Why choose this artwork to celebrate Nunavut Day?

Kerry Goodfellow dives into the story behind Ningiukulu Teevee’s drawing

Bob Rae discusses the impact of Ashevak’s legacy

Tiffany Ayalik analyzes the symbolic meaning behind Gary Kalluk’s sculpture.

Zaib Shaikh reflects on the many connections formed through one artwork

Luke Anguhadluq blends his skills in hunting and visual art.

Jeannette Menzies unpacks the innovative work of one emerging artist.

Janice Grey delves into the emotions and memories within Leah Qumaaluk’s playful print.

André François Giroux shows what one print can teach us about our shared connections.

Holly Andersen explains what Qabaroak Qatsiya’s two men are discussing.

Leslie Scanlon unpacks Qavavau Manumie’s graphic artwork.

Napatsi Folger finds Inuit compassion and understanding reflected in Tutuyea Ikkidluak’s sculpture.

Emily Laurent Henderson explores the meaning behind Jennie Williams’ photograph.

Inuit representation in toys and art.

Megan Kyak-Monteith explores the story behind Davidialuk Amittu’s sculpture.

Gayle Uyagaqi Kabloona reveals what made Joe Talirunili Joe Talirunili.

Phebe Bentley exposes the secrets of one 1950s carving.

Kale Sheppard looks below the surface of this icon’s artwork.

Brian Kowikchuk interprets the tale Kumakuluk Saggiak left behind in stone.

Topsy Banksland takes us on a tour of Pierre Karlik’s complicated carving.

Holly Andersen shows off female power in one 1950s sculpture.

Olivia Thomassie explores the knowledge contained in this painting by Seqininnguaq Poulsen.

Kyle Natkusiak Aleekuk makes a connection with Osuitok Ipeelee’s Mythical Owl.

Shuvinai Ashoona brings a mythical creature face to face with a modern cell phone.

One artwork encapsulates female power and intergenerational teaching for Leanne Inuarak-Dall.

The famous Qamani’tuaq (Baker Lake) artist has her own visual language.

From one Southern Inuk artist to another.

Janet Brewster explores her relationship to Igah Hainnu’s work.

Taalrumiuq / Christina King examines the history left by local seamstresses.

A carver’s apprentice talks about her mentor’s work.

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

Our Managing Editor takes on this fluid carving.

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.

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.

Continuously evolving into new spaces

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"

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

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

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.

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.

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.

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.

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.

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.

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.