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In the 1950s and 1960s Canadian Inuit communities were feeling the negative effects of colonialism. Inuit had been moved into settled communities, a departure from their nomadic, self-reliant lifestyle, and had become economically dependent on Western institutions. Artist James Houston, with Canadian governmental backing, spearheaded the development of artistic enterprises in the community of Kinngait. He introduced Inuit hunters and seamstresses to printmaking, hoping that their work would appeal to a southern market and provide Inuit with some economic independence. A group of Inuit became skilled at creating and executing prints, while memorializing aspects of their culture, and in 1959 the West Baffin Cooperative was established. It began releasing a limited edition print collection every year and these highly sought after prints continue to be in high demand.

Soon after the printmaking initiative was started, people in Kinngait began experimenting with printing repetitive designs on fabric, first with stenciling and stone block prints, and then screen printing. They used a variety of textiles, implements, and supplies imported from southern Canada. The prints won a Canadian Enterprise Award in 1967, and some of the textiles were featured in Canadian Expo ’67. However, sales were not robust and getting supplies was difficult, resulting in the closing of the fabric printing enterprise. 

Documenting this fascinating but short-lived experiment with printing textiles, the exhibit includes 49 textiles featuring Inuit designs, with supporting materials including documentary photographs, an original silkscreen, works on paper, and traditional items with strong graphic designs. 

The works in the exhibition highlight the imagination and resilience of Inuit artists. The textiles, with charming imagery of animals and complex designs that reflect Inuit spiritual beliefs and experiences on the land, illustrate both the artistic and technical skills of the printmakers set against a backdrop of colonialism. Commentary from contemporary Inuit fashion designers rounds out the story, highlighting the strength of modern Inuit culture through examples of the thoughtful and sometimes humorous ways young artists engage with both ancient traditions and modern themes. 

The exhibition features works from well-known Inuit graphic artists such as Kenojuak Ashevak (1927-2013), Pitseolak Ashoona (1904–1983), Parr (1893–1969), and Pudlo Pudlat (1916–1992) alongside interviews and oral histories from the Kinngait community and present-day Kinngait artists Johnny Pootoogook, Malaija Pootoogook, Ooloosie Salie, and Ningiukulu Teevee. It also features new work from three contemporary Inuit fashion designers – Martha Kyak of InukChic, Nooks Lindell of Hinaani Designs, and Tarralik Duffy of Ugly Fish.  

Installation of ᖃᓪᓗᓈᖅᑕᐃᑦ  ᓯᑯᓯᓛᕐᒥᑦ   Printed Textiles from Kinngait Studios at the Arctic Museum is supported by a generous grant from The Coby Foundation, Ltd. and by the Janet and Russell Doubleday endowment.