Lavishly illustrated with over a hundred color reproductions, this new paperback edition is an impressive photographic tribute to an art form that is regularly featured in major art exhibitions worldwide. Born out of economic necessity, Inuit art has captured the imagination of art lovers since 1948, when it was first exhibited. Celebrating Inuit Art showcases sculpture from the period when Canadian Inuit abandoned their nomadic lifestyle to settle in small villages across the Arctic. During this tumultuous time, in a society threatened with acculturation, art played a critical social role, preserving and expressing the culture's rich oral history."

From the first magical amulets and weapons to the world-famous Cape Dorset prints, Inuit art is discussed by authorities such as Sheila Butler ("Wall Hangings from Baker Lake," "First Printmaking Year at Baker Lake"), Charlotte and Edward Lindgren ("The Pangnirtung Tapestries"), and Jean Blodgett ("The Historic Period in Canadian Eskimo Art"). For the newcomer, a solid introduction to Inuit art; for collectors and researchers, a gathering of expert knowledge in one volume.

The tiny Canadian hamlet of Cape Dorset, just south of the Arctic Circle, has been known since the late 1950s as the capital of Inuit art, thanks to the community’s many talented artists. Here, 12 female artists and writers reflect on a way of life that is now threatened. Each has a story to tell — of growing up female in a harsh environment, of adapting to new cultures and learning the nuances of familiar ways, of learning new art forms through which to portray the best, and worst, of their extraordinary lives. Interwoven with vivid images of a unique culture and a stern landscape are the women’s thoughtful comments on their creative inspirations. Each speaks her concerns with energy, channelling her passions through art that is at once subtle and bold, delicate in detail yet forceful. Two hundred illustrations, over 50 in full color, depict the artists’ striking graphics, sculpture, and jewelry.

Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.

Collection of 20 papers on contemporary Indian and Inuit art in Canada, on the occasion of the first major retrospective exhibition on the theme, in 1988-1989. Includes an overview of the evolution of native art, regional styles, individual artists and the variety of media.

Two generations of Inuit artists challenging the parameters of tradition. Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl, a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist. Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut. Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangitfeatures more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.

Cape Dorset-born Annie Pootoogook (1969-2016) explored, celebrated, and depicted her northern community in unprecedented ways. Pootoogook belonged to a family of famed Inuit artists that included her parents Eegyvudluk and Napachie, and her grandmother, the celebrated Pitseolak Ashoona. In 1997, Pootoogook started working at the West Baffin Eskimo Co-operative's Kinngait Studios, where she produced drawings in ink and crayon on a monumental scale. In addition to depicting scenes of everyday life in the North--including people watching TV, playing cards, shopping, or cooking dinnerh--Pootoogook depicted such difficult subjects as alcoholism, domestic abuse, food scarcity, and the effects of intergenerational trauma. Pootoogook's compelling drawings resulted in her national and international recognition. Author Nancy G. Campbell reveals how the strength of Pootoogook's work speaks not to what she saw but the way she saw it, and how her distinct images of nude women, spiritual encounters, and domestic scenes led the way for the works of many contemporary Inuit artists.

The mysterious stone figures known as inuksuit can be found throughout the circumpolar world. Built from whatever stones are at hand, each one is unique. Inuksuit are among the oldest and most important objects placed by humans upon the vast Arctic landscape and have become a familiar symbol of the Inuit and their homeland.In author Norman Hallendy’s forty years of travels throughout the Arctic, he developed deep and lasting friendships with a number of Inuit elders. Through them, he learned that inuksuit are a nuanced, complex and vital form of communication. Hallendy’s dramatic color photos of many different kinds of inuksuit and objects of veneration capture not only a sense of wonder and power but reveal the unfamiliar Arctic landscape in all its magical beauty.

A gorgeous retrospective on the transformation of Inuit art in the 20th century, mirroring the vast and poignant cultural changes in the North. In response to a rapidly changing Arctic environment, Inuit have had to cope with the transition from a traditional lifestyle to the disturbing realities of globalization and climate change. Inuit art in the latter half of the 20th century reflects the reciprocal stimulus of contact with Euro-Canadians and embodies the evolution of a modern Inuit aesthetic that springs from an ancient cultural context, creating an exciting new hybridized art form. Inuit Modern: Art from the Samuel and Esther Sarick Collection situates modern Inuit art within a larger framework that reinterprets the Canadian Arctic. Essays by leading Canadian scholars in the field including Ingo Hessel, Robert McGhee, Christine Laloude, Heather Igloliorte, Dorothy Eber and Bernadette Driscoll Engelstad examine the social, political and cultural transformation through the dynamic lens of colonial influence and agency. Inuit Modern also features interviews with David Ruben Piqtoukun and Zacharias Kunuk. This book was published in partnership with the Art Gallery of Ontario.

An exploration of the life and artworks of the internationally renowned Cape Dorset artist Shuvinai Ashoona, whose fantastical drawings have overturned stereotypical notions of Inuit art and questioned contemporary understanding of Arctic-based Canadian culture.