Museums & Galleries
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FA/VISA 3610 3.00Art Institutions / Art Networks:
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1) The Power Plant 2) Hart House (and Barnicke Gallery), University of Toronto 3) Art Gallery of York University 4) Mercer Union 5) Museum of Contemporary Canadian Art Art Networks 6) Creative Arts Student Association (CASA) -York University |
7) Aboriginal Curatorial Collective (ACC) 8) Instant Coffee 9) South Asian Visual Arts Collective (SAVAC) 10) Art Metropole 11) Artscape 12) Dyan Marie Projects |
Sign up sheets for each group will be distributed on September 18th along with additional information about the oral and written components of this assignment.
You are expected to exchange email/telephone contact information with your group. Each member of the group will be assigned a specific task, but as a group you are expected to present a coherent critical analysis of the role and effectiveness of your specified art institution/art network.
Specific tasks of groups, divided among members:
1) mandate and public profile
2) history and operation
3) staffing and structure
4) funding sources (private and not-for-profit)
and as a group
5) summary of function and effectiveness written collectively by the group which sets your analysis in context
Each section, in the written report, should be approx. 250 words in length (for a total of 1500 max)
Presentations will be followed by a class discussion of the interconnecting roles of the art institutions and art networks in our city. Effective discussion depends on the strength of your research and analysis.
NB. Any interviews with Art Institution / Art Network staff should follow ethics protocol. See Ethics Review Process below.
2. Review of the Nuit Blanche project
400-500 words
15% due Monday October 23rd
In 2006 Toronto joins the international ranks of Brussels, Rome and Madrid, among others, to become one of the most recent Nuit Blanche cities, and the first in North America. Produced by Toronto Special Events in collaboration with Toronto Culture, Nuit Blanche is Toronto's own 'all night contemporary art thing' to celebrate Toronto on the world stage as an internationally renowned Creative City.
"One of Toronto's greatest assets is its vibrant culture of creativity. On September 30, I'm inviting Torontonians to stay up all night and encounter their city in a unique way. Scotiabank Nuit Blanche is welcomed as one of the most innovative and exciting additions to Toronto's already impressive roster of cultural celebrations." - Mayor David Miller
Nuit Blanche
An All Night Contemporary Art Thing
September 30 / October 1 2006
7:01pm to 7:15 am
BE SURE TO ATTACH PROOF OF YOUR ATTENDANCE (IN WHATEVER FORM YOU CHOOSE) TO YOUR ASSIGNMENT.
Nuit Blanche is a multi-faceted art project. Choose one event/installation as your focus, and prepare a review that digests the show for your reader, letting them know its strengths and/or weaknesses, and its relationship tothe overall project.
Be sure to state, at the top of your page (before the title of your review), who your target audience is and why (in a sentence or two). In other words, state specifically where you would hope to publish your piece. Keep in mind this may be a print or web publication, including a blog site, a newspaper (including a York University paper), or a magazine (eg. Fuse or Canadian Art).
The authority of your voice, that is, your ability to convince the reader of the merits or faults of the installation/event depends on the strength of your argument. You can achieve this "strength of argument" by focusing your analysis/review on one of the following questions, or another of your choosing (in the latter case, you should email me in advance to vet your idea.) Each of these questions broadly invites an informed critique of the intended role of the Nuit Blanc project for the city of Toronto. This is your "edge."
Questions:
WHO | |
Who do you see at the event/installation? Describe the crowds. Who's missing, why? |
WHERE | |
Consider the place/space in which the event/installation is held. |
WHAT | |
What is the event/installation about? Is it clear? How / explain? |
WHEN | |
Is the event/installation timely or relevant to today? Why or why not? |
WHY | |
Discuss the significance of the event/installation in relation to the Nuit Blanche project as a whole. What does it ask us to consider? In order to be effective, an exhibition analysis / review must have these qualities: |
1) the analysis / review begins with an overarching statement to introduce a point of view or position
2) the discussion follows are logical and clearly planned sequence of points building to a conclusion
3) close observation of the exhibition installation and promotion is evident, demonstrated in your description of relevant details
4) a clear and engaging tone is used to cogently express your consideration of the exhibition
5) there are no spelling and grammatical errors
3. The Challenge of Transformation AGO - an annotated bibliography
15% due Monday November 13th
As stated on the AGO website
(www.ago.net/transformation/home.cfm)
Transformation AGO is the vision for a new kind of art museum. It is a vision of the Art Gallery of Ontario as the imaginative centre of the city, a place where the power of great art is lived and celebrated, a place where ideas are born and tested.
Following our meeting with Linda Milrod, Reinstallation Director and Senior Project Manager at the Art Gallery of Ontario, isolate what you consider to be the greatest challenge to the institution in fashioning "a new future for the role of the art museum in our city." Your statement of this challenge in one simple, single clause sentence should be accompanied by an annotated bibliography citing: i) 2 web or blog sites ii) 2 articles in journals (including on-line journals) iii) 2 books which address related examples or ideas/relevant issues.
An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.
For more information see: www.library.cornell.edu/olinuris/ref/research/skill28.htm
Creating an annotated bibliography calls for the application of a variety of intellectual skills: concise exposition, succinct analysis, and informed library research.
First, locate and record citations to books, periodicals, and documents that may contain useful information and ideas on your topic. Briefly examine and review the actual items. Then choose those works that provide a variety of perspectives on your topic.
Cite the book, article, or document using MLA citation style.
Write a concise annotation that summarizes the central theme and scope of the web-source, article, or book. Include one or more sentences that (a) evaluate the authority or background of the author, (b) comment on the intended audience, (c) compare or contrast this work with another you have cited, or (d) explain how this work illuminates your bibliography topic - being the AGO's greatest challenge in fashioning "a new future for the role of the art museum in our city."
4. Toronto's consumption of contemporary Canadian art - a reflection
15% due November 27th
400-500 words
What are the outlets for public consumption of contemporary Canadian art in Toronto?
Review Akimbo, Slate, and NOW magazine listings for current contemporary art exhibitions. Where do the majority of shows take place? What differences do you find between non-profit and commercial exhibitions? Isolate 3 (three) commercial galleries and describe what kind of work they favour. Check the website for each gallery and isolate the niche market to which they cater. How do these commercial venues compare to "public" non-profit exhibition spaces and projects.
Write up your analysis as a "think piece" intended to foreground your informed opinion about the shape of the contemporary Canadian art scene in Toronto. Be sure to pay attention to your thread of argumentation and carefully sequence your discussion. Note - spelling and grammar are still important in spite of the more casual, first-person tone of a "think piece."
5. Essay: What role does art play in our society?
20% due date to be set by the class
1250 words (5 pages) not including bibliography or illustrations
Further information on this assignment to follow…
6. Class participation 10%
Attendance, participation, and preparation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to summarize information and ideas for your colleagues, and to participate effectively in class discussion.
Course drop date: November 10th
Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., may be entertained by the Course Instructor but will require supporting documentation (e.g., a doctor's letter).
Please familiarize yourself with the following information:
- Academic Honesty and Integrity:
Students are expected to conform to the standards of academic honesty and integrity as specified by York University. A clear sense of honesty and integrity in academia is fundamental to good scholarship. Violations - including collaborating on written assignments (unless specified), failing to use quotation marks and/or citations when using or paraphrasing the printed or electronically transmitted work of others - may result in failure in the course, suspension from the University, and withholding or rescinding a York degree. Please review these two sites outlining York University's policies:
york u policies I
york u policies II
Every student has a responsibility to abide by these policies and, when in doubt, to consult with a faculty member for clarification.
- Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials. If you have any concerns or require assistance with regard to your class participation or completion of the course assignments, please inform your Course Director as soon as possible to discuss options for modification of the course schedule or requirements.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations. Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
- Ethics Review Process
Undergraduate students proposing to undertake research involving human participants (e.g., interviewing an artist, museum director, or curator, etc.) are required:
1) to complete the on-line Introductory Tutorial for the Tri-Council Policy Statement: Ethical Conduct for Research Involving Humans (TCPS). pre.ethics.gc.ca/english/tutorial/.
When all Sections of the Tutorial have been completed correctly, please print out two copies of your "Certificate of Completion". Keep one copy for yourself and give one to your Course Director.
2) to complete the "Ethics Form 2: Individualized Protocol."(Ethics Review). Keep one copy for yourself and give one to your supervisor for his/her approval.
For more information on York University's Policy for the Ethics Review Process for Research Involving Human Participants see:
www.yorku.ca/ffares/ethics.htm
- Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus pose such a conflict for you, contact the Course Director within the first three weeks of class.
- Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship.
Required Readings
1) The textbook, available at the York University bookstore, is:
Montmann, Nina, ed. Art and its Institutions: Current Conflicts, Critique and Collaborations, London: Black Dog Publishing, 2006.
A comprehensive book on current institutional conditions and the role of institutions within artistic processes. It contains documentation and analysis on the two NIFCA exhibition projects Spaces of Conflict and Opacity: Current Considerations on Art Institutions and the Economy of Desire, as well as eight theoretical essays on emerging and seminal questions on the changes in current institutional realities, models and imaginaries, as well as on the critical and collaborative approaches artists are currently developing towards an institution. Furthermore, there is a roundtable discussion on curating and institutional visions and a manifesto on self-organisation and alternative institutions. The book covers topics, including: the decline of the welfare state and the changing roles of institutions; the social and physical architecture of art institutions; art and its publics; the art academy as a field of negotiation; the development of institutions towards entertainment and company policies; self-organisation and alternative institutions; institutional desires; radical loyalty as a strategy; the introduction of new models of critique and collaboration in current artistic and institutional practice. Essays by Beatrice von Bismarck, Mike Bode and Staffan Schmidt, Andrea Fraser, Nanna Kildal, Nina Montmann, Marita Muukkonen and Chris Evans, Simon Sheikh, Sven-Olov Wallenstein, and Jan Verwoert. Furthermore, a roundtable discussion between Roger M. Buergel, Anselm Franke, Maria Lind, and Nina Montmann on curating and institutional visions, a manifesto on self-organisation and alternative institutions by Anthony Davies, Stephan Dillemuth, and Jakob Jakobsen, as well as a conversation of Trude Iversen and Tone Hansen with 16Beaver Group. Publication date: April 2006.
2) additional readings will be available on the internet or distributed in class
Associated Costs
Students will be responsible for transportation costs to the AGO.
Seminar Schedule and Reading List (This schedule is subject to revision. Readings will be prioritized each week. )
September 11 - Art Institutions / Art Networks and the role of art in society
Distributed in class:
- Victoria D. Alexander, "Art Worlds," Sociology of the Arts, Exploring Fine and Popular Forms, (Oxford: Blackwell, 2003) 67-82.
- Celia Gelin, "The Utopian Institution," Art and its Institutions: Current Conflicts, Critique and Collaborations, Nina Montmann, ed. (London: Black Dog Publishing, 2006), 6-7.
Internet:
- An overview - Community Arts Ontario (Online) www.artsonline.ca/2ndPages/about.shtml
- Initiatives in Cultural Democracy - Community Art Matters conference held June 2006 www.artsonline.ca/cam (pdf file)
- NIFCA www.nifca.org
The Nordic Institute for Contemporary Art (NIFCA) is a multifaceted institution that aims to be a catalyst in the ongoing processes of contemporary Nordic visual culture through cooperation, process and network development. Aiming to strengthen the potential and critical aspects of Nordic visual culture regionally and internationally, NIFCA combines process, production and theory within a Nordic and international arena. The three key means for working are mediation, mobility and communication. Our vision: NIFCA wishes to explore the artistic, aesthetic, cultural and socio-political contexts that form our contemporary society. NIFCA seeks to continuously develop spaces for reflection and discussion about these contexts and their content, combining theory and practice in the short- and long term. NIFCA aspires to encourage and create new and diverse networks and to create processes and synergies between diverse agents within a broad field of visual culture. NIFCA seeks to develop new methods for exhibition - and curatorial practices together with experimental agents in the fields of contemporary visual culture. By being a central player in the development of such practices, NIFCA aims to establish collaborative methods which will be visible and can be shared with the Nordic and international art arenas. Our methods: Dialogue and interaction are crucial to achieving our goals; by for example bringing emerging movements to a level of visibility and social debate. NIFCA is active in creating new forms for critical discourse and developing these. The aim is to participate in discussions about visual culture that are taking place in the Nordic countries as an active and equal participant, as well as open other ground for critical discourse globally and locally. This work includes exhibitions, seminars, platforms, networks, workshops, residencies and publications. NIFCA initiates projects and collaborates with partners in the field of visual culture based on external proposals. NIFCA, Nordic Institute for Contemporary Art, is the Nordic Council of Ministers expert organ for visual culture; visual arts, architecture and design. NIFCA is funded by the Nordic Council of Ministers, the body responsible for co-operation between the governments of Denmark, Finland, Iceland, Norway, Sweden, and the autonomous territories Faroe Islands, Greenland, and Aland Islands.
NIFCA - Nordic Institute for Contemporary Art
Suomenlinna B 28, FI-00190 Helsinki, Finland
tel +358 9 686 430 / fax +358 9 668 594
www.nifca.org/
NIFCA, the Nordic Institute for Contemporary Art, is funded by the Nordic Council of Ministers, the body responsible for co-operation between the governments of Denmark, Finland, the Faroe Islands, Greenland, Iceland, Norway, Sweden and the Aland Islands.NIFCA is located in Helsinki as an institution under Finnish Law, and it operates in the Nordic countries and internationally. NIFCA's legal status is described in the Ordinary Statutes of the Nordic Council of Ministers. NIFCA's board is appointed by the Nordic Ministers of Culture and the Nordic Council of Ministers for a period of three years, with the possibility of prolongation.
Textbook:
- Nina Montmann, "Art and its Institutions," 8-16.
- Nanna Kildal, "The Changing Normative Foundations of Nordic Welfare State Institutions," 18-26.
- Simon Sheikh, "The Trouble with Institutions, or, Art and Its Publics," 142-149.
- Anthony Davies, Stephan Dillemuth, Jakob Jakobsen, "There is no Alternative: THE FUTURE IS SELF-ORGANIZED – Part 1," 176-178.
Distributed in class:
- Victoria D. Alexander, "Networks and Nonprofits," Sociology of the Arts, Exploring Fine and Popular Forms, (Oxford: Blackwell, 2003) 112-125.
Internet:
- Slowly learning to survive the desire to simplify - a symposium on critical documents
www.nifca.org/2006/projects/2006/Critic_docu.html
- An overview - Community Arts Ontario (Online) www.artsonline.ca/2ndPages/about.shtml
- Initiatives in Cultural Democracy - Community Art Matters conference held June 2006 www.artsonline.ca/cam (pdf file)
nb - distribution of assignment #1:
A critical account of art institutions/art networks in Toronto
Distributed in class:
- Victoria D. Alexander, "Audience Studies," Sociology of the Arts, Exploring Fine and Popular Forms, (Oxford: Blackwell, 2003) 1205-221.
- Gail Anderson, "Introduction: Reinventing the Museum," in Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift, (Lanham, MD: Altamira Press, 2004), 1-7.
- James Delingpole, "What are museums for?" New York Times 17 March 2006
- Victoria Dickenson, "History, Ethnicity, and Citizenship: The role of the history museum in a multi-ethic country," MUSE XXIV/2 (2006), 38-41.
- Anna Hudson, "New! Improved! The rhetoric of relevancy in a construction boom," MUSE XXIV/3 (2006), 38-41.
- Anita Lahey, Pride of Place: Aboriginal Art Transforms the Canadian Galleries, Vernissage (Spring 2003), 10-13.
- Line Ouellet, "The Rise of the Temporary Exhibition," MUSE XXIV/1 (2006), 18-23.
Internet:
- About Us - Canadian Museums Association
- Euromuse
- What is ICOM? International Council of Museums
- ICOM code of ethics for museums, 2006
- UNESCO – Culture:
Arts and Creativity Intercultural Dialogue
nb distribution of assignment #2:
Review of the Nuit Blanche project
nb assignment #1 due: class presentations and reports
Internet:
In preparation for this class please consult the website: www.oaag.org
You will be expected to participate actively in a Q&A with the speakers following their presentation. Class discussion will follow.
cont’d assignment #1 class presentations and reports
nb assignment #2 due
distribution of assignment #3:
The Challenge of Transformation AGO - an annotated bibliography
Transformation AGO
Guest lecturer: Linda Milrod, Reinstallation Director & Senior Project Manager, Art Gallery of Ontario
317 Dundas Street West (St. Patrick's subway station)
- meet inside the McCaul Street entrance
Internet:
In preparation for this class please consult the website: www.ago.net/transformation/home.cfm
nb distribution of assignment #4:
Toronto's consumption of contemporary Canadian art - a reflection
Textbook:
- Roger Buergel, Anselm Franke, Maria Lind, Nina Möntmann, "Curating with Institutional Visions," 28-59.
- Mike Bode and Staffan Schmidt, "Spaces of Conflict," 60-85.
Distributed in class:
- Pierre Bordieu, "The Intellectual Field," in Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, eds., (Oxford: Blackwell Publishing, 2005), 11-18.
Textbook:
- Andrea Fraser, "A Museum is not a business. It is run in a businesslike fashion", 86-98.
Distributed in class:
- Marc Spiegler, "The art trade is the last major unregulated market," The Art Newspaper 30 May 2005
- Christopher Varley "Art as an investment" 2 email discussions (December 2005)
- Anthony Westbridge, Made in Canada! An Investor’s Guide to the Canadian Art Market, Vancouver: Westbridge Publications Ltd., 2002, 4-19, 24-25, 52, 64-71, 84.
Internet:
- Council for Business and the Arts in Canada
www.businessforarts.org/about_us/default.asp
see also: CBAC News & Events / Publications
www.businessforarts.org/news_events/default.asp
www.businessforarts.org/publications/default.asp
- Canadian Conference of the Arts: www.ccarts.ca/en/
see also: CCA's @gora: www.ccarts.ca/en/agora
- Canada Council for the Arts, "Facts About the Presence of the Visual Arts in Canadians’ Lives,"
- Canadian Heritage - Arts Policy Branch, "Study of the Market for Canadian Visual Art"
- Westbridge Publications Ltd, "Your Canadian Art Market Authority," www.westbridge-fineart.com/about.htm
nb assignment #3 due
distribution of assignment #5 and confirmation of essay due date:
What role does art play in our society?
Guest lecturer: Kathryn Minard, President, Contemporary Fine Art Services, Inc.
You will be expected to participate actively in a Q&A with the speaker following her presentation. Class discussion will follow.
Internet:
In preparation for this class please consult the websites:
Contemporary Fine Art Services was established in 1981 and provides specialized services in art appraising, art collecting and collection management. The services we offer include locating, researching, purchasing and selling works of art, comprehensive curatorial management of collections and preparation of professional appraisal documents. As independent, professional advisors, we represent the interests of our clients, ensure access to a broad range of art resources and provide unbiased recommendations. The significant skills that the advisors with Contemporary Fine Art Services provide are a thorough knowledge of art history, curatorial standards and the current art market. In addition, we maintain excellent working relationships with artists, galleries, auction houses, museums, and knowledge of support services such as conservation, restoration, framing, security and insurance. Our experience in the art market is extensive, particularly in the area of Canadian contemporary and historical art as well as Inuit prints, sculpture and textiles. For projects outside our specialty, we collaborate with experts in British, American and Asian art.
- http://www.isa-appraisers.org/
The International Society of Appraisers (ISA) is a not-for-profit, member-driven association, formed to support our member needs and serve the public by producing highly qualified and ethical appraisers who are recognized authorities in professional personal property appraising. Our members include many of the country's most respected independent appraisers, consultants, estate liquidators, auctioneers, gallery owners, and dealers.
- Nina Montmann, "Opacity: Current Considerations on Art Institutions and the Economy of Desire," 101-113.
- Sven-Olov Wallenstein, "Institutional Desires," 114-122.
- Beatrice Von Bismarck, "Game Within the Game: Institution, Institutionalisation and Art Education," 124-131.
- Jan Verwoert, "This is Not an Exhibition," 132-140.
- Marita Muukkonen and Chris Evans, "Friends of the Divided Mind," 150-175.
- 16 Beaver, "Collective Interest," 180-187.
nb assignment #4 due
Revisiting our course learning objectives and goals in relation to your successful completion of the essay (assignment #5)
ARTH 5130 Graduate Seminar IBawdy Images / Body Theory in Canadian Visual CultureWinter 2007 Thursdays: 11:30-2:30 (15 minute break 1:00 - 1:15pm; class ends at 2:20pm) Course Description: Ribald, indecent, risque, rude, improper, dirty definitions of "bawdy" indicate the ways in which some representations of the body have been viewed across time and place. This course looks at those terms of negative description that set some images of the body apart from others. The attempts to prohibit, edit, or censor circulation of these images speak to how visual culture works to inform, reproduce, or disturb everyday practices. The course focuses on "bawdy images" at specific moments in Canadian visual culture, examines the archival remains of case studies from the 20th century and provides a forum for the formulation of theoretical approaches to body imaging in the 21st century. We will organize our readings thematically, lead up to a discussion of the current challenges faced by Le Musee national des beaux-arts du Quebec in planning an exhibition of the historical nude in Canadian art for 2009, Nu et modernite au Canada, and end with your discussion of nudes in Canadian art/visual culture produced prior to 1980. Artists to be considered are: John Alfsen -To consider the contemporary legacy of images of the body in Western art history Course Assignments and Evaluation: Please hand in your assignments double spaced. 1. Precis and critique 10% due January 18th, approx. 500 words Lynda Nead, "Redrawing the Lines," in The Female Nude: Art, Obscenity, and Sexuality. (London: Routledge, 1992), pp.34-82. or T.J. Clark, "Olympiaes Choice," in The Painting of Modern Life: Paris in the Art of Manet and his followers. (Princeton: Princeton University Press), 1984), pp.79-146. or Alex Potts, "Beauty and Sublimity," in Flesh and the Ideal: Winckelmann and the Origins of Art History, (New Haven: Yale University Press, 1994), pp. 113-144. 2. Precis and critique 10% due February 1st, approx. 500 words Michel Foucault, "We other Victorians" and "Scientia Sexualis," in The History of Sexuality: An Introduction. vol. 1 (New York: Vintage Books, 1990 / 1978), pp.3-13 and 53-73. or Elizabeth Grosz, "Darwin and Feminism: Preliminary Investigations into a Possible Alliance," in Time Travels: Feminism, Nature, Power, (Durham: Duke University Press, 2005), pp. 13-33 or Nicholas Mirzoeff, "Seeing Sex," in An Introduction to Visual Culture, (London: Routledge, 1999), pp. 162-192 3. Precis and critique 10% due February 22nd, approx. 500 words Moira Gatens, "Woman and her double(s)," in Imaginary Bodies: Ethics, Power, and Corporeality (London: Routledge, 1996), 29-45. or Helen McDonald, "Re-Visioning the Female Nude," in Erotic Ambiguities: The female nude in art. (London: Routledge, 2001), pp. 31-52. or Rachel Alsop, Annette Fitzsimons, and Kathleen Lennon. "Theorizing Men and Masculinities," in Theorizing Gender. (Cambridge: Polity Press, 2002), pp.130-164. 4. Precis and critique 10% due March 8th, approx. 500 words Donna Haraway, "A Cyborg Manifesto: Science, technology, and socialist-feminism in the late twentieth century," in The Feminism and Visual Culture Reader, Amelia Jones ed., (London: Routledge, 2003), pp.475-497 or Judith Butler, "The End of Sexual Difference?" in Undoing Gender. (New York: Routledge, 2004), pp.174-203 or Elizabeth Grosz, "The Future of Female Sexuality," in Time Travels: Feminism, Nature, Power, (Durham: Duke University Press, 2005), pp. 197-214. 5.a) In-class presentation on selected artwork 10% NB. each class member must choose a different artwork *Submission deadline for artist/title of chosen artwork is February 8th A 15-minute presentation on a chosen historical nude in Canadian art/visual culture Please prepare a colour (digitized or slide) image for viewing during your presentation. ~ Schedule of presentations to be determined. b) Catalogue entry 20% 300-500 word discussion of your chosen artwork in which you provide a close visual analysis informed by historical research and a theoretical position. ~ The written component of this assignment is due the day of your presentation and must include illustrations. 6. Take-home exam 30% A list of questions based on class readings and discussion will be distributed on March 15th. ~ due April 10th Course drop date: March 9th Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. NB Exceptions to the lateness penalty will require supporting documentation (e.g., a doctor's letter). Please familiarize yourself with the this information Academic Honesty and Integrity: Students are expected to conform to the standards of academic honesty and integrity as specified by York University. A clear sense of honesty and integrity in academia is fundamental to good scholarship. Violations including collaborating on written assignments (unless specified), failing to use quotation marks and/or citations when using or paraphrasing the printed or electronically transmitted work of others may result in failure in the course, suspension from the University, and withholding or rescinding a York degree. Please review sites outlining York University's policies - website one and website two. Every student has a responsibility to abide by these policies and, when in doubt, to consult with a faculty member for clarification. Access/Disability York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials. If you have any concerns or require assistance with regard to your class participation or completion of the course assignments, please inform your Course Director as soon as possible to discuss options for modification of the course schedule or requirements. It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations. Additional information is available at www.yorku.ca/disabilityservices or from disability service providers: Ethics Review Process Undergraduate students proposing to undertake research involving human participants (e.g., interviewing an artist, museum director, or curator, etc.) are required: 1) to complete the on-line Introductory Tutorial for the Tri-Council Policy Statement: Ethical Conduct for Research Involving Humans (TCPS). pre.ethics.gc.ca/english/tutorial When all Sections of the Tutorial have been completed correctly, please print out two copies of your "Certificate of Completion". Keep one copy for yourself and give one to your Course Director. 2) to complete the "Ethics Form 2: Individualized Protocol."(Ethics Review | Faculty of Arts | York University). Keep one copy for yourself and give one to your supervisor for his/her approval. For more information on York University's Policy for the Ethics Review Process for Research Involving Human Participants see: www.yorku.ca/ffares/ethics.htm www.arts.yorku.ca/ethics_review_of_course_work/ Religious Observance Accommodation York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus pose such a conflict for you, contact the Course Director within the first three weeks of class. Student Conduct Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Required Readings 1) Course kit: available at the Keele Copy Centre (416-665-9675) 4699 Keele Street. NB. Call in advance to ensure a kit is available for pick up 2) additional readings will be available on the internet or distributed in class Associated Costs Students will be responsible for transportation costs to V-Tape. Seminar Schedule and Reading List (This schedule is subject to revision. Readings will be prioritized each week. ) January 4 - Introduction: Bawdy Images / Body Theory Distributed in Class Roland Barthes, "Striptease," in Mythologies. (London: Paladin Grafton Books, 1973 / 1957), pp. 84-87. Kenneth Clark, "The Naked and the Nude," in The Nude: A Study in Ideal Form. (Middlesex, UK.: Penguin Books, 1956), pp.1-25 Elizabeth Grosz, "Sexed Bodies," in Volatile Bodies: Towards a Corporeal Feminism. (Bloomington: Indiana University Press, 1994), pp.187-210 Film/video Atom Egoyan, Exotica, 1994, 103 min. Rated R January 11 - The legacy of the body in Western art "The Story of Pygmalion and Galatea" as told by Orpheus in Ovid's Metamorphoses (www.tesc.edu/~rprice/pygmalion.htm) Whitney Chadwick, "An Infinite Play of Empty Mirrors: Women, Surrealism, and Self-Representation," in Mirror Images: Women, Surrealism, and Self-Representation. (Cambridge, Mass.: MIT Press, 1998), 2-35. Kenneth Clark, "The nude as an end in itself," in The Nude: A Study in Ideal Form. (Washington: National Gallery of Art), pp.348370-357. T.J. Clark, "Olympia's Choice," in The Painting of Modern Life: Paris in the Art of Manet and his followers. (Princeton: Princeton University Press), 1984), pp.79-146. Martin Myrone, "Prudery, Pornography and the Victorian Nude (Or, what do we think the butler saw?)," in Exposed - The Victorian Nude. (London: Tate, 2000), pp.23-35. Tobias Natter, "On the Limits of the Exhibitable: The Naked Body and Public Space in Viennese Art around 1900," in The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals. Tobias Natter and Max Hollein eds. (Munich: Prestel Verlag, 2005), pp.17-42. Lynda Nead, "Redrawing the Lines," in The Female Nude: Art, Obscenity, and Sexuality. (London: Routledge, 1992), pp.34-82. Alex Potts, "Beauty and Sublimity," in Flesh and the Ideal: Winckelmann and the Origins of Art History, (New Haven: Yale University Press, 1994), pp. 113-144. Film/video John Berger Nude, "Nude or naked?" Ways of Seeing: part 2, BBC, 1972 January 18 - Performing the Body NB. 11:30 am meet @ V-TAPE 401 Richmond Street West, Suite 452 Shannon Bell, "Prostitute Performances," in Reading, Writing & Rewriting the Prostitute Body, (Bloomington, Indiana: Indiana University Press, 1994), pp.137-184 Caroline Evans and Lorraine Gamman, "The Gaze Revisited, or reviewing Queer Viewing," in A Queer Romance: Lesbians, gay men, and popular culture, Paul Burston and Colin Richardson eds. (London: Routledge, 1995), pp. 13-56. Elizabeth Grosz, "The Force of Sexual Difference," in Time Travels: Feminism, Nature, Power, (Durham: Duke University Press, 2005), pp. 171-183. Gabrielle Cody, "Introduction: Sacred Bazoombas," Hardcore from the Heart: The Pleasures, Profits and Politics of Sex in Performance - Annie Sprinkle SOLO, Gabrielle Cody ed. (London: Continuum, 2001), pp.1-19. Rebecca Schneider, "Foreword," Hardcore from the Heart: The Pleasures, Profits and Politics of Sex in Performance - Annie Sprinkle SOLO, pp.vii-x. Annie Sprinkle, "Outroduction," Hardcore from the Heart: The Pleasures, Profits and Politics of Sex in Performance - Annie Sprinkle SOLO, pp.123-126. Film/video Lisa Steele, Birthday Suit - with scars and defects, 1974, 13:00 min Carolee Schneemann, Up to and Including Her Limits, 1982, 25 min Tanya Mars, Mz. Frankenstein, 1993, 15:30 min Su C. Rynard and Kathleen Maitland-Carter, Sexual Healing, 1995, 24:17 min Richard Fung and Tim McCaskel, School Fag, 1998, 16:35 min Jubal Brown, Deathday Suit, 2002, 8:41 min
January 25 - The Model / Muse "Woman at EXPO: Expo Searches Launch for Hostesses", 1966. Bertram Brooker, "Nudes and Prudes," in Documents in Canadian Art. ed. Douglas Fetherling (Peterborough: Broadview Press, 1987), pp.66-75. Donald W. Buchanan, "Naked Ladies," Canadian Forum vol. XV (April 1935), pp.273-274. Charles Comfort, "The Painter and His Model," in Open House. William Arthur Deacon and Wilfred Reeves ed. (Ottawa: Graphic Publishers Limited, 1931), pp.213-218. Kildare Dobbs, "Eros on Yonge Street: Impressions of the Dorothy Cameron Trial," Saturday Night 31/2 (February 1966), pp.19-21. Gwendolyn Audrey Foster, "Etiquette Texts and Performance," in Troping the Body: Gender, Etiquette, and Performance, (Carbondale: Southern Illinois University Press, 2000), pp.1-18. Anna Hudson, "Wonder Women and Goddesses: A conversation about Art with Robert Markle and Joyce Wieland," in Woman as Goddess: Liberated Nudes by Robert Markle and Joyce Wieland, Anna Hudson ed. (Toronto: Art Gallery of Ontario, 2003), pp.40-62. Charmaine Nelson, "Coloured Nude: Fetishization, Disguise, Dichotomy," RACAR (XXII, 1-2 / 1995) pp.97-107. Sarah R. Phillips, "Defining the Line: Sexual Work versus Sex Work," in Modeling Life (Albany: State University of New York, 2006), pp. 35-47. Arnold Rockman, "Reflections on the Erotic in Art," Canadian Art (September / October 1965), pp. 30-37 Internet magazines.ivillage.com/goodhousekeeping/etiquette February 1 - Nature vs Nurture: Psycho Body Judith Butler, "The End of Sexual Difference?" in Undoing Gender. (New York: Routledge, 2004), pp.174-203. Carol Duncan, "Happy Mothers and Other New Ideas in Eighteenth-Century French Art," in Feminism and Art History: Questioning the Litany, Norma Broude and Mary D, Garrard eds. (New York: Harper & Row, 1982), pp. 200-219. Michel Foucault, "We other Victorians" and "Scientia Sexualis," in The History of Sexuality: An Introduction. vol. 1 (New York: Vintage Books, 1990 / 1978), pp.3-13 and 53-73. Sander Gilman, "Black Bodies, White Bodies: Towards an Iconography of Female Sexuality in late nineteenth-century art, medicine, and literature," in The Feminism and Visual Culture Reader, Amelia Jones ed., (London: Routledge, 2003), pp.136-150. Elizabeth Grosz, "Psychoanalysis and the Body," in Feminist Theory and the Body: A Reader, Janet Price and Margrit Shildrick eds., (New York: Routledge, 1999), and 267-271. Elizabeth Grosz, "Darwin and Feminism: Preliminary Investigations into a Possible Alliance," in Time Travels: Feminism, Nature, Power, (Durham: Duke University Press, 2005), pp. 13-33 Nicholas Mirzoeff, "Seeing Sex," in An Introduction to Visual Culture, (London: Routledge, 1999), pp. 162-192 Marcia Pointon, "Psychoanalysis and Art History: Freud, Fried, and Eakins," in Naked Authority: The Body in Western Painting 1830-1908. (Cambridge: Cambridge University Press, 1990), pp.35-58. February 8 - Feminist Circumscription Susan Bordo, "Feminism, Foucault and the Politics of the Body," in Feminist Theory and the Body: A Reader, Janet Price and Margrit Shildrick eds., New York: Routledge, 1999), pp. 246-257. Betty Friedan, "The Feminine Mystique," in Sex 'n' drugs 'n' Rock 'n' Roll - American Popular Culture since 1945. ed. John Ingham (Toronto: Canadian Scholars" Press, 1988), pp.194-202. Moira Gatens, "Woman and her double(s)," in Imaginary Bodies: Ethics, Power, and Corporeality (London: Routledge, 1996), 29-45. Helen McDonald, "Re-Visioning the Female Nude," in Erotic Ambiguities: The female nude in art. (London: Routledge, 2001), pp. 31-52. Linda Nochlin, "Real Beauty: The Body in Realism," Bathers, Bodies, Beauty: The Visceral Eye. Cambridge, Mass.: Harvard University Press, 2006), pp199-249. Hilary Robinson, "Whose Beauty? Women, Art, and Intersubjectivity in Luce Irigary's Writings," in Beauty Matters, Peg Zeglin Brand ed., (Bloomington: Indiana University Press, 200), pp.224-251 *Submission deadline for artist/title of chosen artwork February 15 READING WEEK (no class) February 22 - Masculinities Rachel Alsop, Annette Fitzsimons, and Kathleen Lennon. "Theorizing Men and Masculinities," in Theorizing Gender. (Cambridge: Polity Press, 2002), pp.130-164. Jennifer Doyle, "Sex, Sodomy, and Scandal: Art and Undress in the Work of Thomas Eakins," and "Tricks of the Trade: Pop Art and the Rhetoric of Prostitution," in Sex Objects: Art and the Dialectics of Desire, (Minneapolis: University of Minnesota Press, 2006), pp.15-44 and 45-70. Abigail Solomon-Godeau, "Male Trouble: A Crisis in Representation," Art History (June 1993), pp.286-312. Leo Steinberg, The Sexuality of Christ in Renaissance Art and in Modern Oblivion. (New York: Pantheon/October, 1983), excerpt pp.82-108 March 1 - Scientific monsters and techno-bodies Rosi Braidotti, "Signs of Wonder and Traces of Doubt: On Teratology and Embodied Difference," in Feminist Theory and the Body: A Reader, Janet Price and Margrit Shildrick eds., New York: Routledge, 1999), pp. 290-301. Kathy Davis, "My Body is my Art": Cosmetic Surgery as a Feminist Utopia?" in Feminist Theory and the Body: A Reader, Janet Price and Margrit Shildrick eds., New York: Routledge, 1999), pp. 454-465. Donna Haraway, "A Cyborg Manifesto: Science, technology, and socialist-feminism in the late twentieth century," in The Feminism and Visual Culture Reader, Amelia Jones ed., (London: Routledge, 2003), pp.475-497 Thomas Laqueur, "Representing Sex," in Making Sex: Body and Gender from the Greeks to Freud. (Cambridge, Mass: Harvard University Press, 1990), pp.114-147. Marsha Meskimmon, "The Monstrous and the Grotesque," Make vol. 72 (Oct/Nov 1996), pp.6-11. Distributed in Class Mary Douglas, Purity and Danger: an analysis of the concepts of pollution and taboo (London: Ark Paperbacks, 1984/1966), e-copy selection March 8 - Transforming the Body Judith Butler, "The Question of Social Transformation," in Undoing Gender. (New York: Routledge, 2004), pp.204-231. Elizabeth Grosz, "The Future of Female Sexuality," in Time Travels: Feminism, Nature, Power, (Durham: Duke University Press, 2005), pp. 197-214. Amelia Jones, "Dispersed Subjects and the Demise of the 'Individual': 1990s Bodies in / As Art," in Body Art: Performing the Subject, (Minneapolis: University of Minnesota Press, 1998), pp.197-240 Stacy Leigh Pigg and Vincanne Adams, "Introduction: The Moral Object of Sex," in Sex in Development: Science, Sexuality, and Morality in Global Perspective. (Durham: Duke University Press, 2005), pp. 1-38 Stacy Leigh Pigg, "Globalizing the Facts of Life," Sex in Development: Science, Sexuality, and Morality in Global Perspective. (Durham: Duke University Press, 2005), pp. 39-65 March 15 - Make-Up / Review and Distribution of take-home exam March 22 - in Canada Jerrold Morris, The Nude in Canadian Painting. (Toronto: New Press, 1972), pp.3-26 Part One - In-class presentations March 29 - in Canada Part Two - In-class presentations Additional Resources art Major modern & contemporary visual artists artists and art, the-artists.org, the major modern & contemporary visual artists, each artist with portrait, brief biography, links to articles, essays and artist interviews; original art, limited edition art prints, photography and poster art, paintings, multimedia and artist's books & cultural tours. Artnet artnet is the place to buy, sell and research fine art online. Our online Gallery Network is the largest of its kind, with over 1,200 galleries in over 250 cities worldwide, more than 100,000 works by over 25,000 artists from around the globe. Baldwin Room, Toronto Reference Library Special Collections, Genealogy and Maps Centre of the Toronto Reference Library Centre for Contemporary Canadian Art Artists Files E.P. Taylor Reference Library and Archives Art Gallery of Ontario Euromuse Network of European Art and Cultural History Museums Euromuse.net is a public access portal giving accurate information on major exhibitions in European museums. It provides all vital information in one place, updated by the host museum; with euromuse.net you will never again be bogged down in proliferating individual websites and search engines. Each museum's information is available in the native language and in English. Updating of euromuse.net is continuous. H-Museum H-MUSEUM is a moderated mailing list in the H-Net (Humanities and Social Sciences Online) for Museums and Museum Studies. Currently H-MUSEUM has more than 5000 subscribers from over 94 different countries. The list addresses themes and questions primarily relating to museological topics. Museums are intended to be interdisciplinary, so that archaeological, historical, cultural and artistic information can be posted. Project Muse Project MUSE is a unique collaboration between libraries and publishers providing 100% full-text, affordable and user-friendly online access to over 300 high quality humanities, arts, and social sciences journals from 60 scholarly publishers. Virtual Museum of Canada www.virtualmuseum.ca/English/index_noflash.html The Virtual Museum of Canada celebrates the stories and treasures that have come to define Canada over the centuries. Here you will find innovative multimedia content that educates, inspires and fascinates! This groundbreaking gateway is the result of a strong partnership between Canada's vast museum community and the Department of Canadian Heritage.
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FA/VISA 4800 I 3.00 / ARTH 5990 Art of the ArcticWinter 2007 Fridays:11:30-2:30 (15 minute break 1:00 - 1:15pm; class ends at 2:20pm)
Course Description:This course examines various contemporary, modern and traditional Inuit and First Peoples' creative practices of the northern circumpolar region (spanning the current geo-political boundaries of Canada, Greenland, Norway, Finland, Sweden, Russia and the United States) including video, new media and television, sculpture, printmaking, material culture and oral tradition. Southern markets of cultural consumption of the “idea of North,” and museological and popular culture representations of northern indigenous peoples, will be addressed separately from visual culture produced by and for Inuit and First Nations circumpolar peoples. Indigenous political and cultural organizations will be noted as they address cultural and economic issues of sustainability. Discussion of non-Western ideas of time, history, traditional knowledge, and community will be encouraged.
Goals:To become familiar with issues of Northern indigeneity (Inuit, Inupiat, Yupik, Aleut, and other indigenous cultures of the circumpolar region) To appreciate the breadth and depth of Inuit art/visual culture in relation to the larger social, cultural, economic, and political conditions of northern indigenous peoples To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries To examine the place of Canadian Inuit art practices in the North and South
Course Assignments and Evaluation:Please hand in your assignments double spaced. Because this class integrates graduate and undergraduate students, there are two levels of evaluation.
Course Assignments and Evaluation:Please hand in your assignments double spaced. Course drop date: March 9th Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., will require supporting documentation (e.g., a doctor’s letter).
Undergraduate1. Lecture summary and question 10% Following Carol Payne’s in-class presentation on January 12th, “A View from the North: Contemporary Inuit Communities Reread Canadian Governmental Images”, write a summary of her argument in which you isolate what you consider to be her most important message. Complete your summary with 1 (one) question – as simply stated as possible – in which you demonstrate your critical engagement with the research. 250 words Due January 19th 2. A critical account of Inuit / Arctic organizations and government departments 10% class presentations due Friday January 26th 1) Group: 5% organization, cooperation, 2) Individual: 5% oral - delivery, research The class will be divided into groups of four: Group 1 - Avataq Cultural Institute Group 2 - Inuit Circumpolar Conference (Canada) Group 3 - Inuit Tapiriit Kanatami Group 4 - National Inuit Youth Council Group 5 – Nunavut Arts and Crafts Association Each member of the group takes on one of the assigned focuses relating to: 1) mission and/or mandate 2) history and operation 3) staffing and structure 4) summary of function and effectiveness Prepare an oral presentation of a MAXIMUM of 20 minutes relating your research and analysis. Presentations will be followed by class discussion. 3. Fair Market Appraisal and Rationale 20% Due February 23rd Focusing on your chosen work from the York University Collection, prepare a “fair market appraisal” in which describe the work and argue its current monetary value based on: the artist’s status based on publications and exhibitions, the date/medium/size of the work, the condition (as far as you can tell), the provenance, and comparable sales information. Waddington’s includes past sales records on their website which you may explore, and sales of Inuit art are also recorded in Canadian art sales indices published annually (N 8670 C35 SCOTT-REF non-circulating). You may also find price listing on commercial gallery websites useful. Your appraisal should be as concise and clear as possible, using clear subheadings and a well-formulated rationale for why you believe the piece is (more or less) valuable. Your comparable sales should be clearly laid out with images, if possible. 500-1000 words including appendix 4. Research report on work in the York University collection 15% Due March 9th This assignment asks you that to establish the significance of your chosen work for any larger public collection. A research report accompanies any work being proposed for accession into a public collection. It is divided into 4 sections (each indicated by a subheading): 1) artist, title, date, medium, size 2) provenance (from most recent…) 3) discussion (2 to 3 paragraphs – including a brief bio and description – in which you position the work in relation to the artist’s career, his/her community, and the history of Inuit art. Be sure to footnote any citations and provide a relevant bibliography. Images are also useful) 4) Programming (how do propose to program the work > installations or virtual exhibitions, publications, research or lecture focus…) 500-1000 words including bibliography and images 5. Catalogue entry 15% March 23rd - first draft March 30th – final copy Please email me your catalogue entry by March 23rd for feedback. Hand in a hard copy of your revised entry on March 30th A 250 focused discussion of the work. Catalogue entries are publishable short discussions of an artwork intended for the general public. In your catalogue entry, you must – given our appreciation of postcolonial issues of representation – cite an Inuit perspective which opens the image to a culturally-engaged significance. You will be asked to read your catalogue entry to the class on March 30th. 6. Final Essay 20% Due April 9th A 1000 to 1250 word essay in which you consider one of the 4 goals for the course: To become familiar with issues of Northern indigeneity (Inuit, Inupiat, Yupik, Aleut, and other indigenous cultures of the circumpolar region) To appreciate the breadth and depth of Inuit art/visual culture in relation to the larger social, cultural, economic, and political conditions of northern indigenous peoples To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries To examine the place of Canadian Inuit art practices in the North and South You must submit your idea (a short written paragraph) for feedback on March 2nd. 7. Class participation 10% Attendance, participation, and preparation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to summarize information and ideas for your colleagues, and to participate effectively in class discussion.
Graduate1. Lecture summary and critique 15% Following Carol Payne’s in-class presentation on January 12th, “A View from the North: Contemporary Inuit Communities Reread Canadian Governmental Images”, write a summary of her argument in which you isolate what you consider to be her most important message. 250 words Complete your summary with a critique in which you cite Marianne Hirsch’s Family frames : photography, narrative, and postmemory as the theoretical framework applied by Payne to her subject. 100 words Due January 19th 2. A critical account of Inuit / Arctic organizations and government departments 15% class presentations and written reports due Friday January 26th 1) Group: 5% organization, cooperation, 2) Individual: 5% oral - delivery, research 5% written - analysis Each member of the group takes on one of the assigned focuses relating to… 1) mission and/or mandate 2) history and operation 3) staffing and structure 4) funding sources (private and not-for-profit) 5) summary of function and effectiveness ... for the following 4 interrelated organizations: Inuit Business Directory Arctic Cooperative Limited West Baffin Cooperative (Kinngait Co-operative) Dorset Fine Arts Oral presentations - MAXIMUM of 20 minutes total. Presentations will be followed by class discussion. Each section, in the written report, should be 300-500 words (covering the Inuit Business Directory, Arctic Cooperative Limited, West Baffin Cooperative, and Dorset Fine Arts - inclusive) 3. Fair Market Appraisal and Rationale 20% Due February 23rd Focusing on your chosen work from the York University Collection, prepare a “fair market appraisal” in which describe the work and argue its current monetary value based on: the artist’s status based on publications and exhibitions, the date/medium/size of the work, the condition (as far as you can tell), the provenance, and comparable sales information. Waddington’s includes past sales records on their website which you may explore, and sales of Inuit art are also recorded in Canadian art sales indices published annually (N 8670 C35 SCOTT-REF non-circulating). You may also find price listing on commercial gallery websites useful. Your appraisal should be as concise and clear as possible, using clear subheadings and a well-formulated rationale for why you believe the piece is (more or less) valuable. Your comparable sales should be clearly laid out with images, if possible. 500-1000 words including appendix 4. Research report on work in the York University collection 15% Due March 9th This assignment asks you that to establish the significance of your chosen work for any larger public collection. A research report accompanies any work being proposed for accession into a public collection. It is divided into 4 sections (each indicated by a subheading): 1) artist, title, date, medium, size 2) provenance (from most recent…) 3) discussion (2 to 3 paragraphs – including a brief bio and description – in which you position the work in relation to the artist’s career, his/her community, and the history of Inuit art. Be sure to footnote any citations and provide a relevant bibliography. Images are also useful) 4) Programming (how do propose to program the work > installations or virtual exhibitions, publications, research or lecture focus…) 500-1000 words including bibliography and images 5. Catalogue entry 10% Due March 30th A 250 focused discussion of the work. Catalogue entries are publishable short discussions of an artwork intended for the general public. In your catalogue entry, you must – given our appreciation of postcolonial issues of representation – cite an Inuit perspective which opens the image to a culturally-engaged significance. You will be asked to read your catalogue entry to the class on March 30th. 6. Final Essay 15% Due April 9th A 1000 to 1250 word essay in which you consider one of the 4 goals for the course: To become familiar with issues of Northern indigeneity (Inuit, Inupiat, Yupik, Aleut, and other indigenous cultures of the circumpolar region) To appreciate the breadth and depth of Inuit art/visual culture in relation to the larger social, cultural, economic, and political conditions of northern indigenous peoples To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries To examine the place of Canadian Inuit art practices in the North and South ~ You must submit your idea (a short written paragraph) for feedback on March 30th. 7. Class participation 10% Attendance, participation, and preparation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to summarize information and ideas for your colleagues, and to participate effectively in class discussion. Please familiarize yourself with the following information. Academic Honesty and Integrity: Students are expected to conform to the standards of academic honesty and integrity as specified by York University. A clear sense of honesty and integrity in academia is fundamental to good scholarship. Violations – including collaborating on written assignments (unless specified), failing to use quotation marks and/or citations when using or paraphrasing the printed or electronically transmitted work of others – may result in failure in the course, suspension from the University, and withholding or rescinding a York degree. Please review York University’s policies Every student has a responsibility to abide by these policies and, when in doubt, to consult with a faculty member for clarification.
Access/Disability York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials. If you have any concerns or require assistance with regard to your class participation or completion of the course assignments, please inform your Course Director as soon as possible to discuss options for modification of the course schedule or requirements. It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations. Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
Ethics Review Process Undergraduate students proposing to undertake research involving human participants (e.g., interviewing an artist, museum director, or curator, etc.) are required: 1) to complete the on-line Introductory Tutorial for the Tri-Council Policy Statement: Ethical Conduct for Research Involving Humans (TCPS). http://pre.ethics.gc.ca/english/tutorial/. When all Sections of the Tutorial have been completed correctly, please print out two copies of your "Certificate of Completion". Keep one copy for yourself and give one to your Course Director. 2) to complete the “Ethics Form 2: Individualized Protocol.”(Ethics Review). Keep one copy for yourself and give one to your supervisor for his/her approval. For more information on York University’s Policy for the Ethics Review Process for Research Involving Human Participants see:
Religious Observance Accommodation York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus pose such a conflict for you, contact the Course Director within the first three weeks of class.
Student Conduct Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship.
Required Readings1) Course kit: available at the Keele Copy Centre (416-665-9675) 4699 Keele Street. Call in advance to ensure a kit is available for pick up – Monday January 15th 2) additional readings will be available on the internet or distributed in class Associated Costs Students will be responsible for transportation costs to galleries and auction houses downtown: Toronto Dominion Gallery of Inuit Art Feheley Fine Arts Waddington’s.
Seminar Schedule and Reading List(This schedule is subject to revision. Readings may be prioritized each week. ) January 5 – Introduction: Art of the ArcticInternet www.rethinking-nordic-colonialism.org Rethinking Nordic Colonialism: A Postcolonial Project in Five Acts
March 24-November 25, 2006With the research based project Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts, NIFCA takes an important step towards coming closer to an unwritten part of our Nordic cultural heritage – the Nordic colonial history. One of the theses that the curators want to investigate is whether it – in our joint cultural heritage – is possible to find the roots of the nationalistic and xenophobic tendencies today. The project is an interdisciplinary investigation conducted together with a number of players and thinkers in the Nordic region and the rest of the world – in dialogue with a number of historical phenomena, places, and institutions in the Nordic countries. Mutual learning is the focus of the project, and our hope is that the process will result in a continued dialogue that can enrich the places and the peoples, who live and act in the project locations, and those who visit there. On behalf of NIFCA, I want to extend a cordial thank you to all the participants, who with deep engagement have participated in making this fantastic project a reality. A strong dialogue, exchange, and enthusiasm between artists, curators, thinkers, institutions, and players in the Nordic region and the world have made this project possible. Our hope is that the thoughts of the project will work towards a new way of looking at our cultural heritage and our possibility to influence it and our future! Essays and papers: Boletta Benedictsen Blaagaard Rolocating, Whiteness in Nordic Media Discourse, 1-24. Archana Hande, Home Grown, pp. 1-16. Makere Stewart-Harawira, Nation States and the Struggle for Empire: Indigenous Peoples in the Interregnum, pp.1-19 Richard William Hill, Representation and Problems for Indigenous North American Agency, pp.1-30. Tobias Hubinette, Between European Colonial Trafficking, American Empire Building and Nordic Social Engineerig:Rethinking International Adoption from a Postcolonial and Feminist Position, pp. 1-11. Ivar Jonsson, From Colonialism to Institutional Dependency, pp. 1-20. Reina Lewis, Gender, Orientalism, and Postcolonialism, pp.1-21. Mikela Lundahl, Nordic Complicity, pp. 1-13 Aviaja Egede Lynge, The Best Colony in the World, pp.1-6. Kobena Mercer, Art as a Dialogue in Social Space, pp. 1- Henriette Rasmussen, Inuit – A struggle for Cultural Space, pp. 1-9. Vandana Shiva, Globalization, Terrorism and Vicious Cycles of Violence, pp.1-6. Film/video Robert J. Flaherty, Nanook of the North, 1922, 79 min. January 12 – Representations: Who’s speaking for whom Part I Guest Speaker Carol Payne, Assistant Professor, Art History, Carleton University, Ottawa “A View from the North: Contemporary Inuit Communities Reread Canadian Governmental Images” This paper introduces a series of recent interviews between Inuit youth and elders about photographs of the Canadian north dating from the 1950s and 1960s made under the auspices of the National Film Board of Canada’s Still Photography Division. An agency of the Canadian federal government, the NFB’s Still Photography Division was mandated to photographically promote the country to both Canadian and international viewers. Over a history spanning from 1941 to 1984, it produced and disseminated some 200,000 jingoistic photographs of the country as well as numerous publications and exhibitions. The North and the largely Inuit population who live there were privileged subjects in Division pictorials. Indeed, at the NFB, as in many other federal agencies, Inuit and Inuit material culture were promoted as key emblems of Canadian identity. NFB Still Photograph images of the North exemplify the subjugation of Aboriginal peoples in imperialist photography: typically their subjects are rendered nameless while composition and accompanying texts cast them in the glaring shades of cultural stereotype. Finally, the Inuit subjects of these images have rarely seen these representations; they were treated as the objects of a southern and western gaze not as autonomous agents. In a collaborative project I am participating in with the Inuit college Nunavut Sivuniksavut, many of these photographs are now being returned to the north as the focus of a series of interviews conducted by Inuit youth with elders or others in their home communities. Their response to these imperialist images is surprising: rather than seeing in them visual manifestations of cultural repression and ‘othering,’ participants are finding in them a site to renew cultural identity by strengthening community knowledge and fostering intergenerational connections. Based on the concept of visual repatriation—the recovery and recontextualization of photographs depicting Aboriginal peoples organized by or in collaboration with the same Aboriginal groups—this project employs memory work to disturb “those ideological maneuvers through which ‘imagined communities’ are given essentialist identities” and reclaim the Aboriginal subject. Drawing on Marianne Hirsch’s concept of “post-memory,” this paper will introduce that visual repatriation project. Part II Discussion of the guest lecture and review of assignment #1 Class review of: Aviaja Egede Lynge, The Best Colony in the World, pp.1-6. Individual commentaries on distributed readings from the Rethinking Nordic Colonialism website Conclusions: Rethinking Nordic Colonialism vs Nanook of the North
January 19 – Inuit Postcolonial VoiceRethinking Nordic Colonialism documents an ongoing effort by indigenous peoples of the circumpolar region to define themselves and their world through their own voice, representations, and life stories. What distinguishes theses efforts, what are the issues, and what’s at stake? Internet www.itk.ca/5000-year-heritage/index.php Inuit Tapiriit Kanatami Our Heritage / Cultural Unity / Cultural Origins / Early History / Our Ancestors / First Contact / Two Worlds Meet / Land Claims / Inuit Today /Regions Zebedee Nungak “Qallunaat 101: Inuits study white folks in this new academic field,” This Magazine (March / April 2004) www.utne.com/issues/2004_122/promo/11116-1.html “Qitsualik: What the Inuit 'want',” Indian Country (November 19, 2004) www.indiancountry.com/content.cfm?id=1096409886 Course kit Karla El-Hassan, “Inuit Writing After the Sixties: Robin Gedalof’s Anthology Paper Stays Put,” in Probing Canadian Culture. Peter Easingwood, Konrad Gross, Wolfgang Klooss (Augsburg: Av-Verlag, 1991), pp. 203-209. John Amagoalik, “Will Inuit Disappear from the Face of the Earth?,” pp.209-211. Minnie Aodla Freeman, “Living in Two Hells,” pp.235-243. Alootook Ipellie, “Frobisher Bay Childhood,” 243-252. Susie Tiktalik, “Susie Tiktalik – From Her Life Story,” pp.254-257. Zebedee Nungak, “Equality Before the Honey Bucket,” pp.258-260. John Amagoalik, “Amagoalik’s Closing Remarks,” pp.263-264. Peter Ernerk [Irniq], “The Inuit as Hunters and Managers,” pp. 281-283. Nellie Curnoyea, “Everybody Likes the Inuit,” p.286. in Northern Voices: Inuit Writing in English, Penny Petrone ed. (Toronto: University of Toronto Press, 1988). Alexina Kublu, Frédéric Laugrand, Jarich Oosten, “The Nature of Inuit Knowledge,” pp.122-125. Hugh Brody, “Living Arctic,” pp.126-130. Nancy Wachowich, “An Overview of Iglulingmiut and Mittimatalingmiut Culture and History,” pp.131-136. Alootook Ipellie, “Nipikti The Old Man Carver,” pp.179-181. Laimiki Innuaraq, “A Sad Case,” pp.182-183. Apphia Agalakti Awa, “Growing Up, We Stayed With Our Mothers,” pp. 184-213 in Inuit Studies Reader: An Inuit Anthology, Gillian Robinson ed., (Montreal: Isuma Publishig, 2004)
January 26 – A critical account of Inuit / Arctic organizationsand government departments: GROUP PRESENTATIONS
February 2 – Inuit Sculpture from the Collection of the TD Bank Financial GroupNB. 12:30 meeting @ Toronto Dominion Gallery of Inuit Art 79 Wellington Street West (at Bay) meet at front entrance at 12:15 Guest speaker Curator, Natalie Ribkoff Course kit Natalie Ribkoff, “A Collection Carved in History,” ItuKiagatta! Inuit Sculpture from the Collection of the TD Bank Financial Group (Ottawa: National Gallery of Canada, 2005), pp.15-25.
February 9 – Inuit art at York UniversityPart I – Annie Pootoogook: New Perspectives on Inuit Art? Guest speaker Katherine Knight, Associate Professor, Department of Visual Arts, York Univesity Film/video Katherine Knight and Marcia Connolly, "Annie Pootoogook," 23 min Course kit Pat Feheley, “Modern Language: The Art of Annie Pootoogook,” Inuit Art Quarterly vol.19 no.2 (Summer 2004), pp.10-15 Michelle Lewin, “Beyond the Polar Bear: New Directions in Contemporary Inuit Art,” Canadian Art (Fall 2006), pp.104-108. Tina Rose, “Mother, daughter art team capture contemporary Cape Dorset,” Nunatsiaq News (June 24, 2005) Kevin Temple, “Pootoogook’s Inuit Insight Startling yet uncomplicated drawings comment on Daily Life,” NOW (June 29-July 5, 2006) Jackie Wallace, “Redrawing the boundaries of Inuit Art,” Nunatsiaq News (June 30, 2006) Part II – Inuit art in the York University collection The Joan Goldfarb Visual Arts Study Centre, 2nd floor CFA We will review a selection of sculptures (carvings) and graphic works from the York University collection. Each student will be assigned one work for close examination and research. Internet Centre for Contemporary Canadian Art – The Inuit Artists Project Introduction - Artists & Communities - Community Map - Legends - Throat & Harp Songs -Tagaq - Soukup - Credits Course kit Canadian Inuit Sculpture (Ottawa: Indian and Northern Affairs, 1992), pp.1-20. Jean Blodgett, “After Essay – And What About Inuit Art?,” in On Aboriginal Representation in the Gallery, Lynda Jessup with Shannon Bagg eds. (Hull: Canadian Museum of Civilization, 2002), pp.205-214 Patricia Feheley, “Rediscovering Inuit Art at York University,” Inuit Art Quarterly (Fall1987), pp.6-9. Nelson Graburn, “The Discovery of Inuit Art: James A. Houston – Animateur,” Inuit Art Quarterly (Spring 1987), pp.3-5. James Houston, Eskimo Handicrafts, (Ottawa: Canadian Handicrafts Guild and the Department of resources and Development, 1951), pp.1-32. James Houston, Canadian Eskimo Art, (Ottawa: Northern Affairs and National Resources, 1956), 1-38. James Houston, “Fifty Years of Thinking it Over,” Celebrating Inuit Art, 1948-1970. Maria von Finkenstein ed., (Hull: Canadian Museum of Civilisation, 1999), pp.19-38. GCFA Reference Cynthia Waye Cook, Inuit Sculpture: In the Collection of the Art Gallery of York University, North York: AGYU, 1988.
February 16 READING WEEK (no class)
February 23 –The Inuit Art (Secondary) MarketNB. 12:30 meeting @ Waddington’s Auction House 111 Bathurst Street (at Adelaide) meet at front entrance at 12:15 Guest speaker Duncan McLean, President of Waddington’s Internet James Adams, “Inuit art: This is where it’s at,” Globe and Mail (November 7, 2005), www.theglobeandmail.com “Stakeholders Involved in Inuit Art,” from Section 2, Katilvik: An online place to share information about Inuit culture and art. Note glossary and artist search, among other links Duncan McLean, President of Waddington's and head of the Inuit and Native North American Art departments, joined Waddington's™ in 1978 following studies in anthropology at Trent and York Universities. Duncan is recognized as one of the leading international experts in Inuit Art and credited with helping to build the highly successful Inuit Art market. Duncan’s Inuit Art auctions attract clients from across North America and Europe and have realised over $12 million in top, record-setting prices. The Inspiration for Inuit Prints http://www.waddingtons.ca/pages/home/index.php?c=feat_ref/feat_06_99.php “Classic and Unusual Sculpture Highlight Waddington's Auction of Inuit Art”
Toronto, November 7, 2006www.waddingtons.ca/inuit/highlights.php “Auction of Sculptures by Inuit Artist Joe Talirunili Surpasses Previous records” Toronto, April 24th, 2006 www.waddingtons.ca/pages/home/index.php?c=news/news.php
March 2 – New Directions in Contemporary (Inuit) ArtNB. 12:30 meeting @ Feheley Fine Arts 14 Hazelton Avenue (Yorkville) meet at front entrance at 12:15 Guest speaker Pat Feheley, Gallery Director and ADAC (Art Dealers Association of Canada) president Internet www.feheleyfinearts.com/contact/index.shtml Established over forty years ago, Feheley Fine Arts has become synonymous with excellence in the field of Inuit art. The gallery, located in the prestigious Yorkville area of Toronto, deals exclusively in fine quality original works of Canadian contemporary art. The gallery benefits from the pedigree of two generations of owners who have been vitally concerned with, and connected to, the contemporary art scene in Canada. Feheley Fine Arts was founded by M.F. ("Budd") Feheley, a prominent collector and dealer in Canadian contemporary art. The gallery is now owned and directed by his daughter Patricia, who has extensive expertise in the field of Inuit art. Today, the gallery maintains a busy schedule of ongoing exhibitions and events throughout the year. Feheley Fine Arts has an impressive inventory of early and contemporary Inuit art as well as representations of other contemporary Canadian fine art including work by J.F. Lansdowne, David Alexander, K.M. Graham, Toni Onley, and Ahmoo Angeconeb. Feheley Fine Arts has been instrumental in the development of numerous private, public and corporate collections. The gallery offers a range of consultation and curatorial services including art appraisal, collection management, display and exhibition advice. Our expertise rests especially in the research and marketing of rare, early private collections of Inuit art. Collecting Inuit Art Looking to the Future Past and Present www.feheleyfinearts.com/about_inu/contemp_view/index.shtml
March 9 – Inuit film and video, storytelling, and oral historyCourse kit John Greyson and Lisa Steele, “The Inukshuk Project - Inuit TV: The Satellite Solution,” pp.57-63. Marie-Helene Cousineau, “Inuit Women’s Video,” pp.64-68 Igloolik Isuma, Nunavut (Our Land), pp.69-71 in Video re/View. Peggy Gale and Lisa Steele, eds. (Toronto: Art Metropole and V Tape, 1996). Puhipau and Zacharias Kunuk, “Dialogue: Puhipau in conversation with Zacharias Kunuk,” pp.42-49. Candice Hopkins, “Interventions in Digital Territories: Narrative in Native New Media,” pp.126-137. Marjorie Beaucage, “Aboriginal Voices: Entitlement Through Storytelling,” pp.138-151. Victor Masayesva, “Indigenous Experimentation,” pp. 164-177. in Transference, Tradition, Technology: Native New Media Exploring Visual and Digital Culture, Melanie Townsend ed., (Banff: Walter Phillips Gallery in association with the Art Gallery of Hamilton & Indigenous Media Arts Group, 2005). Lorna Roth, “Television Northern Canada: The Dream of a Northern Dedicated Transporder Becomes a Reality,” Something New in the Air (Montreal&Kingston: McGill-Queen’s University Press, 2005), pp187-200. Nancy Wachowich, “Cultural Survival and the Trade in Iglulingmiut Traditions,” in Critical Inuit Studies: An Anthology of Contemporary Arctic Ethnography, Pamela Stern and Lisa Stevenson eds., (Lincoln: University of Nebraska Press, 2006), pp.119-138. Film/video Selection from: Igloolik Isuma Productions, Nunavut (Our Land) Using contemporary Inuit actors, Nunavut recreates the traditional nomadic lifestyle of Inuit in the Igloolik region of the Canadian Arctic in 1945 - just before government and settlement life began. The series follows five fictional families through the different seasons of an Arctic year, from the glorious northern spring to a uniquely Inuit Christmas Day. In original Inuktitut with English subtitles. 13 half hour television series (6.5 hours). Internet Nunavut (Our Land) Series
March 16 – The Journals of Knud Rasmussen- a feature length film from Kunuk Cohn Productions, Igloolik Isuma Productions, and Barok Film (Copenhagen) - nb. screening location to be confirmed Guest Speakers Norm Cohn and Zach Kunuk - will present the film and take questions, time pending Internet www.cbc.ca/arts/film/knud.html www.nunatsiaq.com/archives/40910/news/nunavut/40910_09.html
March 23 – Reconsiderations: Inuit voice, Inuit artMeet at: The Joan Goldfarb Visual Arts Study Centre, 2nd floor CFA Course kit “Discussions,” Imaging the Arctic, Jonathan King and Henrietta Lidchi, eds. (London: The British Museum, 1998), pp.229-242. Shannon Bagg, “The Anthropology of Inuit Art: A Problem for Art Historians,” in On Aboriginal Representation in the Gallery, Lynda Jessup with Shannon Bagg eds. (Hull: Canadian Museum of Civilization, 2002), pp.183-194. J. Edward Chamberlain, If this is your land, where are your stories? (Toronto: Vintage Canada, 2004), pp.8-25 Budd Hall, “Breaking Educational Silence: For Seven Generations, An Information Legacy of the Royal Commission on Aboriginal Peoples,” Indigenous Knowledges in Global Contexts, George Sefa Dei, Budd Hall, and Dorothy Goldin Rosenberg, eds. (Toronto: University of Toronto Press, 2000), pp. 202-212. Ingo Hessel, “Contemporary Inuit Art,” in Visions of Power: Contemporary Art by First Nations, Inuit, and Japanese Canadians (Toronto: The Earth Spirit Festival, 1991), pp.6-15. July Papatsie, “Challenging the Public’s Expectations of Inuit Art,” Transitions: Canadian Contemporary Indian and Inuit art (Ottawa: Department of Foreign Affairs and International Trade and Department of Indian Affairs and Northern Development, 1997), pp.2-5 Lisa Stevenson, “The Ethical Injunction to Remember,” pp.168-183. Béatrice Collignon, “Inuit Place Names and Sense of Place,” pp. 187-205. Pamela Stern, “From Area Studies to Cultural Studies to a Critical Inuit Studies,” pp.253-266. in Critical Inuit Studies: An Anthology of Contemporary Arctic Ethnography, Pamela Stern and Lisa Stevenson eds., (Lincoln: University of Nebraska Press, 2006) George Swinton, “Socioeconomic Thoughts About Contemporary Inuit Art,” New Terriories 350/500 Years After: An Exhibition of Contemporary Aboriginal Art in Canada, (Montreal: Ateliers Vision Planétaire, 1992), pp.41-43
March 30 – Inuit art in the York University collectionMeet at: The Joan Goldfarb Visual Arts Study Centre, 2nd floor CFA Class presentations of catalogue entries, discussion of artworks
Additional ResourcesAboriginal and Circumpolar Affairs Division (Department of Foreign Affairs, Canada) | www.international.gc.ca/circumpolar/sec01_about-en.asp The Aboriginal and Circumpolar Affairs Division coordinates and leads the implementation of the Northern Dimension of Canada's Foreign Policy (NDFP). The NDFP sets out a vision for Canada in the circumpolar world, based on cooperation with Northerners and our circumpolar neighbours. The northern foreign policy promotes Canadian interests and values as we work to address the issues we have in common with our northern partners. Canada has committed $2 million a year for the implementation of the NDFP. Aboriginal Canada | www.aboriginalcanada.gc.ca ~ your single window to Canadian Aboriginal on-line resources, contacts, information, and government programs and services. The portal offers ease of access and navigation to listings of Aboriginal associations, businesses, organizations, bands, communities, groups, news and peoples. Aboriginal Curatorial Collective | www.AboriginalCuratorialCollective.org The Aboriginal Curatorial Collective / Collectif des Conservateurs Authochtone (ACC/CCA) supports, promotes and advocates on behalf of the work of Aboriginal art and cultural curators and associated Aboriginal cultural workers in Canada and internationally. Arctic Cooperative Limited | www.arcticco-op.com/co-op_location.html The Co-operatives in Canada's north share a vision of people working together to improve their social and economic well-being. We pursue this vision through democratically controlled Co-operative businesses that operate on the values of fairness, equality, self-responsibility and mutual self-help. Our Co-operatives believe in the ethical values of honesty, openness, social responsibility and caring for others. ArcticNet | www.arcticnet-ulaval.ca ArcticNet is a Network of Centres of Excellence of Canada that brings together scientists and managers in the natural, human health and social sciences with their partners in Inuit organizations, northern communities, federal and provincial agencies and the private sector to study the impacts of climate change in the coastal Canadian Arctic. Over 100 ArcticNet researchers from 27 Canadian universities and 5 Federal departments collaborate with research teams in the USA, Japan, Denmark, Sweden, Norway, Poland, the United Kingdom, Spain, Russia, Greenland and France. Avataq Cultural Institute | www.avataq.qc.ca/ Avataq Cultural Institute is a non-profit organization dedicated to protecting and promoting the indigenous language and culture of Nunavik Inuit. Our head office is located in Inukjuak, Nunavik (Nothern Quebec) and our alternate office is in Westmount (Quebec). Avataq's programs and services include: the promotion and preservation of the Inuttitut language, Nunavik Museums Program and Inuit Art Collection, Archaeology, Artists' Support, Genealogy, Documentation Centre and archives, Local Cultural Committees, Traditional Skills courses, publications and research, and more. Through our language, heritage and cultural programs, Avataq Cultural Institute strives to support and preserve Inuit culture for generations to come. CBC North | www.cbc.ca/north/ Department of Indian and Northern Affairs | www.ainc-inac.gc.ca Created in 1966, the Department of Indian and Northern Affairs Canada (INAC) is a highly decentralized organization which responds to the varying needs of a culturally, economically and geographically diverse clientele. The legislation establishing the department, as amended in 1970, made its Minister responsible for Indian and Inuit affairs, the residents of the Yukon and Northwest Territories and their resources. The department fulfils the lawful obligations of the federal government to Aboriginal peoples arising from treaties, the Indian Act and other legislation. Dorset Fine Arts | www.dorsetfinearts.com/ Dorset Fine Arts was established in Toronto in 1978 as the wholesale marketing division of the West Baffin Eskimo Co-operative. The Co-operative is in Cape Dorset, Nunavut, and it is unique among the Arctic Co-operatives for its sustained focus on the arts and artists of the community. Government of Nunavut | www.gov.nu.ca/ Nunavut -- "our land" in the Inuktitut language - has been home to Inuit for millennia and part of Canada for more than a century. Embracing both traditional knowledge and values and the new opportunities presented by technologies like the Internet, the Government of Nunavut now provides a wide range of services tailored to the unique needs of approximately 29,500 residents. Gwich'in Council International (GCI) | www.gwichin.org Founded in 1999, the Gwich'in Council International represents approximately 9,000 Gwich'in people in Canada and Alaska, who live in the northernmost third of the Yukon and adjacent areas in Alaska and the Northwest Territories. The Gwich'in largely depend on harvesting the migratory Porcupine Caribou herd for their livelihood. As a result, they have been vocal opponents of proposed oil exploration in the "1002" lands of the Arctic National Wildlife Refuge (ANWR) on Alaska's north coast, which represent the herd's calving grounds. Indigenous Peoples of the Arctic Council | www.arcticpeoples.org The Arctic Council Indigenous Peoples’ Secretariat is a support secretariat for the International Indigenous Peoples’ Organisations that are Permanent Participants to the Arctic Council. IPS does not speak for the Permanent Participants. Instead, it creates opportunities for the Indigenous Peoples’ Organisations to speak for themselves, and helps provide them with necessary information and materials. Inuit Circumpolar Conference (Canada) | inuitcircumpolar.com/section.php?Nav=Section&ID=1 Founded in 1977 by the late Eben Hopson of Barrow, Alaska, the Inuit Circumpolar Conference (ICC) has flourished and grown into a major international non-government organization representing approximately 150,000 Inuit of Alaska, Canada, Greenland, and Chukotka (Russia). The organization holds Consultative Status II at the United Nations. The ICC international office is housed with the Chair and each member country maintains a national office under the political guidance of a president. Inuvialuit Regional Corporation | www.irc.inuvialuit.com/ The origin of the Inuvialuit Corporate Group, composed of Inuvialuit Regional Corporation (IRC) and its subsidiary corporations, began with the signing of the Inuvialuit Final Agreement on June 5, 1984, between the Government of Canada and the Inuvialuit - Inuit of Canada's Western Arctic. International Polar Year | www.ipy.org/ What is the International Polar Year? There have been a number of major international science initiatives in Polar Regions since the first International Polar Year in 1882-83 and all have had a major influence in overhauling our understanding of global processes in these important areas. These initiatives have involved an intense period of interdisciplinary research, collecting a broad range of measurements that provide a snapshot in time of the state of the polar regions. The last such initiative was the International Geophysical Year in 1957-58, involving 80,000 scientists from 67 countries. The Polar Year will actually run from March 2007-March 2009. | www.ipycanada.ca The International Polar Year (IPY) 2007-2009 is a two year program of science, research & education focused on the Arctic and Antarctic regions. Canadian and international researchers from universities, northern communities, and governments are working to advance our understanding of cultural, social, economic and health dimensions, as well as geophysical, climate and biological processes in polar regions. Inuit Art Centre | www.ainc-inac.gc.ca/art/inuit/index2_e.html The Inuit Art Centre, a federal program in the Department of Indian and Northern Affairs Canada (INAC), works in partnership with Inuit artists and Inuit art organizations to enhance the promotion and education of contemporary Canadian Inuit fine art with government departments and agencies, private and public art galleries and museums, and the general public. Inuit Business Directory | inuit.pail.ca/index.html The Inuit Business Directory, which received funding from Aboriginal Business Canada for its initial design and development, was officially launched in May 1999 at a symposium that was held, appropriately, on the topic of "doing business with the Inuit -- gaining access to the north." Inuit Tapiriit Kanatami | www.itk.ca/ ITK is the national Inuit organization in Canada, representing four Inuit regions – Nunatsiavut (Labrador), Nunavik (northern Quebec), Nunavut, and the Inuvialuit Settlement Region in the Northwest Territories. We live in the Canadian Arctic, the largest geographic part of Canada. This site reflects our ancient and modern history. It allows us to communicate to the global community instantly, making the notion of a “Global Village” more real. Makavik Corporation | www.makivik.org Makivik is the development corporation mandated to manage the heritage funds of the Inuit of Nunavik provided for in the James Bay and Northern Quebec Agreement (JBNQA). Makivik's role includes the administering and investment of these funds, and in promoting economic growth through the assistance of the creation of businesses run by Inuit in Nunavik. Makivik promotes the preservation of Inuit culture and language as well as the health, welfare, relief of poverty, and education of Inuit in the communities. National Inuit Youth Council | www.niyc.ca/news.php The National Inuit Youth Council (NIYC) represents the interests of Inuit youth in Canada. Across the Inuit regions of Inuvialuit, Kitikmeot, Kivalliq, Qikiqtaaluk, Nunavik and Nunatsiavut, there is an estimated 45,000 Inuit living in 53 communities. Inuit youth make up a clear majority of the overall population. Nunatsiaq News | www.nunatsiaq.com Nunatsiaq News is an English-Inuktitut weekly newspaper that has served the people of [Nunavut] and the Nunavik region of Arctic Quebec since 1973. Nunavut Arctic College | www.nac.nu.ca/main.htm In anticipation of the creation of the Nunavut territory with its own Department of Education, Nunavut Arctic College was established with passage of the GNWT's Public Colleges Act on January 1, 1995. Nunavut Arctic College and its Nunatta (Iqaluit), Kitikmeot (Cambridge Bay) and Kivalliq (Rankin Inlet) campuses and 24 Community Learning Centres continued to grow and to offer programs to prepare residents for the challenges of the new Nunavut territory created on April 1, 1999. Nunavut Arts and Crafts Association | www.nacaarts.org/home.html The Nunavut Arts and Crafts Association (NACA) promotes the growth and appreciation of Nunavut artists, and the production of their arts and crafts. Created as a non-profit incorporated society in October 1998, NACA currently works on behalf of Nunavut's visual artists - carvers, printmakers, ceramic pottery makers, painters, photographers, jewellers, tapestry artists and seamstresses. Nunavut Tunngavik Inc | www.tunngavik.ca Nunavut Tunngavik Inc. (NTI) was formed in 1993 to replace the Tungavik Federation of Nunavut. It is the incorporated organization that represents Inuit under the NLCA. NTI’s mission is to foster Inuit economic, social and cultural well-being through the implementation of the Nunavut Land Claims Agreement. NTI is governed by a 10-member Board of Directors elected by Inuit in Nunavut who are 16 years of age and older. NTI has a staff of 90 people in four offices, including an office in Ottawa. NTI is responsible for the management of all Inuit-Owned Lands in Nunavut and acts as the advocate of Inuit interests in Nunavut. The organization also provides a number of programs to Inuit, including support to Inuit development corporations and community economic development organizations, an Elders pension plan, a harvester support program, and a bereavement travel program. Open Museum Journal | amol.org.au/omj/journal_index.asp Australia's only peer-reviewed online museum journal | ISSN 1443-5144 Pauktuutit Inuit Women of Canada | www.pauktuutit.ca/home_e.asp Pauktuutit fosters greater awareness of the needs of Inuit women, advocates for equity and social improvements, and encourages their participation in the community, regional and national life of Canada. Pauktuutit leads and supports Canadian Inuit women in policy development and community projects in all areas of interest to them, for the social, cultural, political and economic betterment of the women, their families and communities. Project Muse | muse.jhu.edu/ Project MUSE is a unique collaboration between libraries and publishers providing 100% full-text, affordable and user-friendly online access to over 300 high quality humanities, arts, and social sciences journals from 60 scholarly publishers. University of the Arctic | www.uarctic.org The University of the Arctic (UArctic) is a cooperative network of universities, colleges, and other organizations committed to higher education and research in the North. Our members share resources, facilities, and expertise to build post-secondary education programs that are relevant and accessible to northern students. Our overall goal is to create a strong, sustainable circumpolar region by empowering northerners and northern communities through education and shared knowledge. We promote education that is circumpolar, interdisciplinary, and diverse in nature, and draw on our combined strengths to address the unique challenges of the region. The University of the Arctic recognizes the integral role of indigenous peoples in northern education, and seeks to engage their perspectives in all of its activities. Virtual Museum of Canada | www.virtualmuseum.ca/English/index_noflash.html The Virtual Museum of Canada celebrates the stories and treasures that have come to define Canada over the centuries. Here you will find innovative multimedia content that educates, inspires and fascinates! This groundbreaking gateway is the result of a strong partnership between Canada's vast museum community and the Department of Canadian Heritage. Spearheading the enterprise is the Canadian Heritage Information Network, a special operating agency of the Department of Canadian Heritage, that for thirty years has enabled the heritage community to benefit from cutting-edge information technologies. The VMC harnesses the power of the Internet to bring Canada's rich and diverse heritage into our homes, schools and places of work. This revolutionary medium allows for perspectives and interpretations that are both original and revealing. West Baffin Cooperative | inuit.pail.ca/west-baffin-co-op.htm
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