Collecting Trends
1/ Quality is Key
Our auction clients—newcomers as well as seasoned collectors—are focusing increasingly on works of quality, rarity and uniqueness, which is something that applies even to modestly priced pieces. Although established collectors are always looking to fill in gaps with choice and unusual examples, surprisingly, many new collectors are zeroing in on those same works right off the bat. We have been seeing increasing numbers of crossover collectors of Canadian art, who now realize that both “classic” and more modern works of Inuit art fit quite comfortably with historic and contemporary art made by southern Canadian artists, as well as First Nations artists. Interest in exceptional works by established artists and anonymous masters is at a high point right now. This is particularly noticeable in sculpture from the 1950s to 1970s— including works by artists such as Johnny Inukpuk, Karoo Ashevak, John Tiktak, Andy Miki and Joe Talirunili, to name only a very few—but it is also apparent with prime examples of two-dimensional Inuit art. While there is always demand for ‘name’ artists, most astute collectors simply want the highest quality pieces that fit their budgets and tastes. I encourage new collectors to ask questions and to compare the works on offer with published examples. Look carefully, do your homework, ask for advice, develop your taste and then trust your instincts. Ingo Hessel Head of Inuit & First Nations Art, Walker’s Fine Art & Estate Auctions OTTAWA, ON
2/ Conceptual Work
A big part of my interest for the gallery and for collectors is showing artists that don’t have a typical point of view that leads viewers to learn something new and fresh. I enjoy works that lead down the path of learning and that’s what Couzyn van Heuvelen’s works did for me. There is a whole history here that hasn’t been told, there is so much possibility, so much to examine and explore. How exciting is that? Collecting the work of artists like Couzyn provides an opportunity to participate in a field that is continually growing—art that is moving forward. We are being given an opportunity to be a part of what will be our future’s history, to collect art with a future rather than a past perspective. LaTiesha Fazakas Owner, Fazakas Gallery VANCOUVER, BC
3/ Mixed-Media Sculpture
Inuit art is now in transition; nearly all the original, first generation Inuit artists, collectors, curators and supporters have retired or passed away. Many of the traditional Inuit ways of life and values have been replaced by, or exist alongside, the electronic gadgets and social media of this newest generation. Naturally, subject matter in art has changed to represent new interpretations of living in Arctic communities today. Contemporary Inuit artists express what they see and experience in their everyday lives, and, like earlier generations, make work about survival, but in a different context. So what makes one sculptor more successful than another? To me it is a combination of artistic skill, unique perspective and a professional work ethic, as well as the ability to act as ambassadors for their art, community, culture and country. Some of the most impressive artists working today are those who utilize innovative materials and techniques. Sculptors like Michael Massie, Mattiusi Iyaituk, Billy Gauthier and Bart Hanna incorporate traditional materials of earlier generations such as stone, bone or ivory with new media, including glass, wood, plastics, a variety of metals and semi-precious and imported stones. I was once told by a leading artist that “what is contemporary today is traditional tomorrow.” These innovative artworks will inspire younger artists to continue evolving in their future representation of Inuit art. Nigel Reading Co-Director & Curator, Spirit Wrestler Gallery VANCOUVER, BC
4/ Prints
While the earliest stonecut and stencil prints from Kinngait (Cape Dorset) still dominate the secondary market, another buying trend has recently emerged. Prints and drawings produced in the last decade or so have now begun to appear at auction and are capturing strong interest from collectors. While we are used to seeing Kenojuak Ashevak’s striking images from the 2000s fetch more than their issue price—we are now seeing this promising trend extend to some of the second and third generation artistic talents, such as Itee Pootoogook, Tim Pitsiulak and Shuvinai Ashoona. What is fuelling this trend? For more experienced collectors, it may be a second chance at the prints they missed out on when the works first appeared in their favourite gallery. But for younger and newer collectors, who represent much of the appetite for these images, these prints represent something fresh and exciting. In fact, much of the interest is being drawn from collectors new to the art form, encountering these contemporary prints when they visit the auction house for one of our other specialty events. These younger buyers, from a broader collector base, are a promising trend for artists and for the art form. Christa Ouimet Inuit Art Specialist, Waddington’s Auctioneers & Appraisers TORONTO, ON
5/ Photography
For those of us in the South, northern image making provides an important point of access to not only Arctic landscapes, but also the people, cultures and communities that inhabit those lands. Beyond providing a documentary view, photography and lensbased media occupy an important space in the milieu of contemporary Inuit art production—one that shouldn’t be overshadowed by the important and enduring legacy of graphic arts and sculpture. Photographic practices are long established in the North and are more emergent amidst urban Inuit communities in the South. As such, this is a pivotal moment for institutional and private collectors to recognize the variety and breadth of Inuit photographic culture, to support these artists and to give our focused attention to their work. Alana Traficante Acting Curator of Contemporary Art, Art Gallery of Hamilton HAMILTON, ON
6/ Ceramics
Our collecting is fairly diverse, and we purchase work that we love and that excites us. The Earthlings (2017) exhibition at Esker Foundation was an impactful introduction to the extraordinary ceramic works that have been and continue to be produced in Kangiqliniq (Rankin Inlet). Being able to spend time with such a volume of these incredible works together in one place was an influential and compelling experience. The works stand out for their strong sense of narrative that is rooted in contemporary experience and is also strongly connected to the individual history of the artists and their community. Jim Hill Chair, Esker Foundation CALGARY, AB
7/ Kivalliq Sculpture
Stone carving from the Kivalliq region remains incredibly popular among collectors. Beginning in the 1960s, artists from the region created highly stylized and often abstract work due to the hard local basalt stone. The relative isolation of the communities of Arviat, Qamani’tuaq (Baker Lake) and Kangiqliniq (Rankin Inlet) also appears to be a determinant in the austere art of the region. Artists such as John Kavik, Andy Miki, John Pangnark, Miriam Marealik Qiyuk, John Tiktak and Lucy Tasseor Tutsweetok each developed distinctive styles, and their work continues to be coveted by both new and established collectors. Though older works command high prices on the secondary market, recent works by Kivalliq artists such as Toona Iquliq, Lucy Tikiq Tunguak, Mary Tutsuituk, George Arlook and many others remain affordable. Whether the focus or simply an accent, works from the Kivalliq region belong in every collection! Maryse Saraux Director, Art Inuit Paris PARIS, FRANCE
8/ Oil Stick Drawings
Although there has been a strong focus on graphic works coming out of Kinngait (Cape Dorset) for the last ten years, large oil stick drawings from Panniqtuuq (Pangnirtung) and Qamani’tuaq (Baker Lake) have garnered captive audiences and dedicated collectors. Through the gallery, we have undertaken projects with Panniqtuuq-based elder Elisapee Ishulutaq and Qamani’tuaq artist Tony Anguhalluq. Both enjoy experimenting with oil stick and have taken to working on impressive scales, which the medium helps to facilitate. These museum-scale pieces have the impact of a painting, with a cultural context that is distinctly Inuit. As a result, they are popular with a wide range of collectors, who are seeking dynamic and materially rich objects for their spaces. I would encourage people to look not only at the formidable talent coming out of Kinngait, but also to try and find ways that allow artists from other communities to come to the fore. The talent is certainly out there. Robert Kardosh Owner/Curator, Marion Scott Gallery VANCOUVER, BC
9/ Contemporary Inuit Drawing
In the last 15 years, the most innovative centre of drawing in Canada has been a small studio located on Qikiqtaaluk (Baffin Island). Since 2001, Kinngait Studios has been home to artists whose individual styles and subject matter have earned them national and international recognition as some of the finest Canadian graphic artists. This development in Inuit art has been remarkable because, until 2001, drawings were tied to printmaking and were seldom considered to be finished works themselves. Following the example of young artist Annie Pootoogook, a group broke from tradition to find total freedom in expression and subject matter. Some of the original artists, such as Jutai Toonoo, Itee Pootoogook and Tim Pitsiulak, have since passed away, but new artists, such as Saimaiyu Akesuk and Padloo Samayualie, are joining senior artists, like Shuvinai Ashoona and Ningiukulu Teevee, in creating original, dynamic drawings. As Kinngait Studios continues to nurture and support the drawing program, the success of the first 15 years will no doubt be carried into the future. Patricia Feheley Director, Feheley Fine Arts TORONTO, ON