A perennial event that many people eagerly anticipate is the launch of the Cape Dorset Inuit Art calendar in which there are 12 outstanding prints highlighted from previous years.
Kinngait (Cape Dorset), a small hamlet of about 1400 people in the high Arctic, is one of Canada’s most successful and prolific art communities. Every year for the past 61 years, the West Baffin Eskimo Co-operative has released to the public its collection of fine art limited edition prints. The annual unveiling of new stonecuts, etchings, and lithographs is anticipated by serious collectors and avid enthusiasts all over the world.
Produced by Dorset Fine Arts
For thousands of years, Inuit women practiced the traditional art of tattooing. Created with bone needles and caribou sinew soaked in seal oil or soot, these tattoos were an important tradition for many women, symbols stitched in their skin that connected them to their families and communities.
But with the rise of missionaries and residential schools in the North, the tradition of tattooing was almost lost. In 2005, when Angela Hovak Johnston heard that the last Inuk woman tattooed in the traditional way had died, she set out to tattoo herself and learn how to tattoo others. What was at first a personal quest became a project to bring the art of traditional tattooing back to Inuit women across Nunavut, starting in the community of Kugluktuk.
Collected in this beautiful book are moving photos and stories from more than two dozen women who participated in Johnston’s project. Together, these women are reawakening their ancestors’ lines and sharing this knowledge with future generations.
Published in 2017
In 1985, photographer and writer Vickie Jensen spent three months with Nisga’a artist Norman Tait and his crew of young carvers as they transformed a raw cedar log into a forty-two-foot totem pole for the BC Native Education Centre. Having spent years recovering the traditional knowledge that informed his carving, Tait taught his crew to make their own tools, carve, and design regalia, and together they practiced traditional stories and songs for the pole-raising ceremony.
Totem Pole Carving shares two equally rich stories: the step-by-step work of carving and the triumph of Tait teaching his crew the skills and traditions necessary to create a massive cultural artifact. Jensen captures the atmosphere of the carving shed — the conversations and problem-solving, the smell of fresh cedar chips, the adzes and chainsaws, the blistered hands, the tension-relieving humor, the ever-present awareness of tradition, and the joy of creation. Generously illustrated with more than 130 striking photographs, and originally published as Where the People Gather, this second edition features a new preface from Jensen and an updated, lifetime-spanning survey of Tait’s major works.
Published in 2020
Made in Italy
Adjusts up to 22″
In the Spirit of the Ancestors celebrates the vitality of contemporary Pacific Northwest Coast art by showcasing a selection of objects from the Burke Museum’s collection of more than 2,400 late-twentieth- and early-twenty-first-century Native American works.
Essays focus on contemporary art while exploring the important historical precedents on which so many artists rely for training and inspiration. Margaret Blackman reflects on building one of the largest collections of Northwest Coast serigraphs, and Joe David reminisces about his artistic journey through mask-making. Shaun Peterson, Lisa Telford, and Evelyn Vanderhoop discuss the historical precedents for working in styles that were kept alive only by a few critical artists and are now making a comeback. Robin K. Wright explores the history of box drums and their revival. Emily Moore discusses the repatriation of two stolen house posts and proposes a new concept of “propatriation” to describe the resulting commissioning of contemporary posts to take their place. Kathryn Bunn-Marcuse explores the power of adornment and how clothing, jewelry, and personal adornments like tattooing express tribal and personal identity in ways both connected to the past and grounded in the present.
The diversity of approaches presented by these contributors speaks to artists, collectors, academics, tribal communities, and all those interested in Pacific Northwest Coast art. Splendid color photographs of works never before published will delight everyone.
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