing that they attempt to negotiate a postcolonial condition. Arke was fascinated by the male European explorers and their fascination with the Arctic landscape, the Inuit and, not the least, the Inuit women. "Arctic Hysteria" is one of the main metaphors she used to describe this fascination - giving a whole new meaning to this concept invented by explorers and scientists to describe a special kind of pathology by which the inhabitants of the Arctic were classified and distinguished from other people. Where so many male intellectuals have responded to the European representations with resentment and anger, Arke chooses curiosity as her main approach. What did these men see? What made them see in this way? What did the women feel? How does it feel to take upon oneself this subject position of the cultural and sexual "Other"? Thus, instead of repeating the dichotomizing constructions, as is often the outcome of "Anti-Orientalist" or "Anti-Othering" studies, Arke re-lives and thereby out-lives and deconstructs the colonial representations, leaving the stage open for new images and encounters. Arke thus addresses some of the key problems in the discussion of representation, and her work becomes an important critique not only of the colonial representations itself, but of the way in which the postcolonial response has dealt with these issues, trying to bring us further and beyond.

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Tsuji, Leonard J. S., Zachariah General, Stephen R. J. Tsuji, Evelyn Powell, Konstantin Latychev, Jorie Clark, and Jerry X. Mitrovica. "Akimiski Island, Nunavut, Canada: The Use of Cree Oral History and Sea-Level Retrodiction to Resolve Aboriginal Title." ARCTIC 73, no. 4 (December 27, 2020): 421–32. http://dx.doi.org/10.14430/arctic71481.

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On 1 April 1999, Akimiski Island of the western James Bay region of northern Ontario, Canada, was included in the newly formed territory of Nunavut, Canada—an Inuit-dominated territory—even though the Inuit had never asserted Aboriginal title to the island. By contrast, the Omushkegowuk Cree of the western James Bay region have asserted Aboriginal title to Akimiski Island. The Government of Canada by their action (or inaction) has reversed the onus of responsibility for proof of Aboriginal title from the Inuit to the Cree. In other words, the Government of Canada did not follow their own guidelines and the common-law test for proof of Aboriginal title. In this paper, we documented and employed Cree oral history as well as a sea-level retrodiction (based on state-of-the-art numerical modeling of past sea-level changes in James Bay), which incorporated a modified ICE-6G ice history and a 3-D model of Earth structure, to establish that criterion 2 of the test for Aboriginal title has now been fully met. In other words, Cree traditional use and occupancy of Akimiski Island was considered sufficiently factual at the time of assertion of sovereignty by European nations. As all the criteria of the common-law test for proof of Aboriginal title in Canada, with respect to Akimiski Island, have now been addressed, the Cree have sufficient basis to initiate the process of a formal land claim.

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Gearheard, Shari. "Using interactive multimedia to document and communicate Inuit knowledge." Études/Inuit/Studies 29, no. 1-2 (November 13, 2006): 91–114. http://dx.doi.org/10.7202/013934ar.

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Abstract Media technology has acted as both a threat to local knowledge and language, and a tool to strengthen it. More and more, indigenous peoples are using media for their own purposes from art to communication to education. Multimedia technology is surfacing as one useful tool in local knowledge and language revitalization efforts. Multimedia is being applied in a number of ways, preserving and passing on local knowledge and languages and showing potential for doing so in ways that engage young people and are more closely aligned with indigenous forms of teaching and learning. Discussing a case study example of one multimedia project in Nunavut, this paper evaluates multimedia in the context of documenting and communicating Inuit knowledge. Though there are challenges and issues to consider, multimedia and other technologies should be considered and creatively applied to help local people reach their goals. Texts and other forms of media remain important resources for documentation and communication in the North, but multimedia has the potential to grow into a key tool.

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Williamson, Christina. "Inuit Art in Canadian and Indigenous Art: From Time Immemorial to 1967, National Gallery of Canada, Permanent exhibition, Ottawa." RACAR : Revue d'art canadienne 42, no. 2 (2017): 126. http://dx.doi.org/10.7202/1042954ar.

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Whitridge, Peter. "Fractal Worlds: An Archaeology of Nested Spatial Scales." ARCTIC 69, no. 5 (July 7, 2017): 1. http://dx.doi.org/10.14430/arctic4659.

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Archaeologists approach their evidence at numerous scales, from the intercontinental distributions of people and their things to the microscopic structure in a thin section. This is possible and worthwhile, in part, because people in the past also acted in, and conceived of, their worlds at a variety of scales. The precontact Inuit record reveals not only large-scale regional networks and intricate site structures, but also the diminutive worlds depicted in toys, amulets, and figurative art. The human body was the most popular object of this miniaturization discourse, and it served to anchor the fractal-like proliferation of imagined worlds in everyday bodily experience.

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Siebelt, Dagmar. "Lutz, Maija M.: Hunters, Carvers & Collectors. The Chauncey C. Nash Collection of Inuit Art (Dagmar Siebelt)." Anthropos 109, no. 1 (2014): 308–9. http://dx.doi.org/10.5771/0257-9774-2014-1-308.

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Petzold, Hans Arno. "Was sind „Rechtsakte mit Verordnungscharakter“ (Art. 263 Abs. 4 AEUV)? – Zur Entscheidung des EuG in der Rechtssache Inuit." Europarecht 47, no. 4 (2012): 443–51. http://dx.doi.org/10.5771/0531-2485-2012-4-443.

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Milne, S., S. Ward, and G. Wenzel. "Linking tourism and art in Canada's eastern Arctic: the case of Cape Dorset." Polar Record 31, no. 176 (January 1995): 25–36. http://dx.doi.org/10.1017/s0032247400024839.

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ABSTRACTThe Inuit of Canada's eastern Arctic are increasingly turning to tourism as a source of much-needed income and employment. The government of the Northwest Territories, in conjunction with local communities, is attempting to develop a ‘sustainable’ form of tourism in the region, with an emphasis on maximizing local economic linkages while minimizing negative socio-cultural and environmental impacts. One key strategy for increasing the ‘downstream’ benefits of visitor expenditure has been an attempt to forge better links between tourism and the region's arts sector. This paper examines some of the key issues and problems that face the implementation of such a strategy in the Baffin Island hamlet of Cape Dorset. It commences with a profile of the community, its arts sector, and its nascent tourism industry. It then presents findings from a household/business survey designed to gauge resident attitudes towards tourism and provide information on the links that exist between the industry and the arts sector. The data reveal that while residents are supportive of further tourism development there is considerable disagreement among different interest groups about the amount of interaction that should occur between tourism and the local arts sector. In conclusion, the paper outlines some approaches that may allow the linkages between these two important components of the local economy to be strengthened.

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Wallace, Robert. "Festivals: An Introduction." Canadian Theatre Review 45 (December 1985): 4–5. http://dx.doi.org/10.3138/ctr.45.fm.

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The cover of this issue of CTR features a photograph of two women playing katajjaq, a vocal game common among the Inuit of northern Quebec. In the game, two or three women standing face to face repeat short, apparently meaningless words to each other using a simple rhythmic structure and a wide variety of tonal treatments. The women organize their sounds like a canon: after one begins to chant, the second joins in, letting the beat of her voice coincide with the off-beat of the other’s, creating a complex series of sounds that often appears to issue from only one source – which is the aesthetic purpose of the game. The women continue to play until one runs out of breath, loses the rhythm, or yields to nervous tension and lets the other “win.” In the process, they illustrate how careful concentration, good co-ordination, and, above all, close personal relations can transform a simple pleasure into art.

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Bloom, Lisa E. "Countering colonial nostalgia and heroic masculinity in the age of accelerated climate change: The Arctic artworks of Katja Aglert and Isaac Julien." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (April 1, 2023): 9–21. http://dx.doi.org/10.1386/miraj_00103_1.

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This article explores two screen-based artworks: Katja Aglert’s Winter Event – Antifreeze (2009–18) and Isaac Julien’s True North (2004) respectively, that exemplify diverse viewpoints contesting the essentialized identities of the Arctic past. These artworks recover the histories of women, the Inuit and African American men’s involvement in polar exploration, reimagining heroic narratives from historically excluded or ignored perspectives. By employing irony and humour, these artworks expand our understanding of how media-based art can respond to the ironies of a warming planet and challenge colonial nostalgia for White male heroism. The artworks traverse not just the human imperialism of the colonial era but also the newer imperialism in the age of the Anthropocene and the Capitalocene, decentring the mythic and exotic qualities of expedition narratives. Ultimately, the irreverent artwork encourages us to rethink an aesthetics of the distanced sublime from Romantic aesthetics and its roots in European Universalism, promoting a more inclusive and intersectional approach to the Arctic and its representation.

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Pottle, Barry. "Foodland Security: Access to Inuit Country Food in an Urban Setting— As told by Barry Pottle through contemporary Inuit art photography / ᓂᕿᓄᑦ ᐊᑦᑕᓇᐃᖅᓯᒪᓂᖅ: ᐱᔭᔅᓴᐅᓂᖏᑦ ᐃᓄᐃᑦ ᓂᕿᖏᑦ ᐃᓄᒋᐊᓐᓂᖅᓴᓃᑦᑐᓂ— ᐅᖃᐅᓯᐅᓯᒪᔪᖅ ᐱᐅᕆ ᐹᑐᒧᑦ ᐅᓪᓗᓕᒨᖓᔪᓂᑦ ᐃᓄᓐᓄᑦ ᓴᓇᔭᐅᓯᒪᔪᓂᑦ ᐊᔾᔨᓕᐅᕆᓂᖅ." International Journal of Indigenous Health 9, no. 2 (July 31, 2015): 50. http://dx.doi.org/10.18357/ijih92201214361.

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White, William J. "Playing House in a World of Night: Discursive Trajectories of Masculinity in a Tabletop Role-playing Game." International Journal of Role-Playing, no. 2 (March 27, 2011): 18–31. http://dx.doi.org/10.33063/ijrp.vi2.192.

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This study uses excerpts from the transcript of a tabletop role-playing game (RPG) session to examine how male players enact ideas about masculinity. The game is a non-traditional, small-press “indie” game called Ganakagok designed by the author; in the game, the characters are men and women from a quasi-Inuit culture living on an island of ice in a world lit only by starlight. As the game begins, the imminent arrival of the Sun is announced, and game-play is about how the people of this culture deal with the approaching dawn. In one such game, the players of three male characters went through interesting character arcs in their interactions with each other and with female players; those arcs seemed to depict movement among different models of masculine identity. One implication of the study is that RPGs afford a fruitful site for reflecting upon ideas in discourse, and so it is possible for role-playing to serve as an aesthetic as well as an expressive medium—as art as well as play, in other words.

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Laberge, Yves. "EVANS, Michael Robert, 2008 Isuma. Inuit Video Art, Montréal, McGill-Queen's University Press, McGill-Queen’s Native and Northern Series, 236 pages." Études/Inuit/Studies 32, no. 1 (2008): 166. http://dx.doi.org/10.7202/029828ar.

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Jim, Alice Ming Wai. "Mise en perspective chiasmique des histoires de l’art global au Canada." Article cinq 9, no. 1 (October 17, 2018): 97–111. http://dx.doi.org/10.7202/1052630ar.

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This article offers a critical perspective on the pedagogical direction of what I call “global art histories” in Canada by addressing the apparent impasse posed by the notion of what is euphemistically called “ethnocultural art” in this country. It examines different interpretations of the latter chiefly through a survey of course titles from art history programs in Canada and a course on the subject that I teach at Concordia University in Montreal. Generally speaking, the term “ethnocultural art” refers to what is more commonly understood as “ethnic minority arts” in the ostensibly more derisive discourses on Canadian multiculturalism and cultural diversity. The addition of the term “culture” emphasizes the voluntary self-definition involved in ethnic identification and makes the distinction with “racial minorities.” “Ethnocultural communities,” along with the moniker “cultural communities” (or “culturally diverse” communities), however, is still often understood to refer to immigrants (whether recent or long-standing), members of racialized minorities, and even First Nations, Inuit, and Métis peoples. Not surprisingly, courses on ethnocultural art histories tend to concentrate on the cultural production of visible minorities or ethnocultural groups. However, I also see teaching the subject as an opportunity to shift the classification of art according to particular geographic areas to consider a myriad of issues in myriad of issues in the visual field predicated on local senses of belonging shaped by migration histories and “first” contacts. As such, ethnocultural art histories call attention to, but not exclusively, the art of various diasporic becomings inexorably bound to histories of settler colonialism and Indigenous sovereignty. This leads me to reflect on some aspects of Quebec’s internal dynamics concerning nationalism and ethnocultural diversity that have affected the course of ethnocultural art histories in the province. I argue that the Eurocentric hegemonic hold of ethno-nationalist discourses on art and art history can be seen with particular clarity in this context. Moreover, I suggest that these discourses have hindered not only the awareness and study of art by so-called culturally diverse communities but also efforts to offer a more global, transnational, and heterogeneous (or chiastic) sense of the histories from which this art emerges. In today’s political climate, the project that is art history, now more than ever, needs to address and engage with the reverse parallelism that chiastic perspectives on the historiography of contemporary art entail. My critique is forcefully speculative and meant to bring together different critical vocabularies in the consideration of implications of the global and ethnic turns in art and art history for the understanding of the other. I engage in an aspect less covered in the literature on the global turn in contemporary art, namely the ways in which the mutual and dialectical relation between “cultural identity,” better described as a “localized sense of belonging” (Appadurai) and the contingency of place may shape, resist, or undermine the introduction of world or global art historical approaches in specific national institutional sites. I argue a more attentive politics of engagement is required within this pedagogical rapprochement to address how histories not only of so-called non-Western art but also diasporic and Indigenous art are transferred holistically as knowledge, if the objective is to shift understandings of the other by emphasizing points of practice in art history as a field, rather than simply the cultural productions themselves. I propose the term “global art histories” as a provisional rubric that slants the study of globalism in art history to more explicitly include these kinds of located intercultural negotiations.

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Gagnon, Louis. "Lectures sur les arts visuels inuit du Nunavik. FINCKENTEIN, Maria von (dir.), 1999 Celebrating Inuit Art, 1948-1970, catalogue d’exposition, Hull, Musée canadien des civilisations et Key Porter Books, 191 pages. HESSEL, Ingo, 1998 Inuit Art/An Introduction, Vancouver, Douglas and McIntyre, 198 pages. NOËL, Michel et Jean CHAUMELY, 1998 Histoires de l’art des Inuits du Québec, Montréal, Éditions Hurtubise HMH, 115 pages. SAUCIER, Céline, 1998 Le refus de l’oubli: femmes-sculptures du Nunavik, Québec, Les éditions de L’instant même, 191 pages. SEIDELMAN, Harold et James TURNER, 2001 The Inuit Imagination: Arctic Myth and Sculpture, Vancouver, Douglas and McIntyre, 224 pages. SWINTON, George, 1999 Sculpture of the Inuit (revised and updated edition), Toronto, McClelland and Stewart, 302 pages." Études/Inuit/Studies 28, no. 1 (2004): 171. http://dx.doi.org/10.7202/012646ar.

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Vorano, Norman. "WIGHT, Darlene Coward, Zebedee NUNGAK, Lorne BALSHINE and Harry WINROB, 2008 The Harry Winrob Collection of Inuit Sculpture, Winnipeg, Winnipeg Art Gallery, 136 pages." Études/Inuit/Studies 32, no. 2 (2008): 198. http://dx.doi.org/10.7202/038227ar.

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McMillan, Barbara A. "Inuit Legends, Oral Histories, Art, and Science in the Collaborative Development of Lessons that Foster Two-Way Learning: The Return of the Sun in Nunavut." Interchange 43, no. 2 (March 12, 2013): 129–45. http://dx.doi.org/10.1007/s10780-013-9189-8.

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E. Auger, Emily. "LAUGRAND, Frédéric and Jarich OOSTEN, 2008 The Sea Woman: Sedna in Inuit Shamanism and Art in the Eastern Arctic, Fairbanks, University of Alaska Press, 152 pages." Études/Inuit/Studies 33, no. 1-2 (2009): 269. http://dx.doi.org/10.7202/044975ar.

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Gearheard, Shari. "STUCKENBERGER, Nicole, 2007 Thin Ice: Inuit Traditions Within a Changing Environment, Hanover, Hood Museum of Art and Dartmouth College, distributed by University Press of New England, 80 pages." Études/Inuit/Studies 31, no. 1-2 (2007): 391. http://dx.doi.org/10.7202/019744ar.

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Wenzel, G. W. "From TEK to IQ: Inuit Qaujimajatuqangit and Inuit Cultural Ecology." Arctic Anthropology 41, no. 2 (January 1, 2004): 238–50. http://dx.doi.org/10.1353/arc.2011.0067.

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Journal articles on the topic 'Inuit Art'

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