Owl of the Sea Item Number: Na868 from the MOA: University of British Columbia
Description
Rectangular print detailing a large stylized sea owl in blue, green and black with fin-like appendages, black beak and eyes. Behind the figure is brown, green and black seaweed? At upper right stamped names of artist and printmaker in Inuit syllabics above Cape Dorset stylized 'red igloo' seal. Below image from side on left: "Owl of the sea stonecut 86/200 Dorset 1977 Kenojuak." Canadian Eskimo Arts Council's blind embossed seal and Cape Dorset stamp at lower corner on right; embossed portfolio stamp in lower corner on left.
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
Narrative
The Dorset Cooperative follows Japanese tradition, where printmaking specialists assume responsibility for the print, rather than the artist supervising all aspects of the process. The earliest prints were stone cut and stencil. Copperplate engraving dominated by the early 1960's, with a continuation of printing. Lithographs were introduced in 1972. Artist followed by printmaker when 2 names are given in the artist/maker field. Part of portfolio of 6 prints entitled 'Eskimos and their Art'; created for the World Wildlife Fund.
Item History
- Made by Kenojuak Ashevak (Maker) and Timothy Ottochie (Technician) in Cape Dorset, Nunavut, Canada and Kinngait, Nunavut, Canada during 1977
- Collected before 1983
- Owned by Guenter Adolphs before December 15, 1983
- Received from Guenter Adolphs (Donor) on December 15, 1983
What
Who
- Culture
- Inuit
- Creator
- Kenojuak Ashevak (Maker) and Timothy Ottochie (Technician)
- Previous Owner
- Guenter Adolphs
- Received from
- Guenter Adolphs (Donor)
Where
- Holding Institution
- MOA: University of British Columbia
- Made in
- Cape Dorset, Nunavut, Canada and Kinngait, Nunavut, Canada
When
- Creation Date
- during 1977
- Collection Date
- before 1983
- Ownership Date
- before December 15, 1983
- Acquisition Date
- on December 15, 1983
Other
- Item Classes
- works on paper
- Condition
- good
- Accession Number
- 0914/0138