Heather Beecroft

Inuit Art Quarterly - - PROFILE -

Get­ting the IAQ in my mail­box four times a year means that Inuit art is alive and well and kick­ing! I think it’s won­der­ful that it’s still around, and I want it to sur­vive. Even though print pub­li­ca­tions are be­com­ing less com­mon, I think it’s vi­tally im­por­tant to have some­thing you can han­dle and go back to again and again. Over the years, my ar­chive has de­vel­oped some holes as I’ve rou­tinely gifted copies of the IAQ to col­leagues and first-time col­lec­tors. I hope they love it as much as I do. Be­cause it’s the only voice that re­mains ded­i­cated to Inuit artists, it’s re­mained the one re­ally con­sis­tent source to learn about what artists are do­ing to­day and some of the new tech­niques they are us­ing. The IAQ brings for­ward new work that I might not see, in­clud­ing pieces pro­duced by Inuit in the South as well as in the North. This pushes us, as col­lec­tors, to see and to value the con­tri­bu­tions of Inuit artists, re­gard­less of where they are work­ing. I loved the Spring 2015 (IAQ 28.1) is­sue with Saimaiyu Ake­suk’s Qua­ma­jaq (Fly) (2014) on the cover. It had a great mix of lo­cal and in­ter­na­tional cov­er­age, and it ex­am­ined his­tory while also bring­ing it up-to-date. Par­tic­u­larly, the cover im­age tells out­siders some­thing they might not know about life for the artist (like there are bugs in the North!).

RIGHT Heather Beecroft in a cus­tom wool duf­fle vest by Qa­mani’tuaq artist Irene Avaalaaqiaq Tik­taalaaq, 2014 PHOTO DEAN PALMER

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