CCCA Canadian Art Database

Living Status: Deceased

Kiakshuk

First Name: Kiakshuk

Biography (English): Kiakshuk was a Inuk graphic artist based in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] and was part of the early days of the drawing and printmaking program in ᑭᙵᐃᑦ / Kinngait. In addition to being a versatile artist, he was also a well-known and respected storyteller and elder. Kiakshuk quickly became an important participant in the development of the ᑭᙵᐃᑦ / Kinngait graphic arts scene. As a printer, his preferred medium was engraving due to the direct nature of the process. He was highly respected for his ability to translate oral histories and tales of the hunt, animals, families and spirits into graphic media. Kiakshuk’s art was a mainstay of the Cape Dorset Annual Print Collection from 1960-1967. Kiakshuk’s work has been exhibited worldwide and his works are part of permanent collections across North America at institutions such as the Canadian Museum of History in Gatineau, QC, the Art Gallery of Ontario in Toronto, ON, the Prince of Wales Heritage Centre in Yellowknife, NT, the Metropolitan Museum of Art in New York, NY, USA, and many more.

Biography (French): Qiaksuk Qiaksuk inuulilauqtuminiq 1886-ngutillugu kanannaqpasingani sinaangani Qikiqtaaluup, Nunavummi. 70-miniiliriiqsuni titiqtugaqattapallialilauqsimajuq titiqtugaliuqattapallialiqsuni. 1961-ngutillugu James Houston pigiaqtitsilausimammat titiqtugaliurnirmik titiqtugaqtinut titiqtugarvittaaqqaumi, (uutturaqattapallialilauqsimajuq 1957-mi kisiani arraagutamaaqsiutiit saqqilauqsimajut 1959-ngutillugu), ammalu Qiaksuk taatsuminga pijariatujummarimmik kamaqattalilauqsimajuq. Ukkusitsalirinirmik quviagijaqaraluaqsuni titiqtugaliurnirmillu, titiqtugaliurinirmut aulanirmik niruaqtaqallarilauqtuq. Qiaksuk ujjirijausimammijuq amisuaqtingikkaluaqsuni sanannguaqattaqsimanirmik titiqtuganginnullu. Qaujimajautsiaqsuni unikkaaqtuaqti nunalinni upigijautsialauqtuq tukisinaqtitsigunnarninganut piusiusimjunik uqausikkut, unikkaaqaqpatsuni angunasunnirnik, nirjutinik, ilagiinniik, angakkunik tarninillu, titiqtugaliarillunigit. Inuujunniilauqsimajuq 1966-mi.

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

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1886

Medium: printmaking

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N. E. Thing Company Ltd.

First Name: N. E. Thing Company Ltd.

Biography (English): The N.E. Thing Company was active from 1966-1978, based in Vancouver, British Columbia. Iain Baxter and Ingrid Baxter were co-presidents and founders of the Company. Seminal figures in the emergence of conceptual art movement in Canada during the late sixties, N.E. Thing Co. used corporate strategies to generate and frame its artistic practice. N.E. Thing Co. was established as a conceptual vehicle that viewed the art world as "parallel [to] consumer culture." N.E. Thing Co. was incorporated under the Companies Act in 1969 and the Baxters named themselves co-presidents of the company, using a gold corporate seal as the group’s signature. Focusing on an interdisciplinary practice and using photography, site-specific performances and installation, N.E. Thing Co. (influenced by the ideas of Canadian communications theorist Marshall MacLuhan) is seen as a "key catalyst and influence for Vancouver photoconceptualism" and is considered a precursor to the Vancouver School. N.E. Thing Co. disbanded in 1978 when Iain and Ingrid ended their relationship.

Biography (French): N. E. Thing Company a été active de 1966 à 1978, basé à Vancouver, en Colombie-Britannique. Iain Baxter et Ingrid Baxter étaient coprésidents et fondateurs de la société. Figures marquantes de l'émergence du mouvement d'art conceptuel au Canada à la fin des années soixante, N. E. Thing Co. a utilisé des stratégies d'entreprise pour générer et encadrer sa pratique artistique. N.E. Thing Co. a été créée comme un véhicule conceptuel qui considérait le monde de l'art comme « parallèle à la culture de consommation ». N.E. Thing Co. a été constituée en vertu de la Loi sur les sociétés en 1969 et les Baxter se sont nommés co-présidents de la société, utilisant un sceau d'entreprise en or comme signature du groupe. En se concentrant sur une pratique interdisciplinaire et en utilisant la photographie, des performances et des installations in situ, N. E. Thing Co. (influencée par les idées du théoricien canadien des communications Marshall MacLuhan) est considérée comme un « catalyseur et une influence clés du photoconceptualisme de Vancouver » et est considérée comme un précurseur de l'école de Vancouver. N.E. Thing Co. s'est dissoute en 1978 lorsque Iain et Ingrid ont mis fin à leur relation.

Collaboration: (Iain and Ingrid Baxter)

Birth Year: 1966

Medium: conceptual installation performance photography

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ᐸ Parr

First Name: ᐸ Parr

Biography (English): ᐸ Parr was an Inuk artist. He lived a traditional Inuit lifestyle until 1961, when he settled in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] because of declining health and a hunting accident. In ᑭᙵᐃᑦ / Kinngait, Parr began to draw and make stonecut relief prints. He created over 2,000 works in the next eight years. These are mainly images of hunting scenes, although Shamanic subjects are also depicted. In 1977 one of his prints was featured on a Canadian postage stamp. His work is included in the permanent collections of several museums, including the National Gallery of Canada, the Musée national des beaux-arts du Québec, the University of Michigan Museum of Art, the Canadian Museum of History, the Dennos Museum Center, the National Museum of the American Indian, the British Museum, and the Museum of Modern Art.

Biography (French): Paa Paa inuuliqtuminiq 1893-ngutillugu nunalillaturni, Kinngait mitsaani, nigiqpasingani sinaani, Qikiqtaalummi, Nunavummi. Paakkuk nuliariik Ilisuusikkuk piqqusituqaqtigut nuttaqattalauqsimajut angunasuqattaqsutik ukiallivatsutik Tasiujarjuarmi. 'Iqalulinni' ammalu aujaqsiupatsutik Niitani Tikirarmiluunniit, akautsiaqattarunniirami inutuqaruqpallialiqsunilu aullaasilauqsimajuq Kinngarnut 1961 nunguppallialiqtillugu. Tiliuqtautsuni Terry Ryan-mut titiqtugaqattajujuq paippaani upirngaangani 1961 Tasiujaqjuarmiutautsuni uannaqpasingani Kinngait. Inuisattunut sanaugaqtinut ilagijaulluni angakkunik takutsautitsinikkut sanajarmitigut, Paa qaujimajautsiaqtuq unikkaaqtunik titiqtuganginnut uumajunnguanik, angunasuaqtunik ammalu asivaqsimajunik. Titiqtugaqattaqsimajangit iqqaumajaminik uvikkakanniulluni angunasuaqtiutsuni asinilu nunaqaqpatsuni. Ukkusitsamuuqsimajunik niruaqtuqaqattalauqtuq ammalu titiqtugaliurnimik kisiani tigusillarilauqsimanngittuq titiqtugaliurnirmik quviagijaqajummijuq taqsalinnik amiarutinik aturiatsaq, qanuittutuinnarnillu amiarutinik aturnirmik imalinnillu titiqtugaliraigami. Arraaguit amisuunngittut titiqtugaqtiutsuni amisukallannik titiqtugalauqtuq, 2000-niittunik, ammalu ilitarijaumatsuni takutsautitsigianga inuusirmik atuqtaugunnaqtunik kinguvaariinniaqtunut. Ilitarijausimatsuni takutsautitsininganut angunasuarnituqarnik niruaqtaulauqsimajuq 1977-mi titiqqanut qangattautinuuqtautsuni titiqtuganga. Inuujunniilauqsimajuq Nuuvippiri 3, 1969.

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

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1893

Medium: drawing printmaking

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Ralph Allen

First Name: Ralph

Last Name: Allen

Biography (English): Ralph Allen was born and educated in England, graduating from the Slade School of Fine Art in London (1953). In 1957 he arrived at Queen’s University with a boisterous young family and excellent artistic credentials, to begin a long career in fine art education. This career included becoming the Director of the Agnes Etherington Art Centre (1963-72),Professor of Art in the Fine Arts department(1972-87), and finally Professor Emeritus on his retirement in 1987. All the while Allen pursued his artistic career exhibiting widely in the early days, receiving several Canada Council grants, gaining critical attention through venues such as Canadian Art magazine, and entering important collections across North America ( National Gallery of Canada, Hirschorn Collection, Art Gallery of Ontario, and many university, private and corporate collections). A large exhibition of new work in 1990 at the Agnes Etherington Art Centre, and Rodman Hall Gallery in St. Catharines became the starting point for a renaissance in Allen’s work....he has essentially begun again. His early years represent a powerful reality for him and he works to remain in contact with them as a touchstone. Whilst landscape has always been an important feature of his work, in his later years, Allen was more interested in the human dimension.

Biography (French): Ralph Allen est né et a fait ses études en Angleterre, où il est diplômé de la Slade School of Fine Art de Londres (1953). En 1957, il arrive à l’Université Queen’s avec une jeune famille bruyante et d’excellentes qualifications artistiques, pour entamer une longue carrière dans l’enseignement des beaux-arts. Cette carrière l'a amené à devenir directeur du Agnes Etherington Art Center (1963-72), professeur d'art au département des beaux-arts (1972-87), et enfin professeur émérite à sa retraite en 1987. Pendant ce temps, Allen poursuivait sa carrière artistique en exposant largement au début, recevant plusieurs subventions du Conseil des Arts du Canada, attirant l'attention de la critique grâce à des médias tels que le magazine Canadian Art et entrant dans d'importantes collections à travers l'Amérique du Nord ( Musée des beaux-arts du Canada, Collection Hirschorn, Galerie d'art de l'Ontario et de nombreuses collections universitaires, privées et corporatives). Une grande exposition de nouvelles œuvres en 1990 au Agnes Etherington Art Centre et à la Rodman Hall Gallery de St. Catharines est devenue le point de départ d'une renaissance dans l'œuvre d'Allen... il a essentiellement recommencé. Ses premières années représentent pour lui une réalité forte et il s'efforce de rester en contact avec elles comme une pierre de touche. Bien que le paysage ait toujours été une caractéristique importante de son travail, dans ses dernières années, Allen s'est davantage intéressé à la dimension humaine.

Website Link: https://ralphallen.ca/

Birth Year: 1926

Medium: painting

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Edmund Alleyn

First Name: Edmund

Last Name: Alleyn

Biography (English): Born in Quebec City in 1931, Edmund Alleyn attended the École des beaux-arts in Quebec City and studied with the painter Jean-Paul Lemieux. Remarkably versatile, Edmund Alleyn was an innovator whose stylistically diverse paintings, drawings and multimedia installations are all critically regarded as superb examples of their genre. An intellectual painter, his oeuvre resonates with the tensions that exist between the figurative and non-figurative, sometimes playfully marrying Pop and Formalist art together. In his later work, he invoked an elegiac, cinematic quality, inviting viewers to locate their place within his work. By the age 24, the mercurial artist won the Grand Prix aux Concours artistiques de la province de Québec and a grant from the Royal Society enabling him to move to France in 1955. He won a bronze medal at the Sao Paulo Biennial in 1959 and the following year he represented Canada at the Venice Biennial. His art is collected by the most prestigious institutions in the contemporary art scene as well as by private collectors in North America and Europe. Edmund Alleyn passed away in Montreal in 2004.

Biography (French): Born in Quebec City in 1931, Edmund Alleyn attended the École des beaux-arts in Quebec City and studied with the painter Jean-Paul Lemieux. Remarkably versatile, Edmund Alleyn was an innovator whose stylistically diverse paintings, drawings and multimedia installations are all critically regarded as superb examples of their genre. An intellectual painter, his oeuvre resonates with the tensions that exist between the figurative and non-figurative, sometimes playfully marrying Pop and Formalist art together. In his later work, he invoked an elegiac, cinematic quality, inviting viewers to locate their place within his work. By the age 24, the mercurial artist won the Grand Prix aux Concours artistiques de la province de Québec and a grant from the Royal Society enabling him to move to France in 1955. He won a bronze medal at the Sao Paulo Biennial in 1959 and the following year he represented Canada at the Venice Biennial. His art is collected by the most prestigious institutions in the contemporary art scene as well as by private collectors in North America and Europe. Edmund Alleyn passed away in Montreal in 2004.

Website Link: https://edmundalleyn.com/

Birth Year: 1931

Medium: painting

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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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Paul Arthur

First Name: Paul

Last Name: Arthur

Biography (English): Paul Arthur, a self-taught designer, was often credited with having invented the term “signage” in the early 60s, a distinction he regarded as dubious because it has given too many graphic designers, architects, and building owners the idea that putting up signs is all there is to wayfinding. His work for Expo 67 in Montreal first demonstrated the important role of signs in well-planned environments. His Toronto firm, VisuCom Limited, specialized in the development of visual and audible wayfinding solutions for complex environments. He was a fellow and founding member of the Society for Environmental Graphic Design (SEGD). He passed away in May 2001. Graphic designer Paul Arthur (1925-2001) is often credited with coining the terms ‚”signage” and ‚”wayfinding”, concepts that have become fundamental for both graphic designers and architects. An authority on pictograms and graphic symbology, Arthur authored numerous books on the subjects and applied his ideas to a diverse range of built environments, from the Montreal Expo grounds in 1967 to institutional settings such as Toronto”s Sick Kids Hospital. Designer Branimir Zlamalik worked with Arthur to develop more than 530 coordinated graphic symbols, representing everyday actions and situations. These pictographs are published in the book Wayfinding: Pictografic Systems: Nonverbal. Universal. In 1958, Arthur became the managing editor of Canadian Art, where his radical redesign brought a new dignity and maturity to magazines in Canada. Pearl McCarthy, in the Globe and Mail, wrote of Arthur as the “Top Man in Typography World” in 1959. He became actively involved in the emerging professional societies, including the Society of Typographic Designers of Canada, and the older Club of Printing House Craftsmen. His design for Portraits of Greatness, a book of portraits by Karsh for the University of Toronto Press, brought an architect”s attention to detail and knowledge of his medium, as evidenced in the complexity and meticulousness of his specifications for ink, paper, layout, and typography. Other key books include J. Russell Harper”s landmark text Painting in Canada (1966); he wrote and designed the E.B. Eddy Handbook of Printing Production (1967), which made a clear argument for the international modernist style through its form as well as its text; and in a somewhat looser, more poetic style, he designed The Barn (1972), written by his architect father. Later in his life, he was to abandon the promise of an international design style, and turned to more familiar and vernacular forms, such as cartoons and cereal packaging, in his search for clarity and effective communication.

Biography (French): Paul Arthur, designer autodidacte, a souvent été crédité d'avoir inventé le terme « signalétique » au début des années 60, une distinction qu'il considérait comme douteuse car elle a donné à trop de graphistes, d'architectes et de propriétaires d'immeubles l'idée que mettre en place les panneaux sont tout ce qu'il y a à faire pour s'orienter. Son travail pour l'Expo 67 à Montréal a d'abord démontré le rôle important des panneaux dans des environnements bien planifiés. Son entreprise torontoise, VisuCom Limited, s'est spécialisée dans le développement de solutions d'orientation visuelles et sonores pour des environnements complexes. Il était membre fondateur de la Society for Environmental Graphic Design (SEGD). Il est décédé en mai 2001. Le graphiste Paul Arthur (1925-2001) est souvent reconnu pour avoir inventé les termes « signalisation » et « orientation », concepts devenus fondamentaux tant pour les graphistes que pour les architectes. Une autorité en matière de pictogrammes et de symbologie graphique, Arthur est l'auteur de nombreux livres sur le sujet et a appliqué ses idées à un large éventail d'environnements bâtis, depuis le terrain de l'Expo de Montréal en 1967 jusqu'à des contextes institutionnels tels que le Sick Kids Hospital de Toronto. Le designer Branimir Zlamalik a travaillé avec Arthur pour développer plus de 530 symboles graphiques coordonnés, représentant des actions et des situations quotidiennes. Ces pictogrammes sont publiés dans le livre Wayfinding: Pictografic Systems: Nonverbal. Universel. En 1958, Arthur devient rédacteur en chef de Canadian Art, où sa refonte radicale apporte une nouvelle dignité et une nouvelle maturité aux magazines au Canada. Pearl McCarthy, dans le Globe and Mail, a décrit Arthur comme le « meilleur homme du monde de la typographie » en 1959. Il s'est activement impliqué dans les sociétés professionnelles émergentes, notamment la Société des designers typographiques du Canada et l'ancien Club des imprimeries. Artisans. Sa conception pour Portraits of Greatness, un livre de portraits de Karsh pour les Presses de l'Université de Toronto, a attiré l'attention d'un architecte sur les détails et la connaissance de son médium, comme en témoigne la complexité et la minutie de ses spécifications pour l'encre, le papier, la mise en page. , et la typographie. Parmi les autres ouvrages clés figurent le texte phare de J. Russell Harper, Painting in Canada (1966) ; il a écrit et conçu l'E.B. Eddy Handbook of Printing Production (1967), qui défendait clairement le style moderniste international à travers sa forme ainsi que son texte ; et dans un style un peu plus lâche et plus poétique, il conçoit The Barn (1972), écrit par son père architecte. Plus tard dans sa vie, il abandonnera la promesse d'un style de design international et se tournera vers des formes plus familières et vernaculaires, telles que les dessins animés et les emballages de céréales, dans sa recherche de clarté et de communication efficace.

Birth Year: 1924

Medium: graphic design

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ᑲᕈ ᐊᓴᕙ Karoo Ashevak

First Name: ᑲᕈ ᐊᓴᕙ Karoo

Last Name: Ashevak

Biography (English): ᑲᕈ ᐊᓴᕙ Karoo Ashevak was an Inuk sculptor who lived a nomadic hunting life in the Kitikmeot Region of the central Arctic before moving into Spence Bay, Northwest Territories (now Taloyoak, Nunavut) in 1960. His career as an artist started in 1968 by participating in a government-funded carving program. Working with the primary medium of fossilized whale bone, Ashevak created approximately 250 sculptures in his lifetime, and explored themes of shamanism and Inuit spirituality through playful depictions of human figures, angakuit (shamans), spirits, and Arctic wildlife. In 1970, the Canadian Eskimo Art Council held the Centennial competition in Yellowknife. Ashevak's sculptures won third prize in that competition, and he became a recognizable artist after his solo exhibition at the American Indian Art Centre in New York in 1973. Ashevak's work abandoned cultural references and adopted a modern expressionistic style, which visually appealed to a broader audience than collectors of Inuit art. An extensive collection of Ashevak's sculptures went on solo or group exhibitions at commercial galleries around the world, including Franz Bader Gallery at Washington, D.C., Lippel Gallery in Montreal, the Upstairs Gallery in Winnipeg and the Inuit Gallery in Toronto. Ashevak's works were also widely traded on the auction market. Despite his short and tragic passing — he died in October 1974 from a house fire, Ashevak was crucial to the development of Inuit sculpture by visualizing an imaginative world with supernatural beings and shamanistic practices.

Biography (French): Karoo Ashevak Inuuliqtuminiq 1940 saniani Talurjuap Qitirmiuni Nunavummi, Karoo Ashevak nunaqaqsimajuq asini, inuusiqaqsuni piqqusiqaqtumik angunasuppatsutik, nuttilaunnginirmini Talurjuarmut 1960-mi. Ashevak qaujimajaujjutiqaqtuq ajjiungittunik qimirruniqasuungummata tautuqquuqtanginnik ammalu Inuit angakkininginnik tamakkunani sanaugarmini. Pinnguarniqaqtuujaaqsuni, sanagusirivattanga takutsautitsimmat anginiqsamik-sanammangit ammalu ijurnaqsutik-ilulilluatarijangit sanannguagangita tarninnguat, angakkuit, ukiuqtaqtumiutait uumajut ammalu inunnguat. Atuqtalluataqarajutsuni Arviup sauninganik ammalu atusuungummitsuin ujaqqanik tuugaarnillu, tuttuit najjunginnik ammalu suqqarnik ilagutsiutisimatillugit sanauganginnut. Sanaugaqtiukainnalaurnirmini ilitarijaulilauqsimajuq nunalimmini, ammalu Uqsuqtuumi, tautugarijauliqsuni kinguvaariinut Qitirmiuni sanaugaqtinut. Qaujimajammariutsuni Kanatami ammalu Mialigait nunanganni. Karoo Ashevak sanaugangit takutsautitauqattaqsimajuq Turantumi, Manturiumi ammalu Niu Juak-mi. 1973-mi takutsautitaujuqaqtillugu American Indian Arts-kunni Niu Juak Sity-mi nalunaiqsigutaujummat sanaugaqtiuninganik, ammalu 1994-mi takutsautitsijuqaqtillugu National Gallery-mi Aatuvaami takutsautitsimmat pimmariunginnarninganik sanaugangita iluani ullumisiutiit Kanatami sanaugait. Karoo Ashevak inuujunniilauqsimajuq Uttuupiri 1974 illumik ikittuqaqtillugu arraaguqaqsuni 34-nik

Website Link: https://www.inuitartfoundation.org/profiles/artist/Karoo-Ashevak

Community Detail: reczOtpnDDHFiKalC

Birth Year: 1940

Medium: sculpture

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ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak Ashevak

First Name: ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak

Last Name: Ashevak

Biography (English): ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak Ashevak RCA is celebrated as a leading figure of modern Inuit art and one of Canada's preeminent artists and cultural icons. Part of a pioneering generation of Arctic creators, her career spanned more than five decades. She made graphic art, drawings and prints in stonecut, lithography, stained glass, and etching, beloved by the public, museums and collectors alike. Ashevak became one of the first Inuk women in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She was the first Inuit artist inducted into Canada's Walk of Fame (2001), was made an Officer of the Order of Canada (1967) and promoted to Companion in 1982. She received the Governor General's Award in Visual and Media Arts (2008) and the Order of Nunavut (2012). Her work, with its superb design qualities, was used for Canadian stamps, coins and banknotes. For instance, in 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories and in 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday featuring Ashevak's print Owl's Bouquet on the note. She received Honorary Doctorates from Queen's University (1991) and the University of Toronto (1992) and many films were made about her life. Her work is included in the collection of the Art Museum The University of Toronto, St. Lawrence University, the National Gallery of Canada, the Metropolitan Museum of Art, the Brooklyn Museum and the Smithsonian's National Museum of the American Indian.

Biography (French): Qinnuajuaq Aasivak Qinnuajuaq inuuliqtuminiq Uttuupiri 3, 1927 Ikirasammi, ungasinnilimmi 150 kilumiitat mitsaani kanannangani Kinngait, Qikiqtaaluk, Nunavut. Inunngualiuqattapallialilauqsimajuq ammalu sapangalirivatsuni puvallugiaqsimatsuni Paak Savaat aanniavinganik, Kupai sitimi 1952-1955 akurnganni. Utirami Kangiamut aujangani 1955m qisinnik qisinnik miqsuqattalauqsimajuq sapangaliarisimajunillu niuviutigitsugit Alma Houston miqsuqvingatigut 1956 tikirataqsugu. Sananngualauqsimammijuq amisuunngittuugaluanik tiliuqtautsuni James Houston-mut. Aullaaqsimaliqtillugit Kiaktuumut 1957-mi, ammalu taikani arraagumi sitammiuttumik qiturngaqtaalauqsuni, titiqtugarnirmik kamaqattapallialilauqsimajuq. 1958-ngutillugu sivulliqpaaq ammalu ilangat Qinnuajuap titiqtuganginni qaujimajammariujuq, Ukaliq Kuannituqtuq, pijariiqtaulauqsimajuq Kinngarni titiqtugarvimmi miqsugangatta ilangannik qisirajammik. Taanna titiqtugaq ilaulauqsimajuq sivulliqpaanut arraagutamaaqsiutinginnut titiqtugarviup 1959-ngutillug. Taanna titiqtugaqti ilangillu Kinngarnut aullaalauqsimajut 1966-ngutillugu. Maanna nunalik iqqanaijaqsunilu Kinngarni, Qinnuajuaq kajusisimanginnaqtuq titiqtugalirinirmik, tamakkiinni titiqtugarnirmik titiqtugaliurnimillu, ammalu suli ilaminuungagunnapammitsuni ammalu aullaqattanginnaqsuni.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Kenojuak-Ashevak

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1927

Medium: drawing glass printmaking

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