CCCA Canadian Art Database

Community: recZJXig7mWdp3Us2

ᓗᒃ ᐊᖑᐊᓗᖅ Luke Anguhadluq

First Name: ᓗᒃ ᐊᖑᐊᓗᖅ Luke

Last Name: Anguhadluq

Biography (English): Luke Anguhadluq was an Inuk printmaker and graphic artist from Tariunnuaq [Chantrey Inlet], NU. He spent the majority of his life living on the land in an Utkuhikhalingmiut camp until later in life when he relocated to ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq [Baker Lake], NU. At 73, Anguhadluq began drawing exploring themes of hunting, drum dancing and community. In 1969 a printmaking program was introduced in ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq and Anguhadluq’s drawings were quickly transformed into prints. Over 80 of Anguhadluq's artworks were featured in the Baker Lake Print Collection. His earlier works from 1960-1969 were composed using graphite, felt-tip pen and coloured pencil. Human figures from this early period are generally silhouetted in dark colours, though this style does reappear in later works such as String Game (1973). From 1970-1982, Anguhadluq gained access to higher quality paper as well as a larger range of coloured pencils and ink and as a result he incorporated more colour into his compositions. He also increasingly added more details to his works such as tattoos and decorative clothing. Anguhadluq also began incorporating multiple perspectives into his work, moving away from narratives that happened on a linear plane and beginning to portray larger groups of people. The drawing Drum Dance (1970) prominently features a top-down view of the activity concentrated around the drum. Anguhadluq has an accomplished artistic legacy. In 1976 he shared an exhibition space with his wife Marion Tuu'luq at the Winnipeg Art Gallery titled Tuu’luq/Anguhadluq. In 1993 the Art Gallery of Ontario organized a solo exhibit of Anguhadluq’s work titled From the Centre: The Drawings of Luke Anguhadluq, held in Ottawa at the National Gallery of Canada.

Biography (French): Luke Anguhadluq était un graveur et graphiste Inuk de Tariunnuaq (Chantrey Inlet), au Nunavut. Il a passé la majeure partie de sa vie sur les terres d’un camp Utkuhikhalingmiut jusqu’à ce qu’il déménage plus tard à ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq [Baker Lake], au Nunavut. À 73 ans, Anguhadluq a commencé à dessiner en explorant les thèmes de la chasse, de la danse du tambour et de la communauté. En 1969, un programme de gravure a été introduit à ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq et les dessins d'Anguhadluq ont été rapidement transformés en gravures. Plus de 80 œuvres d'Anguhadluq figuraient dans la collection d'estampes de Baker Lake. Ses premières œuvres de 1960 à 1969 ont été composées à l'aide de graphite, de feutre et de crayon de couleur. Les figures humaines de cette première période sont généralement représentées dans des couleurs sombres, bien que ce style réapparaisse dans des œuvres ultérieures telles que String Game (1973). De 1970 à 1982, Anguhadluq a eu accès à du papier de meilleure qualité ainsi qu'à une plus large gamme de crayons de couleur et d'encre et, par conséquent, il a incorporé plus de couleurs dans ses compositions. Il ajoute également de plus en plus de détails à ses œuvres, tels que des tatouages et des vêtements décoratifs. Anguhadluq a également commencé à incorporer de multiples perspectives dans son travail, s'éloignant des récits qui se déroulaient sur un plan linéaire et commençant à représenter des groupes plus larges de personnes. Le dessin Drum Dance (1970) met en évidence une vue de haut en bas de l’activité concentrée autour du tambour. Anguhadluq a un héritage artistique accompli. En 1976, il partage un espace d'exposition avec son épouse Marion Tuu'luq à la Winnipeg Art Gallery intitulé Tuu'luq/Anguhadluq. En 1993, le Musée des beaux-arts de l’Ontario a organisé une exposition personnelle de l’œuvre d’Anguhadluq intitulée Du centre : Les dessins de Luke Anguhadluq, tenue à Ottawa au Musée des beaux-arts du Canada.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Luke-Anguhadluq

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1895

Medium: drawing printmaking

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ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq

First Name: ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus

Last Name: Arnasungaaq

Biography (English): ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq was one of the first participants in his community’s sculpture program in the early 1960s. His work has had a great influence on his community and on the art of the Keewatin for more than four decades. Although he created a number of prints and drawings during his career, Arnasungaaq is first and foremost recognized as an important figure in contemporary Inuit sculpture. He continued to make works that embody the wonderful ideographic quality that we have come to associate with the artistic communities of the tundra. During his career, the artist participated in more than 100 group and solo shows in Canada, the United States and abroad. Today his works can be found in important collections, such as the Prince of Wales Northern Heritage Center, the University of British Columbia Museum of Anthropology, the National Gallery of Canada, the Center of the Dennos Museum, the Canadian Museum of Civilizations, the Peary-MacMillan Arctic Museum and much more.

Biography (French): ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq fut l’un des premiers participants au programme de sculpture de sa communauté au début des années 1960. Son travail a eu une grande influence sur sa communauté et sur l’art du Keewatin depuis plus de quatre décennies. Bien qu'il ait réalisé de nombreuses gravures et dessins au cours de sa carrière, Arnasungaaq est avant tout reconnu comme une figure importante de la sculpture inuit contemporaine. Il a continué à réaliser des œuvres qui incarnent la merveilleuse qualité idéographique que nous en sommes venus à associer aux communautés artistiques de la toundra. Au cours de sa carrière, l'artiste a participé à plus de 100 expositions collectives et individuelles au Canada, aux États-Unis et à l'étranger. Aujourd'hui, ses œuvres se retrouvent dans d'importantes collections, telles que le Centre du patrimoine septentrional Prince-de-Galles, le Musée d'anthropologie de l'Université de la Colombie-Britannique, le Musée des beaux-arts du Canada, le Centre du Musée Dennos, le Musée canadien des civilisations, le Musée Peary -Musée de l'Arctique MacMillan et bien plus encore.

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1924

Medium: sculpture

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ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq

First Name: ᔭᓇ ᑭᒍᓯᐊ Janet

Last Name: Kigusiuq

Biography (English): ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq was an Inuk artist. In 1967, Kigusiuq began to draw to supplement her family's income after encouragement from her mother. Kigusiuq's bright, bold and graphic work focused on camp life activities like hunting and fishing and supernatural forms inspired by Inuit spirituality and stories. The source of these motifs are principally drawn from childhood experiences at the family camp, Kitikat in the Back River region. Throughout her career she experimented with many artistic mediums, including drawing, print, textiles, wall hangings. She adopted printmaking following the family's move to ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] and between 1970 and 1988 she contributed to the ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] print collections. In 1984, Kigusiuq delivered a copy of her mother's work Giver of Life to Pope John Paul II in Ottawa, Ontario as a gift from the Canadian Inuit. Her mature work saw the development of pencil crayon colour fields and collage techniques, the latter prompted by the onset of arthritis.

Biography (French): ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq était une artiste inuite. En 1967, Kigusiuq a commencé à tirer pour compléter le revenu de sa famille après les encouragements de sa mère. L'œuvre lumineuse, audacieuse et graphique de Kigusiuq se concentre sur les activités de la vie de camp comme la chasse et la pêche et sur les formes surnaturelles inspirées de la spiritualité et des histoires inuites. La source de ces motifs provient principalement des expériences de l'enfance au camp familial de Kitikat, dans la région de Back River. Tout au long de sa carrière, elle a expérimenté de nombreux médiums artistiques, notamment le dessin, l'impression, les textiles et les tentures murales. Elle a adopté la gravure après le déménagement de la famille à ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] et entre 1970 et 1988, elle a contribué aux collections d'estampes ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake]. En 1984, Kigusiuq a remis une copie de l'œuvre de sa mère Giver of Life au pape Jean-Paul II à Ottawa, en Ontario, comme cadeau des Inuit canadiens. Son travail de maturité a vu le développement des champs de couleurs des crayons de couleur et des techniques de collage, ces dernières étant motivées par l'apparition de l'arthrite.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Janet-Kigusiuq

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1926

Medium: drawing printmaking

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ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria Mamnguksualuq

First Name: ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria

Last Name: Mamnguksualuq

Biography (English): ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria Mamnguksualuq (sometimes Mamnguqsualuk or Mamnguksualuk) was one of the best-known Inuk artists of her generation. She is best known for her silkscreen and stencil, prints, but has worked in sculpture, drawings, and fabrics as well. Mamnguqsualuk's bold depictions of Inuit myth have been widely praised. Like her mother ᔨᐊᓯ ᐅᓈᖅ Jessie Oonark, she moves easily between the realms of graphic arts and textiles. Eight of her prints were part of the first print edition from ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake], in 1970, and her pieces have appeared in many collections since then. Her work is informed by some of the stylistic tropes of European art. In her painting Shaman Caribou, Mamnguqsualuk has created a complex composition that illustrates many aspects of the Inuit Shaman's world.

Biography (French): Viktoria Mannguksualuq Viktoria Mannguksualuq inuuliqtuminiq 1930-mi Garry tasingani, Back River mitsaani, ungasinnilimmi 250-kilumiitanik uannaqpasingani pingannaqpasingani Qamanittuaq, Kivallirmi, Nunavut. Mannguqsualuk ilamini piruqsakainnalauqsimajuq kisiani piruijausimajuq ataatatsiakkuminnut. Pijjutiqaluaqsuni anaanatsiangata ilinniatitsigutinginnik titiqtugaqti tunisimaniqalauqtuq titiqtugaqpatsuni unikaangusimajunik niviaqsiangutillugu. (Anaanatsiarijaujuq piqqusingittigut inuit unikkaaqtuaqtiusimammat). Unikkaaliuqsimajuq Kiviuq, qanutuinnaq aulaniqaqattaqsimatsuni, ilaanikkut takutsautitauvattunik kinguliriittinnagit, titiqtugarusigiqattaqsimajanga amisunut titiqtuganginnut. Mannguqsualukkuk uigiik qiturngariit aullaalauqsimajut Qamanittuarmut 1960 pigiaqpallialiqtillugit. 1963-ngutillugu pigiaqpallialilauqsimajuq titiqtugaliuqpatsuni ammalu ujaqqanik sanannguaqattapallialiqsuni, kingunitsiangagut nuqqautitsugu, titiqtugaqattaliqsuni ammalu akinnarmiutarnik miqsuqattaliqsuni. Jack Baatla, sanaugalirijitaaqqauq 1969-ngutillugu, titiqtugaqattaquvallialilauqsimajanga unikkausituqarnik unikaaqtuarnillu. Amisut titiqtugangit titiqtugaliarijaulauqsimajut 1970-mik 1990-mu5, ammalu 90 nunguppallialiqtillugit tikitsugu 2001. (Titiqtugaliurniq qanutuinnatsiaq, maanna nuqqangakainnaqtuq Qamanittuarmi). Kingulliqpaami arraagutamaaqsiutiit sakkutaujujut 2001-ngutillugu. Mannguqsualuq qaujimajautsiaqtuq unikkaaqtunik titiqtugaqasuungugianga ammalu miqsugaqasuungugianga. Tamakkiinnik suli pilirivattuq ullumi. Pivalliasimatsiaqsuni kinguvaarijaulluni titiqtugaqtinut, panigijaujuq qaujimajammariujumut Jessie Oonark (1906-1985). Bio de l'artiste:

Website Link: https://www.inuitartfoundation.org/profiles/artist/Victoria-Mamnguqsualuk

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1930

Medium: drawing fibre printmaking

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ᔨᐊᓯ ᐅᓈᖅ Jessie Oonark

First Name: ᔨᐊᓯ ᐅᓈᖅ Jessie

Last Name: Oonark

Biography (English): ᔨᐊᓯ ᐅᓈᖅ  Jessie Oonark RCA was a prolific and influential Inuk artist whose wall hangings, prints and drawings are in major collections including the National Gallery of Canada. Her artwork portrays aspects of the traditional hunter-nomadic life that she lived for over five decades, moving from fishing the camp near the mouth of Back River on Chantrey Inlet in the Honoraru  area to their caribou hunting camp in the Garry Lake area,  living in winter snow houses (igloos) and caribou skin tents in the summer. Oonark learned early how to prepare skins and sew caribou skin clothing. They subsisted mainly on trout (lake trout and Arctic char), whitefish, and barren-ground caribou. The knife used by women, the ulu, their traditional skin clothing, the kamik, the amauti were recurring themes in her work. Oonark has had a major museum retrospective with accompanying scholarly monograph. Despite a late start – she was 54 years old when her work was first published – she was an active and prolific artist over the next 19 years, creating a body of work that won critical acclaim and made her one of Canada's best known Inuit artists.

Biography (French): Jessie Oonark inuuliqtuminiq upirngaangani 1906 'Una'-aulluni, Back River mitsaani, ungasinnilimmi 250 kilumiitanik uannangani Qamanittuaq, Kivallirmi, Nunavut. Tigusilauqtuq ilinniatitsijjutinginnik Anglikakkut tutsiarvingatta 1927-ngutillugu nunalingat upattausimalauqtillugu ajuriqtuijimut, ammalu 1944-ngutillugu atirminik nirualauqsimajuq titiraqsimajunik ammalu vaaqtitauliqsuni Jessie Oonak, kinguningagut Oonarkruqsuni, ilaqaqsuni sitamaujuqtunik (8) qiturngaminik tutsiarvimmi Qamaniqtuarmi. Aullaallarililauqsimajuq Qamanittuarmut 1950 nunguppallialiqtillugit ammalu titiqtugaqattapallialilauqsimatsuni 1959-ngutillugu. Oonark titiqtugaqattaqaalauqsimajuq, pingasuujuqtut (6) aullaqtitautsutik Kinngarnut ammalu pingasut titiqtugaliangullutik (marruk 1961-ngutillug ammalu atausiq 1962). Taitsumanilu akinnarmiutaralaanik sanaqattapallialilauqsimajuq akinnarmiutaralaanik niuviatsarillugit miqsuvimmi ammalu sanasimajangit atuqtauqattaqsimajut titiqtugaliurnirmik uutturutauqattaqsimatsutik 1965-ngutillugu. 1966-ngutillugu atuqattalilauqsimammijuq nutaanik titiqtugaliurnirminut. Imaliit titiqtuutiit ammalu taqsaliit paippaat. Akinnarmiutapaujarnik sanaqattalauqsimajuq 1960 nunguppallialiqtillugit, anginiqpaaq takutsautitautsuni takujagaqarvijjuarmi Aatuvaami 1973-ngutillugu, ammalu sivulliqpaami arraagutamaaqsiutini titiqtugarni alakkaitillugit titiqtugaqatausimalluni 1970 ammalu 1985 akurnnganni. Qaujimajauniqpautsuni alaggaittunik titiqtugaliusuunguninganut, qaujimaninganut taqsanik ammalu pijariakinngittunik titiqtugaqattaqsimatsuni, ilangit atuutisimajaminik namminiq takutsautitsitsutik, tilijaummariqattaqsimajuq ammalu ammalu ilitarijauqattaqsimajutsuni arraagunik 20-nik sanaugaqtiutillugu. Niruaqtaulauqsimalluni Royal Academy-kunnut 1975-mi, Jessie Oonark taijaulauqsimjut ilitarijaulluni Kanatami 1984 Order of Canada-kunnut. Inuujunniilauqsimajut Maatsi 2, 1985.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Jessie-Oonark

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1906

Medium: drawing fibre printmaking

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Irene Avaalaaqiaq Tiktaalaaq

First Name: Irene

Last Name: Tiktaalaaq

Biography (English): Irene Avaalaaqiaq Tiktaalaaq RCA is one of Canada's most renowned Inuk artists. Her work is rooted in her lived experience, often dealing with themes of being an orphan and Inuit stories her grandmother told her. Avaalaaqiaq Tiktaalaaq is noted for her drawings, prints, and wall hangings. Avaalaaqiaq Tiktaalaaq began her art career between 1969 and 1970 with small soapstone carvings, often of animals with human heads. Her works are part of the collections at the National Gallery of Canada, the Winnipeg Art Gallery, the Baltimore Museum of Art, and the Macdonald Stewart Art Centre and the College of William and Mary in Virginia. In 1999, the University of Guelph awarded Avaalaaqiaq Tiktaalaaq an honorary doctorate of laws in recognition of her contribution to the development of Inuit art and her leadership role in the Nunavut community of Baker Lake. Her address to the audience at the ceremony for the Ontario Agricultural College and the College of Arts was delivered in her native Inuktitut, with her friend Sally Qimmiu'naaq Webster acting as translator.

Biography (French): Irene Avaalaaqiaq Tiktaalaaq ARC est l'une des artistes Inuk les plus renommées du Canada. Son travail est enraciné dans son expérience vécue, traitant souvent des thèmes de l'orphelinité et des histoires inuites que lui racontait sa grand-mère. Avaalaaqiaq Tiktaalaaq est connue pour ses dessins, gravures et tentures murales. Avaalaaqiaq Tiktaalaaq a débuté sa carrière artistique entre 1969 et 1970 avec de petites sculptures en pierre ollaire, souvent représentant des animaux à tête humaine. Ses œuvres font partie des collections du Musée des beaux-arts du Canada, de la Winnipeg Art Gallery, du Baltimore Museum of Art, du Macdonald Stewart Art Center et du College of William and Mary en Virginie. En 1999, l'Université de Guelph a décerné à Avaalaaqiaq Tiktaalaaq un doctorat honorifique en droit en reconnaissance de sa contribution au développement de l'art inuit et de son rôle de leader dans la communauté de Baker Lake au Nunavut. Son discours devant le public lors de la cérémonie du Collège d'agriculture de l'Ontario et du Collège des arts a été prononcé dans son inuktitut natal, avec son amie Sally Qimmiu'naaq Webster agissant comme traductrice.

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1941

Medium: drawing fibre printmaking

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Simon Tookoome

First Name: Simon

Last Name: Tookoome

Biography (English): Simon Tookoome was an Inuk artist who lived with his family on the land. At different times in his life Tookoome was a fisherman, a builder, a teacher, a jeweller, an artist and carver with all professions imbued with traditional Inuit knowledge that he always wanted to share, of a traditional way of life. Tookoome began by carving bone and soapstone in the 1960s but was more interested in drawing as it gave him greater artistic freedom. Tookoome’s graphic style is influenced greatly by his childhood, being raised on the land and hearing traditional stories from his family. Drawing ideas from the land around him Tookoome’s aesthetic engages with hybrid animals and shamanic practices, influenced by heavy contour lines and deep, saturated tones of colour. Utilizing a flat plane, Tookoome’s drawings have a graphic quality as well as a clear narrative. Looking at Rainbow Dance (2006) depicting two dancers and a drum, the figures are in profile, animated movements portrayed through the curves of contour lines. The drum itself radiates light through a saturated yellow colour, its rays linked to the decoration of clothing that adorn both figures. Community is depicted in the radiating heads of people and dogs, that are positioned like rays moving outwards from the drum, and at once encompassing the two figures. Tookoome says he was encouraged to make textile work and wall hangings but prefers carving, drawing and jewellery. He also worked briefly with laser-cut metal. Best known for his graphic work, Tookoome has won the Norma Fleck Award for a children’s book titled The Shaman’s Nephew: A Life in the Far North, which he published with Sheldon Oberman in 1999. He was a founding member of the Baker Lake print shop and appeared multiple times in the Inuit Art Quarterly.

Biography (French): Simon Tookoome était un artiste Inuk qui vivait sur le terrain avec sa famille. À différentes époques de sa vie, Tookoome a été pêcheur, constructeur, enseignant, bijoutier, artiste et sculpteur dans toutes les professions imprégné du savoir traditionnel inuit qu'il a toujours voulu partager, d'un mode de vie traditionnel. Tookoome a commencé par sculpter des os et de la stéatite dans les années 1960, mais s'est davantage intéressé au dessin car cela lui donnait une plus grande liberté artistique. Le style graphique de Tookoome est grandement influencé par son enfance, son enfance sur la terre et ses histoires traditionnelles racontées par sa famille. Puisant des idées dans la terre qui l'entoure, l'esthétique de Tookoome s'engage avec des animaux hybrides et des pratiques chamaniques, influencées par des lignes de contour épaisses et des tons de couleurs profonds et saturés. Utilisant un plan plat, les dessins de Tookoome ont une qualité graphique ainsi qu’un récit clair. En regardant Rainbow Dance (2006) représentant deux danseurs et un tambour, les personnages sont de profil, des mouvements animés représentés à travers les courbes des courbes de niveau. Le tambour lui-même rayonne de lumière à travers une couleur jaune saturée, ses rayons étant liés à la décoration des vêtements qui ornent les deux personnages. La communauté est représentée par les têtes rayonnantes de personnes et de chiens, positionnées comme des rayons s'éloignant du tambour et englobant à la fois les deux personnages. Tookoome dit qu'il a été encouragé à réaliser des travaux textiles et des tentures murales, mais préfère la sculpture, le dessin et les bijoux. Il a également travaillé brièvement avec du métal découpé au laser. Mieux connu pour son travail graphique, Tookoome a remporté le prix Norma Fleck pour un livre pour enfants intitulé The Shaman's Nephew: A Life in the Far North, qu'il a publié avec Sheldon Oberman en 1999. Il a été membre fondateur de l'imprimerie de Baker Lake. et est apparu à plusieurs reprises dans Inuit Art Quarterly.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Simon-Tookome

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1934

Medium: drawing sculpture

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