From the Edi­tor

Inuit Art Quarterly - - CONTENTS - Britt Gallpen Editorial Di­rec­tor

by Tar­ra­lik Duffy we knew it was the only choice for the cover of our Ex­change is­sue. Duffy, a mul­ti­dis­ci­plinary artist and writer (you may rec­og­nize her from our last is­sue for her Fea­ture “Uvanga/ Self: Pic­tur­ing Our Iden­tity”), works be­tween Salliq

(Coral Harbour), NU, and Saska­toon, SK. Cap­tur­ing both a pho­netic pun on the iconic 1982 ex­trater­res­trial as well as a bit of “play­ground hu­mour” for our Inuk­tut read­ers,

Itii Pau speaks both to the in­flu­ence of pop­u­lar south­ern cul­ture on the Inuit imag­i­na­tion and to its ap­pro­pri­a­tion by artists into a new vis­ual vo­cab­u­lary for Inuit on their own terms.

From “Pipsi” and canned seal to Barney, the friendly pur­ple di­nosaur, the ac­com­pa­ny­ing cover story “Snap! Crackle! Inuit Pop Art!” by Cass Gar­diner brings to­gether colour­ful and hu­mor­ous pieces from across the North that speak to the power of rep­re­sen­ta­tion and, par­tic­u­larly, to adap­ta­tion and re­vi­sion­ing. These works by Inuit artists skill­fully re­cast and re­con­fig­ure ic­nonic south­ern char­ac­ters, re­cen­tring them to re­flect Inuit val­ues, ac­tiv­i­ties and com­mu­ni­ties.

Sim­i­lar pro­cesses are at work in the dig­i­tal sphere, as ex­plored by Gabrielle Mont­petit in our sec­ond Fea­ture “ᓂᐅᕕᕐᕕᒃ: Inuit Art, De­sign and the Dig­i­tal Econ­omy,” which looks to the in­creas­ing im­por­tance of plat­forms such as Face­book in the chang­ing scope and rapid growth of a key area of the Inuit ar t mar­ket to­day. Fi­nally, we look to projects and ex­pe­ri­ences made pos­si­ble through travel—from Inu­vik, Inu­vialuit Set­tle­ment Re­gion, NT, to Banff, AB, to Osaka, Ja­pan, and more—in our Con­ver­sa­tion, Portfolio and Legacy pieces that ex­plore the ways artists and their var­ied au­di­ences come to­gether.

In keep­ing with the spirit of an ex­panded net­work of trade, in­flu­ence and ap­pre­ci­a­tion, for the first time we have handed over our

5 Works ar­ti­cle to a se­lec­tion of cel­e­brated con­tem­po­rary artists to al­low them to share with you those artists who have shaped their own artis­tic prac­tices and their ways of see­ing. The re­sult is a dy­namic and per­sonal spot­light on the reach and in­flu­ence of Inuit

artists. Speak­ing on the im­pact of see­ing An­nie Pootoo­gook’s coloured pen­cil draw­ings as a young artist and the urge to pic­ture her own world, painter Brenda Draney re­calls, “Even I had pen­cil crayons. And, in that small pri­vate scale, I might feel brave enough to try.”

Fi­nally, as we were head­ing to press on this is­sue, our team was sad­dened to learn of the pass­ing of Josie Pit­se­o­lak (1976–2018). A tal­ented, sen­si­tive and ob­ser­vant artist, I had the plea­sure of meet­ing Pit­se­o­lak this past June in Iqaluit, NU, and see­ing his beau­ti­fully de­tailed line draw­ings in per­son. Re­cently fea­tured in a Choice piece by Janet Brew­ster, the Mit­ti­mata­lik (Pond In­let)based artist will be re­mem­bered for his evoca­tive sculp­tural works and ten­der, re­veal­ing works on pa­per. On be­half of the Inuit Art Foun­da­tion, I would like to ex­tend my deep­est con­do­lences to his fam­ily and friends and to ex­press our grat­i­tude for the work of an artist who cre­ated beauty as a way to con­nect with oth­ers.

I hope this is­sue leaves you with the im­pulse to share the cap­ti­vat­ing, vi­brant and ex­pan­sive worlds of Inuit art with oth­ers, and we thank you for al­low­ing us to share it with you.

We look for­ward to see­ing you again in 2019.

Turn to page 48 to dis­cover how artists have teamed up to pro­duce a fleet of col­lab­o­ra­tive draw­ings, prints, per­for­mances and more.Qavavau Man­u­mie (b. 1958 Kin­ngait) Luke Ram­seyLead­ers2012Ink45.7 × 61 cm COUR­TESY MADRONA GALLERY

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