Interconnected Worlds: Kinngait Drawings in the North and South
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The critical success of Annie Pootoogook’s drawings has often been credited with precipitating a major shift within Inuit art towards more hybridized subject matter that led to the critical recognition of artists such as Shuvinai Ashoona, Tim Pitsiulak, Itee Pootoogook, and Jutai Toonoo. Despite being characterized as a stylistic break within Inuit art history, I argue that these drawings display a sense of continuity with older generations of artists in Kinngait. My examination of factors in the contemporary art world indicates that the popularity of Inuit drawing was due to marketing by agents in the southern art world as well as the shift from modernism to the contemporary period. Such shifts altered the demands for authenticity in Inuit art and now privilege hybridized subject matter. I propose that the contemporary art world overlooks the complex ways in which Inuit have responded to modernity and use drawings to aid resiliency.
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Copyright © 2016 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner.
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- 2016
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prouty-interconnectedworldskinngaitdrawingsinthe.pdf | 2023-05-05 | Public | Download | |
prouty-interconnectedworldskinngaitdrawingsinthe-supplemental.zip | 2023-05-05 | Public | Download |