Kenojuak Ashevak's drawings, prints and sculpture express her understanding of the world through unique imagery. Her early work is filled with images of camp life, people, animals, and for what Kenojuak is renowned: fantastical birds that reveal her ability to capture the essence of her subjects in simple forms. Kenojuak is among the first Kinngait women to have her drawings included in the Cape Dorset Print Collection. This captivating image of an arctic bird quickly became a Canadian icon, and in 1970 the print was chosen for their commemorative stamp. This is seemingly her most popular print, exemplifying her graphic style of simplifying her subject to maximize its unique form in a strong composition and use of vivid color. Kenojuak was first encouraged to draw by James Houston, the Federal Government administrator for the Baffin Island area. Houston is credited with raising public awareness of Inuit art and encouraging the Inuit to control their own production of prints. Kenojuak's owl drawing was among the first prints produced by the West Baffin Eskimo Co-operative in 1960. Over the years Kenojuak Ashevak has received many honors, among these the Order of Canada and a Lifetime Aboriginal Achievement Award. She lives in Kinngait (Cape Dorset) and continues creating her drawings and prints, fantastic explorations of form, design and color.

Signed, "Lutak" and his seal

Museum Expedition 1941, Frank L. Babbott Fund

Brooklyn Museum Collection

By exchange

Alfred W. Jenkins Fund

This prehistoric stone bowl has been sculpted with the head of an owl. Use is unknown but it can join an entire genre of stone bowls made with different animals and human figures attached. Speculation has it that these deeply carved designs are early versions of the later highly developed formline design elements.

Sidney Gerber purchased this owl mask from Willie Seaweed shortly after it had been photographed, worn by Joe Seaweed, in the film Dances of the Kwakiutl (Orbit Films 1951). As seen on the museum wall the round bulging eyes set in flaring blue-green sockets and the fierce hooked beak dramatically express the character of the nocturnal bird of prey. When it is worn in the dance, the bird gains life. The mask is bold in its conception and execution. Made perhaps fifty years ago by George Walkus of Smith Inlet, it represents the artist's style at its most expressive. The painting in black, red, green, and white follows the carved features and elaborates the cheeks in typical Kwakiutl fashion. (Holm, Crooked Beak of Heaven, 1972)

The paint is black, red, green, white, yellow, and brown.