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Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two...
Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.
The story of Uvajuq (oo-va-yook) is rooted in a time when people and animals lived in such harmony and unity that they could speak to each other. For Inuit, as for people whose traditions include the story of the Garden of Eden, this idyllic existence came to an abrupt end a long time ago. The story told here, in words and pictures, speaks of that ancient event and of the transition to an existence where a different kind of sharing prevails. This old Inuit legend has recently taken on an entirely new dimension in Cambridge Bay, with the uncovering of a unique array of artifacts during an archaeological survey of the hill known as Uvajuq. The mysterious find offers a compelling confluence of myth and reality. The legend of Uvajuq, as told here, was collected from a group of Inuit elders in the Nunavut community of Cambridge Bay, 300 kilometres north of the Arctic Circle. On the surface, it is the story of how three prominent hills near the community were formed. Underlying that is a tale of much deeper significance.
This volume makes available, in English, most of the essays written to accompany the Canadian Museum of Civilization’s exhibition of the same name. Not included, are the essays by Gisela Hoffman, Bernadette Driscoll and Elizabeth McLuhan and the exhibition catalogue section which appeared in the original German publication. This book provides an overview of the evolution of contemporary Native Canadian art. Regional styles as well as individual artistic styles are discussed and the various subjects, themes and techniques reflected in the works are examined.
Sharing Knowledge & Cultural Heritage (SK & CH), First Nations of the Americas, testifies to the growing commitment of museum professionals in the twenty-first century to share collections with the descendants of people and communities from whom the collections originated. Thanks to collection histories and the documenting of relations with particular indigenous communities, it is well known that until as recently as the 1970s, museum doors - except for a handful of cases - were shut to indigenous peoples. This volume is the result of an ""expert meeting"" held in November 2007 at the National M ...
Betty Issenman examines all aspects of winter and summer Inuit clothing, going back 4000 years, with particular emphasis on northern Canadian Inuit. She also describes the kinds of material and tools used to make the clothing. The focus is on on Inuit clothing as protection, identity, and culture bearer, roles it has played for thousands of years. No other book brings together contemporary and historical material from the circumpolar worlds with original research. Sinews of Survival is a fascinating study of Inuit clothing, past and present. It includes over 200 illustrations of various kinds of clothing. The voices of the Inuit are heard throughout the text in quotations from consultations and the literature. By describing one component of Inuit society, the author opens a pathway to understanding the culture as a whole.
Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.
The North has always had, and still has, an irresistible attraction. This fascination is made up of a mixture of perspectives, among these, the various explorations of the Arctic itself and the Inuk cultural heritage found in the elders' and contemporary stories. This book discusses the different generations of explorers and writers and illustrates how the sounds of a landscape are inseparable from the stories of its inhabitants. Published in English.
William Vader (b.1803) married Isabella Black, daughter of Scottish immigrants John Black and Helen Hunter, and lived near Demorestville, Ontario. Descendants and relatives lived in Ontario, Saskatchewan, Alberta, British Columbia and elsewhere. Some descendants immigrated to Minnesota, North Dakota and elsewhere in the United States.
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.