Eelukitaq

Contemporary Inuit prints were first produced at Cape Dorset in 1957. Although precursors to printmaking can be seen in women's skin applique work and in men's incising of ivory, stone and bone, the impetus for printmaking was as a commercial venture. This venture was established jointly by Inuit artists and John Houston, the civil administrator for Cape Dorset. Other Inuit communities quickly followed the commercial success of Cape Dorset's West Baffin Eskimo Cooperative. Printmaking developed as a communal activity following a Japanese, rather than a Western, model of serigraph production. Each year the cooperatives produce a series of limited edition prints which are sold in the retail art market. In 1965, the Canadian Eskimo Arts Council was established from the Canadian Eskimo Art Committee to ensure high standards were maintained. Printmaking, along with stone carving, provide cash income for communities which have undergone rapid and significant change, during the late 20th century, from traditional hunting based societies to settled communities dependent on consumer goods. The prevalent images depicted in Inuit art are of traditional life, arctic animals and mythology. Recently, contemporary subjects have been depicted by a minority of artists.

contemporary art

Print depicting two women in parkas facing one-another, each with babies in the backs of their parkas, and with arms outstretched juggling three brown circular objects each. Two shorter male figures flank the women, and a dog stands to one side with four birds pictured in profile at the bottom of the image. The name of the printmaker is printed in Inuit syllabics with the Cape Dorset stylized red igloo seal in the bottom left-hand corner. Below the image is written, "Eelukitaq StoneCut & Stencil 38/50 Dorset 1977 Keeleemeeoomee," and the name of the artist is written in Inuit syllabics. The Canadian Eskimo Arts Council blind embossed stamp is in the bottom right-hand corner.