The Meeting Item Number: Na739 from the MOA: University of British Columbia

Description

Print depicting ten human figures in black and brown arranged in two rows on white paper. Upper row: two outer figures are black, inner three are brown, central figure has both arms raised, second figure has hand on right raised. Lower row: two outer and central figures brown, remaining two black. Below the image is written, "The Meeting Dorset 1965," with the artist's name in Inuit syllabics and, "11/50 Jamasie." The Canadian Eskimo Arts Council blind embossed stamp is in the bottom right-hand corner.

History Of Use

Contemporary Inuit prints were first produced at Cape Dorset in 1957. Although precursors to printmaking can be seen in women's skin applique work and in men's incising of ivory, stone and bone, the impetus for printmaking was as a commercial venture. This venture was established jointly by Inuit artists and John Houston, the civil administrator for Cape Dorset. Other Inuit communities quickly followed the commercial success of Cape Dorset's West Baffin Eskimo Cooperative. Printmaking developed as a communal activity following a Japanese, rather than a Western, model of serigraph production. Each year the cooperatives produce a series of limited edition prints which are sold in the retail art market. In 1965, the Canadian Eskimo Arts Council was established from the Canadian Eskimo Art Committee to ensure high standards were maintained. Printmaking, along with stone carving, provide cash income for communities which have undergone rapid and significant change, during the late 20th century, from traditional hunting based societies to settled communities dependent on consumer goods. The prevalent images depicted in Inuit art are of traditional life, arctic animals and mythology. Recently, contemporary subjects have been depicted by a minority of artists.

Cultural Context

contemporary art