With a major hat tip to my newest Twitter friend, I’d like to tell you a little bit about a talk I went to hosted by the Canadian Studies Program and Institute of International Studies (with delicious sandwiches from CN!) at the University of California Berkeley on 28 January 2015.
There was a great turn out for this talk, with approximately sixty people in the audience. Needless to say, the sandwiches and cookies were cleaned out – and yours truly, scavenging graduate student extraordinaire, may have had something to do with that.
This Thomas Garden Barnes Lecture was celebrating over 30 years of research and discussion in Canadian Studies at Berkeley. The date was particularly auspicious; as Bloemraad pointed out, the Iranian hostage crisis was resolved in January 1981, an incident that inspired Barnes to found Canadian Studies at Berkeley in 1982, so the talk was an anniversary of many sorts (not to mention celebration of Rita Ross’s retirement that followed!).
Graburn was another founder of Canadian Studies at Berkeley, and claims not to know the meaning of the word “retirement,” as he continues lecturing despite (or because of?) his emeritus status. He has researched Inuit culture in Canada, Alaska, and Greeland since 1959. His talk focused on the recent history of Inuit art, mainly in the eastern Arctic in Canada.
As he explained, he was trying to fit 1,000 hours of lecture into a half hour segment, so we didn’t get to see everything, but we did see photos of carvings, textiles, and prints from several artists, including:
Graburn spoke about the effects of globalization on the market(s) for Inuit art, from trade with HBC (“Here Before Christ”) outposts to “RCMP [officers] who hardly did anything” to the influence of James Houston and other commercial artists who encouraged Inuit art sales in southern markets. He also considered the effects of different stone material available in different locations across the Arctic (as well as the differences between artists that, of course, contribute to individual stylistic variations).
He closed with this rather telling cartoon from the New Yorker, adding that stereotypical Inuit (and “Eskimo”) “primitive” art has sold particularly well, but there is increasing popularity (and expense!) of unique Inuit art in the current market.
– The White Dawn by James Houston
– Inuit Art Quarterly
– Alaska Native Art: Tradition, Innovation, Continuity by Susan W. Fair
– Museum of Inuit Art (Toronto)
– “Eskimo Artist: Kenojuak” (1963 NFB documentary)
To clarify, the images presented in this post are not the property of this blog or its author(s). This is a non-profit blog produced for “fair use,” non-commercial, educational, and personal use only. The images and information on this page are intended solely for research and education purposes. Wherever possible, sources for the images are credited. (Typically, images link to the source URL, so if you click on the image, it should take you to the digital source.) No infringements upon or claims to any copyrights or trademarks are made by the author(s) of this blog. No financial loss is intended to any of the copyright holders as a result of people visiting this site, but if citation is not sufficient credit, please inform the blog author(s) so your work can be removed.