From the Editor

Inuit Art Quarterly - - CONTENTS - Britt Gallpen Editorial Di­rec­tor

the Inuit Art Foun­da­tion turned the page on what ul­ti­mately be­came a land­mark year for our or­ga­ni­za­tion. Pro­grams were launched; awards were given as well as re­ceived; our small team ex­panded ex­po­nen­tially with the ad­di­tion of key team mem­bers, in­clud­ing Inuit, in our Toronto de­part­ment as well as across the North; we re­lo­cated of­fices; re­designed our magazine; and, fit­tingly, capped off the year with the high­est num­ber of sub­scribers to the IAQ in its his­tory. To­day, more peo­ple than ever be­fore will re­ceive this is­sue of the magazine. Af­ter ten is­sues to­gether, it fi­nally feels like the right time for this IAQ editorial team to take a run­ning start at tack­ling Pa­per—the ma­te­rial that has ar­guably had the most pro­found im­pact on the ar­chi­tec­ture of the mod­ern Inuit art in­dus­try, from the ear­li­est sketches and maps to iconic prints and ex­ploratory draw­ings, the lat­ter ren­dered in ever in­creas­ing scale and in­tri­cacy. This is­sue is also a trib­ute to one of the most cel­e­brated, com­plex and controversial fig­ures in Inuit art his­tory, our cover artist, An­nie Pootoo­gook (1969–2016).

Sobey Awards (2006) is both a self-por­trait and a re­fusal. It cap­tures from the artist’s per­spec­tive the in­tense scru­tiny and in­ter­est with which her work and her life were si­mul­ta­ne­ously con­sid­ered and con­sumed fol­low­ing her renowned Sobey Art Award win in 2006. Yet in it, Pootoo­gook faces her ador­ing pub­lic while keeping her back to us, her au­di­ence. As view­ers, we mir­ror the artist’s own van­tage, meet­ing the crowd of clasped hands, video cam­eras, mi­cro­phones and in­quis­i­tive faces. Even now, a dozen years on, their an­tic­i­pa­tion feels pal­pa­ble. For an artist whose per­sonal life was of­ten made cen­tral to the pub­lic re­cep­tion of her work, in se­lect­ing this im­age it was fit­ting to al­low her to remain, no­tably, un­avail­able to us. It is an apt metaphor, and an im­por­tant re­minder, that for all we’ve come to know of Pootoo­gook’s sear­ing, evoca­tive work there will al­ways be far more that rests just be­yond reach. In the ac­com­pa­ny­ing story, Caoimhe Mor­gan-Feir con­sid­ers a lesser known as­pect of Pootoo­gook’s oeu­vre in the form of her spir­i­tual and psy­cho­log­i­cal por­trai­ture and the unique vis­ual lex­i­con the artist ex­plored over the course of her brief and bril­liant ca­reer.

Sim­i­lar ex­plo­rations and rep­re­sen­ta­tions of the self are un­packed, ex­am­ined and pre­sented in our sec­ond Fea­ture, “Uvanga/Self: Pic­tur­ing Our Iden­tity” by Inuk writer and artist Ad­ina Tar­ra­lik Duffy, whose ex­pan­sive and mov­ing es­say brings to­gether the work of such il­lus­tri­ous graphic artists as Alootook Ipel­lie (1951–2007), Ja­masee Pit­se­o­lak, Na­pachie Pootoo­gook (1938–2002) and Ju­tai Toonoo (1959–2015), among oth­ers. The prox­im­ity and in­ti­macy of Duffy’s piece is like­wise vis­i­ble in our in­ter­view with

Eric Anoee Jr. on the early draw­ings of his late fa­ther, Eric Anoee Sr. (1924–1989). This re­mark­able col­lec­tion of works on pa­per, cre­ated in the 1930s and pro­duced largely on scraps of note­books, over­flows with images of land­scapes, peo­ple and an­i­mals, as well as hous­ing, air­planes, boats and other mark­ers of the rapid and rad­i­cal changes tak­ing place in Arviat, NU, at the time. Fi­nally, our Port­fo­lio “Cut­ting Edge: Pa­per To­day” brings to­gether the work of nine di­verse artists to of­fer a small glimpse of the im­mense tal­ent and energetic fu­ture of those cre­at­ing new forms on pa­per in Canada now. Com­ple­ment­ing the pro­files of these ex­cit­ing con­tem­po­rary artists, the im­por­tant con­tri­bu­tions of Pudlo Pud­lat (1916–1992), He­len Kal­vak, CM, RCA (1901–1984) and Agnes Nanogak Goose (1925–2001) are also high­lighted in this is­sue, which seeks to re­con­tex­u­al­ize the work and lega­cies of more fa­mil­iar per­son­al­i­ties while in­tro­duc­ing you to fresh faces and dy­namic new forms.


Turn to page 52 to learn about the dis­cov­ery of a note­book filled with draw­ings of life in the 1930s.

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