Design

A guide for creatives to making impactful, socially engaged art projects.

Flash mobs come and go, but purposeful creativity can change communities. Are you a creative (aspiring or otherwise) who is curious about how you can apply your skills to activist, socially engaged art projects? Whether you paint, sew, sing, build, weld, or rhyme, The Creative Instigator's Handbook explores how to take that big project you've been dreaming about and actually make it happen.

In response to the challenging times that we live in, The Creative Instigator's Handbook will inspire readers to use their creativity to spur change in the world around them. Guiding readers through the various aspects of a project from ideation to final documentation, the book examines the relationship between creative leadership, community art projects, and social justice, and includes the perspectives of 23 creative instigators who have stretched the boundaries of what "art" should or shouldn't do.

The Creative Instigator's Handbook will appeal to creatives willing to expand their comfort zones by jumping into the fray and doing some outrageous, inspired rabble-rousing of their very own. Full-colour throughout.

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272 pages | 8.50" x 8.00" | Paperback

The story of an overlooked group of cultural visionaries

The “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.

Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.

By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.

Wla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik

Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.

Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.

L'histoire d'un groupe de visionnaires culturels ignorés

Un groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.

En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.

En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, Wabanaki Moderne comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.

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Delivered in three languages: English, Mi'kmaw, and French

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228 pages | 10.00" x 10.00" | Paperback | 96 Colour Reproductions and Photos, 26 Black and White Illustrations and Archival Photos 

asowacikanisa: A Guide to Small Métis Bags is a continuation in the series of “how to” books on Métis material culture. This resource will guide you in the step-by-step process on how to create two different bags, a tobacco pouch and a sash bag, which were traditional utilitarian items used by the Metis. These bags are used today to carry traditional medicines and other treasured items. Complete with historical information, easy to follow instructions, detailed photos and accompanying DVD, this resource provides everything you need to know to make your own traditional bags. (Materials not included).

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Grade Level: Secondary / Post Secondary / Adult 

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8" x 10" | 46 Pages

sînapân kîskasâkâs: A Guide to Making Contemporary-Style Métis Ribbon Skirts will assist you in the creation of your own Métis style ribbon skirt. Authors, Bonny Johnson and Leah Marie Dorion guide you through the process with detailed instructions which are accompanied by photographs of each step. This resource comes with a companion DVD, and introductions from both authors on the historical and contemporary uses of these traditional Métis style ribbon skirts.

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Grade Level: Secondary, Post Secondary, Adult 

Miniature canoes, houses and totems, and human figurines have been produced on the Northwest Coast since at least the sixteenth century. What motivates Indigenous artists to produce these tiny artworks? Are they curios, toys, art, or something else?

So Much More Than Art is an original exploration of this intricate cultural pursuit. Through case studies and conversations with contemporary Indigenous artists, Jack Davy uncovers the ways in which miniaturization has functioned as a subtle form of communication and, since contact, resistance in the face of aggressive colonization. His interviewees dismiss the persistent assertion running through studies of material culture that miniatures were no more than toys for children or souvenir trinkets. They are in fact crucial components of satirical opposition to colonial government, preservation of traditional techniques, and political and legal negotiation.

This nuanced study of a hitherto misunderstood practice convincingly demonstrates the importance of miniaturization as a technique for communicating complex cultural ideas between generations and communities, and across the divide that separates Indigenous and settler societies. So Much More Than Art is also a testament to the resilience of the Indigenous peoples of the Northwest Coast.

Students and scholars of anthropology, museum studies, Indigenous studies, and art history will find this work a valuable addition to their libraries, as will museum, arts, and heritage professionals.

Reviews
"So Much More Than Art goes beyond other studies by demonstrating how Northwest Coast Indigenous artists use and have used miniaturization not only as an artistic practice but in provoking interventions in social relations and as a strategy of communication and resistance in the face of colonialism." — Karen Duffek, curator, Contemporary Visual Arts and Pacific Northwest, Museum of Anthropology at UBC

"Drawing heavily on the knowledge and opinions of Indigenous experts from communities all along the coast, Jack Davy invites us to think more critically about Northwest Coast miniatures, and leaves us with a framework with which to do so." — Kaitlin McCormick, curator, Western Ethnology, Canadian Museum of History

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Table of Contents

Introduction

1 Practice and Play: The Makah

2 The Haida String: Northern Peoples

3 Tiny Dancers and Idiot Sticks: The Kwakwaka’wakw

4 Small Foundations: Tulalip Tribes

5 An Elemental Theory of Miniaturization

6 Analysis of Technique and Status

7 Miniature Realities

Notes; References; Index

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224 pages | 6.00" x 9.00" | 21 Photographys, 7 Tables, 2 Charts/Diagrams | Hardcover 

Where the Power Is: Indigenous Perspectives on Northwest Coast Art is a landmark volume that brings together over eighty contemporary Indigenous knowledge holders with extraordinary works of historical Northwest Coast art, ranging from ancient stone tools to woven baskets to carved masks and poles to silver jewellery. First Nations Elders, artists, scholars, and other community members visited the Museum of Anthropology at the University of British Columbia to connect with these objects, learn from the hands of their ancestors, and share their thoughts and insights on how these belongings transcend the category of “art” or “artifact” to embody vital ways of knowing and being in the world. Texts by the authors sketch the provenance of the objects, and, in dialogue with the commentators, engage in critical and necessary conversations around the role of museums that hold such collections.

The voices within are passionate, enlightening, challenging, and humorous. The commentators speak to their personal and family histories that these objects evoke, the connections between tangible and intangible culture, and how this “art” remains part of Northwest Coast Indigenous peoples’ ongoing relationships to their territories and political governance. Accompanied by over 300 contemporary and historical photographs, this is a vivid and powerful document of Indigenous experiences of reconnection, reclamation, and return.

Featuring contributions by:

ʼLiyaaʼmlaxha—Leonard Alexcee, Goldʼm Nitsʼk—Wii Gandoox—Mona Alexcee, Widiimas—Peter Alexcee, Kʼodalagalis—Byron Alfred, Skwiixta—Karen Anderson, Chaudaquock—Vera Asp, Don Bain, Stan Bevan, Jo Billows, Dempsey Bob, Raymond Boisjoly, Naxshageit—Alison Bremner, Wákas—Irene Brown, Tʼaakeit Gʼaayaa—Corey Bulpitt, Vanessa Campbell, Jisgang—Nika Collison, Nalaga—Donna Cranmer, Gloria Cranmer Webster, Joe David, Guud san glans—Robert Davidson, ʼWalas Gwaʼyam—Beau Dick, Idtaawgan—Mervin Dunn, Sharon Fortney, Yéil Ya-Tseen—Nicholas Galanin, qiyəplenəxw—Howard E. Grant, sʔəyəłəq—Larry Grant, taχwtəna:t—Wendy Grant-John, Müsiiʼn—Phil Gray, Tʼuuʼtk—Robin R.R. Gray, Wii Gwinaał—Henry Green, secəlenəxw—Morgan Guerin, Haaʼyuups, KC (Kelsey) Hall, J̌i:ƛʼmɛtəm—Harold Harry, qoqʼwɛssukwt—Katelynn Harry, 7idansuu—James M. Hart, YaʼYa Heit, Kwakwabalasamayi Hamasaka—Alan Hunt, Corrine Hunt, Tłaliłilaʼogwa—Sarah Hunt, Tsēmā Igharas, Pearl Innis, Haʼhl Yee—Doreen Jensen, Kwankwanxwaligi—Robert Joseph, kwəskwestən—James Kew, Gigaemi Kukwits, Peter Morin, Nugwam ʼMaxwiyalidzi—Kʼodi Nelson, ʼTayagilaʼogwa—Marianne Nicolson, Gwiʼmolas—Ryan Nicolson, Jaad Kuujus—Kwaxhiʼlaga—Meghann OʼBrien, Ximiq—Dionne Paul, A-nii-sa-put—Tim Paul, Xwelíqwiya—Rena Point Bolton, Oqwiʼlowgʼwa—Kim Recalma-Clutesi, Skeena Reece, Nʼusi—Ian Reid, Greg A. Robinson, Siʼt Kwuns—Isabel Rorick, Maximus (Max) Savey, Anaht pi ya tuuk—Sheila Savey, Linda Smith, Xsim Ganaaʼw—Laurel Smith Wilson, θəliχwəlwət—Debra Sparrow, səlisəyeʔ—Leona Sparrow, Wedłidi Speck, Marika Echachis Swan, Simʼoogit Gawaakhl of Wilps Luuyaʼas—Norman Tait, Snxakila—Clyde Tallio, Nakkita Trimble, Xˇùsəmdas Waakas—Ted Walkus, Nuuwagawa—Evelyn Walkus Windsor, Hiłamas—William Wasden, Jr., Tsamiianbaan—William White, Tania Willard, Skiljaday—Merle Williams, Gid7ahl-Gudsllaay Lalaxaaygans—Terri-Lynn Williams-Davidson, Tʼɬaɬbaʼlisameʼ—Tʼɬalis—Mikael (Mike) Willie, Lyle Wilson, Nathan Wilson, and Michael Nicoll Yahgulanaas.

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384 pages | 10.31" x 11.96" | Hardcover

“I feel that it is important to re-establish our Salish footprint upon our lands, to create a visual expression of the link between the past and present that is both accessible and people-friendly. . . . I create unique, ‘original’ artwork that honours both my people and the diverse group of peoples from around the world who have come to live upon our lands on the Northwest Coast. My hope is that my art leaves a lasting impression on visitors, locals, and the surrounding communities.” — Susan Point

This beautifully designed book is the first to explore Susan Point's publicly commissioned artworks from coast to coast.

Susan Point’s unique artworks have been credited with almost single-handedly reviving the traditional Coast Salish art style. Once nearly lost to the effects of colonization, the crescents, wedges, and human and animal forms characteristic of the art of First Nations peoples living around the Salish Sea can now be seen around the world, reinvigorated with modern materials and techniques, in her serigraphs and public art installations—and in the works of a new generation of artists that she’s inspired.

People Among the People beautifully displays the breadth of Susan Point’s public art, from cast-iron manhole covers to massive carved cedar spindle whorls, installed in locations from Vancouver to Zurich. Through extensive interviews and access to her archives, Robert D. Watt tells the story of each piece, whether it’s the evolution from sketch to carving to casting, or the significance of the images and symbolism, which is informed by surviving traditional Salish works Point has studied and the Oral Traditions of her Musqueam family and elders.

In her long quest to re-establish a Coast Salish footprint in Southwest British Columbia and the Pacific Northwest of the US, Point has received many honours, including the Order of Canada and the Audain Lifetime Achievement Award. This gorgeous and illuminating book makes it clear they are all richly deserved.

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208 pages | 10.17" x 12.39" | Colour photographs throughout | Hardcover 

Every object tells a story.

Picking Up the Pieces tells the story of the making of the Witness Blanket, a living work of art conceived and created by Indigenous artist Carey Newman. It includes hundreds of items collected from residential schools across Canada, everything from bricks, photos and letters to hockey skates, dolls and braids. Every object tells a story.

Carey takes the reader on a journey from the initial idea behind the Witness Blanket to the challenges in making it work to its completion. The story is told through the objects and the Survivors who donated them to the project. At every step in this important journey for children and adults alike, Carey is a guide, sharing his process and motivation behind the art. It's a very personal project. Carey's father is a residential school Survivor. Like the Blanket itself, Picking Up the Pieces calls on readers of all ages to bear witness to the residential school experience, a tragic piece of Canada’s history.

"In the traditions of my Salish ancestors, a blanket is gifted to uplight the spirit, protect the vulnerable or honour the strong. I made this blanket for the Survivors, and for the children who never came home; for the dispossessed, the displaced and the forgotten. I made this blanket so that I will never forget -- so that we will never forget." - Carey Newman

Reviews
"Picking Up the Pieces is both a crucial record of history and an outstanding assertion of love and community. The story behind the creation of the powerful Witness Blanket project is one of great care and consideration, with residential school Survivors and their families at the centre. By sharing his own family's connection to a brutal and shameful part of Canadian history, renowned artist Carey Newman brilliantly guides us through the meticulous and thoughtful process of creating one of the most important pieces of art to exist in this country. I had the privilege of experiencing the Witness Blanket on its tour, and it was a poignant moment that will stay with me for the rest of my life. Reading how it all came together is yet another vital experience. Like the Witness Blanket itself, Picking Up the Pieces will educate and enlighten Canadians for generations to come. It's a must-read for anyone seeking to understand Canada's residential-school saga. Most importantly, it's a touchstone of community for those survivors and their families still on the path to healing." — Waubgeshig Rice, journalist and author of Moon of the Crusted Snow, March 2019

Educator Information
Themes: Indigenous Art, Reconciliation, Residential Schools, Survivor Stories, Intergenerational Trauma

Suitable for most ages (about 12 years+).  Useful social studies or Indigenous studies resource for pre-teens and teens; however, it does make reference to sexual, emotional, and physical abuse and trauma.

Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list for grades 11 and 12 and as a teacher resource.  Useful for these subjects: English Language Arts, Media Studies, Social Studies.

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180 pages | 10.75" x 10.00"

Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue is the first monograph to examine the full breadth and scope of Claxton's practice. It's extensively illustrated and includes essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.

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160 pages | 9.08" x 10.60"

Sanikiluaq, a small Inuit community in the Belcher Islands region of the Far North, has a long history of artistic output. But as the demand for stone carvings grew, grass basket sewing—once a traditional skill for Inuit women—faded from the community consciousness. That was until a group of women, including educator and artist Margaret Lawrence, came together to renew the lost art of basket sewing.

In Our Hands Remember: Recovering Sanikiluaq Basket Sewing, Lawrence guides readers through creating their own grass baskets in the unique style of the Sanikiluaq region with step-by-step instructions and photographs. From tips on preparing the grass and forming even coils to the different types of embellishments, this book is accessible to all skill levels.

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120 pages | 9.00" x 8.50" | Colour Photographs

Canoe Kids Vol. 3 The Mi'kmaq of Newfoundland (Ktaqamkuk) is the third issue of a 24 edition series designed as family books for kids all ages. This eight to ten year project will see the Canoe Kids Team embed with 24 Peoples. The mandate for the full-colour book (150+ full colour high res photographs) is Exploring Indigenous Cultures through Authentic Indigenous Voices. The publication balances culture, equity and the environment in a beautiful mix that reminds the reader of the pictorial quality of National Geographic with a more in depth editorial content.

This third issue (in a series of 24) focuses on the Mi'kmaq of the Newfoundland and north Atlantic coast. In 150 pages the reader is introduced to the Mi'kmaq People who kindly assisted the Canoe Kids staff by allowing access to their traditional territory. Canoe Kids acknowledges the generosity of the Council of Flat Bay and Conn River.

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Each edition follows a common theme and features:

1: Compelling and beautiful pictorials that draw you into the stories and place of the featured community
2: The story of the vessel used by the featured Peoples
3: Art and Food
4: A Kids Zone
5: Resources for kids, parents and educators
6: Stories by and of the featured Peoples in each edition
7: Extraordinary pictures of the lives, land and waters of the featured Peoples

The materials are equal parts cultural and environmental. The latter is a natural offshoot of the former as Indigenous cultures are wrapped around and through the lands and water and sky both spiritually and from a harvesting and gathering perspective. Indigenous Peoples have long been the caretakers of Mother Earth and we can all learn from these experts whose message is perhaps more relevant today than ever.

Indigenous communities have always included the little ones in their circles and talk and teach to them in the same way they talk and teach to young adults and adults. Canoe Kids decided to follow that inclusive way of life for the layout of each book. Rather than create editions for different age groups, Canoe Kids decided to have one book for all ages.

K through 3 use Canoe Kids to read beautiful and ancient stories. There is beautiful original art to explore and a Kids Zone with puzzles, word searches, colouring, cutouts and more. Mid grades use the materials to study the culture, food and wildlife of the featured cultures. Grades 8 through 12 use stories that are more in depth from Dr. David Suzuki about the environment and there are discussion articles about living well and properly with Mother Nature as well as articles about the history and geography of the featured People.

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150 pages | 8.50" x 11.00"

"A bunch of Wild women once wandered this land and thought that their dinners had gotten too bland. They set out in search of fine foods they could get and ate up the sounds of the whole alphabet."

This quirky ABC book for older children and adults has Indigenous themes and unusual collaged illustrations. Each letter of the alphabet presents a short story designed to cover teaching objectives ranging from letter recognition, letter sounds, rhyming, word families, vocabulary, consonant blending, contractions, compound words and more.

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Recommended for Grades K-7 for these subject areas: Art Education, English Language Arts.

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72 pages | 8.50" x 11.00"

The Land We Are is a stunning collection of writing and art that interrogates the current era of reconciliation in Canada. Using visual, poetic, and theoretical language, the contributors approach reconciliation as a problematic narrative about Indigenous-settler relations, but also as a site where conversations about a just future must occur. The result of a four-year collaboration between artists and scholars engaged in resurgence and decolonization, The Land We Are is a moving dialogue that blurs the boundaries between activism, research, and the arts.

The contributors to this book include leading artists and scholars engaged in questions of resurgence, restitution, and decolonization.

Contributors: Jordan Abel, Leah Decter, Jonathan Dewar, David Garneau, Ayumi Goto, Allison Hargreaves, Gabrielle L'Hirondelle Hill, Jaimie Isaac, David Jefferess, Layli Long Soldier, The New BC Indian Art and Welfare Society Collective, Sophie McCall, Peter Morin, Skeena Reece, Dylan Robinson, Sandra Semchuk, Adrian Stimson, Clement Yeh, and Keren Zaiontz.

Reviews
"This beautifully produced, richly illustrated volume not only offers readers a visual journey into the featured artistic installations and performance pieces, but through its creative use of text and graphic design is itself an artistic statement on reconciliation." --Winnipeg Free Press

Educator Information
Recommended for students in grades 11 and 12, as well as at a college/university level.  

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240 pages | 6.50" x 9.50"

Ruben Anton Komangapik is one of the Arctic's most gifted sculptors.

His work has been exhibited across Canada with pieces on permanent loan to the Museum of Nature and Culture in Montreal. In Isuma, Ruben's vibrant, provocative sculpture, and his artistic process, are brought to life by photographer Estelle Marcoux Komangapik's arresting images.

Part autobiography, part art object, this book will introduce Canadians to one of the Arctic's most talented young artists.

A gorgeous retrospective on the transformation of Inuit art in the 20th century, mirroring the vast and poignant cultural changes in the North.

In response to a rapidly changing Arctic environment, Inuit have had to cope with the transition from a traditional lifestyle to the disturbing realities of globalization and climate change. Inuit art in the latter half of the 20th century reflects the reciprocal stimulus of contact with Euro-Canadians and embodies the evolution of a modern Inuit aesthetic that springs from an ancient cultural context, creating an exciting new hybridized art form. Inuit Modern: Art from the Samuel and Esther Sarick Collection situates modern Inuit art within a larger framework that reinterprets the Canadian Arctic.

Essays by leading Canadian scholars in the field including Ingo Hessel, Robert McGhee, Christine Laloude, Heather Igloliorte, Dorothy Eber and Bernadette Driscoll Engelstad examine the social, political and cultural transformation through the dynamic lens of colonial influence and agency. Inuit Modern also features interviews with David Ruben Piqtoukun and Zacharias Kunuk.

Reviews
"The work of Inuit artists has continually evolved in response to the industrialized, bureaucratic culture encroaching from the south. Inuit Modern, an opulent new coffee-table book, displays the astonishing results. The 175 pieces beautifully reproduced here span the last century." — Georgia Straight

"This book is full of treasures from one of the world's most comprehensive collections of Inuit art. With more than 175 works by Inuit artists, the reader is taken on a journey of the Inuit aesthetic as it evolves from its from traditional roots to a more contemporary and globalized art form." — Globe & Mail Top 100 for 2010

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256 pages | 10.00" x 11.10"