Inuit Art Quar­terly at 30

Inuit Art Quarterly - - CONTENTS -

1/ IAQ 5.3, Sum­mer 1990 Though nearly 30 years old when it graced the cover of the IAQ (and even older now), Mother Nurs­ing Child (1962) by Johnny Inukpuk, RCA (1911–2007) re­mains one of the bold­est cov­ers in the pub­li­ca­tion’s his­tory, both in its con­tent and its sim­plic­ity. Inukpuk carved breast­feed­ing scenes through­out his ca­reer, but this early, in­ti­mate ver­sion is likely the most iconic. The work is given am­ple room to breathe on a clean grey back­ground, invit­ing a closer look at the work’s tremen­dous de­tail, from the mother’s del­i­cately ren­dered braids to her ex­pres­sive crossed feet that cra­dle her feed­ing child. Not a flashy cover, but cer­tainly a favourite of mine. JOHN GEOGHEGAN As­sis­tant Editor and Cir­cu­la­tion Man­ager 2/ IAQ 22.3, Fall 2007 Janet Ki­gu­siuq’s (1926–2005) play­ful and lus­trous Fruit Still Life (1997) is taunt­ingly tac­tile. This work—turned on its side for the cover—fea­tures rows of var­i­ous fruits ren­dered in lay­ers of del­i­cate, trans­par­ent tis­sue. De­cid­edly more ab­stract than any cover im­age be­fore or af­ter it, this im­age is strik­ing both for its rich, juicy pal­ette and for its pur­pose­ful bal­ance of rounded and rec­ti­lin­ear forms. Pro­duced in the twi­light of Ki­gu­siuq’s ca­reer, this piece is a pro­found re­minder of the depth and breadth of true cre­ative spirit. It’s works like this that push at the boundaries of the field of Inuit art and re­in­force the true con­tem­po­rane­ity of Ki­gu­siuq’s work. BRITT GALLPEN Editor 3/ IAQ 23.1, Spring 2008 Floyd Kup­tana’s play­ful take on the ubiq­ui­tous danc­ing bear in Ball­room Dancer (2005) of­fers a re­fresh­ing and amus­ing take on per­cep­tions of Inuit art. The sculp­ture’s sleek, sin­u­ous lines and min­i­mal de­tail­ing deftly showcase Kup­tana’s in­ter­est in hu­mour and provo­ca­tion, as well as his con­sid­er­able skill. The work is also pitch-per­fect for an is­sue that gave space to ground­break­ing artists like Ja­masee Pit­se­o­lak and An­nie Pootoo­gook (1969–2016). Ball­room Dancer re­mains the only danc­ing bear ever pub­lished on the cover of the mag­a­zine, and, as such, is a clear re­minder of the IAQ’s stead­fast sup­port of bound­ary-break­ing artists over the past 30 years. ALYSA PRO­CIDA Ex­ec­u­tive Di­rec­tor and Pub­lisher

4/ IAQ 24.4, Win­ter 2009

The de­tail of Ningiukulu Teevee’s print Im­pos­ing Wal­rus (2009) on the cover of the Win­ter 2009 is­sue is among my favourites. Span­ning the full width of the page, Teevee’s play­ful and en­er­getic lines wrig­gle, crack and bub­ble to pro­duce the wal­rus’ wrin­kled skin, adding tex­ture and depth to an oth­er­wise smooth two-di­men­sional im­age. The sub­tly coloured, leath­ery sur­face gen­tly skims the page, punc­tu­ated by im­pres­sive white tusks. Barely vis­i­ble are the crea­ture’s gen­tle eyes. Teevee’s wal­rus only gives a glimpse of a po­ten­tially much weight­ier story, and one won­ders what sits be­yond the giant fig­ure. CAMILLE USHER Pro­grams Co­or­di­na­tor

5/ IAQ 28.3–4, Fall/Win­ter 2015

When­ever I look at Heather Camp­bell’s Early Break Up (2013), for a half sec­ond, I see an aerial pho­to­graph of seals (or are they whales?) swim­ming in a small patch of deep azure-coloured wa­ter, sur­rounded by thin­ning ice. It is not un­til I fo­cus on how the sat­u­rated blue bleeds into muted peri­win­kle and turquoise that the ink re­veals it­self. There is a strong cor­re­la­tion be­tween the ma­te­rial and sub­ject mat­ter, as work­ing with ink re­quires that an artist not only lets go of some con­trol in or­der to guide the ma­te­rial into de­sired forms, but also sees, as Camp­bell does, unique sil­hou­ettes as they come to the sur­face. I imag­ine the flow­ing ink as it spreads, mim­ick­ing—on a mi­cro level—the si­mul­ta­ne­ously slow and swift process of hard ice break­ing up into wa­ter. ASH­LEY MCLELLAN Inuit Artist Data­base Pro­gram Co­or­di­na­tor

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