Cape Dorset-born Annie Pootoogook (1969-2016) explored, celebrated, and depicted her northern community in unprecedented ways. Pootoogook belonged to a family of famed Inuit artists that included her parents Eegyvudluk and Napachie, and her grandmother, the celebrated Pitseolak Ashoona. In 1997, Pootoogook started working at the West Baffin Eskimo Co-operative's Kinngait Studios, where she produced drawings in ink and crayon on a monumental scale. In addition to depicting scenes of everyday life in the North--including people watching TV, playing cards, shopping, or cooking dinnerh--Pootoogook depicted such difficult subjects as alcoholism, domestic abuse, food scarcity, and the effects of intergenerational trauma. Pootoogook's compelling drawings resulted in her national and international recognition. Author Nancy G. Campbell reveals how the strength of Pootoogook's work speaks not to what she saw but the way she saw it, and how her distinct images of nude women, spiritual encounters, and domestic scenes led the way for the works of many contemporary Inuit artists.

Dorset Seen looks at how 20 Kinngait artists, past and present, have represented their lives and community over the last sixty years. Featuring 48 drawings and 22 sculptures, this superbly illustrated publication does not focus exclusively on the contemporary, nor does it equate earlier artists with ideas of ¿tradition.¿ Kinngait¿s artists have always been inspired by their everyday lives, regardless of aesthetic conventions or market pressures. The artists tackle Christianity and colonialism, the Hudson Bay Company and the RCMP, family and sport, architecture and community development, technology and transport, alcoholism and suicide. An essay is accompanied by interviews with artists Tim Pitsiulak and Ningiukulu Teevee.The artists featured: Kiugak Ashoona, Shuvinai Ashoona, Etidlooie Etidlooie, Isaci Etidloi, Qavavau Manumie, Ohotaq Mikkigak, Jamasie Pitseolak, Mark Pitseolak, Tim Pitsiulak, Annie Pootoogook, Itee Pootoogook, Kananginak Pootoogook, Napachie Pootoogook, Paulassie Pootoogook, Pudlo Pudlat, Kellypalik Qimirpik, Ningeokuluk Teevee, Jutai Toonoo, Samonie Toonoo, Ovilu Tunnillie. Sandra Dyck is Director of the Carleton University Art Gallery and author of numerous exhibition catalogues, notably on Shuvinai Ashoona. Leslie Boyd is Project Coordinator at the Inuit Art Foundation. Earlier positions included Director of Marketing for West Baffin Eskimo Co-operative in Cape Dorset.

Celebrate 45 women artists, and gain inspiration for your own practice, with this beautiful exploration of contemporary creators from the founder of The Jealous Curator. Walk into any museum, or open any art book, and you'll probably be left wondering: where are all the women artists? A Big Important Art Book (Now with Women) offers an exciting alternative to this male-dominated art world, showcasing the work of dozens of contemporary women artists alongside creative prompts that will bring out the artist in anyone! This beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and historical spotlights on art "herstory" tie in the work of pioneering women from the past. With a stunning, gift-forward package and just the right amount of pop culture-infused feminism, this book is sure to capture the imaginations of aspiring women artists.

Much has been written in Canada and South Africa about sexual violence in the context of colonial legacies, particularly for Indigenous girls and young women. While both countries have attempted to deal with the past through Truth and Reconciliation Commissions and Canada has embarked upon its National Inquiry on Missing and Murdered Indigenous Women and Girls, there remains a great deal left to do. Across the two countries, history, legislation and the lived experiences of young people, and especially girls and young women point to a deeply rooted situation of marginalization. Violence on girls’ and women’s bodies also reflects violence on the land and especially issues of dispossession. What approaches and methods would make it possible for girls and young women, as knowers and actors, especially those who are the most marginalized, to influence social policy and social change in the context of sexual violence? Taken as a whole, the chapters in Disrupting Shameful Legacies: Girls and Young Women Speaking Back through the Arts to Address Sexual Violence which come out of a transnational study on sexual violence suggest a new legacy, one that is based on methodologies that seek to disrupt colonial legacies, by privileging speaking up and speaking back through the arts and visual practice to challenge the situation of sexual violence. At the same time, the fact that so many of the authors of the various chapters are themselves Indigenous young people from either Canada or South Africa also suggests a new legacy of leadership for change.

For over a decade, Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully-illustrated collaboration of over one hundred artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history. Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original to present new possibilities and modes of understanding art, culture, and their relationships to students and ourselves. The fully revised second edition provides new theoretical and practical resources for educators and students everywhere, including: Educators' perspectives on contemporary art, multicultural education, and teaching in today’s classroom Full-color reproductions and writings on over 50 contemporary artists and their works, plus an additional 150 black-and-white images throughout Lesson plans for using art to explore topical issues such as activism and democracy, conflict: local and global, and history and historicism A companion website offering over 250 color reproductions of artwork from the book, a glossary of terms, and links to the New Museum and G: Class websites---www.routledge.com/textbooks/9780415960854.

Echoing and expanding the aims of the first volume, Visualities: Perspectives on Contemporary American Indian Film and Art, this second volume contains illuminating global Indigenous visualities concerning First Nations, Aboriginal Australian, Maori, and Sami peoples. This insightful collection of essays explores how identity is created and communicated through Indigenous film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities Two draws on American Indian studies, film studies, art history, cultural studies, visual culture studies, women’s studies, and postcolonial studies. Among the artists and media makers examined are Tasha Hubbard, Rachel Perkins, and Ehren “Bear Witness” Thomas, as well as contemporary Inuit artists and Indigenous agents of cultural production working to reimagine digital and social platforms. Films analyzed include The Exiles, Winter in the Blood, The Spirit of Annie Mae, Radiance, One Night the Moon, Bran Nue Dae, Ngati, Shimásání, and Sami Blood.

"One of the great strengths of Arctic Voices is that it shows how Alaska and the Arctic are tied to the places where most of us live. In this impassioned book, Banerjee shows a situation so serious that it has created a movement, where 'voices of resistance are gathering, are getting louder and louder.' May his heartfelt efforts magnify them. The climate changes that are coming have hit soon and hard in the Arctic, and their consequences may be starkest there."–Ian Frazier, The New York Review of Books A pristine environment of ecological richness and biodiversity. Home to generations of indigenous people for thousands of years. The location of vast quantities of oil, natural gas and coal. Largely uninhabited and long at the margins of global affairs, in the last decade Arctic Alaska has quickly become the most contested land in recent US history. World-renowned photographer, writer, and activist Subhankar Banerjee brings together first-person narratives from more than thirty prominent activists, writers, and researchers who address issues of climate change, resource war, and human rights with stunning urgency and groundbreaking research. From Gwich'in activist Sarah James's impassioned appeal, "We Are the Ones Who Have Everything to Lose," during the UN Climate Conference in Copenhagen in 2009 to an original piece by acclaimed historian Dan O'Neill about his recent trips to the Yukon Flats fish camps, Arctic Voices is a window into a remarkable region. Other contributors include Seth Kantner, Velma Wallis, Nick Jans, Debbie Miller, Andri Snaer Magnason, George Schaller, George Archibald, Cindy Shogan, and Peter Matthiessen.