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.

In the 1950s, Chauncey C. Nash started collecting Inuit carvings just as the art of printmaking was introduced in Kinngait (Cape Dorset). His collection of early Inuit sculpture and prints represents a vibrant period in contemporary Inuit art. Drawing from ethnology, archaeology, art history, and cultural studies, Lutz tells the collection’s story.

This coloring book features 22 pictures by 10 different Inuit artists from Cape Dorset. Color reproductions of the original art lines the insides of the front and back covers.

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.

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.

Ningiukulu Teevee thinks in pictures, and drawing is her language. She is a soft-spoken storyteller, but her message is clear and strong, and with it she is expanding the narrative of the North, breaking new ground for Inuit art. Teevee hails from Cape Dorset, home to a multigenerational community of artists and the Kinngait Studios, the longest continually operating print studios in Canada. Her inventive images first appeared in the studios' annual collection of limited-edition prints in 2004 and have been represented every year since. Her work is rooted in respect for traditional Inuit culture and an abiding love of family, but along with artists such as Tim Pitsiulak and Annie Pootoogook, Teevee has proven unafraid of pushing artistic boundaries. In drawings alive with mischievous charm or weighted by a grittier reality, she often merges traditional Inuit art with contemporary aesthetics, revealing positive and negative changes to life in Arctic communities. In 2009, Teevee's illustrated children's book, Alego, was shortlisted for a Governor General's award. In 2017 Ningiukulu Teevee: Kinngait Stories, curated by the Winnipeg Art Gallery, opened at the Canadian Embassy in Washington, Dithe first major retrospective of Teevee's career to date. Ningiukulu Teevee: Drawings and Prints from Cape Dorset is the first monograph on the artist's work. Presented here are more than eighty reproductions and photographs, with critical context provided by Leslie Boyd, former director of Dorset Fine Arts, Toronto. Teevee's art has been exhibited widely and is in collections around the world, among them the Art Gallery of Ontario, the McMichael Canadian Art Collection, and the National Gallery of Canada.

Provides a brief history of the Inuit people and discusses their customs as a background for understanding their sculpture, drawing, and printmaking.