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

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?

Investigating the minimalism and austerity of Arviat carvings.

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.

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 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.

Sealskin + toothbrush = fine art print?

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

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

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

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

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

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

Unseen currents connect us all.

50 years of innovation in 31 woven works.

The legacy continues.

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.

Literally all things polar bear.

The places we sell

The places we sculpt

The places we find stone

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

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?

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.

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.

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

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

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.

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.

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.

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?

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.

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.

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.

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.