Nyla Innuksuk talks about her love for Saimaiyu Akesuk’s creepy crawly critters.

Our Managing Editor takes on this fluid carving.

Our Contributing Editor explore a more personal connection to art in this month’s comic featuring Pudlo Pudlat

Our Executive Director gets up close.

Our Editorial Director probes for symbolism.

Our Contributing Editor weaves a narrative.

Our Profiles Editor jumps on the boat.

Two drone photographers critique one another’s work.

Two drone photographers critique one another’s work.

Two drone photographers critique one another’s work.

Insect inspiration for World Mosquito Day.

Two drone photographers critique one another’s work.

Two photographers critique one another’s work.

Her iconic style mingles with the stick figures of our Contributing Editor in this month’s Inuit art comic.

Photographer and IAF Nunatsiavut Community Liaison Holly Anderson tells us what’s going on.

Multidisiplinary artist and IAF Southern Canada Community Liaison Alberta Rose Williams gives us all the details.

Kenojuak Ashevak depicted many owls throughout her career, naming each with a unique descriptor. Here, we take a closer look at thirty of her avian adjectives.

Who works the clay of the Kivalliq region?

Alannah Johnston on her new role.

Investigating the minimalism and austerity of Arviat carvings.

Curator Amber Lincoln explores the relation between circumpolar Indigenous artists and their climate.

The actress shares her experience working on-set.

6 Inuit artists take on water at the surface.

6 Inuit artists take on water in the deep.

6 Inuit artists take on water at the shore.

Explore the breadth of art-making in Nunavut.

Joe Tallirunili’s iconic carvings and prints reimagined get reimagined in watercolour by our Contributing Editor.

Investigating the printmakers in Kinngait (Cape Dorset), NU.

What does self-portraiture mean for an Inuit artist?

How did prints by one Inuk get published in the South in 1915?

How have Inuit artists approached inlay?

After nearly five decades of creating, Abraham Anghik Ruben asks what’s next for Inuit art.

Statues in Ausuittuq (Grise Fiord), NU, and Qausuittuq (Resolute Bay), NU, search for justice.

Reclaiming traditional tattoos through the Inuit Tattoo Revitalization Project.

Sealskin + toothbrush = fine art print?

Preventing cultural ties from being severed and documenting past attempts to do so.

Journeying to Nunatsiavut in search of answers.

Helen Kalvak’s life gets a comic strip makeover from our Contributing Editor.

Protecting against cultural appropriation in Inuit art.

Nine pieces that didn't make it into the print magazine.

What records have been stitched into the wool duffel of Baker Lake?

Inuit literature picks to transport you away.

Kenojuak Ashevak’s life gets a cartoon makeover from our Contributing Editor.

Napatsi Folger speaks with the curatorial team behind Subsist at the Winnipeg Art Gallery.

Celebrate the bond between mother and child through Inuit art.

Stuck halfway across the world, asinnajaq talks her award win and future projects.

The award-winning artist talks about the perks and pitfalls of her online workshops.

Dance like no one’s watching.

Unseen currents connect us all.

The artist talks shuttered solo shows, career growth and whale hunt memories.

Or just the kid in you.

50 years of innovation in 31 woven works.

The legacy continues.

Six more Inuit art exhibitions to visit online.

The Inuit art of your dreams, available by stream.

Curated collections of Inuit art from the comfort of your couch.

What does it take to weave a 60-inch tapestry?

How did they go from blankets to tapestries?

Where it all began.

The politics of carving in Nunatsiavut.

A remarkable female sculptor whose works embodied women in all facets of life.

An Inuit art sensation who dominated Talurjuaq's sculptural scene.

A stone collagist carefully refiguring the expectations of Inuit sculpture.

Totally polar-izing?

The grooviest bears on the internet.

Literally all things polar bear.

IAF staff share some of their favourite works that explore verse, letters and syllabics.

IAF staff share some of their favourite works that explore verse, letters and syllabics.

IAF staff share some of their favourite works that explore verse, letters and syllabics.

IAF staff share some of their favourite works that explore verse, letters and syllabics.

IAF staff share some of their favourite works that explore verse, letters and syllabics.

This Valentine’s Day and all days.

And everyone who will be there

Artistic history in the making

Heather Igloliorte profiles this multidisciplinary star on the rise.

A Nunatsiavut-born oil painter with a story to tell.

Continuously evolving into new spaces

The top dogs of Inuit art

Kyak-Monteith explains the methodology behind her signature dreamy oil paintings.

One jeweller interviews another

The places we sell

The places we sculpt

The places we find stone

Depth and otherworldliness

Steeped in her craft

Natural phenomena and dreams

Dogs both wild and domesticated

From whalebone to stone

Inuvialuit legends and stories

Fusing pop-culture and tradition

Bridging the mystical and physical

Polished to perfection

Intricately detailed and finely texture

Memory and experience

A life surrounded by carving

Incredible mass and presence

Mysteries that charm and delight

Swimming upwards

Distilled arctic animals

Inherent charm and humour

An abstract look at stone.

Finely detailed and highly technical

"Whimsical, unexpected and brimming with movement"

Decades before "Classic Blue" was a trend, Inuit tastemakers took it for a spin.

Our top picks for events and major projects happening with Inuit art in 2020.

What happened with Inuit art in 2018?

What happened with Inuit art in 2017?

What happened with Inuit art in 2016?

What happened with Inuit art in 2015?

What happened with Inuit art in 2014?

What happened to Inuit art in 2013?

What happened with Inuit art in 2012?

What happened with Inuit art in 2011?

What happened in the world of Inuit art in 2010?

What happened to Inuit art over the last decade?

Our readers have spoken, and the top ten posts from 2019 are here. Can you guess what made the list?

IAQ staff have picked works that show how people cruise, chase and travel across oceans, rivers and dreams.

Britt Gallpen traces the work of three circumpolar Indigenous artists spanning the Global North and examines the political, cultural and aesthetic impact of their use of organic materials.

At the 58th edition of the Venice Biennale, Isuma represented Canada—the first time Inuit artists have done so in the history of the national pavilion. Reneltta Arluk reviews the installation.

Lisa Alikamik looks at the metamorphosis of printmaking in Ulukhaktok (formerly Holman), Invialuit Settlement Region, NT, from wall art to household good.

Shary Boyle and Pierre Aupilardjuk discuss their ceramic collaborations and Aupilardjuk’s experience at the Matchbox Gallery in Kangigliniq, where he’s been making ceramics and teaching for over 20 years.

SakKijâjuk is the first nationally touring exhibition of Inuit art from Nunatsiavut. Jennifer McVeigh reviews what is a thoughtful, multifaceted exhibition on a wide variety of creative practices.

Christopher Blechert is a Yellowknife-based photographer who documents contemporary urban life in the North through subtle maneuvers of light and shade.

Tobey Andersen traces printmaking's elusive history in Nain, Nunatsiavut, NL, from its beginnings in 1976 to the present day.

In this interview with IAF Senior Editor John Geoghegan, Laisa Audlaluk-Watsko, an artist from Grise Fiord, NU, talks about what she hopes to express through her photography on a personal and cultural level.

In this short interview with IAQ Senior Editor John Geoghegan, Kangiqtugaapik-based artist Robert Kautuk talks photography and technology.

The IAQ's John Geoghegan interviews emerging Arctic photographer Mary Gordon of Kuujjuaq, QC, about her artistic practice.

The IAQ's John Geoghegan interviews Eldred Allen of Rigolet, Nunatsiavut, NL, about his development from drone pilot and business owner to photographer.

Àbadakone | Continuous Fire | Feu continuel is the second in an ongoing series of exhibitions organized by the National Gallery, focusing on contemporary Indigenous art from around the world.

Maureen Gruben talks with IAQ’s Napatsi Folger about her latest solo exhibition, her use of traditional and industrial materials, and how Gruben constructs her large scale installations on the land.

While in town as the IAF's featured artist for Art Toronto 2019, Darcie Bernhardt spoke with IAQ's Senior Editor John Geoghegan about her artistic practice and Inuvialuit artist representation.

Janice Grey opens the archives of la Fédération des coopératives du Nouveau-Québec and examines works from the early printmakers of Inukjuak, Nunavik, QC.

In this interview, Kangirsuk-based emerging filmmaker Rebecca Thomassie shares the originals of her directorial debut, Names For Snow, and what she hopes audiences will take away from the film.

Now in its 20th year, Art Toronto presents art from Canadian and international galleries alongside lectures and panel discussions. For this year's Art Toronto, IAQ staff choose six must-see artists.

Aleksei Vakhrushev’s new film The Book of the Sea is a hybrid documentary that blends the traditional harvesting practices of contemporary Chukotkan whale hunters with the claymation story of “the woman who gave birth to a whale”.

IAQ Contributing Editor Napatsi Folger speaks with Lindsay McIntyre about her film project Bloodline, which will be on display at Art Toronto, discussing the origins of the project and from whence McIntyre’s artistic practice derives.

IAQ Contributing Editor Emily Henderson speaks with interdisciplinary artist Mark Igloliorte about working with new artistic mediums, his influences, and motion and movement.

PIQSIQ sisters and throat singers Tiffany Kuliktana Ayalik and Kayley Inuksuk Mackay leave listeners enthralled on their debut EP, teaming up with producer Ruby Singh to blend rhythmic throat singing with entrancing beats.

Kablusiak works across media, using their art “as a coping mechanism to subtly address diaspora, and to openly address mental illness.” The result is a practice seasoned with the macabre, made palatable by the sweetness of its delivery.

To celebrate the 60 years of printmaking in the Kinngait (Cape Dorset) community, IAF staff share their decade-specific picks.

Lisa Koperqualuk, newly appointed Curator and Mediator of Inuit Art at the Montreal Museum of Fine Arts, speaks with IAQ Contributing Editor Emily Henderson about her new role, Inuit leadership, and lots more.

Ahead of the opening of Transits and Returns at the Vancouver Art Gallery, co-curator Tarah Hogue speaks with IAQ Contributing Editor Emily Henderson on the show’s central themes of movement, mobility and migration.

Was sit down with Iqaluit-based artist Dayle Kubluitok at the Nunatta Sunakkutaangit Museum to discuss her artistic process and her recently completed a mural in the Iqaluit Aquatic Centre.

Nakasuk Alariaq relates the history of celebrated artist and shaman Kiakshuk, whose prints are among the earliest to come out of Kinngait (Cape Dorset), NU.

IAQ’s John Geoghegan takes a closes look at one of the Canadian Eskimo Arts Council’s rejected prints: “Loons Curing the Blind” by May Lonsdale

Couzyn Van Heuvelen takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Birds and Dog Feeding” by Ikayukta Tunnillie.

Mark Igloliorte takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Drum Dance in the Igloo” by Paul Uta’naaq

Janice Grey takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Untitled” by Thomassie Echalook

Mark London takes a closer look at one of the Canadian Eskimo Arts Council’s Rejected Prints, “Untitled (7 Geese, 4 People, 2 Dogs)” by Parr.

Linda Grussani takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints: “Woman in Labour” by Janet Kigusiuq.

Richard Murdoch takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints: “Man and Woman Going after Walrus” by Leah Qumaaluk.

Heather Campbell takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Walrus Surprises Hunter” by Napachie Pootoogook.

Alysa Procida takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Birth of Jesus” by Harry Egotak.

The CEAC spent decades moderating the sale of Inuit art to southern audiences by prohibiting works deemed unacceptable from entering the market. We examine what works were rejected and why.

Reflecting on a trip North in the early 1990s, a curator and writer delves into Isuma’s legacy, their presentation of time and what the collective’s work means for us all.

Blackfoot and Sámi writer, director, producer and actor Elle-Máijá Tailfeathers’ 2014 film tells the story of her parent’s activism as well as the legacies of intergenerational and familial trauma through their radical, rebel love.

Iglulik-based collectives Isuma and Arnait Video Productions harness the power of film to retain, recall and preserve collective memory, significantly contributing to the revitalization of culture and language.

Through the lens of the 2011 film “Tunniit: Retracing the Lines of Inuit Tattoos,” Writer, producer and director Stacey Aglok revisits the Iqaluit-based filmmakers practice that has become a living, breathing process.

Multidisciplinary artist and filmmaker Gabriel Nuraki Koperqualuk has spent his career connecting to his Nunavimmiut identity while living and producing art in an urban centre.

While much of Hansen’s work is made with a Greenlandic audience in mind, her experimental shorts and horror features have garnered just as much attention from international viewers.

From intimate family dramas to a steam punk, alt-historical epic, Iñupiaq filmmaker Katie Doane Avery’s category-defying stories continue to challenge the stereotypical tropes that often pervade narrative filmmaking.

Films have been an integral part of Mosha Folger’s life since he can remember. From documentaries to music videos, the director captures the numerous social, economic and political issues facing those living throughout the Arctic.

Animator, filmmaker and visual artist Glenn Gear explores his identity as an urban Inuk with ancestral ties to Nunatsiavut by working with film and installations to capture the liminal space between natural and built environments.

Containing never before seen recordings, interviews, documentation and over 20 years of raw footage, what questions are raised after visiting the archive of Igloolik Isuma Productions housed at the National Gallery of Canada?

Moving between past, present and future, Qamani’tuaq (Baker Lake), NU, artist Janet Nungnik’s large-scale autobiographical textile works weave together poetry and personal history.

On the occasion of Brian Jungen’s exhibition “Friendship Centre” at the Art Gallery of Ontario in Toronto, ON, we revisit his work and surprising connections to celebrated graphic artist Kenojuak Ashevak.

What are the implications in having Isuma, a community-based, principally Inuktitut language video art collective based in Iglulik, NU, represent Canada at arguably the world’s most visible and scrutinized international art event?

On the cusp of the 58th Venice Biennale and on the occasion of a recently renovated Canada Pavilion, we take a look at the history of the international exhibition, Canada’s national pavilion and what these platforms mean for us today.

The Inuit Art Foundation is saddened to report that Okpik Pitseolak (1946–2019) has passed away. Okpik was a long-time member of the IAF Board of Directors and a fierce advocate for Inuit artists.

Fellow author Norman Dunning delves into Polaris Prize and Juno award-winning musician Tanya Tagaq’s debut novel Split Tooth (2018) that is a part autobiographical, part fictional and intermingles prose with poetry and drawing.

Ottawa-based photographer Katherine Takpannie captures the complexities and nuances of urban Inuit life with her expansive scenes and intimate portraits.

Despite the fact that love and sex in the Canadian Arctic is not new, images of erotic scenes have rarely graced the pages of the IAQ. Here, we push past voyeuristic taboos to bring us into the pulse of recent erotic Inuit art.

Arguably the world’s largest—and most debated—recurring contemporary art exhibitions, documenta 14 urges viewers to rethink the powerful potential of objects and images in the advancement of Indigenous sovereignty.

A curator, artist and writer reviews the landmark exhibition “Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak” and the critical strategies that blur the divides between artist and curator.

Renowned artist Elisapee Ishulutaq, OC, passed away on December 8, 2018 in Panniqtuq (Pangnirtung), NU, at the age of ninety-three. Born in 1925, Ishulutaq lived on the land until around 1970 when she and her family moved to Panniqtuq.

We explore the lesser-known currents of Pootoogook’s oeuvre, providing a new way to look at the profound impact of her work.

The chance discovery of works by Helen Kalvak, Agnes Nanogak Goose, and more—once thought to be lost—spread across three safes in the community of Ulukhaktok, NT, has spurred a new digitization effort.

Tracing the last 30 years at the Inuit Art Foundation.

In an interview conducted last year with Siassie Kenneally, the late Kinngait-based graphic artist, we focus on a single, exceptional work that intimately documents a life lived, in all its striking detail.

Kinngait-based artist Siassie Kenneally passed away recently in Iqaluit, NU. Over the course of her life, Kenneally produced an incredibly personal body of work that examined modern and traditional life from her own unique perspective

One of the most original young artists working in Kinngait (Cape Dorset), NU, today, Saila has gained an almost immediate, enthusiastic following in the South for her whimsical creatures and otherworldly landscapes.

Siassie Kenneally qaujimajaulauqpuq titiqtugarminut, tunngaviqalauqput iqqaumajaminik inuusirilauaqtaminiglu. Taana unikkausiqaqpuq titiqtugarmik atausirmit nuititiisimattiarninganik inuusiulauqtumik saqqititinngmat ilunngittiaqsimajumik.

During summer the days are long, the skies are sunny and the insects are out in full force. We are sharing 5 Works from our spring 2018 issue which highlight artists’ interpretations of sometimes pesky, sometimes friendly, critters.

Happy Nunavut Day! In honour of the 25th anniversary of the land claims agreement that initiated the establishment of the territory, we’re celebrating by bringing you a selection of work by artists from Nunavut including Laakkuluk Williamson Bathory, Alethea Aggiuq Arnaquq-Baril, Tim Pitsiulak, Jesse Tungilik, Andrew Qappik, Jessie Oonark, Lucy Tasseor Tutsweetok, Kenojuak Ashevak and Hinaani Design.

“We noticed there was a market for Inuit specific clothing because Inuit really love showing off that they are Inuk.”

IAQ staff met with Inuk Designs during Indigenous Fashion Week in Toronto. They discussed how Inuk Designs got started and what being part of Indigenous Fashion Week in Canada means to Inuk Designs.

The IAQ met with Martha Kyak during Indigenous Fashion Week in Toronto. They discussed what being part of Indigenous Fashion Week means to Martha and how her sought-after sealskin necklace came to be.

“There is this Inuk teaching, the more you give the more you get. So if I’m gifted seal flippers, I’ll give a pair of earrings to the huntress or hunter that gave them to me. It’s an exchange and it just keeps giving me more and more.”

“My goal was to be the Louis Vuitton of tufting.”

“The smell of moose hide is a very warm, inviting smell. As an Indigenous person, it brings you home [from] wherever you are as there is this connection to the land and the smell of smoke and hide; it’s a very familiar smell.”

Years after her death, 27 of Jessie Oonark’s pristine drawings were discovered in a manila envelope in a basement. Athough already a celebrated artist, these lost drawings confirmed Oonark’s vitality and confidence as an artist.

In 2013, Bart Hanna completed Migration, a monumental ship with a cast of unique characters carved from a single block of stone weighing over 700 pounds. Hanna explains the significance of this singular work to the IAQ.

Iglulik-based artist Lukie Airut (1942–2018) was an immensely talented sculptor known for his multi-dimensional sculptures. His work with whalebone and walrus ivory allowed him to create highly detailed works in increasing scale.

A retrospective on the magical work of Lukie Airut, a master carver from Iglulik, NU, whose sculptures echo his deep familiarity with his land and the animals that live there.

Yet in spite of the lack of an enduring arts industry, a cooperative system, institutional support or scholarly interest, Nunatsiavut continues to produce such exceptional artists as Michael Massie, John Terriak and Heather Campbell.

Tiktak, a Kangiqliniq (Rankin Inlet) sculptor, was the first Inuk artist to have a solo show; his one-man show was a watershed moment in the field of Inuit art, paving the way for the hundreds (if not thousands) of solo shows that followed.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

For our 30th anniversary issue, the IAQ asked 15 leading figures in Inuit art to nominate an early-career artist to watch. In turn, those artists selected a senior talent who has inspired them.

Boundary pushing Vancouver-based painter Mark Igliolorte discusses his ongoing research into the Indigenous origins of the kayak, the beauty in shifting perspectives and collapsing the vast distance between coasts.

For three decades, the IAQ has been introducing readers around the globe to the luminaries of Inuit art world. It has been our great pleasure to share the beauty and vitality of Inuit cultural production over the past 30 years.

For this spotlight on the Anchorage Museum in Anchorage, Alaska, we asked Aaron Leggett, Curator of Alaska History and Culture, to pick the five works he believes speak to the heart of the collection.

For this spotlight on the Nuuk Kunstmuseum in Nuuk, Greenland we asked curators Nivi Christensen and Stine Lundberg Hansen to pick 5 works they believe speak to the heart of the collection.

Everyone who enters our living room stops and looks in awe at the green stone sculpture by Inuit artist Bill Nasogaluak titled Sedna on Cross (2006). Also known as The Death of My Culture, the sculpture’s strength is inescapable.

Boarder X is the first exhibition to bring together the work of Inuit, First Nations and Métis artists who also surf, skate or snowboard, and it is a blockbuster. The opening saw 900 people cross the threshold of the Winnipeg Art Gallery.

The IAQ is pleased to present this portfolio—a look at Inuit photography today—with some of the most notable artists working across the North.

The Inuit Art Quarterly has been shortlisted for Best Magazine, Literature and Art in the 2017 Canadian Magazine Awards. The nomination, announced March 30, 2017, recognizes excellence in publishing in the arts and literature, including poetry. This is the inaugural year for the Canadian Magazine Awards presented by Magazines Canada. This is also the IAQ’s first nomination for a ‘Best Magazine’ award in its thirty year history.

Kinngait (Cape Dorset) sculptor Kellypalik Qimirpik (1948–2017) passed away earlier this year. An avid carver whose career was marked by important commissions, his sculptures of Arctic animals were exhibited worldwide.

Astral Bodies (2016) at the Mercer Union in Toronto, allows viewers to speculate what the otherworldly may hold through the works of five women whose individual practices address real or imagined spaces beyond physical realms.

Iqaluit-born sculptor and installation artist Couzyn van Heuvelen has created something distinctive with Avataq, a project consisting of several handmade foil balloons resembling traditional sealskin floats.

Jimmy Manning remembers Annie Pootoogook. She grew up in Kinngait (Cape Dorset) as part of a highly artistic family which included parents Eegyvudluk and Napachie Pootoogook, and grandmother Pitseolak Ashoona, who she revered.

What, or rather who, is a change maker? This is the central question that lingered for me after visiting Change Makers at the Art Gallery of Mississauga, which featured works by seven Indigenous artists working across North America and Europe. Given the gallery’s newly-implemented mandate to incorporate “diverse Indigenous perspectives within exhibitions and programming,” the answer seems implied but was not fully articulated. Read More

Tanya Lukin Linklater talks to the IAQ about her most recent performance, and the space, the dancers, the musician, the text, the backstory and the moment of performance all have their parts to play.

The IAQ’s favourite auction picks from the fall 2016 art offerings. Here are works that surprised us, delighted us, and left us wishing our budgets were unlimited.

The seal hunt is a delicate subject for Newfoundland and Labradorians. Alethea Arnaquq-Baril’s Angry Inuk takes on anti-sealing narratives to examine what the hunt represents for Canada’s Inuit.

Review of Floe Edge (2016) at the AXENÉO7 Gallery in Gatineau, QC. The packed exhibition hosted works from Tim Pitsiulak, Mona Netser, Nicole Camphaug, Lavinia van Heuvelen, Mathew Nuqingaq and more.

ArtCOP21: a global program of exhibitions, installations and more that emphasize the interrelatedness of climate and culture. Can art communicate the human effects of climate change at a deeper level than facts and figures alone?

Rocks, Stones and Dust brings together work by sixteen artists to reimagine human relationships to rocks, encouraging a reevaluation of our understanding of rocks as stagnant objects.

Manumie’s depiction of human interactions with both the natural and the spiritual worlds melds oral stories with imaginative, often surreal forms that give a sense of the complex interactions of life in the North.