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Open a larger version of the following image in a popup: TUMIRA ASHOONA (1943-) KINNGAIT (CAPE DORSET), Inukshoo, 1964 (1964/5 #81)
Open a larger version of the following image in a popup: TUMIRA ASHOONA (1943-) KINNGAIT (CAPE DORSET), Inukshoo, 1964 (1964/5 #81)

TUMIRA ASHOONA (1943-) KINNGAIT (CAPE DORSET)

Inukshoo, 1964 (1964/5 #81)
Printmaker: TIMOTHY OTTOCHIE (1904-1982) KINNGAIT (CAPE DORSET)
stonecut, 21.5 x 16 in (54.6 x 40.6 cm), framed, sight
30/50

LOT 159
ESTIMATE: $1,200 — $1,800
PRICE REALIZED: $960.00

Further images

  • (View a larger image of thumbnail 1 ) TUMIRA ASHOONA (1943-) KINNGAIT (CAPE DORSET), Inukshoo, 1964 (1964/5 #81)
  • (View a larger image of thumbnail 2 ) TUMIRA ASHOONA (1943-) KINNGAIT (CAPE DORSET), Inukshoo, 1964 (1964/5 #81)
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Despite its name, Tumira Ashoona’s work illustrates an inunnguaq, which is a stone cairn that is meant to represent the likeness of a person. The rocky body of the figure...
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Despite its name, Tumira Ashoona’s work illustrates an inunnguaq, which is a stone cairn that is meant to represent the likeness of a person. The rocky body of the figure is coloured by Timothy Ottochie is a cool green-grey that closely quotes the facets of stone used to create an inunnguat. The resting bird is inked in black silhouette, subtly emphasizing its inclusion. While this gull has a clear affinity with its setting, its addition reveals an incongruity: While inuksuit and inunnguat are historic markers, the artist brings the structures into the present by adding a transient, living element to the work. Taken together, it reminds us that inuksuit and inunnguat are symbolic representations of an important link to past generations.


References: Image reproduced in James Houston, Eskimo Prints, (Barre, MA: Barre Publishers, 1971), p. 109.; The Inuit Print, international travelling exhibition, (Ottawa: National Museums of Canada and the Department of Indian and Northern Affairs, 1977), reproduced p. 92, pl. 38; Jean Blodgett, Eskimo Narrative, (Winnipeg: Winnipeg Art Gallery, 1979), p. 9; Inukshoo was used as the cover image for Hivunirmut Takulluni, Titirarhimayut Niruaqtuliqiyimin Atanguyamin Kingulliqpaamik Niruaqtillugin Nunatiap Katimayiryuanginnik 1995 - Ngutillugu (Looking to the Future : Election of the Thirteenth Legislative Assembly of the Northwest Territories, 1995), (Ottawa: Chief Electoral College, n.d. [1996?]; and elsewhere.


The exact historic functionality of inuksuit and inunnguaq in the Canadian Arctic is not known. It has been speculated that they may have been mounted to a marker for travel routes or food caches, to signal hunting or fishing grounds, or as structures to channel animals when hunting, to serve as a monument, or some combination of the aforementioned.


For other works by the artist see, Jean Blodgett and Susan Joan Gustavison, Strange Scenes: Early Cape Dorset Drawings, (Kleingberg, ON: ‎McMichael Canadian Art Collection, 1993), p. 30ff.
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Provenance

Private Collection, Santa Fe, NM.
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