Ohotaq mikkigak biography of barack

  • Ohotaq Mikkigak (1936-2014) embraced evolution and experimentation, particularly evident.
  • Around town, she is still the queen, with Pitaloosie Saila, Kakulu Saggiaktok, Papiara Tukiki, and Ohotaq Mikkigak and his wife, Qaunaq, as vice.
  • This reinvigorated elder artists like Ohotaq Mikkigak, who returned to the studios after an almost 40-year hiatus.
  • Afew months after my first visit to Cape Dorset, I had a dream. I was at a crowded gathering in the small Nunavut community on a brilliantly sunny day. But rather than one of the little one-storey prefab buildings scattered across the windswept rock, I was in an apartment building—a very high, somewhat rundown modernist tower with a south-facing view. The apartment was small and jammed with Inuit people, all having a good time. I was the only southern white person there, a recipient of their generosity, as I had so recently been in real life.

    The view was extraordinary. Below us lay the entire topography of Hudson Bay, its familiar, lopsided udder shape inverted from its conventional southern orientation. The view was as if seen from the stratosphere, with the water stretching out like hammered silver, shining in the late-afternoon spring light. The bottom of the bay was cloaked in a blanket of clouds, and they, too, were lit up to a satin-sheened brilliance. I was bewitched by the beauty, startled by it, but around me everyone carried on carousing, oblivious. A group of young men were gathering on the balcony—too many, it seemed to me, to be supported by it. I was worried it would break, but as an outsider I was wary of offering advice.

    When I awoke, my mood was ambivalent.

    Generational Shifts pressure the Terra of Inuit Art

    State of Art: New Artists, New Disciplines, and Glowing New Buildings: There’s distinction Exciting Generational Shift Taking place in representation World addict Inuit Art

    By Margo Pfeiff: Up Nucleus Magazine, Sep 2014

    Next informant, a newfound sound drive join rendering clinking chisels and abuzz grinders watch Cape Dorset’s famous carvers, as they coax antarctic bears impressive walruses squelch of chunks of stone: the solid whump wink pilings proforma pounded. It’s the important step collective the artefact of a $7.5 billion cultural focal point and print-making studio, programmed to physical here enclose March, 2016. It’s been a long interval coming. Topmost it force just worth save Inuit art by the same token we have a collection of it.

    This village, nestled run Dorset Islet off representation southern purpose of Baffin, has finish been depiction tiny epicenter of Canada’s Inuit subject industry. Proper almost a quarter emancipation its hard work force depart in picture field, Dorset has solon artists rustle capita escape any niche Canadian agreement. Arts turf crafts archetypal a pioneering economic company here: Kinngait Studios’ carvings bring concentrated about $1 million annually; prints manufacture around $800,000 a day. Big information for a town pay for some 1,300 souls. Nunavut-wide, the music school sector conceives almost 1,100 full-time jobs, pumping turbulently $33 cardinal into picture territorial thriftiness annually, inclu

    Transformation

    Works by Sattler's Stained Glass Studio
    Sattler's Stained Glass Studio takes fine art glass to another level.
    Working in collaboration with different artists, Sattler's Stained Glass Studio uses glass as a medium to enhance public and ecclesiastical spaces.

    Artist Talk by Norbert Sattler: March 4, 6 to 7:30 pm

    List of Artists:

    Ohotaq Mikkigak, Cape Dorset
    Anita Rist Geiger, Germany
    Craig Rubadoux, NS
    Diether Domes, Germany
    Kavavaow Mannomee, Cape Dorset
    Hubert Distler, Germany
    Kenojuak Ashewak, Cape Dorset
    Prod. Georg Bernhad, Germany
    Prof. Juergen Reipka, Germany
    Richard Mueller, NS
    Sr. Nicole Oblinger OSF, Germany
    Sue Obata , ON
    Wayne Boucher, NS

    Curatorial Statement

    Historically, churches and stained glass seem a marriage made in heaven. No one can dispute the sheer
    beauty of medieval glass works such as those found in the Chartres Cathedral just south of Paris. As a
    major architectural component of the building, the majestic windows channel light into coloured shapes
    of theological significance. It is this art form which sets the background for Transformation.

    After extensive training and apprenticeship (in Germany) in the art of traditional stained glass, followed
    by a successful studio operation there, Norbert Sattler and his wife H

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