IAF Through the Years
Two artists experiment with power tools while Gilbert Hay looks on, Nain, 1991
1991: The IAF hires Dinah Andersen to canvas Nunatsiavut communities regarding their specific needs and encourage the development of local artist associations. This same year, the IAF provides carvers in Nain a $1,500 grant to purchase power tools. This is followed by two Power Tool Workshops, taught by Mattiusi Iyaituk and Charlie Kogvik; the first focuses on how to use the new tools and the second on developing economic self-sufficiency. Participants include Gilbert Hay, Philip Hunter, Sam Ikkusek, Adam Lidd, Michael Massie, Eli Merkuratsuk, William Nochasak, David Terriak and John Terriak.
1991: The IAF provided Annego Ashevak and Gilbert Hay an award to participate in the five-week Indigenous Artists’ Workshop at the Banff Centre, where they participated with a diverse group of artists to experiment in new media and collaborate. The IAF also awarded Joseph Suqlak the Joan Martin Award for Excellence, which allowed him to travel with Annego Ashevak to a three-week session at the Vermont Carving Studio to participate in skill-building training.
BACK: Toonoo Sharky, Uriash Puqiqnak, unidentified woman, Nick Sikkuark FRONT: Charlie Kogvik, Joseph Suqsluk, and Mattiusi Iyaituk, Ottawa, 1991
1991: The IAF founds the Inuit Artists’ College, a “college without walls”, providing training and capacity- building opportunities to Inuit. Its inaugural workshop is offered in partnership with the Ottawa School of Art. Led by Abraham Anghik Ruben and Ronald Senungetuk, participants Mattiusi Iyaituk, Charlie Kogvik, Eli Merkuratsuk, Uriash Puqiqnak, Toonoo Sharky, Nick Sikkuark, and Joseph Suqsluk learn sculpting techniques and tour local museums.
Charlie Kogvik and an unidentified woman pack Library Boxes with videotapes and books before they go north, 1992
1992: The IAF compiles Library Boxes that include instructional videos, back issues of the IAQ, art posters, heath and safety information and tool and art supply catalogues, which are shipped to the Agiarqtiit Carvers Society in Kimmirut, Hopedale, the Iluayummiut Artists Association in Kinngait, Ivujuvik, the Kinqunik Artists’ Society in Uqsuqtuuq (Gjoa Haven), Makkovik, Nain, the Rankin Inlet Art Society, Tuktoyaktuk, the Uqqurmiut Centre for Arts and Crafts in Panniqtuuq (Pangnirtung), and the Yellowknife Correctional Centre. In 1994, additional boxes are sent to Kugaaruk (Pelly Bay) and Umiujaq.
Theresa Siranertok (left) is instructed by Urish Puqiqnak (Right) during the quarrying and carving workshop for sculptors held at the Ottawa School of Art, 1992.
1992: The IAF ran two modules of a quarrying and carving workshop for sculptors. The first took place in Vermont and Ottawa, where Timiusie Kooneeliusie, Eyesiak Padluq, Mattoo Michael, Julie Nookiguak, Tuk Nuna, Davidee Akpalialuk and Jacoposie Tiglik learned quarrying techniques. In the second, Oviloo Tunnillie, Okpik Pitseolak, David Apalialuk, Jerry Semigak, Theresa Sivanertak and Lizzie Sivuarapik participated in carving workshops at the Ottawa School of Art.
1992-1996: The IAF publishes six issues of The Adventures of Sanannguaqatiit, an Inuk superhero conceived by Mattiusi Iyaituk during a board meeting who taught Inuit artists about everything from health and safety practices to how to navigate copyright legislation. Each issue is sent to approximately 2,200 artists in Inuit Nunangat.
1992: The IAF facilitated Leah Pootoogook to work with Ruby Arnga’naaq, Rose Andersen, Lizzie Eppo York, Emily Karetak, Meeka Kilabuk, Anowyak Alookie, Simona Arnatsiaq Barnes, Marie Uviloo and other artists in a ten week residency at the Banff Centre themed around “Art as a Social Force”.
1992: The IAF also provided residency funding to Kellyapik Qimirpik, Eyesiak Pudluq and William Nochasak to participate in a three week sculpture workshop at the Vermont Carving Studio.
1993: The IAF awarded Bart Hanna the Joan Martin Award for Excellence, which allowed him to travel with Charlie Kogvik and John Terriak for a three week carving workshop at the Vermont Carving Studio. The artists also gave a two-day soapstone carving workshop for American students during the trip.
1993: The IAF offers the Agiraqtiit Artists Association in Kimmirut, led by Simata Pitseolak, an on-site quarry evaluation to assess quarrying practices and provide safety information for local quarries. This is followed by a $1,500 to the Labrador Artists Association, including John Terriak, Gilbert Hay, David Terriak and Joshua Hence, to hire a longliner to bring over 17,000 lbs. of stone to Nunatsiavut communities.
Natar Ungalaq (left) shows his work to Lynda Cronin and Daniel Kumarluk, Ottawa, 1994.
1994: The IAF organized Beyond Boundaries: Intercultural Sculpture Symposium, which brought together Carol Brezloff, Lynda Cronin, Audrey Greyeyes, John Tappin, Jim Thomson, Mattiusi Iyaituk, Paul toolooktook, Natar Ungalaq, Daniel Kumarluq and Harry Semigak for three weeks of exchange, culminating in a group exhibition.
LEFT TO RIGHT: Qaunaq Mikkigak, Oviloo Tunnillie, Mayoreak Ashoona, an unidentified man, Pitaloosie Saila, an unidentified woman, Okpik Pitseolak, Napachie Pootoogook at the opening of Isumavut: The Artistic Expression of Nine Cape Dorset Women, at the Canadian Museum of Civilization, 1994
1994: The IAF brought together Mayoral Ashoona, Okpik Pitseolak, Napachie Pootoogook, Pitaloosie Saila, Ida Karpik and Towkie Qarpik to the opening of Isumavut at the Canadian Museum of History and a printmaking residency, where they learned etching techniques.
1994: The Labrador Artists’ Association’s successful quarrying expedition in 1993 is followed by an additional $2,400 from the IAF to access more stone. The profits from he sale of the materials are then reinvested in future expeditions, helping to create sustainable access to stone in the region.
Paul Toolooktook (seated right) and five other artists participate in a carving safety workshop, Qamani’tuaq, 1994.
1994: After participating in Beyond Boundaries, Paul Toolooktook requests a skill-building workshop for his community. In response, the IAF offers a two-week workshop to the Ujaraqtait Society in Qamanitu’aq (Baker Lake) on the safe use of power tools, inlay techniques and health and safety practices. Barney Aarvaq, Paul Toolooktook, Thomas Akalak, Simon Tookoome, Janet Ekuutaq, Dennis Eqqaat, Elizabeth Paungrat and David Quinangnaq participate.
The IAF organizes the inaugural Qaggiq, in which 17 Inuit artists participate to showcase Inuit games,
music, TV, art and fashion at the Canadian Museum of Civilization (now the Canadian Museum of History). Over 15,000 people attend over two days.
1995: The IAF organized the inaugural Qaggiq, in which 17 Inuit artists participated to showcase Inuit fames, music, TV, art and fashion at the Canadian Museum of Civilization.
1995: The IAF establishes the Virginia J. Watt and Dorothy Stillwell Award, which provides financial support to Inuit pursuing post-secondary studies in art history and related fields to support the development of Inuit led art criticism.
1995: The IAF offers its inaugural Cultural Industries Training Program, which offers capacity-building training for Inuit for arts and cultural administrative and curatorial work. Gayle Gruben, Chaz Kruger, Lizzie Makkik and July Papatsie comprise the inaugural class.
1995: The IAF publishes Ikajuqiit – Information for Artists, a handbook providing artists information on marketing, copyright, health and safety practices and available services for artists.
Manasie Akpaliapik drum dancing
1996: The IAF brought together more than 40 artists from across Inuit Nnangat to demonstrate their artwork, as well as participate in workshops and demonstrations. Simeonie Kunnuk, Gordon Ittagiak, Simon Tookoome, Phanuelie Paluq, Okpik Pitseolak, William Noah, Mike Massie, Manasie Akpaliapik, Mattiusi Iyaituk, Leah Idolut, Madeline Ivalu, Marie-Helene Cousineau, Zacharias Kunuk, Norm Cohen, Pauloosie Qutitalik, Kathleen Fleming, Marily Baikie, Shirley Moorhouse, Joseph Skusluq, John Terriak, William Gruben, Fred Gruben Ron Taylor, Silas Kayakjuak, Elie Nasogaluak, John Max Kudlak, Floyd Kuptana, Peter Morgan, Johnny Sivuarapik, Phillipe Iksiraq, Pitaloosie Saila, Andrew Qarpik, Tomassie Alikatutuk, Natsik Kango, Martina Anoee and Leah Pootoogook joined Darlene Wight, Maureen Flynn-Burhoe and the IAF for the festivities.
1996: The IAF provided the Unnuqrmiut Centre for Arts and Crafts a $2,000 grant for an exploratory quarrying trip to increase the community’s access to carving stone, which resulted in an additional 2,000 pounds of stone.
1996: The IAF provided a Business of Art workshop to artists in Kimmirut. Participants include Judea Akulukjuk, David Itulu, Elisapee Itulu, Eva Itulu, Annie Ikkidluak, Elijah Michael, Simeonie Aqpik, Simata Oonalik, Joannie Ikkidluak, Anuga Michael, Sneak Padluq, Nuyaliq Qimirpik and Anu Napatchie.
1996: Spearheaded by Joseph Suqsluq, the IAF provided the Kinqunik Society in Uqsuqtuuq (Gjoa Haven) a $1,000 grant to build a shed and transport it to the local quarry, which is used to store tools and provide shelter to artists from Talurjuaq, Kugaaruk (Pelly Bay) and other communities.
An unidentified participant of the 1997 carving workshop in Kinngait.
1997: The IAF offers a six-week workshop in Kinngait, led by Okpik Pitseolak, for emerging carvers. Morning sessions are spent with elders and afternoons with youth. The group learns about stone types, tool use, carving techniques, health and safety issues and pricing.
LEFT TO RIGHT: Maudie Ohiktook, Akitiq Sanguya and Okpik Pitseolak laugh together while making sculptures, 1997.
1997: The IAF organized the first Pan Arctic Women’s Workshop. Martina Anoee, Lucy Senertanut, Rhoda Karetak, Maudi Ohituq, Sarah Appaqaq, Elisapee Itulu, Susan Avingaq, Madeline Ivalu, Elisapee Inukpuk, Mary Kunnuk, Elsie Klengenberg, Susie Malgokak, Shirley Moorhouse, Lucy Meeko, Lena Iqaqrialu, Akittiq Sanguja and Josephine Felix came together for three weeks of studio and professional development work.
1997: Jessica Tomic-Bagshaw is the inaugural recipient of the Virginia J. Watt and Dorothy Stillwell Award.
1997: The IAF worked with local artists associations in Inukjuak, Kinngait (Cape Dorset), Kangirqliniq, Uqsuqtuuq and Talurjuaq to assess the needs of local quarry sites for safe, economical extraction of stone.
1997: The IAF provided $2,000 to the Arnait Kaminvingat and Inukjuak Women’s Sewing Group to purchase an oil heater, caves and plywood to help construct a sewing tent.
1998: The IAF provided $2,000 to carvers in Inukjuak for the Green Soapstone Project. Led by Johnny Williams, local carvers built a shed at a local quarry site for tool storage and overnight shelter.
1998: The IAF provided the Pujuut Carver’s Society in Salliq (Coral Harbour) $2,000 to buy, renovate and move an existing building for use by local women for a sewing group. The building was moved closer to a school so artists could use it to more effectively teach community members.
1998: The IAF brought Adam Anuatuk, Aisu Amittu, Tumuasi Echalook, Peter Morgan, Juannassie Ittukalluk and Johnny Aculiak to the Nunavik Carver’s Symposium at the Ottawa School of Art, which offered technical workshops and seminars, and culminated in the annual Qaggiq.
1998: Jessica Tomic-Bagshaw receives the Virginia J. Watt and Dorothy Stillwell Award.
1998: The IAF gave the Saanaguatit Committee in Akulivik $2,000 to buy stone carving tools for use in a building donated by local artists by the municipality.
1998: The IAF provided dunging to the Uliaktit Artists Association in Kanqirqliniq for a quarrying expedition. Joe Kavik, Lucy Sanenntanut, Kupapik Ningeocheak, Edward Kabluitok and Paul Aupilardjuk to travel three days to a quarry near Qamani’tuaq to secure more stone. The sale of the 2,000 pounds gathered allows the group to take a subsequent trip and procure 4,000 more pounds.
Wayne Puqiqnak holds a carving he completed at the Kitikmeot Carving Workshop, 1999.
1999: The IAF brought Wayne Puqiqnak, Charlie Okpik, Jorgen Klengenberg, Leo Uttaq and Ink Charlie together for the Kitkmeot Carver’s Symposium at the Ottawa School of Art. This two-week program of studio work, technical training and professional development culminated in the annual Qaggiq, which celebrated the creation of Nunavut.
1995: The IAF provided residency funding for Mattiusi Iyaituk, Okpik Pitseolak, Uriash Puqiqnak and Bart Hanna to participate in a three-week workshop course at the Vermont Carving Studio. The Studio hired the artists to teach a beginner’s workshop during their trip. The Foundation also awarded Johnny Sivuarapik the Joan Martin award for Excellence to participate.
2000: The IAF provided a $5,000 start-up grant to the Association for Aboriginal Artists of Newfoundland and Labrador, which included Myrtle Blandford, Dinah Anderson and Michael Massie.
2000: The IAQ provided $2,000 to the Akulivik Carvers’ Committee to assist winter quarrying and to the Sananguaqtit Qatugiqatigingit in Puvirnituq. That same year, the IAF also gave two $5,000 New Sun Awards: one to the Green Soapstone Inukjuak Committee, which resulted in 20,000 pounds of stone, and one to the Natsilik Fine Arts Group in Uqsuqtuuq, which resulted in 5,000 pounds of stone and a survey of new quarrying sites.
2000: The IAF provided the Sanikiluaq Carvers Committee $2,000 to help secure 500 pounds of stone on a quarrying trip.
2000: John Evaglok, Katherine Gofton, Sarah Nangmalik and Tabitha Palluq participate in the Cultural Industries Training Program.
2000: The IAF awards Jessica Tomic-Bagshaw the Virginia J. Watt and Dorothy Stillwell Award.
Elijah Palliser attends the Kinngait Studios Workshop in 2000.
2000-2001: The IAF facilitated a two-phase workshop for Nunavik artists to visit Kinngait Studios to learn printmaking techniques. Led by Pitseolak Niviaqsi, Qavavau Manumie and Rob Harmer, and supported by Bill Ritchie and Jimmy Manning, Maggie Kiatainaq, Just Sivuarapik, Victoria Grey, Samwilliw Nutaraluk and Elijah Palliser collaborated with Kenojuak Ashevak, Annego Ashevak, Kananginak Pootoogook, Pitaloosie Saila and Shuvinai Ashoona. The IAF then sent participants printmaking tools to continue their practice.
2001: The IAF provided the Sananguaqiit Committee in Akulivik $2,000 for carving tools.
2001: The IAF provided funding and logistical support to organize an inaugural Throat Signing Symposium. Organized by the Avatar Cultural Institute, over 60 individuals from Nunavik and Nunavut participated.
2001: Colleen Arnang’naaq, Moses Aupaluktuq, Nora Dall, Lori Johnson, Joseph Kugutak, Lindsey Moorhouse and Rhoda Webster participate in the Cultural Industries Training Program.
2001: The IAF gave the Baker Lake Carvers’ Committee $2,000 to mine 10,000 pounds of stone. The IAF award two $5,000 New Sun Awards: one to the Taloyoak Carvers’ Association and one to the Clyde River Carvers Committee, which assisted Meena Tassugat, Poasie Palluq, Raygee Atisiqtaq, Leah Tassugat and Susan Arreak to participate in a two-week carving workshop and access 1,450 pounds of stone from Kimmirut.
Henry Kudluk (left), Marybelle Mitchell (second from right) and Mattiusi Iyaituk (far right) speaking with Russian participants at the Connecting Cultures seminar, 2002.
2002: The IAF participated in a three day “Connecting Cultures” seminar in Tyumen, Siberia to assist Indigenous artists from Arctic Russia access more supports for their work.
2002: Hope Curley, Leslena Kanayuk, Mike Kigutaq, Itani Paniaq, Kitty Pudlat, Mona Qammanirq and Peter Webster participate in the Cultural Industries Training Program.
2003: The IAF awarded artists in Kanngiqtugaapik (Clyde River) $5,000 to learn how to quarry. Ekloo Angutikjuak, Sakiasi Qayaq and Pitulie Anguitjuak extracted 15,000 pounds of marble. The IAF also assisted the Carvers’ Island Association in Sanikiluaq, which included Kupapik Ningeocheak, Johnny Kavik, Johnny Cookie, How Emikotailuk, Joe Ittkalak and Luke Appaqaq, with a $2,000 grant to quarry 425 pounds of stone.
Josie Pitseolak, IAQ staff member Henry Kudluk and Jaypiti Inutiq examine a carving at the High Arctic Workshop, 2003
2003: The IAF organized the High Arctic Workshop at the Ottawa School of Art. Ilkoo Angutikjuak, Igah Hainnue, Regilee Piungituq, Tony Atsanik, Jaypiti Inutiq, Billy Merkosak and Josie Pitseolak participated in studio training and professional development before participating in the IAF’s annual Qaggiq.
2003: Make Amarualik, Marty Gendron, Daniel Kangok, Salomo Kilabuk, Dave McDonald and Mika Qamanirq participate in the Cultural Industries Training Program.
2004: Leanne Ayagiak Anawak, Michael Gendron, Jr., Mike Huxford, Doreen Irqqarsaq, Jane Kigutaq, Sophie Muckpaloo and Wanda Qammaniq participate in the Cultural Industries Training Program.
LEFT TO RIGHT: Artists and IAF board members John Terriak, Sammy Kudluk, Jackussie Ittukallak, Nuna Parr, Mattiusi Iyaituk and Okpik Pitseolak open Arts Alive, 2004
2004: The IAF invited fifty artists from across Inuit Nunagat for the inaugural for the inaugural Arts Alive event, which offered demonstrations, seminars and educational opportunities. Aqjangajuk Shaa, Adam Ashevak, Tony Atsanik, Noah Echalook, Jackussie Ittukalluk, Mattiusi Iyaituk, Lucien Kabvitok, Sammy Kudluk, Bill Nasogaluak, Chelsey Nibgoarsi, Nuna Parr, David Rubenm Okpik Pitseolak, Qiatsuq Qiatsuq, Joshua Sivuaraapik, John Terriak, Ashevak Tunnllie, Germaine Arnaktauyok, Elsie Klengenberg, Susia Malgokak, Imona Natsiapik, Elisapee Inukpuk, Emily Flowers-Dickman, Zacharias Kunuk, Natar Ungalaq, Mary Akavak, Nakashoo Michael, Michael Massie, Alacie Tullaugaq, Laila Qalingo, Kathy Kettler, Karin Kettler, Taqralik Partridge, Nina Segalowitz and Leesee Karpik participated.
2004: The IAF assisted the Puvirnituq Sanaugatingiit to run a workshop on working with power tools and different types of stone.
Victoria Mamnguqsualuk demonstrates making a wall hanging at Arts Alive, 2005
2005: The IAF’s annual Arts Alive brought together an international delegation of Inuit for cultural exchange. Jimmy Iqaluq, Arnaqu Ashevak, Victoria Mamngusualuq, Irene Avaalaaqiaq, Sammy Kudluk, Andrew Qaapik, Mathew Nuqingaq, Mattiusi Iyaituk, John Terriak, Okpik Pitseolak, Okpik Pitseolak, Inuk Charlie, Darrick Pittle, Alacie Tulluaugaq, Alacie Sivuaraapik, Annie Pootoogook, Mark Airut, Leela Angutigirk, Nuna Parr, Shirley Moorhouse, Lucien Labvitok, Taqralik Partridge, Nina Segalowitz, Vera Rosheva, Elena Takieva, Audrey Rakhtuvi, Valerii Nypevgi, Iljya Raishev, Galina Shuganova, Elena Posvolskaya, Vladimir Sulyandziga, Lylia Banakanova and Lena Krikunenko participated. The IAF also hosted the artists from Russia in a two week seminar focusing on the business of artmaking.
2006: The IAF awards Heather Igloliorte the Virginia J. Watt and Dorothy Stillwell Award.
2006: The IAF conducted an extensive telephone survey of 100 artists about their needs. The results, which were published in the Spring 2007 issue of the IAQ, helped inform future programming priorities and resulted in a renewed focus on education and shift in delivery methods.
Then curator at the then Canadian Museum of Civilization Norman Vorano shows Cultural Industries Training Program participants objects from the museum’s collection, 2006
2006: The Cultural Industries Certificate Program is established, succeeding the Cultural Industries Training Program. Rather than offering months-long training, the CICP provided ten-day long training programs tailored to specific groups’ interests. The program focused on provided networking and capacity-building training for emerging arts administrators in the North.
2007: The IAF produced a series of instructional posters for artists on a variety of health and safety issues featuring Sananguaqatiit, which were translated into multiple dialects of Inuktut and distributed across Inuit Nunangat.
2008: The Inuit Art Foundation founded the National Inuit Artists’ College, replacing the Inuit Artists’ College, to reflect the changing needs of Inuit artists. NIAC provided online educational resources to Inuit artists on topics ranging from health and safety practices, copyright legislation, marketing and promotion and small business management.
2009: The IAF awards Lindsey Moorhouse and Raigelee Alorut the Virginia J. Watt and Dorothy Stillwell Award.
2010: The IAF awards Beth Kotierk the Virginia J. Watt and Dorothy Stillwell Award.
2012: The IAF announces its intention to close due to difficult financial circumstances. The response from artists, collectors, curators, gallerists and others is immediate and results in the IAF resuming operations later that year.
2013-14: The newly-reconstituted IAF undertakes an extensive stakeholder consultation tour all regions of Inuit Nunangat and southern Canada. These consultations help to form the strategic priorities for the Foundation moving forward.
2014: In partnership with the Mobilizing Inuit Cultural Heritage Project at York University, the IAF organized an exhibition of contemporary artwork at the Great Northern Art Festival in conjunction with the Inuit Circumpolar Council’s meeting. The IAF also provided professional development workshops to artists in attendance.
2014: The IAF enters into an agreement with the Hamlet of Cape Dorset to assist with their capital fundraising campaign for the Kenojuak Cultural Centre and Print Shop. The IAF receives charitable donations from the campaign, which are held in trust for the Hamlet and not for the IAF’s use.
2014: The Inuit Art Foundation participates in Art Toronto for the first time. The IAF showcased contemporary Inuit art to the fair’s 20,000 visitors and presented a lecture at Art Toronto’s Platform Series. In collaboration with the Nunavut Arts and Crafts Association, the IAF also hosted “Conversation: Inuit International” which explored the market appeal, growing opportunities and unique challenges facing Inuit art.
2014: The Inuit Art Quarterly resumes publishing with a special issue dedicated to the memory of Kenojuak Ashevak.
2014: The IAF announces the creation of the Kenojuak Ashevak Memorial Fund. In honour of the late artist, the fund provides biannual residency funding for a professional visual artist at a training program of their choosing.
2015: Heather Igloliorte becomes the first Inuk to edit an issue of the Inuit Art Quarterly. Her special issue, dedicated to art from Nunatsiavut, becomes the first to sell-out during its time on newsstands.
2015: The Inuit Art Foundation participated in Seal Day on the Hill to advocate for Inuit artists and their right to export seal products outside of Canada.
2016: The IAF funded a residency opportunity for ceramic artists John Kurok and Pierre Aupilardjuk to work with Shary Boyle at Medalta. The works produced, and their collaborations, are featured prominently in the Esker Foundation’s exhibition Earthlings in early 2017.
2016: The IAF sponsors iNuit Blanche, the first all-night circumpolar arts festival, in St. John’s, Newfoundland. The IAF also participates in two panel discussions at the concurrent Inuit Studies Conference about the future of Inuit art and economy.
2017: The IAF announces it has taken control of the sixty-year old Igloo Tag Trademark from the federal government in Iqaluit. For the first time, the mark will be managed by Inuit. The IAF begins its extensive consultation tour at the Nunavut Arts Festival after the announcement.
2017: The IAQ is short-listed for Best Magazine, Literature and Art in the Canadian Magazine Awards. Editor Britt Gallpen is also awarded an Honourable Mention as Editor of the Year at the awards.