Bibliografias temáticas / Art inuit – Canada – Expositions

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Literatura científica selecionada sobre o tema "Art inuit – Canada – Expositions"

Autor: Grafiati
Publicado: 28 de julho de 2024
Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "Art inuit – Canada – Expositions"

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Dwyer, Melva J. "Art book publishing in Canada". Art Libraries Journal 17, n.º 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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Tsuji, Leonard J. S., Zachariah General, Stephen R. J. Tsuji, Evelyn Powell, Konstantin Latychev, Jorie Clark e Jerry X. Mitrovica. "Akimiski Island, Nunavut, Canada: The Use of Cree Oral History and Sea-Level Retrodiction to Resolve Aboriginal Title". ARCTIC 73, n.º 4 (27 de dezembro de 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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Routledge, Marie. "THE DEVELOPMENT OF AN INUIT ART COLLECTION AT THE NATIONAL GALLERY OF CANADA". American Review of Canadian Studies 17, n.º 1 (março de 1987): 73–78. http://dx.doi.org/10.1080/02722018709480978.

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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, n.º 2 (2017): 126. http://dx.doi.org/10.7202/1042954ar.

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Freeman, Na’ama. "Printed Textiles from Kinngait Studios". Public 32, n.º 63 (1 de setembro de 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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Dipede, Cheryl. "From Typographer to Graphic Designer: Typographic Exhibitions and the Formation of a Graphic Design Profession in Canada in the 1950s and 1960s". RACAR : Revue d'art canadienne 40, n.º 2 (3 de março de 2016): 130–45. http://dx.doi.org/10.7202/1035401ar.

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Cet article explore le développement d’une communauté professionnelle de design au Canada pendant les années 1950 et 1960 en examinant deux collaborations entre graphistes : les expositions canadiennes Typography (1958–1964) et l’exposition internationale Typomundus 20 (1963–1966). Celles-ci contribuèrent à la publicisation d’un nouveau discours qui permit aux typographes et aux concepteurs de la communication canadiens de se penser comme faisant partie d’une communauté unifiée et distincte de « graphistes ». Elles encouragèrent cette cohésion professionnelle notamment en avançant des normes professionnelles, en lançant une réflexion sur le statut et le rôle du graphisme par rapport au « grand » art, à la communication de masse et à la société en général, et en facilitant l’échange d’idées entre les professionnels canadiens et la communauté internationale de graphistes.
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Kepin, Dmytro. "The bassoon as a monument of musical culture: source studies". Вісник Книжкової палати, n.º 7 (28 de julho de 2022): 42–48. http://dx.doi.org/10.36273/2076-9555.2022.7(312).42-48.

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The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).
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Jim, Alice Ming Wai. "Mise en perspective chiasmique des histoires de l’art global au Canada". Article cinq 9, n.º 1 (17 de outubro de 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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McDonald, Lynn, Hibba Abugideiri, Cheryl Krasnick Warsh, Sue Hawkins, Julie K. Brown, Shirley H. Fondiller, Beth Linker et al. "Book ReviewsFlorence Nightingale’s Notes on Nursing and Notes on Nursing for the Labouring Classes: Commemorative Edition With Historical CommentaryFlorence Nightingale at First HandNotes on Nightingale: The Influence and Legacy of a Nursing IconGender and the Making of Modern Medicine in Colonial EgyptPrescribed Norms: Women and Health in Canada and the United States Since 1800Nursing and Women’s Labour in the Nineteenth Century: The Quest for IndependenceHealth and Medicine on Display: International Expositions in the United States, 1876–1904Go, and Do Thou Likewise: A History of the Cornell University–New York Hospital School of Nursing, 1877–1979War’s Waste: Rehabilitation in World War I AmericaAmerican Catholic Hospitals: A Century of Changing Markets and MissionsAmerican Nursing: A History of Knowledge, Authority, and the Meaning of WorkA Voice for Nurses: A History of the Royal College of Nursing, 1916–1990Nurses’ Voices: Memories of Nursing at St. George’s Hospital, London, 1930–1990The Politics of Motherhood: Maternity and Women’s Rights in Twentieth-Century ChileGet Me Out: A History of Childbirth From the Garden of Eden to the Sperm BankPermeable Walls: Historical Perspectives on Hospital and Asylum VisitingThe Lives They Left Behind: Suitcases From a State Hospital AtticA Contemporary History of the U.S. Army Nurse CorpsNurse: Past, Present and Future: The Making of Modern NursingFreed to Care, Proud to Nurse: 100 Years of the New Zealand Nurses OrganisationNursing the Finest Art: An Illustrated History (Third Edition)Celebrating Nurses: A Visual History". Nursing History Review 20, n.º 1 (2012): 221–56. http://dx.doi.org/10.1891/1062-8061.20.221.

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Stern, Pamela, e Ece Arslan. "The art of Inuit administration: Post-war Canada, cultural diplomacy and northern administration". Polar Record 60 (2024). http://dx.doi.org/10.1017/s0032247423000372.

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Abstract In this paper, we expand on existing studies of Canadian Inuit art in the international arena by examining ways in which this new art served domestic purposes, focusing primarily on the 1950s and 1960s. The Canadian government developed and promoted Inuit art as part of its project to transform Inuit from semi-independent hunters into modern Canadian citizens. In this effort, Canada took up and assimilated Inuit art as a genuine Canadian cultural product, presenting it as diplomatic gifts and for other forms of international cultural diplomacy. Previous studies of Canadian Inuit art from that era have noted the ways that the promotion of Canadian Inuit art supported the young nation’s claims to a deep history, while simultaneously marking the country’s distinction from both the United States and the United Kingdom. In the context of the Cold War, the promotion of Canadian Inuit art also asserted Canada as an Arctic power. Labelled as “primitive modernist” fine art, Inuit sculpture and prints provided a stark contrast to the contemporaneous socialist realist art of the Soviet Union and its allies. We argue that the success of the Inuit art program sustained a belief among government officials that their programme to remake Inuit lives and livelihoods would succeed. Inuit art likely deflected attention from the many things that were going wrong with that northern modernisation project.
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Teses / dissertações sobre o assunto "Art inuit – Canada – Expositions"

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Duchemin-Pelletier, Florence. "« Les sculptures ne sont pas uniquement des sculptures » : réception de l’art inuit contemporain en France des années 1950 à nos jours". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100075.

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Dans le milieu des années 1950, des expositions itinérantes d’art inuit contemporain sont envoyées sur plusieurs continents. Elles y connaissent une réception enthousiaste en raison du positionnement particulier que leur confère James A. Houston, à cheval sur les sphères conceptuelles du moderne et du supposé primitif. Seule la France, dont l’imaginaire collectif s’est pourtant largement enrichi de figures polaires depuis les missions d’apostolat et d’exploration, affiche alors une certaine défiance à l’endroit de cette nouvelle forme artistique. Cette thèse propose d’examiner les conditions de réceptions de l’art inuit contemporain dans un contexte hexagonal dominé jusque dans les années 1970 par le paradigme primitiviste, avant de se concentrer sur la multiplication des initiatives individuelles et collectives qui, depuis le début des années 1980, marquent un renouvellement du regard. Tout le long, l’art inuit est questionné dans sa faculté à être saisi comme un outil opératoire désignant une forme d’authenticité artistique ou culturelle. Un dernier pan s’intéresse au discours autochtone et aux jeux de double adresse auquel s’exercent les artistes inuit
From the middle of the 1950s, traveling exhibitions of Contemporary Inuit Art have been staged across several continents. These exhibitions had been enthusiastically received, thanks in large part to the particular positioning put forth by James A. Houston, which established Contemporary Inuit Art within the artistic constructs of primitivism and modernism. This warm welcome was in marked contrast to France's own reception of Inuit art. Even though its collective imaginary has been largely shaped by figures from the North Pole, a view that can be traced back to the first apostolic and exploratory missions of the continent, France remained the only country that showed a certain distrust towards this artistic expression. This thesis will examine the conditions by which Contemporary Inuit Art has been re-interpreted within a series of evolving historical contexts, beginning with the domination of the primitivist paradigm until the 1970s, and moving towards the multiplication of individual and collective projects from the early 1980s, a context which prevails to this day. Throughout this examination, the question of Contemporary Inuit Art's ability to be seen as a symbol of artistic and cultural authenticity will be addressed. The final chapter will deal with the notion of aboriginal discourse and the 'double address' mode of communication that Inuit artists tend to employ
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Gagnon, Louis. "Charlie Inupuk, étude sémiotique d'un cas en art inuit". Master's thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33509.

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Ce mémoire est constitué de deux grands ensembles: premièrement, un regard synthétique sur le développement de l'art inuit contemporain depuis l'art nordique préhistorique, et deuxièmement une approche sémiotique de l'art de Charlie Inukpuk. Ainsi, dans notre premier volet nous avons voulu situer les multiples productions de l'art esquimau préhistorique jusqu'à l'avènement de l’art inuit contemporain dans une perspective historique basée sur des recherches archéologiques et historiques; notre objectif était alors de démontrer l'importance du phénomène transculturel entre l'art inuit contemporain et l'envahissante culture des Blancs. Par la suite, ceci nous a amené à aborder la question du primitivisme car, l'art inuit a trop souvent été qualifié "d'art primitif " comme si, pour différentes raisons, plusieurs auteurs avaient voulu conserver une intriguante saveur exotique à cette forme d’expression artistique non-occidentale. Cette première partie est suivie d'un portrait contextuel de l'art de Charlie Inukpuk, jeune sculpteur inuit qui vit à Inukjuak dans le Nunavik (Nouveau- Québec). L'art de Charlie Inukpuk nous sert ici de prétexte pour appliquer un modèle sémiotique d'analyse à une oeuvre d'art inuit. Cherchant délibérément à éviter les écueils d'une approche trop ethnologique de l'art inuit, le but ultime de nos travaux était de vérifier le degré d'efficacité d’une telle analyse sémiotique sur une forme d'expression artistique non-occidentale. Les résultats sont tels qu'il devient possible de croire que l'analyse sémiotique, même syntaxique, des sculptures inuit pourra grandement contribuer à une meilleure compréhension de l'art inuit et nous donnera un accès plus valable à ce phénomène artistique hybride résultant d'un croisement culturel entre les Euro-canadiens et les Inuit.
106412\u Résumé en anglais
106413\u Résumé en espagnol
Montréal Trigonix inc. 2018
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St-Onge, Colette G. "Symbols of Authenticity: Challenging the Static Imposition of Minority Identities through the Case Study of Contemporary Inuit Art". Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20491.

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This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.
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Chevallier, Jennifer Geneviève. "L’empreinte du chamane : le souffle de la pensée chamanique dans l’art contemporain des Premières Nations au Canada. Essai de sociologie de l’art entre 1990 et 2010". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030025.

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Le chamanisme, exprimé dans l’art contemporain des Premières Nations du Canada, opère comme un puissant marqueur ethnique. Il symbolise l’espace sacré où se joue la résistance culturelle, avec les engagements politiques qui la sous-tendent. Il représente aussi un référent identitaire. L’analyse de ce courant esthétique actuel soulève des questions essentielles : de quelle manière le chamanisme est-il abordé par les artistes, à la fois comme concept et comme pratique artistique ? Quelle est la mission de l’art d’inspiration chamanique contemporain, du point de vue de son rôle social, en tant que gardien de l’identité et de la spiritualité mais aussi comme catalyseur du processus de guérison collective et individuelle ? Dans le contexte artistique postmoderne, le chamanisme peut être considéré comme une source de pouvoir et d’inspiration, une terre sacrée que les artistes autochtones explorent avec détermination. En puisant dans les racines profondes de la tradition, et en s’engageant dans une expérience moderne, les artistes se donnent pour mission de raviver la sagesse des anciens et de se relier à la cosmogonie autochtone.Leur pratique a pour but de réduire le clivage psychique entre nostalgie des origines et indianité contemporaine. Ainsi, le statut d’hybridité donne naissance à une force de transformation d’une grande créativité. Cette thèse analyse les enjeux philosophiques et politiques auxquels l’art d’inspiration chamanique est confronté, en s’appuyant sur un point de vue anthropologique et esthétique. Après un rappel du contexte socio-historique canadien, nous abordons les deux missions essentielles des chamanes de l’art : la réécriture de l’histoire et la reconquête de leur identité, qui dessinent, à travers la reconnaissance de leur différence, l’architecture d’une nouvelle Amérindie
Shamanism in contemporary native art in Canada is becoming one of the most relevant ethnic markers. It is the sacred place, the major source for cultural resistance, with strong roots and political implications underneath. It works as a powerful identity referent. As we analyse the aesthetic phenomenon from a modern perspective,different issues are emerging : how shamanism is acknowledged, both as a concept and as a practice by the First Nations artists ? Which social functions and philosophical involvements are assumed by the contemporary “shamanic art”, considering its symbolic part as the keeper of identity and spirituality, or/and performed or seen as a healing process ?In the postmodern artistic context, shamanism may be considered as an essential source of power and inspiration, a sacred land that most of the native artists are now exploring, defining therefore a new ontology. From the deep roots of the traditional knowledge, their legacy, and through their own contemporary experiment, these artists are trying to bring back the original wisdom in order to reconnect themselves with the native cosmogony and consequently, to reduce the psychic schism between traditionalism’s nostalgy and contemporary indianness (nativeness). Therefore the status of “betweenness”, that is specifically attributed to the native artists, is shifted into a power of creative transformation. This thesis analyses the process of shamanistic inspiration in contemporary native art, through the philosophical and political issues as well as with an anthropological and aesthetics point of view. The historical and sociological contexts are explored before defining th! e two main missions of the “Shamen of Art” : the rewrighting of the History and the Conquest of Identity, drawing through the recognition of their alterity, the architecture of a new “Amerindia”
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Gauthier, Marc. "Les Salons parisiens au Canada : l'Exposition d'art français de Montréal en 1909". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28634/28634_1.pdf.

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Maire, Aurélie. ""Dessiner, c'est parler". Pratiques figuratives, représentations symboliques et enjeux socio-culturels des arts graphiques inuit au Nunavut (Arctique canadien)". Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0031/document.

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Cette recherche doctorale examine les pratiques figuratives, les représentations symboliques et les enjeux socio-culturels des arts graphiques inuit dans les communautés de Kinngait (Cape Dorset) et de Pangniqtuuq (Pangnirtung) au Nunavut (Arctique canadien). Les notions de dessin (titiqtugaq-) et de parole (uqaq-) se placent au centre de la démarche qui est guidée par une approche interdisciplinaire, dans la perspective d’une ethnohistoire de l’art du dessin inuit. Trois parties structurent la démonstration. La première explore les configurations de la pensée inuit associées aux concepts d’art graphique, de représentation visuelle et de créateur, à partir de leur expression linguistique (chapitre II). Puis, une ethnographie de la scène artistique locale présente le dessin et les activités socio-économiques qui lui sont associées autour de la question du statut de l’artiste (chapitres III et IV). La deuxième partie envisage la figuration en rapport à la parole, à partir de la cosmogénèse et des techniques graphiques anciennes (chapitre V). Elle s’intéresse ensuite aux interactions entre le dessin et la parole sur un plan symbolique : dans le dessin, les pensées et les mots sont mis en actes (chapitres VI et VII). La dernière partie de la thèse définit l’art comme un élément de la dynamique socio-culturelle et politique des Nunavummiut. Le recours au dessin dans le cadre de projets communautaires est étudié à partir d’exemples récents (chapitre VIII), avant d’être replacé au centre des dynamiques relationnelles et des échanges socio-cosmiques dans une dimension ontologique (chapitre IX)
This doctoral research examines the themes of figurative practices, symbolic representations and the socio-cultural stakes specific to Inuit graphic arts in the communities of Kinngait (Cape Dorset) and Pangniqtuuq (Pangnirtung) in Nunavut (the Canadian Arctic). The notions of drawing (titiqtugaq-) and of speech (uqaq-) are central to the thesis, which is guided by an interdisciplinary approach within the perspective of ethno-history of Inuit sketch art. The thesis is organized into three parts. The first explores the configuration of Inuit thought associated with the concepts of graphic art, visual representation and creation, through their linguistic expression (Chapter II). In addition, ethnography of the local art scene looks at drawing and the socio-economic activities that are associated with it, in connection with the status of the artist (Chapters III and IV). The second part looks at figuration in relation to power words, from cosmogenesis and ancient graphic techniques (Chapter V). With this in hand, the second part then looks at the interactions between drawing and speaking from a symbolic perspective: through drawings, the thoughts and words are put into action (Chapters VI and VII). The last part of the dissertation continues the analysis by defining art as part of the socio-cultural and political dynamics of the Nunavummiut. Recourse to drawing, as a community project, is studied with reference to recent examples (Chapter VIII), prior to being placed, within an ontological dimension, at the centre of relational and socio-cosmic exchange dynamics (Chapter IX)
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Pressé, Suzanne. "Les expositions du Musée du Québec, "Entrez vous réchauffer au musée. . . " : le paradoxe du Musée du Québec produire de l'histoire et la valider pour le compte de l'Etat". Grenoble 2, 1997. http://www.theses.fr/1997GRE29053.

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Les expositions du musee du quebec est le resultat d'une etude inductive du musee du quebec (canada), un etablissement singulier ou des personnes agissent, des prerogatives se distribuent et des ideologies s'efforcent tant bien que mal de se dissimuler. Les expositions du musee du quebec constituent le corpus de ma these. J'y ai etudie 55 expositions presentees de 1991 a 1996. J'ai porte une attention particuliere aux expositions vedettes produites par le musee lui-meme. Cette these est le resultat de l'analyse d'un ensemble de sources primaires que sont les expositions d'art, les dossiers d'expositions, les dossiers d'oeuvres, les dossiers d'artistes, les catalogues d'expositions et autres documents edites par le musee du quebec. Ces documents, qui sont publics, auxquels s'ajoutent la presse, les revues et des documents edites par les gouvernements du quebec et du canada ont alimente mon etude des evenements, de l'etablissement et de l'etat. J'ai essaye de comprendre les structures et les dynamiques de leurs mediations
Les exposition du musee du quebec is the result of an inductive study of the musee du quebec (canada), a unique establishment where people take action, prerogatives are distributed and ideologies try as best they can not to be too obtrusive. The musee du quebec exhibitions constitue the corpus of my theses. I have studied 55 exhibitions held between 1991 and 1996, focusing particularly on the star exhibits produced by the museum irself. This theses is the result of the analysis of a variety of primary sources including art exhibitions, curatorial, exhibition and artist files, exhibition catalogues and other documents published by the musee. These public documents as well as writings in the press, reviews and documents published by the governments of quebec and canada, have been the basis of my study of the events, the musee and the state. I have attempted to understand the structures and the dynamics of their mediations
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Mullick, Nancy S. "The transfer of the Northern Affairs (NA) and Indian and Northern Affairs of Canada (INAC) collections of Inuit art, 1985-1992". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39995.pdf.

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9

Guyot, Elsa. "Les représentations du Moyen Âge au Québec à travers les discours muséaux (1944-2014) : pour une histoire du goût, du collectionnement et de la mise en exposition de l'art médiéval au Québec". Thèse, Montpellier 3, 2015. http://hdl.handle.net/1866/13601.

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Cotutelle de thèse France-Québec : Université Paul-Valéry Montpellier 3 et Université de Montréal. Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Cette thèse a pour but d’étudier les diverses représentations du Moyen Âge au Québec à travers un corpus d’expositions parcourant le XXe siècle et le début des années 2000. Nous nous intéressons au rôle joué par l’espace muséal québécois dans la diffusion de discours sur cette période européenne. Chaque exposition est replacée dans son contexte de création afin de mettre en évidence les raisons d’ordres religieux, culturels, politiques et linguistiques qui incitent les musées à privilégier telle ou telle représentation du Moyen Âge.
This thesis aims to study the various representations of the Middle Ages in Quebec through a corpus of temporary exhibitions held during the twentieth century and the early 2000s. We question the role played by the Quebec museums in the diffusion of discourses about this European period. In order to highlight the religious, cultural, political or linguistic reasons for museums to focus on a specific representation of the Middle Ages, each exhibition is replaced within its original context of creation.
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Chadha, Mandeep Roshi. "Inuit Art as Cultural Diplomacy between Canada and India Sanaugavut: Inuit Art from the Canadian Arctic". Thesis, 2013. http://spectrum.library.concordia.ca/978212/1/Chadha_MFA_S2014.pdf.

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ABSTRACT Inuit Art as Cultural Diplomacy between Canada and India Sanaugavut: Inuit Art from the Canadian Arctic On the 27th of September, 2010 an exhibition of Inuit Art entitled Sanaugavut: Inuit Art from the Canadian Arctic, organized by the National Gallery of Canada, opened at the National Museum of India. Canada gained visibility with the Indian public as well as an international audience as the inauguration of Sanaugavut coincided with the opening of the Commonwealth Games in India. An exploration of Sanaugavut contributes to the understanding of the way that Inuit art, as an artform and through the medium of exhibition, has been used by the Canadian government in furthering political and economic aspirations. The focus of this thesis then, is the study of the use of Inuit art in cultural diplomacy internationally and specifically in the case of Sanaugavut, between Canada and India. Cultural diplomacy can be defined as an opportunity to foster mutual understanding by presenting cultural knowledge and furthering an understanding of a nation. The opportunity is the essence of the ‘soft power’ of an exhibition - its ability to present the mood of the country, providing an awareness of the characteristics of its societies and a landscape in which its politics operate. Sanaugavut, as an example of soft-power, was used as a tool in the promotion of Canada’s nationhood.
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Livros sobre o assunto "Art inuit – Canada – Expositions"

1

Barry, Pottle, Rice Ryan, Canada. Indian and Northern Affairs Canada., Indian Art Centre (Canada) e Inuit Art Centre (Canada), eds. Transitions 2: Contemporary Indian and Inuit art of Canada. Ottawa: Indian and Northern Affairs Canada, 2001.

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2

1969-, Pootoogook Annie, e Agnes Etherington Art Centre, eds. Annie Pootoogook: Kinngait compositions. Kingston, Ont: Agnes Etherington Art Centre, 2011.

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3

Pigorini, Museo preistorico-etnografico Luigi, ed. Women in charge: Artiste Inuit contemporanee = Inuit contemporary women artists = artistes Iunuit contemporaines. Milano: Officina libraria, 2011.

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4

Nord, Institut boréal des études du. Keeveeok, réveillez-vous!: Mamnguqsualuk et la renaissance de la légende à Baker Lake : une exposition tenue à la galerie Ring House du 20 novembre 1986 au 31 janvier 1987 à l'occasion du 25ème anniversaire de l'Institut boréal des études du Nord. Edmonton, Alta: Institut boréal des études du Nord, Université de l'Alberta, 1986.

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5

Gallery, Marion Scott, ed. Women of the North: An exhibition of art by Inuit women of the Canadian Arctic : sculptures, drawings, wall hangings, costumes, dolls : June 6-July 11, 1992. Vancouver: Marion Scott Gallery, 1992.

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6

Martin, Carol. North: Landscape of the imagination. Ottawa: National Library of Canada, 1993.

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7

Lalonde, Christine. ItuKiagâtta!: Inuit sculpture from the collection of the TD Bank Financial Group. Ottawa: National Gallery of Canada, 2005.

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8

1956-, Jessup Lynda, e Bagg Shannon, eds. On aboriginal representation in the gallery. Hull, Quebec: Canadian Museum of Civilization, 2002.

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9

Natalie, Ribkoff, e Musée des beaux-arts du Canada, eds. ItuKiagâtta!: Sculptures inuites de la collection du Groupe Financier Banque TD. Ottawa: Musée des beaux-arts du Canada, 2005.

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10

Routledge, Marie. Pudlo: Thirty years of drawing. Ottawa: National Gallery of Canada, 1990.

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Capítulos de livros sobre o assunto "Art inuit – Canada – Expositions"

1

Zawadski, Krista Ulujuk. "Inuit Research Methodologies". In The Routledge Companion to Indigenous Art Histories in the United States and Canada, 200–209. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003014256-23.

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Campbell, Heather, e Reilley Bishop-Stall. "An Inuit Approach to Archival Work Based On Respect and Adaptability". In The Routledge Companion to Indigenous Art Histories in the United States and Canada, 53–63. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003014256-6.

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Graburn, Nelson. "Clothing in Inuit Art". In Arctic Clothing of North America-Alaska, Canada, Greenland, 132–38. McGill-Queen's University Press, 2005. http://dx.doi.org/10.1515/9780773573284-026.

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Bredin, Marian. "‘Who Were We? and What Happened to Us?’: Inuit Memory and Arctic Futures in Igloolik Isuma Film and Video". In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0002.

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This chapter analyses the history of one of the most successful indigenous film- and video-making groups, Nunavut’s Isuma. Based in Igloolik, Bredin charts the emergence of the group, as led by Zacharias Kunuk and Norman Cohn, while addressing the historical limitations on Inuit filmmaking in Canada. Bredin examines the impact of Isuma’s works both on indigenous filmmaking in the Arctic and in Canada, as well as on global art cinema. Bredin provides a detailed history of Isuma from its early days in community activism and Inuit video production, to its move into documentary and feature filmmaking. The chapter focuses on The Journals of Knud Rasmussen (2006) and also considers works such as Cannes award winner Atanarjuat: The Fast Runner (2001). Bredin concludes with an analysis of Isuma’s distribution strategies and its goal to connect with both indigenous and non-indigenous audiences.
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