QUARTERLY. Vol. 19, No. l I Spring 2004 I S6.25

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1 ART QUARTERLY Vol. 19, No. l I Spring 2004 I S6.25

2 H A R R I S Alex Alikashuak Whalecove Shaman Transforming H 7 in George Arlook Arviat Shaman H IO in Mathew Agigaaq Baker Lake Mother and Child H 8 in Thomas Sevoga Baker Lake Hunter H 7 in Joanasie Manning Cape Dorset Owls W 8 in Ejcsiak Ikkidluak Kimmirut Dancing Bear H 17 in Manasie Akpaliapik Arctic Bay Whalebone Composition W 62 in

3 G A L L E R Y Ovilu Tunnillic Cape Dorset Self Portrait H 23 in Kellypalik Qimirpik Cape Dorset Carver H 11 in Iola Ikkidluak Kimmirut Mother and Child H 13 in Joanasie Faber Greenland, British Columbia Blanket Toss H 13 in Adamie Ningiyuk Inukjuak Canada Goose W 14 in Johnasie Emikotailak Sanikiluaq Ivory Drum Dancer H 4 in I-IARRIS GALLERY FINE INUIT ART ro CJ C: o a. - "O Q) E C: Ol VJ Q) 0 Manasie Akpaliapik Arctic Bay Whalebone Composition W 46 in t Q) -, VJ 0.c 0..

4 C O N T E N T S INUIT ART QUARTERLY 04 I At the Galleries Spring 2004 EDITOR: MANAGING EDITOR: ASSISTANT EDITOR: EDITORIAL INTERN: INUKTITUT TRANSLATION: ADVERTISING SALES: CIRCULATION: DESIGN AND TYPOGRAPHY: PRINTING: PUBLISHER: Vol. I 9, No. I Marybelle Mitchell Sheila Sturk-Green Michael Olson Jacques Krzepkowski Sarah Nangmalik Sheila Sturk-Green Tania Budgell Acart Communications Inc. St. Joseph Print Group Inuit Art Foundation EDITORIAL Adamie Ashevak ADVISORY Maria von Finckenstein COMMITIEE James Houston : Melanie Scott DIRECTORS, Adamie Ashevak INUIT ART Ross Flowers FOUNDATION: Jackussie lttukalluk Mattiusi lyairuk Sammy Kudluk Nuna Parr Okpik Pitseol.ak John Terriak All rights reserved. Reproduction without written permission of the publisher is strictly forbidden. Not responsible for unsolicited material. The views expressed in Inuit Art Quarterly are nor necessarily those of the editor or the board of directors. Feature articles are refereed. /AQ is a member of the Canadian Magazine Publishers' Association. We acknowledge the financial support of the Government of Canada, through the Publications Assistance Program (PAP) towards our mailing costs, and through a grant from the Department of Indian and Northern Affairs Cinada. PAP number Publications mail agreement number Publication dace of this issue: March ISSN Send address changes, letters to the editor and advertising enquiries to: Inuit Art Quarterly 2081 Merivale Road Ottawa, Ontario K2O l 09 Tel.: (613) ; Fax: (613) iaq@inuitart.org website: Subscription rates (one year) In Canada: $ OST incl., except QC resident:5: $28.49; NF, NS, NB residents: $ (OST registration no. Rl ) United States: US$25 Foreign: C$39 Cheque, money order, VISA, MasterCard and American Express accepted. Subscribe on-line at our secure site at Charitable registration number: RROOOI 12 I FEATURE Eva Talooki: Her Tribute to Seed Beads, Long-time Jewels of the Arctic By Dorothy Harley Eber Eva Talooki's beaded carvings hark back to earlier times, representing a traaicion of costume decoration linked to the whalers and the first explorers 18 I FOCUS ON: The Life and Times of Josie P. Papialuk By Marybelle Mitchell Josie Papialuk pursued his own bent in life and in art, both of which defy categorization 2 VOL. 19, N0. 1 SPRING 2004

5 47 I LETTERS 48 I ADVERTISER'S INDEX 48 I MAP OF THE CANADIAN ARCTIC 26 I CURATORIAL NOTES Every Picture Tells a Story by Josie Papialuk at the National Gallery of Canada By Christine Lalonde The first solo exhibition in a public gallery of the late Puvimituq artist Inuit Art Quarterl y is a publication of the Inuit Art Foundation, a non-profit organization governed by a board of Inuit artists. The foundation's mission is to assist Inuit in the development of their prof essionol skills and the marketing of their art and to promote Inuit art through exhibits, publications and films. The foundation is funded by contributions from the Deportment of Indian and Northern Affairs Canada and other public and private agencies, as well as private donations by individuals. Wherever possible, it operates on a cost recovery basis. 32 I REVIEW 36 I UPDATE Gallery opens in Kimmirut Jack Anawak appointed circumpolar ambassador Peter and Lucille Murdoch honoured Power of Thought on display in California Baker Lake wall hangings in Japan Aboriginal gathering on tourism Film commission for Nunavut NFB documents arctic journey Osuitok Ipeelee nominated for National Aboriginal Achievement Award Cover: (detail) Pursued, 2003, Meelia Kelly, Cape Dorset (etching and aquatint; 26.4 x 24.4 in.). r c-<l be-, P"'I.L/ic Photo Credit West Boffin Eskimo Cooperative 46 I IN MEMORIAM Jimmy Amamissak Robert McMichael INUIT ART QUARTERLY I 3

6 A T T H E G A L L E R E S Paintings by Celina lyyiraq of lgloolik are featured in a solo exhibition at the Indian and Inuit Art Gallery in Hull, Quebec from March 4 to May 28, 2004, including Crying Orphan, r' C-0.. l'li''i". /S.J b Favourite Daughter, 1985, is featured in Power of Thought: The Art of Jessie Oonark on display at the UCLA Fowler Museum of Cultural History from February 8 to May 30, ( [> ', 'bla-')<l", ",' ;,, -- <---. ). - '' I 3: i,a, il.. 1 Pub IC Ga Mythological Bird, 1958, by Davidialuk Alasua Amittu is among the highlights of The Jerry Twomey Collection at the Winnipeg Art Gallery: Inuit Sculpture from the Canadian Arctic on display from May 8, 2003 to March 10, CM1.n<l-"' <lu<j <11'), >Cl'a-')" er1es This depiction of the sea goddess by lnukjuak carver Isa Aupalukta is part of Box of Sedna - Shamans and Folktales under Aurorae at the Hokkaido Museum of Northern Peoples in Hokkaido, Japan from February 7 to March 28, The exhibition explores the spiritual world of arctic inhabitants through masks, charms, shamanistic utensils and other artefacts. Karoo Ashevak's (Fantasy) Figure with Birds, 1972, was acquired in December 2002 by the National Gallery of Canada for its permanent collection thanks to a donation from the Robertson family. The late John Robertson had always wanted the carving to be displayed at the NGC. The solo exhibition Every Picture Tells a Story by Josie Papialuk continues until April 18, b? <ir'<''. (..,"'<'<l' 4 I VOL 19, NO. l SPRING 2004

7 Commercial. Galleries Man Making Kudlik, 2003, by Lucassie Echalook of lnukjuak is included in Nunavik at Canadian Arctic Gallery in Basel, Switzerland from March 14 to April 17, The exhibition showcases a number of Nunavik artists, including Levi Qumaluk, Johnny lnukpuk and the brothers Mattiusi and Nutaraluk lyaituk. _;br' /','b..::,', /',.,,' <]" Pitseolak Ashoona's Ancient Eskimo Dwelling, 1966, is included in an exhibition of prints dated between 1962 and 1979 from Cape Dorset, Puvirnituq, Holman and Pangnirtung at Chicago's Orea Aart Gallery through July Nr'!>c;' <lh., P".,,L/1' Mother and Child by Marc Alikaswa of Arviat illustrates the primacy of the family unit in the Arctic. It is featured in The Inuit Family at the Inuit Gallery of Vancouver from March 20 to April 9, L <l,br<l". <l"l\<l' Mother and Child, 1993, by Peter Sevoga of Baker Lake is part of the catalogued exhibition Portable Masterworks showing at Maslak McLeod Gallery in Toronto from February until the summer of Highlighting small-scale sculpture, the exhibition includes,;- g, work by established artists such as Joe Talirunili, Kaka Ashoona, Henry Evaluardjuk, Oviloo Tunnillie, John Kavik, Luke Anowtalik and Mary Akjar. Ac r''>l". 'blcr')<l" Exhibition Details The Jerry Twomey Collection at the Winnipeg Art Gallery: Inuit Sculpture from the Canadian Arctic, curated by Darlene Coward Wight, Winnipeg Art Gallery, 300 Memorial Boulevard, Winnipeg, Manitoba, May 8, 2003 to March 10, Telephone: (204) Box of Sedna - Shamans and Folktales under Aurorae, Hokkaido Museum of Northern Peoples, Shiomi Abashiri, Hokkaido, Japan, February 7 to March 28, Fax: (continued on next page) INUIT ART QUARTERLY I 5

8 Every Picture Tells a Story by Josie Papialuk, curated by Christine Lalonde, National Gallery of Canada, 380 Sussex Drive, Ottawa, Ontario, November 7, 2003 to April 18, Telephone: (613) Celina lyyiraq, curated by Heather Campbell, Indian and Inuit Art Gallery, Indian and Northern Affairs Canada, 10 Wellington Street, Hull, Quebec, March 4 to May 28, Telephone: (819) Across Time and Tundra: The lnuvialuit of the Canadian Arctic, curated by David Morrison, Canadian Museum of Civilization, 100 Laurier Street, Hull, Quebec, November 7, 2003 to January 9, Telephone: (819) Travelling Exhibitions Transitions: Contemporary Canadian Indian and Inuit Art, curated by Barry Ace and July Papatsie, organized by the Indian and Inuit Art Centre, Department of Indian and Northern Affairs Canada. Russian Museum of Ethnography, St. Petersburg, Russia, November 11, 2003 to January 18, Telephone: (819) UCLA Fowler Museum of Cultural History, Los Angeles, California, February 8 to May 30, Telephone: (310) Marion Tuu'luq, co-curated by Marie Bouchard and Marie Routledge, organized by the National Gallery of Canada. Textile Museum of Canada, 55 Centre Avenue, Toronto, Ontario, February 25 to April 18, Macdonald Stewart Art Centre, 358 Gordon Street, Guelph, Ontario, May 20 to July 29, Telephone: (613) Permanent Exhibitions Ontario Art Gallery of Ontario (Toronto) Chedoke-McMaster Hospital (Hamilton) Macdonald Stewart Art Centre (Guelph) McMichael Canadian Art Collection (Kleinburg) National Gallery of Canada (Ottawa) Toronto-Dominion Gallery of Inuit Art (Toronto) Quebec Canadian Guild of Crafts (Montreal) Canadian Museum of Civilization (Hullr McCord Museum of Canadian History (Montreal) Montreal Museum of Fine Arts (Montreal) Musee d'art Inuit Brousseau (Quebec City) Manitoba Crafts Museum, Crafts Guild of Manitoba (Winnipeg) Eskimo Museum (Churchill) Winnipeg Art Gallery (Winnipeg) Nunavut Nunatta Sunakkutaangit Museum (Iqaluit) United States Dennos Museum Center (Traverse City, Michigan) Alaska Museum of History and Art (Anchorage, Alaska).- Irene Avaalaaqiaq: Myth and Reality, curated by Judith Nasby, organized by the Macdonald Stewart Art Centre. Textile Museum of Canada, 55 Centre Avenue, Toronto, Ontario, November 12, 2003 to February 8, Telephone: (519) Holman: Forty Years of Graphic Art, curated by Darlene Coward Wight, organized by the Winnipeg Art Gallery. Canadian Museum of Civilization, 100 Laurier Street, Hull, Quebec, October 31, 2003 to February 15, Telephone: (204) lsumavut: The Artistic Expression of Nine Cape Dorset Women, curated by Odette Leroux, organized by the Canadian Museum of Civilization, Hull, Quebec. Arktikum Centre, Pohjoisranta 2, Rovaniemi, Finland, October 15 to February 15, Troms0, Norway, April Telephone: (819) Power of Thought: The Art of Jessie Oonark, curated by Marie Bouchard, organized by the Marsh Art Gallery. INUIT AND NATIVE ART AUCTION April 26, 2004 The auction will include over 500 lots of Inuit and Native Art & Artifacts, including a prominent local collection and featuring works that appeal to the novice as well as the experienced collector. In addition, Waddington's is pleased to offer this auction live on-line with the assistance of For more information visit our website or contact Christa Ouimet at ext. 233 or co@waddingtons.ca 111 Bathurst Street, Toronto, Ontario M5V 2R I fcl: (416) Toll Free: I-X [ VOL.19, NO l SPRING 2004

9 Dancing Bear by Nuna Parr 5225 Old Orchid Road, Suite 45 Slwl ie, Illinois, Gallery Showroom by Appointment Only (847) Sculpture soapstone marble whalebone ivory Inuit Graphics Original Drawings Wall Hangings David Ruben Piqtoukun grew up in the Western Canadion Arctic and was introduceo to stone carving in 1972 by his brother, Abraham Anghik Since 197 4, his work hos been represented in ESTABLISHED FOR OVER 27 YEARS 939 Lawrence Ave. E, Don Mills Centre, Don Mills, ON, M3C 1P8 Tel: , Fax: Website: over thirty group exhibitions and several solo exhibitions. VHS $29.95 DVD $34.95 Lergth 1324 Moro E rg lish IAF 2003 To order, contact: INJIT ART FOUt-OA TION 2081 Merivale Road Ottawa, Ontario Canada Telephone: ialeinuitort.org

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13 Galerie Elca London INUIT MASTERWORKS LATCHOLASSIE AKESUK MATHEW AQIGAAQ BARNABUS ARNASUNGAAQ KIAWAK ASHOONA DAVIE ATCHEALAK OSUITOK IPEELEE JOHN PANGNARK MIRIAM QIYUK PAUTA SAILA LUCY TASSEOR JUDAS ULLULAQ *Video catalogue available upon request Interested in purchasing quality works of Inuit art DAVIE ATCHEALAK 1196 Sherbrooke St. West, Montreal, Q1ebec H3A 1H6 Tel: (514) Fax: (514) / Art Dealers Association of Canada Association des marchands d'art du Canada Carol Heppenstall, MA Inuit and Northwest Coast Art Collections Consultant Exhibitions Museum Education Art Tours with Adventure Canada In Toronto: Hours by Appointment ARTSPACE An Eye on Inuit Art Lecture Series Winter & Spring 2004 University of Toronto Call for details Art is Adventure with Carol Heppenstall Pond Inlet Floe Edge June 4-12, 2004 Sketching South Baffin July 5-11, 2004 Queen Charlotte Islands July 21-28, 2004 High Arctic Ad venture July 31 - August 10, 2004 Voyage North of 60 August 31 - September 12, 2004 West Coast Voyage ADVENTURE =l{pj/jcanada info@adventurecanada.com Call: or Presenting a Native Perspective Through the Arts

14 F E A T u R E Her Tribute to Seed Beads, Long-time Jewels of the Arctic BY DOROTHY HARLEY EBER All photographs by Tom Humphry, except where indf coted otherwise Fig. 6: The beading on parkas in the central Arctic followed formal conventions, as is often the case with the beading on Eva Tolooki's carvings. But with increasing contact with the outside world, women added their own designs. This parka panel is a portrait in beads of Captain George Comer's famous vessel, the Era. \Afhen Italians on a visit to Montreal VY went looking for Inuit carvings, they gravitated without much hesitation towards the work of Eva Talooki. "They said they liked the fact the carvings were carefully worked - but nor overworked," recalled Diana Perera of the Canadian Guild of Crafts, the non-profit institution that pioneered the marketing of Inuit art in the 1940s. But what in all probability - and appropriately - caught their eyes were the bright glass beads. It was beads from Murano, after all, that launched high fashion in the Arctic centuries ago. For the most part measuring only a few inches in height, Talooki's little carvings are hewn from the hard grey rock found near Arviar, the most southerly community on the west coast of Hudson Bay in Nunavut. But Talooki (Eva was her missionary name and was seldom used) has dressed her small figures in atigi (inner parkas) that blaze with beads. Her babies wear them on their hats and Inuit beauties hang chem on their ears. "I like to make car v ings with beaded work on them," Talooki stated in a grant application to buy beads and tools. "It is my own style. I will carve a person and put beaded designs on them to represent the amauti." 1 In these depictions, Talooki probably had in mind the beaded parkas she made for herself in camp days. Her beads then came from the late Henry Voisey, Hudson's Bay Company (HBC) manager in the 1950s at the remote Padlei post in the area where inland Caribou Inuit, the Padlimiut - people of the Willow - like Talooki and her husband, Michael Aliktiluk, had their camps. Before his death in 2003, Voisey cold me that, in camp days, he stocked and sold quantities of 1 2 VOL 19, NO SPRING 2004

15 glass seed beads. "Beads were common all over the North, as adornments and as jewellery," he said. But Talooki's carvings also hark back to much earlier times, representing a tradition of costume decoration linked to the whalers and to the first explorers. Sadly, there won't be any more Talookis; born about 1927, Talooki died in At the time of her death, Talooki's work was inexpensive, perhaps because people buying Inuit art sometimes remarked that they preferred their carvings unmixed with beads. Mark London of Galerie Elca London in Montreal remembers when works by Eva Talooki sold for $30 or $40. "During the artist's lifetime, prices remained well below average for their size and quality," he says. This has changed. 'Today, the public is catching on to how wonderful Talooki's work is and she is belatedly taking her place beside her peers: Andy Miki, John Pangnark and Lucy Tasseor." Typically, a Talooki carving now sells for between $300 and $1,300, with outstanding pieces going for far more. Marion Scott Gallery in Vancouver recently sold a piece from the Norman Zepp collection for $6,500. Whalers set the coast awash with beads For my part, these richly decked little figures bring back memories of summers in the 1970s and 1980s when I visited the new communities grown up on the Baffin and Hudson Bay coasts in the years after Inuit moved from the land. I was there to make inquiries for the Urgent Ethnology Program of the Canadian Museum of Civilization (CMC) about the Inuit experience of whaling ( the whaling era in the Canadian Arctic stretched roughly from 1817 to 1922). "We used to call the whalers the Arctic Postmen, because they brought many things," one woman told me (Eber 1989:xvii). Not least among the whaler's gifts was the bright glass trade bead and I quickly discovered Inuit women loved to discourse on beaddecorated parkas. I heard a great deal on the subject, such as: "It was the desire of every young girl to have a parka like that," "the more they had on their chests, the richer they were," and "before she became his wife, she was really poor - afterwards, covered with beads." Whalers set the coasts awash with beads. Onboard the Era in Hudson Bay on July 19, 1897, the great American whaling master Captain George Comer wrote in his diary ( in Ross 1975:69-70): "We carry quite a large supply of various articles to trade with the natives (Eskimo) for bear skins, muskox skins, and whatever else they have to trade off." Inuit women, he noted, "have a great passion for small glass Beeds of Different colors (sic]." In 1903, he took 25 pounds of them into the bay (Ross 1975:140); in 1907, "4 75 bunches beads (black, chalk, lapis, coral, lemon, green, lavender, pink)" along with "1,000 bead needles no. 12" (Ross 1975:141). Fig. 1: Nivisinark, also known as "Shoofiy," was a long-time companion of Captain George Comer. She helped "her Captain" build his collection of beaded parkas for southern museums. <rc..ro:' Comer's presence had more than a little to do with the face that among the people of the west coast of Hudson Bay and its hinterland - the Aivilingmiut, Padlimiut, Ahiarmiut and Qaernermiut - the turn of the century saw bead-decorated parkas reach new heights of creativity. Comer collaborated with pioneering anthropologist Franz Boas to build up arctic material in the American Museum of Natural History and also collected artefacts for other museums, including the Canadian Museum of Civilization and the University of Pennsylvania's Museum of Archaeology and Anthropology. The late, much-respected Keewatin elder Joan Attuat gave me some insight into the captain's collecting methods. In 1907, Comer had also brought into the bay the first handoperated sewing machine. Attuat told me that Shoofly (Fig. 1 ), Comer's long-time companion, learned how to use the sewing machine to run up the long seams on "the new clothing" - "" printed cotton skirts and dresses. As a [ result., Shoofl y initiated some useful barter on her captain's behalf. "She was able to make skirts and dresses. The women made beads for her, and in return, she would make them dresses. The women in those days were not lazy. They really enjoyed making beads; it was their favourite pastime." While whalers disseminated beads widely in the nineteenth and early twentieth centuries, the arrival of beads in the Arctic predated the whalers. Trade beads came to Canada with the first explorers. 2 In the midfifteenth century, the discovery and exploration of Africa gave tremendous impetus to bead manufacturing in Venice. On nearby Murano and other small islands, the early glass houses shrouded their bead-making operations with greatest secrecy. Merchants and explorers took beads with them as objects of trade and when, late in the century, the first Europeans entered the Gulf of St. Lawrence, Venetian beads - the same as those traded in Africa - arrived in their vessels. Algonquinspeaking native people are said to have called them "manituminaki - powerful little berries." When in the nineteenth century, the British Admiralty turned its attention to the search for the Northwest Passage, the Parry expedition in 1821 found glass trade beads already in use among the Inuit of the lgloolik area. When the expedition returned home in 1823, its presence had accounted for a doubling of beads in the area. "Many of the [women], in the course of the second winter, covered the INUIT ART QUARTERLY I 13

16 Fig. 7: This tiny 2-inch by 1.25-inch carving has the traditional two front chest atigi panels indicated by four bright orange beads while two blue beads on either side of the head suggest the heavily beaded shoulders that characterized beaded costumes. i:j<: (_,p, <l"m' whole front of their jackets with the beads they received from us," wrote Captain Oater Sir) William Edward Parry (1825:498). But Igloolik Inuit likely received their first beads 100 years or more before Parry's visit through inter-indian and Inuit trade. After establishing its first post at Churchill in 1685, the Hudson's Bay Company (HBC) sent sloops up the west coast of Hudson Bay to trade for oil, baleen and ivory intermittently in the next century. In all probability, onboard were glass seed beads and supplies of the Cornaline d'aleppo, a tubular bead of red glass wound on an opaque white, transparent green or yellow core which became known as the "Hudson's Bay bead" because the company distributed them everywhere. This bead has been found among the beads on early examples of decorated parkas. The company discontinued sloop journeys after 1790 but, by then, Inuit from even distant regions made occasional trips south to the Churchill post to trade. (Beads that reached the western arctic area of the Mackenzie in the nineteenth century had a different provenance. They had come with the Russians when they arrived in Alaska in the eighteenth century and were called "Russian beads" although they, too, had Venetian origins having travelled via Hong Kong. In addition, the Russians brought sought-after blue beads that were made in China.) "The women in those days were not lazy. They really enioyed making beads; it was their favourite pastime" Padlimiut beadwork Talooki's Padlimiut ancestors were campers located inland from the Hudson Bay coast, close to what is now the border between Nunavut and Manitoba, and can be presumed to have gotten their beads early. Elderly Padlimiut 1 met in Arviat talked of the yearly excitement in their childhood when their families travelled by dogteam to Churchill. By 1921, these journeys became less necessary, since the HBC established a post up the coast at Arviat which was then called by the English name Eskimo Point. ln 1926, the company opened the isolated post inland at Padlei. It was here in 1950 that Canadian photographer Richard Harrington stayed with post manager Henry Voisey, his wife Charlotte and their little daughter Mary during his epic dogteam journeys to even more remote Inuit camps, where he took the tragic photographs (now held in the National Archives of Canada) showing Inuit suffering the starvation that marked the last days of Caribou Inuit camp life. On this trip he also took pictures of Inuit women in their beaded splendour. The beads people traded for at the HBC in the 1950s no longer came from Venice. "I asked and was cold they came from Czechoslovakia - in little packages about 2 inches by 1.5 inches," Harrington remembered in the course of a conversation. In the Canadian Arctic, beaded parka decoration varied significantly from area to area. On Baffin Island, for instance, women wore their beads "shawl fashion" across the chest. They also decorated their parkas with other gifts from the whalers, such as pennies and spoons. On my visits to the west coast of Hudson Bay, I never met Talooki, but 1 did meet her sister-inlaw Eva Alakasuak (c.1923-c.1994) who drew pictures (Figs. 2-5) to show me how Padlimiut women traditionally made and decorated their parkas. She traced around paper cut-out patterns to draw side views, front and back views, as well as pictures of the pants with the pouches on the legs which were traditional in the area. Then she drew in the beading in colour pencil. Art historian Bernadette Driscoll ( 1980, 1984) has described how, on the west coast of Hudson Bay when beads became abundant in the whaling days, women sewed their beads onto panels of stroud, a wool fabric, presumably also brought in by the whalers. These would be sewn to the skin atigi and could be removed when necessary. Beaded parka decorations became heirlooms passed down in families. 1 The decoration for the front of the amauti was carried on stroud divided by beadwork into two rectangular sections which covered the front of the chest. A thick fringing of beads hung beneath, so arranged as to create colour bars of varying widths and alternating in light and dark colours. 14 I VOL. 19, NO. l SPRING 2004

17 Magnificent beading in conventional arrangements also adorned the hood, the back of the atigi, the wrist and the shoulders. Driscoll has written that many of the design elements are ancient and symbolic, although Inuit beadworkers in the heyday of the decorated parka also incorporated elements of their own creation, whaling motifs among them (Fig. 6). Driscoll relates the tiered alternating dark and light colour bars in the beaded fringes, as well as the repetitive geometric motifs, to the ancient practice of tattooing which held deep religious significance. In her little carvings, Talooki pays homage to these conventions. Her figures wear beading with the requisite tiered alternating dark and light colour bars. Covered with yellow beading, a tiny 2-inch by 1.25-inch carving (Fig. 7) has the traditional two front chest panels, indicated by four bright orange beads, while two blue beads on either side of the head suggest the huge, heavily beaded shoulders that characterized the old costumes. The beads on her figures are often couched onto duffel vests or sometimes simply hung from a string of beads tied tightly around a figure's neck. While Talooki's carvings are often delightfully flamboyant, she is also capable of great restraint as in the culpture of a mother and child (Fig. 8) where the only beading is on the baby's bonnet. Latter-day beadwork in Arviat For most Inuit across Nunavut, camp 1 ife came to an end in the 1960s after the starvations during the winter of in the Keewatin district caused the Canad_ian government to encourage and assist moves to the settlements. The Padlei HBC post closed in 1960 and many people from the area moved or were evacuated to Arviat, then called Eskimo Point. Talooki and her family were not among chose most acutely affected by the starvations, but they, coo, experienced difficult times. Her son Peter Aluriak was a child at the time. A former president of the Keewatin Inuit Association and, at the time I spoke co him, a student counsellor at the Arviat school, Aluriak recalls: "We were not among the campers who had starvation, but there was a hungry year for us. I remember not much, but I remember we were hungry. My father would be at the fishing hole all day and catch nothing. My mother, too." In the new settlement, traditional clothing gave way rather quickly to manufactured garments from the South. Aluriak remembers chat, in the early years of settlement life, Talooki still sometimes wore her own decorated parka. "T he beads covered the chest from the shoulder. I think it had a flowery pattern. It didn't have the big hood for carrying the baby - just a small hood. She wore it on special occasions - when there was a community drumdance or some other activity. I didn't look at it too carefully because I was so busy looking at the things the men wore." In camp days, men also had beaddecorated parkas. About chis time, Aluriak recalls Talooki working on panels of bead decoration for parkas. Perhaps they were for sale, although he does not know where they went. Inuit beaded garments quickly became collectors' items with a market price. When the Canadian government introduced arts and crafts programs as a means of providing some income for people who had never lived with money, Arviat people responded but, once again, the land did these victims of the starvations no favours. Unlike artists of the relatively lxiuntiful southern coast of Baffin Island whose internationally recognized work is often created from lustrous (sometimes jade or apple green) stone, Arviat carvers had to work in dull metamorphic rock. "They were the poorest Eskimos," once noted Gabriel Gely, who was Fig. 8: Mother Holding Child Aloft, which measures seven inches by four inches, illus trates Talooki's sense of restraint. A thin line of beads is inset around the woman's face (presumably her parka) and beads flow from the boby's head. M c_,p, <l"mc Carrying on a regional tradition In the early 1990s, Okpik Pitseolak, born in 1946 and formerly of Cape Dorset, also began to integrate beads in her sculpture, showing the particular regional style of her area. Three of her beaded works were included in the exhibition Inuit Women Artists, organized by the Canadian Museum of Civilization (CMC) in Hull in In the publication accompanying the exhibition, Pitseolak explained that beading is very much part of her family tradition. In her childhood, she observed her grandmother Simatuq, mother of her late father Tommy Manning, a well-known Cape Dorset HBC post employee, doing beadwork. She says: Because I learned beading from my grandmother, I am working at it today and / like doing it very much. My grandmother did beading on parkas - like the trim along the cuffs of the sleeves and on the atigi. And my grandmother decorated my father's sister's amautiit with beads and also with those big English things. I think they are called 'sixpence.' She used to put those down the back. And she made beaded pins, too. I want very much to make pins, beaded pins like my grandmother used to make. I don't have any right now. I am just on the way to seriously doing beadwork (Pitseolak 1994:192). The three carvings Pitseolak exhibited at the CMC depicted scenes from the life she lived as a young woman. One work is entitled Okpik Going for Water and shows Pitseolak dressed in an old-time amauti with Baffin-style beading. In this large carving in dark green stone, her beading is true to the traditional regional style found in south Baffin, Labrador and arctic Quebec in which the beads were hung in long strands from a strip of scraped sealskin and then dragged from shoulder to shoulder in a sequence that created horizontal colour bars. The other two sculptures are selfportraits in which Pitseolak has tied her hair back with a knot of beads in the manner young girls in the Arctic still do today. INUIT ART QUARTERLY I 15

18 Fig. 2: Front view of decorated inner parka. Fig. 3: Side view al decorated parka showing the pouch for carrying the baby. Fig. 4: The characteristic pants with the "pouches" that served as pockets. In 1983, Eva Alokosuok of Whole Cove, a sister-in-low of Eva Tolooki, drew images to illustrate the design of Podlimiut beaded parkas. A <k.bt'<l". np'i"s!<l"rl>c". the community craft officer for periods in the 1960s. But talented artists began to create in Arviat's unpromising grey stone. Author lngo Hessel has noted that: "Perhaps it is a happy accident, artistically speaking, that Arviat artists have had to work ith this difficult medium. They have been forced to develop a style which communicates essential ideas of form and content with a minimum of elaboration" (1990:7). Talooki's work embraces the Arviat aesthetic - but she has coupled it with her own very distinctive elaboration. "What I like is the juxtaposition of the crudity of the stone with the flamboyance of the bead work," says Tom Humphry, who documented some of her work for the Inuit Art Section of the Department of Indian and Northern. Affairs Canada (INAC). The increased interest in Talooki's work and the rising value of her beaded sculptures since her death seem to have caught her family and the Arviat community by surprise. Mark Kalluak, a writer and editor who holds the Order of Canada for his contributions to Inuit culture, conducted interviews with a number of Arviat artists for his book Pelts to Stone: A History of Arts and Crafts Production in Arviat, published by INAC in He reproduced pictures of Talooki's carvings, but never spoke to her about them. "She was a kind gentle person," says Kalluak. "I never asked her what inspired her, but from my own personal observation, I guess they cry out what will sell - perhaps it may have been something like that." Aluriak recalls: "I think she began doing her little figures with the beads 10 or 15 years ago. l wasn't watching what she was doing. I never did ask." His mother, he says, was a "family person - looking after the children and feeding us. She worked on her carving in her free time." In contrast, Talooki's comments on her work sound surprisingly assertive. In an application for a grant to buy carving tools in the early 1990s (perhaps with the help of a crafts officer), she wrote: "I can carve anything from stone to antler. The stone around Arviat is very hard so you need good tools. Improper tools can make a carving turn out not so good. l can also make Inuit clothing in traditional styles like the amauti. I also make jewellery from caribou antler. [ am a singer and a drumdancer." Talooki added that she had been carving and sewing since In the i 960s and early 1970s, her carvings had a two-dimensional, though often animated, quality. She depicted women with children and occasionally animals, always in flat profile. By the 1980s, her work had become bulkier and three-dimensional and she had begun to incorporate the beads that have become her trademark (Fig. 9). In fact, at an earlier date, two other Arviat women, Susan Ootnooyuk (c ) and Annie Okalik (b. c.1927), made some use of beads in a limited manner that may have influenced Talooki. In Ootnooyuk's Mother Wearing Necklace and Earrings (among the gifts of the Klamer family to the Art Gallery of Ontario), the artist combined her beads with teeth, a popular element of parka decoration in earlier times. In addition, Arviat artists like Martha Eekerkik ( c ) and Joy Hallauk (b. 1940) may perhaps also be considered forerunners: their beaded skin and duffel figures, often with antler faces in their wall hangings, come close to bass relief. Talooki seems to have encountered more difficulty acquiring beads in settlement life than in camp days. When Hessel visited Arviat in the early 1990s, he went with an interpreter to call on Talooki. "She appeared very shy and reticent," he remembers, but, after a I 5-minute visit, she confided she was having trouble getting beads. On his return to Ottawa, he mailed her packages of red, blue and black and white beads, which she had requested specifically. In all probability, the beads again were Czech. According to Ruth Shine, who owns The Bead Emporium in Montreal, Murano has priced itself out of the market for small commercial seed beads. An alternate source is Japan. "In the last 10 to 20 years, Japan has aggressively entered the market with a high-quality bead but exchange rates make them expensive." (Another source is India which has always produced glass beads, but 16 I VOL. 19, NO.! SPRING 2004

19 :.. '.. I. the University Museum Magazine of Archaeology/Anthropology, University of Pennsylvania (Winter). Eber, Dorothy Harley 1989 When the Whalers Were Up North: Inuit Memories from the Eastern Arctic. Montreal: McGill-Queen's University Press. Hessel, lngo 1990 "Arviat Stone Sculpture: Born of the Struggle with an Uncompromising Medium," Inuit Art Quarterly. Vol. 5, no. 1 (Winter). \\\ Parry, Captain W. E Journal of a Second Voyage of Discovery of a North-We.1t Passage in the Years London: John Murray. Fig. 5: Back view. Indian beads are irregular in size and so are less favoured than the Czech and Japanese varieties.) In time, Hessel received two little beaded carvings and later a letter from Talooki, asking if he could send some more. She asked for the same colours as before, but also for a larger quantity of white. "T his time, I sent a whole pound of beads," Hessel recalls. However, he heard no more from Talooki and shortly the word of her death reached the South. Eva Talooki's style was unique and her use of beads an innovation... Dorothy Harley Eber is the author of several books on Inuit culture, including People From Our Side ( with Peter Pitseolak), When the Whalers Were Up North, Pitseolak: Pictures Out of My Life and Images of Justice. NOTES l. Inuit Art Section files, Indian and Northern Affairs Canada, Hull, Quebec. Arts and Crafts Capital Program Application Form filled out by Eva Talooki Aliktiluk. 2. Moira McCaffrey, director of curatorial and research services, the McCord Museum of Canadian History, Montreal, in explanatory panels for a 1996 exhibition on the history of trade beads. 3. Bernadette Driscoll writes: "As a preliminary finding, it may be stated that the beaded parka of the central Arctic bridges the gap between two important eras of Inuit history. In its formal conventions, the beaded parka recalls archaic forms of tattooing and jointmarking, as well as the importance of the skeletal design, while its decorative motifs and the objects used for decoration emphasize the increasing importance of outside trade and contact." REFERENCES Driscoll, Bernadette 1980 The Inuit Amautik: I Like My Hood to Be Full. Winnipeg: Winnipeg Art Gallery "Sapangat: Inuit Beadwork in the Canadian Arctic," in Expedition, Pitseolak, Okpik 1994 "Things I Learned from My Grandmother," in Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman (eds), Inuit Women Artists, Vancouver: Douglas and McIntyre, in association with the Canadian Museum of Civilization and University of Washington Press. Ross, W. Gillies 1975 Whaling and Eskimos: Hudson Bay Ottawa: National Museum of Man, National Museums of Canada. Fig. 9: Dancing Shaman with Spirit Helpers, 1990, Eva Tolooki, Arviat!antler, beads and thread; 11.5 x 14 x 5 in.) ii<: (..,P, <l"m c INUIT ART QUARTERLY I 17

20 F O C U S 0 N

21 The There are a lot of people now deceased - including Josie Papialuk himself - who would be surprised and gratified to see the small instalation of his drawings in the Inuit Galleries of the National Gallery of Canada (NGC). In a letter he wrote to me in 1978, when I was manager of arts and crafts development for the Nunavik cooperatives, he said that he was "surprised and grateful that people in the South like his carvings because, compared to the work of others, they are of poor quality." Coming from a community of artists that valued highly realistic, technically accomplished artwork, Papialuk was a bit of a renegade - not self-consciously or with any deliberation but because he naturally pursued his own bent. Perhaps he might more properly be called an eccentric, along with two others of his contemporaries: Joe Talirunili and Davidialuk Alasua Amittu. None of these three - now all deceased - fit into POV of the 1960s, when the cooperative movement was gaining momentum and people were doing their best to please the tastes of an outside market. Unswayed by that goal, Josie P. Papialuk - like. Talirunili and Davidialuk - persisted in producing highly idiosyncratic work. Thank goodness for that! A migration sculpture by Talirunili recently sold at Waddington's for the highest price ever received at auction for an Inuit sculpture; Davidialuk has a following and Josie Papialuk has now received one of the highest distinctions there is for an artist in this country. His thoughts and his work did not meet, they said, and he agreed Josie had no illusions about his technical ability. In an interview in 1985, he told me that his inability to and create fine things prevented him from "completing his thoughts on the carving." This, by the way, is an aesthetic criterion Inuit apply: how completely the image in the artist's mind has been transferred to the stone or to paper. Josie's peers often said that "his work did not meet his thoughts." Papialuk carved crude little birds and seals - and sometimes human faces - that he sold to the Hudson's Bay Company trading post and, later, to the Puvirnituq cooperative for equally small prices: $5, $10 or $15. Nonetheless, he was content and managed to save up enough money to buy a canoe in the early days. His work was always on a small scale because it was easier, he said, to handle and carry around small chunks of stone. One of Papialuk's most endearing traits was the circling of imperfections in the stone. Rather than carving them away - as more conventional sculptors do - he would draw a wavy circle around them so there was no chance of missing them. Occasionally, he carved stitches around these blotches, like a patch sewn on a torn trouser knee. The bottoms of his carvings were usually adorned with a decorative version of his name: "Josie P. Papialuk." His name, by the way, means "Big Tail." The middle "P" was often BY MARYBELLE MITCHELL enclosed in a decorative circle, his fanciful invention, a take-off from the copyright symbol which Inuit were, for a while, advised to etch on the bottom of their stone productions. By 1978, Papialuk was showing a great fascination with his name, sometimes utilizing it as the sole image in a drawing. Highly embellished renditions of his name are often enclosed in an arrow, an idea he picked up during a trip south when he observed that "white people draw arrows everywhere to show you which way you are going." While his stone carvings are charming, Papialuk is best known as a graphic artist. His love of the medium was always obvious. He was Man Hunting Bird, 1977, Josie Papialuk, Puvirnituq lstonecut; 14.7 x 16.8 in.)..,!,1 <M.:;', )/;,,\r')"!left) Josie Popioluk, N (M.:;', Photo Credit: Eugen Kedl All photographs (ourtesy of la federation des cooperatives du Nouveou Quebec, except where indicated otherwise INUIT ART QUARTERLY I 19

22 one of the first people in Puvirnituq to become involved in printmaking. In Puvirnituq at that time, prints were made from stoneblocks which suited Papialuk's unidimensional perspective very well. It also allowed him to incorporate his own experience of the environment - the winds and the sounds of everyday life. One day, he tried his hand at drawing, an activity he preferred over carving, including carving stoneblocks for printing. It was easier, he said, to work with paper than with stone. As he put it, drawing "took less energy" from his body than did carvings. His drawings could be - and were looked at as cnildlike, but there is an originality to his work and a sophistication about his thinking... 11,, J b C '- CL Showing his mind more Not only was working with paper easier than working with stone, but the medium allowed Papialuk to "show [his) mind more." His untutored artistic vision was inclusive and drawing allowed him to depict a broader experience of reality. Because he didn't know that intangibles could not be depicted in art, he included the "wind" in all its colours and shapes and squiggly lines depicting the movement and (.ll LC Unfilled {Povungnituk Print Shop), 1978, Josie Papialuk, Puvirnituq (felt pen on wove paper). "Inuit will always be able to see this, so there." r' <A<J..,', )t\\,-')" Singing Bird, 1975, Josie Papialuk, Puvirnituq (stonecut; 13 x 18.5 in.). r' <A<J..,', )t\'<r'j" chatter of birds and animals. He gave shape to the energy of the universe and the movements and noise people and animals make as they move through it. He would also include the footprints of his subjects, to show how they got to where they are on the paper or stone. This is realism unrestricted to what one sees with one's eyes. After Martha, his wife, died in 1975, Papialuk became a fixture in the Puvimituq print shop, a small building where a group of women gathered every day to print the drawings and stoneblocks of others in the community. It was a tightly knit group but, somehow, with their blessin1;;, Josie laid claim to a corner table on which stood a large water tank with the letter "P" (for Puvirnituq) stamped on it in blue ink. He was inspired one day to incorporate this in yet another colourful rendition of his name. It was here, usually leaning rather than sitting, that Papialuk took up drawing as an avocation. He couldn't carve in the shop, of course, because of the dust and he quickly abandoned any efforts to print editions of his stones, as he was pronounced altogether too messy by the other printers. The perfect solution - to his loneliness and his need to keep on expressing what was in his mind - was drawing. Mostly, he drew birds. There is no mystery about this. As he said, "It is easier to draw - or carve - a bird than it is a man." And he loved colour. He was one of the first artists in Puvirnituq to become involved in selecting colour for his prints (previously the women printers had done that). I was there the morning in 1978 when he 20 I VOL. 19, NO. l SPRING 2004

23 Hunting Birds, 1964, Josie Popioluk, Puvirnituq (stonecut; 11.5 x 13 in.}. r' (/\<J..,, >1>.\, c )«unhesitatingly selected a rainbow palette for his prints to go into the collection that year, colours that enhanced rather than dulled his work (some of the early prints are drab and heavy in comparison to the buoyancy of the drawings). Josie was not the only one to say that "colour made his prints look better." Town jester cum conceptual artist Josie P. Papialuk did not fit into any category. It seemed to me that he was treated as being rather simple, the town joker even. He appeared naive and he had an infectious laugh, although he could also be very serious, especially when talking about hardships faced by Inuit in the old days. His drawings could be - and were - looked at as childlike, but there is an originality to his work and a sophistication about his thinking and his art that defies such simple categorization. He depicted an igloo as a grid of lines enclosing a coil representing a sealskin rope. A box drawn around a figure could represent a tent. And he once said that his best art was writing his name in the snow because it goes into the air where it stays forever. This would, I think, put him into the ranks of conceptual artists - although that would not have been a category understood by many of his contemporaries. His pictures are stories in progress and it was always interesting to have him tell you about them. Invariably, he used the historical present tense, Mon Hunting Birds Who Fly Away, 1977, Josie Papialuk, Puvirnituq (stonecut; 16.3 x 28.8 in.}. r' (/\<J..,, >N<r c )" INUIT ART QUARTERLY [ 21

24 l "",. Man Opens his Arms lo Nature, 1976, Josie Papialuk, Puvirnituq jstonecut; 12.1 x 16.5 in.). r (/\<!..,', >Na-')"!left) Josie Papialuk painting the water tank in the Puvirnituq print shop, r <M.., <1r<1n. " t.r"c!>n"'i.j<j"r' >Cl'a-')' nn,!>,-"c\'i.la-, as in "the stars around this figure's head represent his really cold breath but he doesn't go into the igloo to get warm because he doesn't like the people inside." Furthermore, "he doesn't like the dark inside and prefers to stay in the light." Not only did he tell you what was happening, but he would also tell you what had brought the subject to this point and what would happen in the future. He once said that his best art was writing his name in the snow because it goes into the air where it stays forever His stories are at once personal and universal. He identifies himself as fishing for food and, in the next sentence, says that this is the only way Inuit "are still in Canada" - the only way Inuit have survived. I would not want to read coo much into the series of drawings now on display at the National Gallery of Canada - they were made to order in the 1980s for a show at a West Coast gallery - but I am struck by their preoccupation with hunger. People and animals alike are depicted as desperately seeking/needing sustenance. Like all of his generation, Josie Papialuk was no stranger to hunger. For the most part, the move off the land and into 'settlements' where one could sell handiwork and buy food alleviated starvation. Josie talks a lot in the current set of drawings about how vital his artwork was to earn cash for food. But, sadly, I have been told that he was, in the last years of life, deprived of adequate food. I am not sure when that situation came to light, but the self-portraits included in the National Gallery instalation take on a new poignancy, conveying a fearfulness that belies the goodnatured man about town that he was in the 1970s when the word "banana" would bring on peals of laughter. I would not make too much of chis latter point, however, as his earlier attempts at self-portraits had a similarly puzzled expression which was, in fact, one of the off-guard looks that could be found on Papialuk's visage. I have never thought it important to engage in an extensive analysis of Papialuk's work. He was an interesting person who told stories, his story, which is, really, the story of life in the North at the time. His deft use of colour and his unhampered transfer of thought to medium is appealing and enduring. I am glad I lived long enough to see his work receive this attention. I wish he had. -.,. 22 I VOL. 19, NO. l SPRING 2004

25 / r I t"'...,.. -l ),.),,1,r,1,nl,.-,,.- Untitled, 1986, Josie Papialuk Puvirnitu q ( f elt pen on wove paper; 26 x 20 in.).,' (/\<J..,', )ti';')" Untitled /Different kinds of birds), 1984, Josie Papialuk, Puvirnituq (felt pen on wove paper; 26 X 20 in.). "Different kinds of birds. Some of them do not eat worms. Some of them eat meat. Some of th em cannot find food. I cannot write simple words. I do not know how to make drawings. Inuit work hard trying to make money to buy food." ( (A<J..,. )!>.'er')" 41>Jn 1 '8 :t.??.i. \ c,j-1 t,t.{ 4i'r r.>a- v-f'r- 0 /APIAt..00,-.. CA C:t- <lf-t r"'<,"i.hlr'o- A... (' JI\.,- 41'-t._,. -P>4-..t' P"" r' 1.>bt>t'-ti> l\r-..,,<..,(-,.to.-l G,- u.., d "..., "'("'"-t 4r>J ("""'" _->._>}A-PA 11 '>!i JrP,r 4<Ao..> CDL P r'<to-p. lo.. I>... l i.... ',. Untitled, 1984, Josie Papialuk, Puvirnituq (felt pen on wove paper; 26 x 20 in.). ( (A<J..,', )l>.'a-')" INUIT ART QUARTERLY I 23

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28 C U R A T O R A L N O T E S :ro,e.f'apialoo/< EVERY PICTURE TELLS A STORY by Josie Papialuk At the National Gallery of Canada, Ottawa, Ontario November 7, 2003 to April l 8, 2004 Curated by Christine Lalonde Josie Pamiutu Papialuk was born in 1918 near lssuksivit Lake, inland f r om the present-day community of Puvirnituq in the Nunavik region of Quebec. By the time he was in his sixties, he had lived through several major transitions: from subsistence hunting to trapping and trading furs for store-goods, to the making of sculptures, prints and drawings to survive in a cash economy. For over 20 years, from the 1960s to 1980s, Papialuk was instrumental to the success of the Puvirnituq print collection. His unique statement as an artist, however, is found in his drawings where his eccentric vision is given its fullest expression in colour and iconography. It has often been observed that drawing is the most immediate of all the artforms, that an artist's hand and thoughts are most evidently revealed co us. When Papialuk began drawing in the early 1960s, there was no formal drawing instruction offered. While one can imagine that chis may have been frustrating for him, the result was a (above) Untitled (Big face), 1985, Josie Popioluk, Puvirnituq (felt pen on wove paper; 30 x 22 in.). Inscribed: "The colouring pens arrived so I om happy." r' (/\<l..,', >Na-'J" 26 I VOL. 19, NO. l SPRING 2004

29 greater freedom of expression in his work which allowed his inclination towards line drawing and exuberant colour to develop spontaneously. This is not, however, ro imply that his work is without pictorial conventions. In fact, when faced with blank paper and pens, Papialuk had to begin to first teach himself how to put his imagined thoughts onto paper. As did Pitseolak Ashoona, Luke Anguhadluq and Parr, he created his own devices in order to communicate those elements important to him, such as the wind, movement of people and animals, sound, rain and temperature because these are as much a part of the environment he sought to portray as are the land, sky and sea. George Swinton coined Papialuk's use of ingenious pictorial symbols, such as stars for cold breath and multi-coloured squiggly lines for various types of wind, as 'decorative realism' which aptly recognizes both the visually whimsical and delightful appeal of Papialuk's pictorial devices, as well as the desire behind his use of them to portray an uninhibited total reality (Myers 1988:76). Like most Inuit artists of his generation, Papialuk might be categorized as a naive artist, a term that generally denotes a self-taught artist whose imagery is characterized by use of distorted or multiple perspectives, little modelling of figures or objects, and most importantly, by a directness of expression and unique view of reality. Although commonly used, it can be a problematic term, however, when it ( intentionally or not) suggests a lack of sophistication on the artist's part. Papialuk's drawings are anything but innocent or childlike in their approach. They are based on the perceptions and experiences of a lifetime. His use of humour to relay hardship, for example, is sagacious and philosophical. This is most often evident jointly through his images and syllabic inscriptions. The text may relate to the drawn image but, as often as not, reveal Papialuk's thoughts at the moment of finishing the drawing. In this sense, the pictures reveal the artist's thoughts in general and bring us closer to Untitled (Caribou and different kinds of animals}, 1983, Josie Popioluk, Puvirnituq (felt pen on wove paper; 26 x 20 in.). "Caribou and different kinds of animals. It is hard to make a picture. Even if we cannot make a picture, we con try."../,,' (/\<J _,, )C,,\,-')" "".10Ht,,.H,.,,,_. t-->i. (i} r 1 c... 11r<> r,.-t-. ( t,.jl'iu,.,.. Untitled {Caches}, 1985, Josie Popioluk, Puvirnituq (felt pen on wove paper; 3Q X 22 in.). "These are caches. We get food from them in the winter time. They hold dog food too. The squiggly lines ore the wind.",' (/\<]..,\ )C,,',,-')" 1>rO"r Untitled (Going lo get water lo make tea}, 1984, Josie Popioluk, Puvirnituq (felt pen on wove paper; 30 x 22 in.). "The man is going to get water to make tea. He hos a small sled. There is a big wind, but the man does not feel it because it is not close. Sometimes the wind and the rain ore like that... you can see them in the distance. I always draw the wind.",' (l\<j..,. >Cl'<r')" All photographs courtesy of La Federation des cooperatives du Nouveau-Quebec INUIT ART QUARTERLY I 27

30 . ' ' ; ' ' ' I I ' JJ ' " ' I '-<A 4 l'o rt..c. <>-/\ "-'>4r -4<';>)J.,..,._.,.,i r Untitled (Different kinds of animals), 1985, Josie Popioluk, Puvirnituq (felt pen on wove paper; 26 x 20 in.). "Different kinds of animals (birds). This man is from the Belcher Islands. He is wearing on eider duck skin parka as people used to wear them in the past. He is wearing warm clothes. His fish spear is broken. He has two sons and tries to work hard. That is the only way they can eat. Sometimes we do not know what to do." r' <A<L,', )Cl\,-')" Untitled /Inuit and their children), 1984, Josie Papialuk, Puvirnituq (felt pen on wove paper; 26 x 20 in.). "Inuit and their children need game. They go out on the sea thinking about seols, because that is what they eat. I try hard even though I do not,know much about drawing. The land around Puvirnituq seems barren after being where there are forests. But it is a good place because you can see for long distances." r' <NJ '. )Cl'a-')" imagining him standing at his place in the cooperative print shop, musing on making art, life, survival and change. His drawings communicate his personal vision, and in every one, he tells us his story. y Christine Lalonde Christine Lalonde is che Acting Associate Curator of Inuit Art at the National Gallery of Canada. Untitled (Josie Papialuk on a d og team}, Josie Papialuk, Puvirnituq (felt pen on wove paper; 26 x 20 in.). "On o dog team, Josie Papioluk is travelling on the ice where there is no land. He is hunting for a seol for food; this was how we used to live. We would go hungry for many days without eating. We always hod to seorch for food. This was the only way we would survive, if no one helped us. It would be so cold that you could freeze. Our clothes would sometimes be torn ofter we had been through rough weather, such as blowing or drifting snow. We used to travel during the night when it was very cold. We would not eat for many days. This story I am telling you is true." r' (/\<l '. )Cl'a-')" NOTE All works belong to La Federation des cooperatives du Nouveau Quebec. The National Gallery of Canada gratefully acknowledges their generous loan which has made this exhibition possible. REFERENCES Myers (Mitchell), Marybelle 1988 "Josie Papialook," in Inuit Art: An Anthology. Winnipeg: Watson & Dwyer Publishing (originally published in The Beaver, Summer 1982). 28 VOL. 19, N0. 1 SPRING 2004

31 IMAGES ART GALLERY New carvings by Abraham Anghik We purchase older collections for cash 3345 Yonge Street, Toronto, ON M4N 2M6 (Tel.) ABRAHAM ANGHIK UPCOMING SHOWS Josiah Nuilaalik, B.P. Judas Ullulaq Nick Sikkuark Alex Alikashuak 0 home O(OWOY new location: 26 Maine Street Kennebunkport, Maine USA or Arctic and Indian Arts (note.biz, not.com) Summer 2004: June/July: "Exclusively Bears" August /September: "New Work by Young Arctic Artists ( 16 to 36)" "Ugyuk Spirit Helper" David Ruben Piqtoukun 25" X 11" X 7"

32 Okpik Pitseolak The Inuit Art Foundation is grateful for the support of our readers. We hope you will continue to help us provide valuable services to Inuit artists by: making a financial donation towards any of our programs purchasing at our Ottawa shop or on-line at attending one of our special events where you can meet visiting artists '-" Regilee Piungituq For more information about how you can become one of the foundation's active supporters, please call Pam Brown at (613) ext.21

33 Patrons ($1 ooo or more) Daniel & Martha Albrecht Susan Carter David & Nazie Harris, Harris Gallery James Houston Greg Latremoille Joseph G. & Jean Sawtelle Fund of the Greater Piscataqua Community Foundation Dorothy M. Stillwell Associates ($500-$999) Catherine & Philip Evans Jaan Whitehead Supporters ($100-$499) Gary & Marcia Anderson Violet Czigler Irena & Peter Dixon John P. Doelman Ill Eleanor R. Erikson Janice Gonsalves Margaret Hughes Judith & Peter Jekill Dr. H.G. Jones Joyce Keltie Simon E. Lappi Nancy Keppelman Charles C. Kingsley Sheila Mccallum Les & Sandy McKinnon Charlotte & Arthur Shull Faye L. Stephenson John Terriak Kaye & Bill Teschke Friends (up to $99) Lea Algar-Moscoe Jim Aufderhaar Ann Badke Marie R. Bauer Wendy Fisher Dr. David Goldbloom A.F. Kurtz Ann McKendry Johnny Mike Valerie Stubbs Elaine R. Taylor m.. 0.,.. fts., - :I C Please see the donation card in this magazine or contact: Inuit Art Foundation 2081 Merivale Rd, Ottawa, Ontario, Canada K2G 1 G9 Tel.: (613) iaf@inuitart.org Canadian and American donors are provided with tax receipts and all donations are acknowledged in Inuit Art Quarterly. Charitable registration # RR0001

34 R E V E W Cape Dorset Annual Print Collection Two images shimmer in the memory long after one's viewing of the 2003 Cape Dorset print collection: Kananginak Poocoogook's Arvialuk (Great Big Whale) (Fig. l) and Kenojuak Ashevak's Deep Blue Sea (Fig. 2). These are arguably the head-turners of the collection, big, bold, exquisitely printed. Kananginak's monumental whale swims powerfully, flicks his tail, a meaty, muscular creature bursting to the edges of the oversize paper, the textures and depths of its sleek, inky coat sensitively captured in monochromatic lithograph. This is classic Kananginak, a colossal icon of the ancient riches of rhe sea. Kenojuak Ashevak's Deep Blue Sea, also a large-scale work, dazzles with its colour and big, confident forms. Two great pink-bellied fish float weightlessly among their complex seashells in indigo waters, where Fig. 2: Deep Blue Sea, 2003, Kenojuok Ashevok, Cope Corset (lithograph and stencil; 30.1 x 44.7 in.). 'P <l../<l" <ii<'', p..,ltf a starfish shines like a distant sun. The colours here are subtle, richly printed, the purplish sea so deeply rendered as to be magical. The whole effect is both vibrant and whimsical. This work is a masterpiece of printmaking, a true credit to the talents of Niviaksie Quvianaqtuliaq. Kcnojuak 32 I VOL. 19, N0. 1 SPRING 2004

35 Fig. 1: Arvialuk (Great Big Whole), 2003, Kononginak Pootoogook, Cape Dorset (lithograph; 44.3 x 30.2 in.). ba.'-r a'." ))J", p "l.t,[i' INUIT ART QUARTERLY I 33

36 is the most fully represented artist in this year's collection, offering six prints. Among the five remaining works, we find standard Kenojuak fare - where even the fish have grown the plumage that made her famous. Nothing new here, though the images appeal, being brilliantly coloured and finely printed. Human figures are tiny, Fig. 4: Arctic Evening, 2003, Suvinoi Ashoono, Cope Dorset (lith og raph; 22.5 x 30. l in.). N,a_/1 <Jh.., P""-Lfi' the emphasis being on the dwarfing of the communi by the great sea lift ships Joining these two old masters is another veteran, Pitaloosie Saila, of whom we, regrettably, get only a glimpse this year. Her Self Portrait (Fig. 3), a woman's tattooed face and shoulders framed by the shape of the ulu knife, is quietly beautiful, enigmatic. Printer Pitseolak Niviaqsi has deftly employed lithograph and stencil to convey the soft textures of her hide clothing and to capture the fine escaping tendrils of her hair and the exotic pattern of her tattooing. Notwithstanding the steadfast and sturdy talents of these three old masters of Cape Dorset, the most exciting voice in the collection might in fact be a relative newcomer, Suvinai Ashoona. Since she began drawing in 1995, she has slowly been emerging as an artist with a truly original vision. She is represented here with a small body of work - four images - that is arresting in its range of expression. In Arctic Evening (Fig. 4), a kneeling mother with a baby in the hood of her amauti tends to supper in an igloo or tent interior, while her husband looks on and two children sleep beside her. Suvinai draws with a fluid line, her forms flowing easily. She accommodates the family of five in the tight quarters with a complex and masterful handling of space. Her interests in realism or documentary are earnest, giving marvellous attention to derail, right down to the Blue Ribbon flour and the Red Rose tea, the pilot biscuits, the coke and Coffee Crisp. The composition is unified by soft pastel harmonies, which are set off by the rugged textures of qulliq, gravel flooring and the figures' coarse hair. In two other of Suvinai's images, Low Tide (Fig. 5) and Summer Sealift Fig. 3: Self Portrait, 2003, Pitoloosie Soila, Cope Dorset (lithograph and stencil; 25.8 x 22.5 in.). AC_;r1 fie_, P""-Lfi' Fig. 8: Triumphant Catch, 2003, Ohotoq Mikkigok, Cope Dorset (etching and oquotint; 13.8 x 20.5 in.). l>hi>c" f'pl", P""-L/1' 34 [ VOL.19, NO.l SPRING 2004

37 , :: : ,,. -- Fig. 5: low Tide, 2003 Suvinai Ashoona, Cape Dorset {etching and aquatint; 23.9 x 29.9 in.) t'f;..o..fi <lh, P"'I.Lfi' (Fig. 6), her contexts are equally modern. These are aerial views of contemporary scenes involving the unloading of cargo ships. Human figures are tiny, the emphasis being on the dwarfing of the community by the great sealift ships. Summer Sealift, in particular, with its splashes of red and toy-like boats, houses and tents, has a particularly folklike quality. Suvinai is truly an independent talent determined to follow her own path. She has a novel and eccentric vision and is fully in control of her world. Though she may not be giving the collectors what they are used to, she is certainly an artist to be watched. Two other relative newcomers to the graphics studio - Meelia Kelly (Fig. 7) and Ohotaq Mikkigak (Fig. 8) - are still struggling to find their voices. Though Meelia has been drawing for only two years, her images have an energy and a na ivete together with a strong narrative thrust that will no doubt carry her works as her understanding of graphic principles grows. Ohotaq was a contributor to the 1961 print collection, after which he worked as a wage earner in the community until his recent retirement. Now 67, he is once again trying his hand n at image making. The five works presented here, printed in a variety of media, are remarkable for their range of style. Given time, his works may grow to have more graphic power. Credit is due to the printmakers and the studio staff as they continue to experiment with and develop Cape Dorset's talent, both old and new, giving us, in this collection, much to celebrate..- Dorothy Speak is an art historian and writer. Fig. 6: Summer Sealift, 2003, Suvinoi Ashoono, Cape Dorset (lithograph; 22.3 X 30.1 in.). t'f;..o..fi <lh, P"'I.Lfi Fig. 7: Pursued, 2003, Meelia Kelly, Cape Dorset (etching and aquatint; 26.4 x 24.4 in.). r c-<i be-, P""Lfi' INUIT ART QUARTERLY I 35

38 U P D A T E Kimmirut opens long-awaited venue for local artwork For some, Kimmirut's new gallery has been a long evolution. More than 40 years ago, carver Mark Pitseolak put his work on display in a gallery without walls. It had its perks: the overhead cost was zero and his materials came free. Instead of soapstone, he used snow. But his makeshift shop was based in an outpost far from town, and the only customers for his snowy seal and bird facsimiles were family. Now, his work has a more permanent form - and a permanent selling place. Earlier this month, Pitseolak was one of many local artists who packed into a narrow hall lined with tall glass cases to celebrate the launch of the community's only art gallery. Organizers, politicians and government sponsors attending the December 13, 2003 event hailed the gallery as an economic and cultural boon to Kimmirut, however overdue. Pitseolak saw it as a source of pride. "I never thought I'd see carvings on display like this," Pitseolak said with a wide smile and shining eyes. "They look nicer (under the lights)." Like many artists around him, Pitseolak expected the gallery to attract tourists and bring a boost in sales for the community's legion of door-to-door carvers. Until now, artists had limited options, selling their work to the Co-op or Northern store. Otherwise, they had to wait for the boom season of summer, when luxury cruise ships bring an influx of potential customers. Kyra Fisher, who spearheaded the gallery project, considers the grand opening of the gallery to be a watershed moment for the community. Besides the overflowing crowd that came for the opening, locals have also shown support in ways they didn't before. "Local people are starting to buy," Fisher said as a gallery attendant wrapped sold carvings. "And if local people are starting to buy, it means it's important to them, that it has become part of the community they can identify with and take part in. I think it's extremely significant." The hamlet's economic development officer marshalled about $110,000 in funding and a long list of support agencies from around the territory to change Kimmirut's wooden heritage building, Soper House, into a modern-day gallery. But the work doesn't end here, she said. Fisher wants government to show further support for the arts in Kimmirut by answering calls for a local jewellery studio. The community has an increasing number of artists making pendants, earrings and necklaces since courses began at the Nunavut Arctic College Learning Centre in the hamlet this year. Although sanctioned by the college, the jewellery course was organized independently. Catherine Bechard of Montreal and Allyson Simmie of Nova Scotia were hired to teach an intensive course emphasizing the sustainable use of local materials. The gallery opening featured this carving in apple-green stone by Tukiki Manomie, entitled Animal Human Transformation Spirit. Local jewellery maker Mary Akavak, who sold three items within the first hour of the gallery's launch, said lack of infrastructure is holding artists back. She said jewellery makers have only a temporary space through the college and are forced to take turns with the available tools. Despite the setbacks, Akavak was enthusiastic about the gallery opening. "It made me produce things I thought I wouldn't," she said. "Ugly stones I had... turned beautiful." Politicians attending the opening told artists like Akavak that they should expect continued support from the territorial government. Olayuk Akesuk, who plans to defend his position as MLA for South Baffin in the next election, said he would continue to push for funding for arts and culture programs in his riding. "I think this will be an example of what can be done in the communities," Akesuk said in an interview after the ribbon-cutting ceremony. "This will show that the community can do something, if the government is beside them." By Greg Younger-Lewis, reprinted with permission of Nunatsiaq News Simeonie Killiktee's carving of the sea goddess was on display at the new gallery in Kimmirut. Jack Anawak appointed circumpolar ambassador Outgoing Prime Minister Jean Chretien announced the appointment of Jack Anawak as Canada's Ambassador for Circumpolar Affairs on December 2, Premier Paul Okalik joined 36 / VOL.19, NO.I SPRING 2004

39 able to enjoy a wide variety of cultural activities, including art demonstrations and workshops of carving, printmaking, dollmaking, metalworking and other artforms. Entertainment will include throatsinging, drumdancing and Inuit games. Also planned are presentations by awardwinning filmmakers from lgloolik lsuma Productions Inc. Arts Alive is made possible through Arts Presentation funding from the Department of Canadian Heritage and the Canada Council for the Arts. Some events may require preregistration. For more information, please contact Pam Brown by telephone at (613) ext. 21 or by at pbrown@inuitart.org. Nunavut Premier Poul Okalik attended the opening of the new gallery in Kimmirut..D<l. '>r L,Ld>"n < C>b," Northwest Territories Premier Stephen Kakfwi and Yukon Premier Dennis Fentie in welcoming the federal appointment. "Jack Anawak has handled many northern issues and his experience will help ensure that those issues will continue to be voiced and resolved on the national and international stages," Okalik said in a statement from the Premier's Office. The Ambassador for Circumpolar Affairs represents Canada at international meetings on circumpolar issues, consults with interested Canadians, particularly northern governments and Aboriginal groups and coordinates Canada's participation in the eight-nation Arctic Council, which was created in 1996 to advance circumpolar cooperation. Born near Repulse Bay, Anawak has been involved in politics for many years, most recently serving as a member of the Nunavut Legislative Assembly for Rankin Inlet North. A former member of Parliament for Nunatsiaq and a former Nunavut cabinet minister, he has held numerous portfolios, including Justice, Community Government, and Culture, Language, Elders and Youth in the Government of Nunavut. Anawak also served as Nunavut's interim commissioner prior to the creation of Nunavut in On January 19, 2004, he succeeded Mary May Simon, who served as Ambassador for Circumpolar Affairs from October 1994 until her recent retirement. Arts Alive The Ottawa-based Inuit Art Foundation (IAF) will host a celebration of Inuit art and culture, entitled Arts Alive, from March 26 to 28, The event will bring together many acclaimed artists from all regions of the Arctic to represent the broad spectrum of Inuit visual and performing arts. Along with providing a forum for discussion for artists, the event will allow visiting artists to make connections with the southern public, curators, gallery owners, and collectors of Inuit art. As Arts Alive will coincide with the annual IAF board meetings, the foundation's directors - all practising artists themselves - will serve as facilitators. The event will take place at Saint Paul University in Ottawa. Audiences will be New director of Canadian Guild of Crafts Diane Labelle is the new head of the Canadian Guild of Crafts in Montreal, replacing outgoing director Nairy Kalemkarian in the fall of Formerly the director of a pottery and glass-blowing workshop in the Magdalen Islands, Labelle has extensive experience in the Canadian arts and crafts field. Labelle has also organized exhibitions in Canada, the United States and Europe. Most recently, she served for 11 years as director of operations and marketing for the Salons organized by Le Conseil des metiers d'art du Quebec (CMA). Held in Montreal and Quebec City, the events are large-scale shows and sales of arts and crafts that bring together hundreds of artisans and attract hundreds of thousands of visitors. Some of Labelle's immediate plans for the Canadian Guild of Crafts include concentrating more on fine crafts and trying to increase sales. As for Inuit art, she intends to emphasize the promotion of new and emerging artists. She would also like to help Inuit artists learn about marketing their work on the Internet. Labelle says she plans to solicit grants from the government in order to provide greater exposure of the guild's permanent collection of Inuit art, now nearly 100 years old. INUIT ART QUARTERLY I 37

40 Peter {centre) and Lucille Murdoch (right) were honoured for their contributions to the cooperative move ment in Nunavik. Ac ll'l..,..,i1ll. JC' Peter and Lucille Murdoch honoured for contributions to Nunavik cooperatives Quebec's cooperative council, the Conseil de la cooperation du Quebec (CCQ), presented the 2003 "Ordre du Merite cooperatif quebecois" award to Peter and Lucille Murdoch at a ceremony on November 28, The award was given to the Murdochs in recognition of their exceptional contribution to the Inuit cooperative movement of Nunavik (northern Quebec). Peter and Lucille had been associated with the development of the co-op movement in Nunavik since Peter served as the General Manager of La Federation des cooperatives du Nouveau-Quebec (FCNQ) for 30 years until his retirement in Held in conjunction with FCNQ's board meeting in Baie d'urfe, the ceremony was attended by 180 people, including guests from northern Quebec and Montreal, as well as staff, executive committee and the board of directors of FCNQ. Transitions in Russia Transitions, a travelling exhibition of contemporary Canadian Inuit and Indian art, opened at the Russian Museum of Ethnography (REM) in St. Petersburg, Russia on November 11, Organized by the Indian and Inuit Art Centre of the Department of Indian and Northern Affairs Canada (INAC) in 1997, the instalation of the exhibition was part of celebrations marking the three-hundredth anniversary of the Russian city. The opening featured a drumdancing performance by visiting artist Mathew Nuqingaq of Iqaluit and opening remarks by the museum's director, Vladimir Grusman. The Canadian Consul General, Dr. Anna Biolik, introduced the Canadian delegation, which included INAC staff Viviane Gray and Kim Hayden, as well as visual artist Robert Houle. The opening of Transitions coincided with the instalation of an inuksuk constructed by the sculptor David Ruben Piqtoukun at the Institute of Northern Peoples. Although Piqtoukun did not have a translator to assist him during the instalation, he says the warm attitude of the staff and students of the institute made his task less difficult. Over the course of the several days it took to install the inuksuk, he encountered many people from the northern regions of Russia who reminded him of his own country-people. "I felt a kinship with these faces," Piqtoukun said. "In their quest for greater understanding and knowledge, the students come together, like the parts of stone to eventually become as one. Strong like stone with a solid foundation to build their future on!" With files from David McDonald Baker Lake wall hangings in Japan It has been known that, since World War II, American culture has intrigued the Japanese. Little known, however, is the interest Japanese have in Inuit culture. The Arctic Inuit Textile Art Exhibition was one of the major showings in Niigata, Japan, a city 300 kilometres north of Tokyo. The exhibit featured a collection of 19 wall hangings on loan from Judith Varney Burch, owner of the Arctic Inuit Art galleries. The Baker Lake wall hangings were presented by artist Ruth Tapatai, who also hosted a workshop and gave a speech as part of the event. During her first visit abroad, Tapatai also directed an applique-stitching seminar. According to the Department of Foreign Affairs and International Trade (DFAIT), the show was popular with Japanese audiences. More than 4,000 people, including the mayor of Niigata, attended the exhibit, which opened on July 19 and closed on September 7, Tapatai also visited Aboriginal Canadians and the Ainu, northern Japan's indigenous people, who are participating in an exchange program. She attended a traditional Ainu performance and made presentations on stitching techniques. DFAIT states that it hopes these cultural exchanges will continue and is planning meetings with the Japanese Foundation, an organization that facilitates Japanese cultural exchange programs, to plan an Ainu elders' visit to Baker Lake. Jacques Krzepkowski Revised version of print workbook published Author Sandra Barz has just published a revised and greatly expanded version of her Inuit Artists Print Workbook, the only complete publication of Inuit prints, artists and printers. "It is a tool for a curator, a dealer, a collector, a researcher to check the facts of what he or she is working on," said Barz. Barz has spent 30 years compiling information on Inuit prints. Her first step was to catalogue individual communities, then travel to every major gallery showing Inuit art. She obtained collection information from marketing companies and galleries and she has visited the North nearly 30 times, compiling a list of otherwiseundocumented art. The collection of facts resulted in a two-book workbook which catalogues nearly 8,000 prints dating back to Along with basic print information, the catalogue includes biographies of printers and syllabic signatures. 38 I VOL. 19, NO. l SPRING 2004

41 "This is important for the Inuit art world and for the Inuit themselves who will have a history of what their own families have accomplished," says Barz. JK Aboriginal gathering The Department of Canadian Heritage organized a National Gathering on Aboriginal Cultures and Tourism, which was held in Whistler, British Columbia from December 1 to 3, Hosted by then-minister Sheila Copps, the event brought together Aboriginal representatives from across the country to share experiences, increase awareness of Aboriginal culture and find ways to enhance tourism. Several topics were discussed, including arts and traditions, Aboriginal tourism, marketing and sport. The event followed the successful gathering on artistic expression held in Hundreds of delegates from all regions of Canada attended the conference, representing many different indigenous groups. The event gave participants a welcome chance to do a great deal of networking, according to Lynda Brown, an Ottawa-based teacher and performer with the group Siqiniup Qilauta (Sunsdrum). "Everyone was trading, sharing and making connections," she says. "People were saying, 'We can help you if you can help us."' Brown's group gave performances of throatsinging, drumdancing and Inuit games between workshops. They also had a chance to participate in "Convergence," a gala performance held on the evening of of art, including prints from the 2003 Cape Dorset print collection. Feheley Fine Arts at international art fair For the fourth year in a row, Toronto's Feheley Fine Arts participated in the Toronto International Art Fair which ran from November 14 to 17, It was the only gallery representing contemporary Inuit art at the fair which presents current offerings from galleries around the world, including the United States, England, France, Germany, Austria and South America. JK Project Naming continues A high-school yearbook is a little piece of history, but if the names were erased, only faces and fading memories would remain. That's what staff at the National Archives of Canada were facing when they searched through their "yearbook" of the North - a 50,000-picture collection from the Canadian Arctic, few with identified subjects. In the last two years, however, the Archives has enlisted technology to help isolate and identify the people in its photographs of the North. Known as Project Naming, the effort was spearheaded by a teacher at Ottawa's Nunavut Sivuniksavut college program, and taken on by the National Archives of Canada. The summer 2003 phase of the project identified photos primarily from the Baffin region. The collection included photographs taken by Richard Harrington, as well as archive photos from the Department of Indian and Northern Affairs Canada, National Film Board of Canada and Health Canada. "The program involved recalling, zoning in and focussing on when photographers went to the North between the 1920s and 1960s," says Beth Greenhorn, an on-line services project coordinator with the National Archives of Canada. Students in the Nunavut Sivuniksavut program scanned photos onto laptop computers and took them on northern expeditions. They showed elders the photographs and asked them to identify the people in them. "In the Harrington collection there were 500 photos," says Greenhorn. "About 275 individuals were identified." The program has been in the works for two years, and Greenhorn says she doesn't see an end in sight. "As long as we can secure funding for it, I see it as an ongoing project," she says. JK Collective bargaining for artists sought Canadian Artists' Representation/Le Front des artistes canadiens (CARFAC) is negotiating with the National Gallery of Canada (NGC) to create a collective bargaining agreement. Its intention is to raise living wages for artists. Canada is one of the few countries that requires payment for public exhibitions of an artist's work. It is the only country in the December 2, which featured performances by a number of musical artists, including the Mi'kmaq rock band Red Ochre, Sta'atl'imx bluesman George Leach, Dene singer Leela Gilday, Melis fiddler Richard Lafferty, Nunavik throatsingers =.s Taqralik Partridge and Nina Segalowitz j and Stoney Tribe drummers Eya Hey Nakoda. Scheduled for broadcast on the Aboriginal Peoples Television Network (APTN), the event also featured dance performances, storytelling and projections (from left) Faye Settler and Patricia Feheley at the 2003 Toronto International Art Fair. t,,.., <l'l.., On.\ Hilc- As we went to press, we were saddened to hear that Faye had passed away on January 21, This photo was taken about two months earlier. f INUIT ART QUARTERLY I 39

42 world to recognize an artist's exhibition payment rights. "We want to raise fees to make [art] a living income," says CARFAC chief negotiator Karl Beveridge. CARFAC began negotiations with the NGC on December 1, Negotiations with private institutions are not possible because federal law covers only public institutions. Beveridge says that although the NGC has been paying fees, it is the target of negotiations because of its size. ''The National Gallery [of Canada] seems the most logical because it sets a precedent," he says. Beveridge admits that most public institutions pay the fees set by CARFAC, but some institutions don't pay certain fees. He says the NGC is not paying website exhibition fees. Beveridge says artists' fees are a problem because the Copyright Act is vague regarding payment. "The Copyright Act says you have to be paid [for the exhibition of art]," he says. "But it doesn't say how much." Many artists are forced to take galleries to court to get the money they deserve for the exhibition of their work. Beveridge says CARFAC hopes collective bargaining agreements will eliminate this step. The organization and the National Gallery of Canada will meet once a month, and Beveridge says he hopes to have a deal by the end of JK Power of Thought opens in California An expanded version of the exhibition Power of Thought: The Art of Jessie Oonark opened at the UCLA Fowler Museum of Cultural History on February 8, On display until May 30, the exhibition presents 40 of the well-known Baker Lake artist's prints, as well as a selection of 12 drawings and 6 textiles, all of which explore and celebrate the life, land, mythology and activities of Inuit culture. A self-taught artist, Oonark began drawing in her fifties, later working with printmakers in Baker Lake. The brilliantly coloured stone-cut, silkscreen and stencil prints featured in Power of Thought were produced between 1970 to The exhibit takes its title from a 1976 drawing and print of the same name. The travelling exhibition of prints was organized by the Marsh Art Gallery of the University of Richmond Museums. The Fowler has added drawings and textiles to the exhibition from the Winnipeg Art Gallery and the National Gallery of Canada to tell a fuller story of this important artist. Guest curated by Marie Bouchard, an independent art historian, the exhibition features prints lent by Judith Varney Burch, owner of the Arctic Inuit Art galleries in Kingsburg, Nova Scotia and Virginia. Power of Thought is also supported by the Department of Foreign Affairs and International Trade, the Canadian Consulate General, Los Angeles, Air Canada, the Yvonne Lenart Public Programs Fund, as well as private donors. The opening ceremonies featured a reception hosted by the Canadian Consulate General, Los Angeles and a lecture by Bouchard on how Oonark used a process of visual thinking to explore issues of being, identity, time and space. The museum also held special events in connection with the exhibition, including printmaking and applique workshops for children and families. Power of Thought has previously been exhibited at St. Lawrence University in Canton, New York, the University of Richmond in Richmond, Virginia, Bowdoin College in Brunswick, Maine, Power of Thought, 1976, Jessie Oonark, Baker Lake ( silkscreen on paper; x in. ). 40 I VOL. 19, NO. I SPRING 2004

43 JUDITH VARNEY BURCH ARCTIC INUIT ART Kingsburg, Nova Scotia Canada MarionScottGallery June 2004 Arctic Visions Inuit Drawings from Northern Canada October 2004 Lucy Tasseor The Same as Singing 481 Howe Street, Vancouver, BC V6C 2X6 Tel:

44 the Charlottetown Confederation Centre in Charlottetown, Prince Edward Island and the Kresge Art Museum at Michigan State University in East Lansing, Michigan. Following its run at UCLA, the exhibition is scheduled to be shown at Duke University in Durham, North Carolina and the Utah Museum of Fine Arts in Salt Lake City, Utah. Ste-Julie art symposium Nunavimmiut artists Joseph Jonas and Sammy Kudluk were among 80 visual artists in attendance at the annual art symposium held in Sainte-Julie, Quebec from June 5 to 8, It marked the first time that Inuit from the North have participated in the event which attracts over 10,000 visitors each year. Along with demonstrations of carving and painting, the two artists also gave promotional presentations on organizations in Kuujjuaq, Nunavik Tourism and Katutjiniq (Kativik Regional Development Council). During the symposium, Jonas carved a three-foot-high work in soapstone and Kudluk completed four acrylic paintings depicting Inuit themes. Film commission for Nunavut In the past, the Inuit filmmaking tradition consisted of southerners taking documentary footage of igloo-building and releasing it through the National Film Board of Canada (NFB). Times are changing. Zacharias Kunuk's film, Atanarjuat - The Fast Runner, was the first feature film by an Inuit filmmaker in lnuktitut - and it won innumerable awards at film festivals around the world. In this spirit, the Government of Nunavut has created a film commission, designed to encourage television and film production in Nunavut. "The film commission is providing capital from the government and other private and public sources to further film and television production in Nunavut," says acting commissioner Ed McKenna. Currently, most films made in Nunavut are independent films, typically assisted in part by film cooperatives such as lgloolik lsuma Productions Inc. (of which Kunuk is president) with financial support from Telefilm Canada or the NFB. McKenna says that, although the Government of Nunavut has funded films in the past through other programs, the film commission is the first government program to focus solely on film. "[The mandate of the commission] is to encourage the participation of people from Nunavut in film production," he says. The commission will provide training programs, script development, marketing assistance and even labour rebates for larger productions in Nunavut. McKenna says that many large film projects use Nunavut for location shooting because of the landscape and the job of the commission is to ensure that as many people from Nunavut are hired as actors or in technical roles as possible. "It is intended to provide support for people who are living in this area," he says. McKenna says that the government is not using the film commission as a way to make money. The exposition of northern culture is an important aspect of the project and the commission will become involved in many aspects of film production to ensure the future of filmmaking in Nunavut. McKenna says that low-budget and ultra-low budget films may not receive the priority that larger productions will get, but training programs administered by the commission will help students in the long run. The most restrictive aspect of the commission, says McKenna, is the funding. "The amount of funding that is available is significant," he says, "but it's not huge." The commission accepted its first round of proposals for productions on November 14, 2003 and will begin funding films in JK Nunavik art survey In the fall of 2003, Avataq Cultural Institute began conducting a survey of artists, arts organizations and arts and crafts businesses in Nunavik to determine what kinds of funding are currently available to Nunavimmiut artists. The survey is being done in partnership with the Societe du developpement economique du Quebec (SODEC) and the Conseil des arts et des lettres du Quebec (CALQ). The participating organizations hope the survey will highlight ways they can better deliver their programs to artists in the region. Avataq staff are travelling to each community in Nunavik to gather information. For more information on the survey, please contact Taqralik Partridge of Avataq at or by at taqralik@avataq.qc.ca In February, Avataq signed a contract with the Canada Council for the Arts to publicize the council's programs and grants, beginning in Nunavik before moving on to other Inuit regions. NFB documents arctic iourney It took four months to complete and over a year to compile, but the National Film Board of Canada (NFB) is ready to unveil its expedition masterpiece. The expedition ship SEDNA IV took a crew of NFB filmmakers on a trek across Canada's North, beginning in the Magdalen Islands on the Atlantic Coast and ending up in Vancouver on November 24, Five documentaries were made on the voyage, covering issues such as climate change and a contemporary view of Inuit life. The "Arctic Mission" documentary series was unveiled for a small audience during the NFB's public relations expedition to Nunavut from November 27 to December 1, The purpose of the visit was to nurture relations between the NFS and Inuit filmmakers. Director general of English programming Tom Perlmutter, executive producer Graydon McCrea and animation producer Michael Scott represented the film board. Among other talent, the NFS was looking for young animators and is offering an animation workshop in Nunavut in early Perlmutter told Nunatsiaq News that animation features are an exceptional storytelling medium, as they can be produced in several languages and are ideal for telling traditional stories. NFS representatives also attended a screening of past and present NFB films showcasing Inuit life. The Iqaluit presentation portrayed the past 60 years of film production in the North. The NFS representatives met with Inuit filmmakers at the studios of the Inuit Broadcasting Corporation (ISC) and also met with artists later that evening. The public screening on November 26 allowed the public to get a glimpse of the films made during the historic voyage. The 42 I VOL. 19, NO. I SPRING 2004

45 NFB website traces the voyage, showcasing 27 mini-documentaries, 60 video clips, over 750 photographs and 21 scientific articles. The three-mast sailing ship made stops in Salluit, Ellesmere Island, Gjoa Haven, Point Barrow and Tuktoyaktuk. A virtual recreation of the voyage, along with photographs and an itinerary are available on the NFB's website at: JK Forum on conflict resolution lnuuqatigiit Forum on Conflict Resolution, a year-long project which aims to support the exchange and documentation of Inuit thoughts and perspectives on peacebuilding, conflict resolution and transformation, will conclude in May Every two months beginning in May 2003, forum organizers have held conflict and cultural workshops which are open to the public. The gatherings are intended to allow people to share and document ideas based on traditional Inuit approaches to conflict prevention and resolution. The forum's website states that: "Inuit are world-renowned for their non-violence and peacefulness. We want to understand the values and principles behind this reputation better from people who have personally experienced it, and we want to share in developing this human capacity in our own modern communities." Participants are also seeking to support the creation of an institute in Nunavut for conflict resolution based on Inuit values. Janet Tamalik McGrath, who volunteers as the project coordinator, and Inuit elder Nilaulaaq Miriam Aglukkaq formulated the concept for the innovative project in May The previous fall, McGrath was attending courses on conflict dynamics at Saint Paul University and Aglukkaq, who was visiting Ottawa, began to sit in on classes. "There were a lot of things in Inuit culture that related to our project," she says. "[Aglukkaq] wanted a place where Inuit could explore conflict resolution with other people." When Aglukkaq came back in May 2003, she was joined by four other elders, Rhoda Akpaliapik Karetak, Mark Kalluak, Donald Uluadluak and Louis Angalik. "I think the Inuit elders left me with something I wanted to explore," says McGrath. Along with roundtable discussions on language, values and art, the workshops also include cultural exhibitions such as dancing, drumming, singing and games. A special event held on December 3, 2003 focused on an Inuit-African exchange of ideas about conflict resolution. An event in February explored the role of language in conflict resolution. The forum will draw to a close with an examination of the role of art in peacebuilding and reconciliation on May 5, McGrath says anyone can learn through the discussions including governments, communities and households."lt's a positive look, a positive view," she says. A website about the forum has been developed and is available at: JK Inuit art appreciation group The Inuit Art Society (IAS), a recently formed U.S.-based Inuit art appreciation and education group, has made significant progress over the last several months. In addition to hosting a wellattended meeting and market in Chicago, Illinois last August, members met at the Dennos Museum Center in Traverse City, Michigan in October and drafted society bylaws, appointed officers and are in the process of incorporating. President Matthew Quigley said "this is an exciting time as we are increasing membership, establishing near- and longterm objectives, and gaining momentum - all of which will enable us to accomplish our mission of providing education about, support for, and increase awareness of the culture, artforms and artists of the Arctic." In March 2004, IAS members will have the opportunity to attend the Arts Alive festival hosted by the Inuit Art Foundation in Ottawa, participate in a tour of Toronto-based wholesale warehouses led by the Dennos Museum Center in April and attend the third IAS annual meeting currently in the planning stages for fall If you are interested in society, event, or membership information, please contact Crichton Comer by at ccomer@kde.state.ky.us or by telephone at (502) Be sure to include your name, address, phone number and address, if available. PEOPLE Osuitok lpeelee of Cape Dorset will be honoured with a National Aboriginal Achievement Award (Arts and Culture). Sheila Watt-Cloutier, the chair of the Inuit Circumpolar Conference, will also receive an award for her work in the preservation of the environment. The awards will be presented during a ceremony at the Southern Alberta Jubilee Auditorium in Calgary on April 4, Judith Nasby, director of the Macdonald Stewart Art Centre, gave a curator's tour of the exhibition Irene Avaalaaqiaq: Myth and Reality at the Textile Museum of Canada in Toronto on November 19, Collector Jerry Twomey was honoured by the Winnipeg Art Gallery (WAG) on December 10, The reception was followed by a personal tour of the exhibition The Jerry Twomey Collection at the Winnipeg Art Gallery: Inuit Sculpture from the Canadian Arctic. The 4,000 sculptures donated by Twomey in form the heart of the WAG's 10,000-piece collection of Inuit art. This exhibition presents an overview and highlights of an unparalleled collection, with approximately 140 artists being represented. It is accompanied by a publication presenting previously unknown information about Twomey and his collection. Michael Bell retired as director of the Carleton University Art Gallery (CUAG) in December During a career spanning more than 35 years, he worked at a number of Canadian arts institutions, including the National Archives of Canada, the Agnes Etherington Art Centre, the Ontario Arts Council, the National Gallery of Canada and the McMichael Canadian Art Collection. He was also the first president of the Inuit Art Foundation. Bell wrote that ''The most important and most rewarding of my assignments has been my time as director of Carleton University Art Gallery." -.. INUIT ART QUARTERLY I 43

46 IAQ Boutique more than just shopping... Shaman's Fighting Agnes Nanogak, Holman 1985 print 19" x 25.5" $500 Amauti Elisabeth Alareak, Arviat $3,400 t' : \.::::::::::: ::"- Snow Goggles 5" X 1" Caribou Bone & Skin $79 Bear 14" X 12" X 14" Temla Tikivik, Kimmirut Green Serpentine $2,200 Dolle Eunice Angutaurtuq, lgloolik Woman - 16" x 9.5" x 4", Man - 18" x 8" x 3" Duffie, Cloth & Caribou Skin $325 Each

47 Couple With Two Dogs Helen Kalvak, Holman 1982 print 20" x 25.5" $650 Woman 9" x 5" x 4" Omalluq Oshutsiaq, Cape Dorset Black Serpentine $940 Walrus 14" x 10" x 11" Kellipalik Qimirpik, Cape Dorset Green Serpentine, Caribou Bone $3,400 Couple with Snow Goggles 1982 print 19.5" x 25.5" Helen Kalvak, Holman $650 To order these or other items: Inuit Art Boutique 2081 Merivale Road Ottawa, Ontario K2G 1G9 Canada Tel: in u ita rti stsshop@rogers.com Drummer 9" x 6" x 3" Nujalwa Tunniliie, Cape Dorset Green Serpentine with Whale Bone Drum $575 We ship worldwide NON-PROFIT

48 N M E M O R A M f of Nova Scotia and the Dennos Museum Center at Northwestern Michigan College in Traverse [ City, Michigan. es D uring an interview with Simeonie Kunnuk (IAQ 12, 1:29), 1$. - Arnamissak said that although his life as a full-time artist was difficult at times, he enjoyed his profession and could not imagine doing anything else. "The art that is made throughout the world will never be lost," he said. "Being able to leave something that people remember you by long after you've passed on is something to look forward to. I am happy that I will be able to leave something of myself after I die, so I will be carving for as long as I can." Jimmy Arnamissak at The Guild Shop in Toronto, ;,.r <l'os',", ll.o' <l"rc>c" JIMMY ARNAMISSAK ( ) Inukjuak carver Jimmy Arnamissak drowned on June 21, 2003 when his snowmobile fell through the ice covering a lake as he returned home from hunting. He was 57 years old. Arnamissak is survived by his wife Winnie, children Isa, Louisa, Emily, Inuksiaq and Elisapie, and many grandchildren. Born in 1946 at Cape Smith, Jimmy Inaruli Amamissak was also known as "Jimmy Smith" which was derived from his birthplace. He lived in the community (now known as Akulivik) until about He also lived for a time in Puvimituq, before settling in lnukjuak. His father Silassie died on a hunting trip when Arnamissak was a young boy, leaving his mother Louisa to support the family. Recognized as one of N unavik's leading sculptors, Amamissak began carving in 1957 to supplement his mother's pension. Apart from a brief period in the 1970s when he worked as the manager of the cooperative in Inukjuak, Amamissak devoted himself to carving full-time. He was also a skilled hunter, a subject he depicted in many of his sculptures. His mother, who died in 1975, also served as a subject in his artwork. Louisa's facial features can be seen in his carvings of female figures and many of his works were based on the theme of the active mother and wife busily engaged in domestic activities. He is also well known for his vignettes of northern life which often include groupings of people, kayaks, dogteams, igloos and i<.omatiit arranged on flat bases. With their smooth contours and compact arrangements, his detailed carvings convey a strong sense of activity and narrative. Sometimes, he also used ivory inlay for the faces of his figures. In 1984, Amamissak travelled to Tokyo to participate in an exhibition at the Canadian Trade Centre, an event sponsored by La Federation des cooperatives du Nouveau Quebcc. In 1986, Arnamissak's work was included in an exhibition of Inuit and African soapstone carving that was shown in the Kisii district of western Kenya. He was subsequently invited to work in the Kenyan village of Tabacca in August as part of a cross-cultural exchange sponsored by the International Development Research Centre in Ottawa. Since 1966, Amamissak's work has appeared in over 50 group exhibitions and several solo exhibitions. His work can be found in private and public collections in Canada and the United States, including the Canadian Museum of Civilization, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Art Gallery ROBERT McMICHAEL ( ) Art patron Robert McMichael died from pneumonia on November 18, 2003 at the age of 82. He is survived by his wife Signe, with whom he founded the McMichael Canadian Art Collection in Kleinburg, Ontario. Home to one of the largest permanent collections of works by the Group of Seven, the McMichael Collection also includes a diverse collection of works by Inuit artists. The permanent collection was supplemented in 1991 by the long-term loan of some 100,000 drawings, prints and sculpture from the West Baffin Eskimo Co-operative Ltd. in Cape Dorset. In 1955, the McMichaels began collecting works by Canadian artists, such as the Group of Seven, Emily Carr and David Milne. They opened their home to the public in the early 1960s and in 1964, the couple donated their home, gallery and collection of Canadian art to the people and province of Ontario. ALSO RECENTLY DECEASED: Graham Rowley ( ) Faye Settler ( ) Doris Shadbolt ( ) (Obituaries will be published in the Summer 2004 issue of IAQ.) 46 I VOL. 19, NO. l SPRING 2004

49 L E T T E R S Proposal for Collectors' Society in Bay Area Like all other subscribers, I am delighted that IAQ is back up and running, and I want to ask for your help. As longtime Inuit art collectors living in Oakland, California, my wife and I would very much like to be part of a group that regularly gets together to talk about Inuit art, see each other's collections and promote broader interest in and appreciation of Inuit art. But as far as we know, there is no Inuit art enthusiasts' society in the greater San Francisco Bay Area. I hope you will publish my request for anyone who is aware of such a group to contact me. If no such group exists now, I am definitely interested in helping form one and would love to hear from anyone else who is interested. My address is Jandbtoll@aol.com and my phone number is (510) Thank you very much. I look forward to future issues, as always. Bob Toll Oakland, California INUIT ART QUARTERLY I Al

50 ADVERTISER INDEX ABoriginArt, World Wide Web I.B.C. Feheley Fine Arts, Toronto, Ontario Inuit Images Adventure Canada First Peoples Gallery Sandwich, Massachusetrs Toromo, Ontario Rocky River, Ohio I 0 Kingait Gallery Albers Gallery Galerie d'art Vincent London, Ontario San Francisco, California Ottawa, Ontario; Toronto, Ontario; Long Ago and Far Away Arctic Artistry Quebec City, Quebec O.B.C. Manchester Center, Vennont Hastings-on-Hudson, New Yo r k Galerie Elca London Look North Arctic Inuit Art Montreal, Quebec World Wide Web...,... 8 Richmond, Virginia; Marion Scott Gallery Gallery of the Midnight Sun Kingsburg, Nova Scotia Vancouver, British Columbia I Yellowknife, Northwest Territories Arctic Nunavut Maslak McLeod Gallery Gallery Phillip, Don Mills, Ontario Toronto, Ontario Toronto, Ontario Arts lnduvik, Iqaluit, Nunavut; Montreal, Quebec; Harris Gallery, Toronco, Ontario F.C., I Home &Away Native Art Traders Skokie, Illinois Vancouver, British Columbia Kennebunkport, Maine Northern Images Canadian Arctic Gallery lgloolik lsuma Productions Inc. Yellowknife, Nonhwest Tmiiories...,41 Basel, Switzerland Montreal, Quebec Nunavut Gallery Canadian Arctic Producers Images Art Gallery Winnipeg, Manitoba Toronto, Ontario Toronto, Ontario Sivertson Gallery Cerny Inuit Collection Inuit Art Foundation Grand Marais and Bern, Switzerland Z 4 Ottawa, Ontario.....7,25,44 Duluth, Minnesota Don Morgan Gallery Inuit Art Foundation, Donor Ad Waddmgton's Worla Wide Web Ottawa, Ontario Toronto, Ontario... 6 <, 11]4Jit Art Foundation.,..., "' "".... v l,/,...,. AOIS HAABOUR,' i'j' AKlAVIK f I luktoyaktuk { " INUVIK ) ',j,j -HOl./,\AN -' -ravoe RIVER I.,\._ PAULAlU -1, -..,._,,61-, - "'. IGLOOllK "' '-!CAMBRIDGE BAY TAlOYOAK HALL BEA ' I 11i.,.,..'_ KUGLUKlUK -: t. GJOA HAV/N...,,, 1 KUGAARUK... J \ I,,.,...,, \ (PellyBoy) l.,. "".;\v REPULSE BAY /41. -' ""'J\ '.', t; I'( A V U ;,..,:, '., No11r._,.. CAPE DORSfl >,..,t&... " 1. "1Csr rf:1111n0,.,,, ""' '=!'-, AiR u\ KE CORAL HARBOUR (Kiogoil) /.,...,.,_). 1, " 111"- - - / KANGIQSUJUAQ ""'....,,,_ {.I. RANKIN INLET..,..._ '1- u.., "",, -" (/ KAN R:IIK SALLUI!,. OIESTERFIELD INLET IVUJIVIK QUAQTAQ "-, s,...,;: ',..,_,, "'""""" ARVIAT PUVIRNITUQ - KUUJ JUAQ,.(,,.,,_ ' --_,.....,.._::,,.,?,r'/.,_ J WHALE COVE AKULIVIK GI. KA GIQSUALUJJUAQ. ' NAIN...,.# i,.;;,., "' ' ', HOPEOALE r MAKKOVIK /IL 1><0 -. :..::. "o:;',!;-< INUKJUAK POSJVllli RIGOLE.T 0/ l/418 I V _, / Qf',.11;hl:I r"' "''.:_."C' la'""'-...,.,-._ / f ' """"' ' s.... SANIKILUAQ UMIUJAQ. / HA P,PY,YAL -uoose BAY NORTHWISTRIV : R.a,,,,..;,,E:Rl:A - ',,-.,,,,.,...,_.J. A. L4tocne fl L)'rlnl.tlke (. -,,P,..,...J, ' 9'- ' LABRADOR s,.,.""': ',, 1 D KUUJJUARAAPIK " ')_ ' /, Ci _ } s.a.,,!>- N4 i}.,,.,, : ' w, a MAXITOBA :.. \. '" >._r ' "' "' t"",,;,...,,, _..., """'""" ""' o,.., _,s,ska rc:11,:w Af, C\ Q \l t {,,,.. " "'"'. s.,.. c Vtv/ Q l.1 1-_; "' illtto.o,.. \ ' t:s Nott/ia.,.'- II.Sar.oYLake -.,\ f GJ)w- (fj,: )?- -<. - / CaJ O-. 1 1tloo.. BQtensA->IOr /jj \ 'f#i" ot:i- 'I:,'..11 I. -.i... -

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