Arctic Artist is the liveliest and most complete account of Sir John Franklin's tragic first expedition to the Arctic. George Back's prose captures the drama of the journey, while his superb watercolour sketches reveal the beauty and wonder of this northern land. Published for the first time, this is the complete text of Back's journal. Arctic Artist completes Stuart Houston's trilogy of the journals of Franklin's officers.

Was a member of the Fiala-Ziegler Expedition, 1903-1905.

"Yua : Spirit of the Arctic presents a selection of works from the Thomas G. Fowler Collection of Eskimo and Inuit Art, a group of 390 objects and prints that were given to the Fine Arts Museums of San Francisco as a bequest in 2006. The publication explores a variety of themes that are embodied in the diverse collection, highlighted in over eighty color plates. Through a selection of beautifully decorated utilitarian objects, it presents a glimpse into the historic lifeways of Yup'ik and Inupiaq people of western Alaska and reveals the interwoven nature of the spiritual and the quotidian. Ancient figurines carved from walrus ivory form the basis for a discussion about the pre-historic Okvik, Punuk, and Thule cultures of the Bering Strait region. A survey of works made for foreign consumption facilitates a discussion about the historical trends of collecting and displaying art from the Arctic region, from sixteenth-century European explorers to nineteenth-century ethnographers and twentieth-century gallerists. Historic masks and regalia are contemporized and enlivened through a personal account about Yup'ik dancing from performer Chuna McIntyre. These essays are punctuated by Artist Highlights that feature the work and words of internationally recognized artists David Ruben Piqtoukun, Abraham Anghik Ruben, Susie Silook, and Judas Ullulaq"--

20 short stories accompanied by pen and ink drawings interpreting the mythological and contemporary world of this Inuk artist/author.

A landmark in the annals of American photography and polar adventure, William Bradford's book The Arctic Regions was first published for subscribers in 1873. No more than three hundred copies of the leather-bound elephant folio are known to have been printed. The book has been a prized possession of major American and European museums, libraries, and collectors ever since. With an introduction written by the noted polar historian Russell A. Potter, The Arctic Regions is now available for the first time to the trade. As the pace of global climate change quickens and the magnificent Arctic icecap dwindles, its publication could not be more timely or important.

An illustrated archeology of the imagination that reveals how artists and writers from the late 16th to the early 19th century, most of whom had never seen North America, portrayed the natural history and landscape of North America to European readers.

Although the Inuit have lived in the Artic since prehistoric times, Inuit art as we know it only came about in the late 1940s. This contemporary art form is appreciated around the world for its power and exquisite beauty, an art that embodies the Inuit's harsh artic environment, unique way of life, and traditional beliefs. This historical, cultural, and aesthetic exploration of Inuit art features examples of Inuit drawings, prints, textiles, and sculpture through 125 color photos, 35 black-and-white photos, and maps.

In Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom’s examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.