Although the Inuit have lived in the Artic since prehistoric times, Inuit art as we know it only came about in the late 1940s. This contemporary art form is appreciated around the world for its power and exquisite beauty, an art that embodies the Inuit's harsh artic environment, unique way of life, and traditional beliefs. This historical, cultural, and aesthetic exploration of Inuit art features examples of Inuit drawings, prints, textiles, and sculpture through 125 color photos, 35 black-and-white photos, and maps.

In 1956 artist James Houston came to Cape Dorset as the northern service officer with the Canadian government's Department of Northern Affairs. One of his duties was to foster the production of carvings and other handicrafts by the Inuit residents. By 1959 the West Baffin Eskimo Co-operative had been formed, laying the groundwork for a legendary printmaking tradition. Today the annual release of Cape Dorset prints, produced by the Co-operative's Kinngait Studios, is eagerly anticipated by collectors around the world. Cape Dorset Prints: A Retrospective is the first book to tell the full story of this historic printmaking community. - Publisher.

A monument to the talent of Canadian women artists in the interwar period. this book provides a full and diverse cross-country survey of the art made by women during this pivotal time, incorporating the work of both settler and Indigenous visual artists in a stirring affirmation of the female creative voice. Residence: Ontario. Print run 2,500.

Qummut Qukiria! celebrates art and culture within and beyond traditional Inuit and Sámi homelands in the Circumpolar Arctic -- from the continuance of longstanding practices such as storytelling and skin sewing to the development of innovative new art forms such as throatboxing (a hybrid of traditional Inuit throat singing and beatboxing). In this illuminating book, curators, scholars, artists, and activists from Inuit Nunangat, Kalaallit Nunaat, Sápmi, Canada, and Scandinavia address topics as diverse as Sámi rematriation and the revival of the ládjogahpir (a Sámi woman's headgear), the experience of bringing Inuit stone carving to a workshop for inner-city youth, and the decolonizing potential of Traditional Knowledge and its role in contemporary design and beyond. Qummut Qukiria! showcases the thriving art and culture of the Indigenous Circumpolar peoples in the present and demonstrates its importance for the revitalization of language, social wellbeing, and cultural identity.

From Front blurb: Kenojuak is a tribute honouring the life and work of one of the world's most celebrated and prolific Eskimo artists. Originally published in 1981, as a limited edition of 275, this book was never before available to the general public. We are proud to present a new edition of this magnificent book-a visually stunning and richly documented history of an important Canadian artist. The Toronto Globe & Mail described Kenojuak as "the visionary artist from Cape Dorset in West Baffin Island-a special Canadian. Her stonecut print, the Enchanted Owl, which netted her $25 originally, has been auctioned since for as much as $12,000. In 1970, the aggressive little owl's image was reproduced on a Canadian 6-cent stamp. Her stone sculptures in the Toronto-Dominion Bank's prestigious Inuit collection have been viewed by hundreds. In 1967, (she) was awarded the Order of Canada." In addition, she has numerous exhibitions, and designed Canada's mural at the World's Fair in Osaka Japan. Today, the 58-year old artist says, "I continue to carve. A small canvas tent against the side of my house in Cape Dorset serves as my carving studio in bad weather. Otherwise I carve out of doors. I am grateful to those people who are interested in and admire my work. When I am dead, I am sure there will still be people discussing my art." Kenojuak is a handsome volume, containing over 160 color plates, with every print the artist has produced up to 1980, many of her drawings, photographs of her sculpture, and numerous documentary photographs of the artist in her working and home environment. Kenojuak is unique in the field of art book publishing. Never before has the work of an Eskimo artist been so comprehensively and masterfully treated.

Only a handful of years into his career, Timmuuti "Tim" Pitsiulak spearheaded a new direction in Inuit art. The nephew of renowned printmaker Kenojuak Ashevak, Pitsiulak reveled in the challenges of art and life in Cape Dorset, Nunavut, just south of the Arctic Circle. His vivid images of polar bears and bowhead whales, ATV-riding families and high-tech research equipment, speak eloquently of the artist and the man. He quietly navigated increasing modernity while honoring his cultural identity. "His love of the land and the hunting lifestyle, along with his astute observation of daily life in the community, inspired him to create an outstanding body of work that would illuminate the new and true North." Cape Dorset is home to a multigenerational community of artists and the Kinngait Studios, the longest continually operating print studios in Canada. The studios are active from fall each year through late spring, at which time editioning is completed and artists take the summer off, making frequent trips to traditional camps on the surrounding land. At the time of his death in 2016, Pitsiulak was a sought-after artist at the height of his career. The first monograph on the artist's work, Tim Pitsiulak: Drawings and Prints from Cape Dorset presents more than seventy reproductions and photographs. Critical context is provided in an essay by Leslie Boyd, former director of Dorset Fine Arts, Toronto. Pitsiulak's art has been exhibited widely and is in many private and public collections around the world, among them the Art Gallery of Ontario, the McMichael Canadian Art Collection, and the National Gallery of Canada.

Ken Danby (1940-2007) was one of Canada's foremost practitioners of contemporary realism. Rooted in the Canadian psyche, nourished by his Ontario rural roots, Danby's subject matter was broad and expansive, yet it was the images of Canadian landscapes and life that captured the public's attention. At the Crease, a 1972 egg tempera painting depicting a nameless hockey goalie viewed from ice-level, was his best-known work, and for many, it defined him as an artist. An accomplished painter, watercolourist, printmaker, and commercial artist, Danby's career began to unfold with a modernist narrative in the 1960s and 1970s. It intersected with the fervent nationalism expressed in the music of Ian and Sylvia Tyson, Gordon Lightfoot, and Joni Mitchell. According to art historian Patrick Hutchings, Danby's paintings bring us "face to face with a moment of our own time." Ken Danby: Beyond the Crease, the first major book on Ken Danby's creative practise in two decades, examines the depth and breadth of Danby's work. Designed to accompany a major retrospective exhibition organized by the Art Gallery of Hamilton, it features an essay by art historian Ihor Holubizky, a detailed chronology by Christine Braun, more than sixty reproductions of Danby&#s major paintings, including At the Crease, Lacing Up, Pancho, and Pulling Out, and dozens of archival photographs, as well as Danby's own words about his life and work drawn from an unpublished autobiographical essay that he completed shortly before his death. Danby's work is highly collectable and can be found in numerous private and public collections, including those of the Museum of Modern Art, New York; the National Gallery of Canada; the Musée des beaux arts, Montreal; the Art Gallery of Vancouver; the Art Institute of Chicago; and the Brooklyn Museum. Ken Danby became a member of the Order of Canada in 2001.