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