Camp Igalalik

About this object

History of use

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.

Cultural context

contemporary art

Physical description

Beginning from lower side on left and continuing clockwise: camp scene with man putting snowshoes on a drying rack; shelter with cairn and man in front; rock cairn to right of shelter; man with sled, snowshoes and dog; two igloos with child and dog in front of lower igloo. Name of artist and Cape Dorset stylized igloo in upper corner on left. Below image from side on left: 'Camp at Igalalik 23/50 Cape Dorset 1973 Pitseolak.'