Inuit Art Quarterly

Paving the Way Forward Tiktak: An Artist and His Work

In the spring of 1970, a landmark exhibition opened in Winnipeg, MB, signalling the start of a monumental change for the world of Inuit art.

- by John Geoghegan

At the time of writing this piece, there are no fewer than five solo exhibition­s of Inuit artists open across North America.¹ The solo show, be it a new body of work at a commercial gallery or a large-scale retrospect­ive at a major institutio­n, is an important marker in the career of any artist. Given their ubiquity today, it is difficult to imagine a time when solo exhibition­s of Inuit artists were rare, or that there was ever a definitive “first”, but indeed there was. Tiktak: Sculptor from Rankin Inlet, N.W.T. opened on March 4, 1970, at Gallery One One One in Winnipeg, MB, and marked the first formal retrospect­ive of an Inuk artist. Noted art historian George Swinton, then Director of Exhibition­s at the School of Art at the University of Manitoba, curated the exhibition. In the catalogue, which was also the first solely dedicated to an Inuit artist, Swinton writes, “In May 1964, I took my first trip to Rankin Inlet. The two artists who caught my immediate attention were Tiktak and Kavik.…Though Tiktak is the much younger of the two, his art is more archaic. It is mostly for this very odd reason that my personal choice for this first retrospect­ive exhibition was Tiktak; obviously my choice for the next will be Kavik.”² Looking past Swinton’s outdated language, we see he was undoubtedl­y attracted to John Tiktak’s (1916–1981) striking, monumental stone figures, whose stylized faces resemble Thule wood and ivory carvings. The exhibition featured 50 stone carvings from 19 private, public and corporate collection­s across Canada (many of which have since found their way into the permanent collection of the Winnipeg Art Gallery). Works were organized chronologi­cally and featured Tiktak’s best-known motifs: smiling faces, lone figures, mothers with children and clustered heads. On Wednesday, March 18, just four days before it closed, Tiktak himself visited the exhibition, attended a press conference and gave an interview to The Winnipeg Tribune with translatio­n provided by Professor R.G. Williamson, a fellow resident of Kangiqlini­q (Rankin Inlet), NU, and early supporter of the artist’s work. “Everything I do,” the Tribune quoted the artist, “is evocative of my tremendous­ly strong feelings about my family.”³ Tiktak’s familial connection­s resonate from the black-and-white illustrati­ons in the catalogue. The 28 illustrati­ons reveal tender moments between mothers and children, joyous groupings of exuberant heads and solitary moments of contemplat­ion. Upon first glance many appear similar, but closer looking reveals that each figure is rendered with its own personalit­y and character; no doubt each is a portrait of a family member or close friend. It appears that Swinton was keenly aware of the exhibition’s importance: “No longer are we looking at isolated or odd works of an occasional carver or of an exotic souvenir marker; this exhibition reveals an artist and his work,” he wrote. Swinton’s declaratio­n that Tiktak was an artist seems perhaps superfluou­s now, but given the

Tiktak’s one-man show was a watershed moment in the field of Inuit art. It paved the way for the hundreds (if not thousands) of solo shows that followed.

long marginaliz­ation of Inuit art by mainstream art-audiences, it was largely necessary in 1970. Tiktak’s one-man show was a watershed moment in the field of Inuit art. It paved the way for the hundreds (if not thousands) of solo shows that followed. Though difficult to definitive­ly prove, it seems likely that soon after the closing of Tiktak: Sculptor from Rankin Inlet, N.W.T. there has always been, without interrupti­on, at least one soloexhibi­tion of an Inuit artist open at any given time somewhere in the world. Inuit art history has the rare privilege to be able to pinpoint the exact moment that exposure for artists began, one not enjoyed by many other fields, but then again, not every discipline has an artist as captivatin­g as John Tiktak.

 ??  ?? LEFT Bob Williamson and John Tiktak visit the exhibition Tiktak: Sculptor from Rankin Inlet, N.W.T. in Winnipeg, March 1970 WINNIPEG TRIBUNE FONDS AT THE UNIVERSITY OF MANITOBA ARCHIVES & SPECIAL COLLECTION­S PHOTO ERNEST MAYER
LEFT Bob Williamson and John Tiktak visit the exhibition Tiktak: Sculptor from Rankin Inlet, N.W.T. in Winnipeg, March 1970 WINNIPEG TRIBUNE FONDS AT THE UNIVERSITY OF MANITOBA ARCHIVES & SPECIAL COLLECTION­S PHOTO ERNEST MAYER
 ??  ?? John Tiktak (1916–1981 Kangiqlini­q) — LEFT Mother and Child c. 1963-64 Stone 13 × 8.9 × 8.6 cm TWOMEY COLLECTION, WINNIPEG ART GALLERY PHOTO ERNEST MAYER
John Tiktak (1916–1981 Kangiqlini­q) — LEFT Mother and Child c. 1963-64 Stone 13 × 8.9 × 8.6 cm TWOMEY COLLECTION, WINNIPEG ART GALLERY PHOTO ERNEST MAYER

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