Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.

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In 1970 a small group of young Inuit women in Pangnirtung on Baffin Island began to tell a story - a story about their past, their culture, their lives - a story told through woven pictures. The first book dedicated to the art form of tapestry weaving, Nuvisavik shows how weaving became a bridge between nomadic camp life and life in a permanent settlement. The tapestries, meticulously woven by women trained by their mothers as seamstresses, portray images wistfully remembered by elders in the community and captured by local artists. Both the drawings and the tapestries convey the pride of the Inuit in their culture. The tapestries are presented against a rich cultural and historical context. Two of the essays in the book are based on interviews with elders and reflect the colourful history of the Cumberland Sound, where sustained contact between Inuit and Americans and Scots began as early as the mid-nineteenth century. The cultural content of the tapestries is discussed by members of the Inuit community, decoding otherwise enigmatic and puzzling images. A wonderful blend of art history and cultural history, Nuvisavik will entertain the scholar and art collector as well as readers with a special interest in the history of the Canadian North. Contributors include July Papatsie, a well-established artist from Pangnirtung who brings his personal background and knowledge of his culture to his writing; Deborah Hickman, a tapestry weaver herself, who was general manager and artistic advisor to the Pangnirtung Tapestry Studio from 1980 to 1983; Cathleen Knotsch, a researcher who specializes in issues pertaining to the Canadian Eastern Arctic; and Maria von Finckenstein.

"This book explores and presents research that centers on the historical, political, sociological, and economic factors that engender global inequities"--Provided by publisher.

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.

Mitchell demonstrates the transformation of relationships -- both between the Inuit and Europeans and among the Inuit themselves -- that has occurred since contact with the West, focusing on the intersection of class and nation. This intersection provides a unifying framework to order the history of Inuit-European contact. At the heart of the book is a detailed and original presentation of the Inuit cooperative movement. Mitchell's skilful blending of primary sources with personal experience and secondary literature provides a compelling analysis of the Inuit co-op as a development tool used by the state. In the final chapters, she provides an astute evaluation of contemporary Inuit land claims, concluding that the Inuit have been unequally incorporated into the Canadian class system because of their ethnic status and lack of capital. Growing nationalism among the Inuit and demands for self-government make From Talking Chiefs to a Native Corporate Elite a timely and important addition to the field of Native studies. It will be of great interest to both scholars and general readers.