Contemporary Inuit Art (Continued)

As for the art itself, while the subject is simply too vast to be handled in the space of a brief synopsis such as this, a few points need mentioning. The first point relates to the extraordinary scope and diversity of contemporary Inuit art. Subject matter covers a variety of themes, ranging from supernatural beings and fantastic occurrences to such everyday activities as hunting, sewing and building shelters. There is also considerable stylistic diversity, much of it due to distinct regional differences and traditions. To take the example of sculpture, the realist expressionism that emerged in Northern Quebec in the 1950s and 60s contrasts sharply with the more baroque, curvilinear stylizations that later came to typify much Cape Dorset sculpture. Similarly, the minimalist, non-representational expressions that began coming out of the Keewatin in the 1960s and 70s are very different from the dynamic and openly dramatic works of the Kitikmeot fantasy artists, prominent throughout the 80s and 90s. Overlaying these regional style trends are generational ones, the most notable change in this regard being the emergence of a new self-consciousness on the part of younger artists.

But even within single communities and regions, styles and themes vary from artist to artist. This observation leads to a second major point, which is that contemporary Inuit art is above all else an art of individuals and not a uniform expression, nor even a primarily regional one. Thus, while local style trends and general cultural characteristics are certainly important, ultimately the unique visions of the individual artists are paramount. And yet one generalization seems valid: the best artists, whatever their chosen styles and themes, have all shown an extraordinary sensitivity to their materials, combined with an ability to give expressive and meaningful form to their subjects.

Although some observers over the years have objected to the economic motivations of the artists and the influence of government appointed arts advisors, contemporary Inuit art has come to be recognized as a legitimate expression of Canada’s northern people. As evidence of its acceptance, most of the major public galleries and museums in Canada today have substantial holdings of Inuit art, while some institutions — the Winnipeg Art Gallery and the National Gallery of Canada among them — actively program in this field. At the same time, while scholars and academic historians have contributed significantly to our understanding of this rich and fascinating form, contemporary Inuit art remains an area that simply cries out for further art-historical study and investigation.

The market for Inuit art remains strong. Prices for works from the 1950s through the 1980s have been rising steadily for more than a decade, making good northern art from this period an attractive investment for many collectors. Works by great artists of the past such as John Tiktak (1916-1981), Karoo Ashevak (1940-1974) and Judas Ullulaq (1937-1999) command upwards of $25,000, occasionally reaching beyond the $50,000 mark. And the demand for more recent work remains strong, too. But commercialism continues to threaten the art more than ever, leading to varying degrees of overproduction and unfeeling repetitiveness. Nevertheless, despite a proliferation of uninspired work produced solely for the souvenir trade, a surprising amount of good art continues to be made in the North. How long this will last cannot be foreseen. But the fact that so many artists in the past have been able to overcome the pressures and seductions of commercialism gives us all hope for the future.

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