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Uumajut : Animal Imagery in Inuit Art
Looking at animals in Inuit art, the authors analyze prehistoric Eskimo cultures and carvings, examine Inuit beliefs about animals and look at the meanings of animals in contemporary Inuit art.Expand
The Inuit Amautik: I Like My Hood to Be Full
Driscoll describes the cultural and historical background of the amautik, the traditional parka of Inuit women. Swinton examines the imagery of the amautik in Inuit painting, drawing and sculpture.Expand
Sapangat: Inuit Beadwork in the Canadian Arctic
Etude des broderies en perles qui ornent les parkas des femmes Inuit des Territoires du Nord-Ouest (Canada). Leurs motifs decoratifs souvent rappellent des tatouages corporels d'autrefois.
Baker Lake : Prints & Print-Drawings, 1970-76
Describing the history of printmaking at Baker Lake, Driscoll discusses the imagery of prints by 19 artists. Butler considers the formal aspects of the prints. 34 bibl. ref.
Belcher Island/Sanikiluaq
Horn relates his experiences as a manager of the Co-op at Sanikiluaq; Sieber recounts the beginnings of the Co-op in 1968-1970; Sealy provides an ornithologist's perspective of bird sculptures; andExpand
Inuit Myths, Legends and Songs
Driscoll focuses on how Inuit culture uses drawings to portray myths and legends from their oral tradition. Includes five artists' statements, biographical notes. and annotated catalogue entriesExpand
Rankin Inlet/Kangirlliniq
Williamson describes the rise of the art community at Kangirlliniq; Zazelenchuk relates his experiences at the inlet in 1976-1978; Driscoll documents the ceramics programme for the period 1964-1975;Expand
Sanavik Co-operative, Baker Lake : Prints, 1981 = Sanavik Co-operative, Baker Lake : Estampes, 1981
In an introduction to the 1981 portfolio of prints from Baker Lake, Driscoll highlights the work of four artists and the appointment of Zybd as artistic director of the Sananik Cooperative. IncludesExpand
Eskimo Point/Arviat
Anoee outines concerns of the carvers at Arviat; Swinton relates his experiences at Eskimo Point in 1967-1979; and Driscoll discusses formal and thematic aspects of the sculpture. Includes anExpand