2005-2006 annual report -...

Inuit Art Foundation22000055--22000066 AAnnnnuuaall RReeppoorrtt

MMAANNDDAATTEEAssisting Inuit artists in the

development of their professionalskills and the marketing of their artand to promote Inuit art throughexhibits, publications and films.

PPhhoottooss: IAF President Mattiusi Iyaituk (centre) in Norway where he installed an inuksukPage 6: (left) IAF Directors at 2006 Annual General Meeting; (right) IAF Directors and staffPage 8: Volume 20 IAQ Covers - Spring, Summer, Fall, Winter Page 10: Siberian interns Vera Rosheva, Valeri Nypegvi, Lena Krikunekno, Galina Shuganova, and Elena TakievaPage 18: CITP students at La Fédération des Coopératives du Nouveau-Québec in MontrealPage 20: Siberian artist Valeri Nypevgi makes a presentation to IAF Directors and fellow interns

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BBooaarrdd ooff DDiirreeccttoorrssMattiusi Iyaituk, PresidentOkpik Pitseolak, Vice-PresidentMathew Nuqingaq, Secretary Treasurer Jackussie IttukallukMartha KoonooPaul MalikiNuna ParrJohn Terriak

SSttaaffffMarybelle Mitchell, Executive DirectorSheila Sturk-Green, Manager, CommunicationsClare Porteous-Safford, Manager, Training & DevelopmentTania Budgell, Assistant, Communications James Sinclair, Assistant Editor, IAQKatie Ingrey, Manager, Inuit Artists’ ShopCarol Harrison, Finance Officer

Established in 1985, the Inuit Art Foundationis the only aboriginal arts service organiza-tion in Canada. Our operating philosophy isto work with the artists themselves to thehighest possible degree and to make it pos-sible for them to manage their own affairsand solve their own problems. The founda-tion is entirely owned and governed by Inuitartists.

For more information on theInuit Art Foundation, or tosubscribe to Inuit Art Quarterly,please contact us at:

22008811 MMeerriivvaallee RRooaaddOOttttaawwaa,, OOnnttaarriioo KK22GG 11GG99CCaannaaddaa

OR

TToollll--ffrreeee iinn CCaannaaddaa::((880000)) 883300--33229933TTeell:: ((661133)) 222244--88118899FFaaxx:: ((661133)) 222244--22990077iiaaff@@iinnuuiittaarrtt..oorrgg

Inuit Artists’ ShopNON-PROFIT GALLERY AND GIFT SHOP

executive director’s

report

The fact that we are calledupon to provide servicesbeyond the scope of ourresources is a strong indicationthat there is a need for anagency such as this, to serveboth northern and southernplayers in the Inuit art world.

We are marking the 20th anniversary of the InuitArt Quarterly this year. Launched in April 1986with a start-up grant of $49,000 and an informaladvisory board struck by the Department of IndianAffairs and Northern Development, the newsletterwas expected to make up for the lack of attentionbeing paid to Inuit art in the mainstream press.Beyond a vague assumption that advertising andsubscription revenues would cover costs (includingoverhead), there was no plan for its longevity. Thisproved to be a false assumption and in 1987, onmy recommendation, the advisory committeesought incorporation of an Inuit Art Foundation asan independent national charitable organizationto support Inuit artists. The informal advisory com-mittee appointed to preside over the birth of IAQhas been transformed into an annually electedboard that is now comprised of practising Inuitartists. And what began as a modest newsletterhas become a widely cited journal of note.

While we can, with justification, boast of our inge-nuity in stretching scarce resources to supporttwenty years of publishing a specialty magazinewith a small area of interest—not to mention serv-ing as a support system for thousands of artistsacross the country and an informal public infor-mation bureau—we admit to having failed tosecure financial stability. We have successfully jug-gled priorities and resources for 20 years, but our

ability to grow, or even to continue to offer thesame level of service, is in jeopardy. In a nut-shell, funding has remained more or less con-stant, while expenses have continued to rise. Forexample, airfares—always the largest expensefor board meetings and workshops—have morethan doubled in the last few years. In fact, thefunding crunch has become so severe that, whilewe will endeavour to maintain the highest levelof service to artists, we may have no choice butto repackage and find ways to market some ofthe services we have been giving away to othersectors.

As the only national aboriginal arts serviceorganization in Canada, IAF's mandate is toassist Inuit artists in the development of their pro-fessional skills and in the marketing and promo-tion of their art. Nonetheless, as we havebecome better known, we are being called uponby people all over the globe for information,advice and assistance with various projects. In2002, for example, the president and I travelledto Siberia to help deliver a workshop organizedby the Canadian government; in 2005, weorganized and delivered a workshop in Canadafor 10 Siberian interns. Although direct costswere covered, our involvement—which everyoneagreed was crucial to the success of the mis-sion—was at our own expense.

Our dilemma is, of course, that liaisons withmainstream organizations are important to ourefforts to further understanding Inuit art and toconnect Inuit artists with the larger community.We have willingly made ourselves available asa resource for researchers, civil servants, jour-nalists, students, curators, dealers, collectors,teachers, authors, and others. In spite of thefact that we are, at time of writing, a staff of six,we have collaborated with government andother agencies in projects of mutual interestand, wherever possible, offered ourselves as abridge between our northern clientele and theirmany audiences. Hardly a day goes by that wedon't respond to calls from agencies in Canadaand abroad looking for information and/orassistance of one kind or another. Most of theservices we provide are complimentaryalthough we have, for some time, charged afee for clearing copyright permissions and facil-itating commissions such as the installation ofinuksuit by Canadian embassies in foreigncountries. The fact that we are called upon toprovide services beyond the scope of ourresources is a strong indication that there is aneed for an agency such as this, to serve bothnorthern and southern players in the Inuit artworld.

But how to pay for it? A recent compilation ofour sources of revenue reveals that, over the 20years of our existence, we have managed toraise an impressive $14,544,435 (whichincludes donations and cost recoveries). Of this,approximately 60 per cent came from govern-ment sources. As a charitable organization reg-istered in both Canada and the USA, we havethe potential to attract private sector funding,but at this time, perhaps due to the fact that weare unable to dedicate staff time to activefundraising efforts, this support constitutes onlyabout 5 per cent of revenue.

While our core funding is in the form of anannually negotiated contribution from theDepartment of Indian Affairs and NorthernDevelopment (DIAND), we have been able toattract some project-based funding from othergovernment departments—Canadian Heritageand Human Resources Development Canada(now Human Resources and SocialDevelopment)—as well as some small grantsfrom the Canada Council for the Arts and thegovernments of the Northwest Territories,Nunavut, Nunavik and Labrador. Because ourreach is too small to be of interest, corporatefunding has been mostly unavailable to us. Apartfrom soliciting grants and contributions, we con-tinue to exert every effort to recover costs by sell-ing subscriptions and advertising in IAQ andoperating a retail shop to generate revenue foreducational programming.

This is an impressive record for a small staff withmultiple responsibilities, but there are ominoussigns that it will not be enough to keep the shipafloat. Initially, our goal was to double the fund-ing given to us by DIAND and, until the last fewyears, we have been able to do considerablybetter than that. In 2003, DIAND funding repre-sented 38 per cent of our annual budget; in2005, it was 48 per cent. Not to prejudge mat-ters, but we are, in fact, entering into the 2006-07 fiscal year with no agreement in place withCanada's new government. On a positive note,the Minister has used his authority to extend thepresent agreement while we await a decisionfrom Treasury Board on a new five-year contri-bution agreement.

The next few months will be a decisive period forthe Inuit Art Foundation. With funding fromCanadian Heritage, we have engaged a consult-ing firm to help us to assess the organization’sstrengths and weaknesses and to explore the

IInnuuiitt AArrtt FFoouunnddaattiioonn 22

potential for cost recovery on existing and newservices and activities. Along with this will go anassessment of the relevance of the services beingprovided to support northern artists and recom-mendations as to how these might be restruc-tured to tap into available resources. In brief, theshort term outcomes of this project will ensurethat IAF has the data required to modify its pro-grams to meet the needs of the contemporarygeneration of artists, to enhance or develop newrelationships with other players in the Inuit artworld, and to ensure that, wherever possible, IAFservices are on a cost recovery basis. The expec-tation for the long term outcome is a higherdegree of financial stability, so that we can con-tinue to provide relevant assistance to artists andtheir communities and to better connect themwith the broader Canadian and global public.

At time of writing, we have interviewed over 90artists living in communities across the North.More than half of these identify themselves aspart time artists and most, as is no surprise, arecarvers. Most respondents have been making artfor forty years (which may represent a samplingbias) and almost all speak Inuktitut and English.

We will be reporting on the results of ourresearch in future issues of IAQ but here it isuseful to note that over three quarters of thepeople who participated in this preliminaryround of interviews reported difficulty in obtain-ing materials, specifically stone. This is a situa-tion that has not changed much over the twodecades of the foundation's existence. We do nothave baseline figures, but we do know that stonesupply has been a problem for the past fiftyyears or more. One of our crusades has been todraw attention to the problem in the hope thataction will be taken to ensure adequate suppliesin villages dependent upon this economic activi-ty. Steps have been taken to clean up quarries

and improve safety conditions and stone hasbeen imported into communities lacking nearbyquarries but, still, artists say that getting stone istheir biggest problem.

Although we have publicized the stone supplyproblem in IAQ and provided small cash quarry-ing grants ("gas and grub grants") to artists'associations, this foundation simply does nothave the resources to solve the multifacetedproblem, the specifics of which vary across theArctic. But what can be done? By whom? Andwhen? Perhaps the cooperatives—which buy andsell stone sculpture—need to take the lead.Perhaps, in recognition that without stone there isno carving industry, governments could subsidizematerial supply.

On another topic, more than three quarters ofthe artists surveyed expressed a desire for arttraining. Those who had attended workshopsorganized by the Inuit Art Foundation wereunanimous in pronouncing the experience bene-ficial, especially in terms of perfecting technique,the use of new tools and in the marketing andpromotion of their work. They left feelinginspired and, with the passing of time, considerthat their art has improved as a result of theirexperience with us. And, one other bit of infor-mation coming from the survey: almost all artistsinterviewed read and retain Inuit Art Quarterly,which is distributed free of charge to approxi-mately 1,300 Inuit artists households acrossCanada.

We are gratified by this evidence that what wehave done is not only appreciated, but is makinga difference. To repeat a point I have oftenmade, the Inuit Art Foundation has established adifferent model for delivering assistance toartists, involving them in a dialogue and encour-aging them to deal with their problems collec-

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The next few months will be a decisive period forthe Inuit Art Foundation. With funding fromHeritage Canada, we have engaged a consultingfirm to help us to assess the organizations'strengths and weaknesses and to explore thepotential for cost recovery on existing and newservices and activities.

tively. Not only do artists own and control thefoundation, but they are also establishing localand regional artists' associations. With the foun-dation's assistance, a carving industry wasrevived in Labrador and people across theArctic are working together to solve some oftheir problems and to ensure that there will bean upcoming generation of artists. As well asachieving success in connecting previously iso-lated artists with other Inuit and non-Inuitartists, the foundation's education program hassucceeded in increasing knowledge of market-ing and production processes and health andsafety issues. Manuals and guides on safetypractices, copyright issues and portfolio devel-opment have been produced and distributedfree of charge to artists across the CanadianNorth.

These are programs that are becoming morecostly to maintain but, beyond that, an organi-zation that ceases to grow is in danger of stag-nating, if not disappearing. As long as weremain dependent upon year-to-year funding,we are seriously hampered in our ability to

engage in long-term planning. Nonetheless, ourboard has taken the bold step of spearheadinga move to establish a National Inuit CulturalCentre. The time being taken now to enhanceIAF capacity will not only ensure continued sup-port for individual Inuit artists and their artisticcommunities but, in the best case scenario, willalso position the Inuit Art Foundation and itsconstituents to play an appropriate role in thelarger project of presenting Inuit culture to theworld. The realization of a National InuitCultural Centre will result in economies of scaleand a greater presence for Inuit in Canada aswell as serving as a focal point for tourism with-in Canada and a showcase for the living cultureof Canadian Inuit.

Our goal, as always, is to serve the Inuit com-munity by nurturing an art form that is both ameans of expression and a major and culturallyvalued component of the northern economicsystem.

Marybelle MitchellMay 2006


As long as we remain dependentupon year-to-year funding, weare seriously hampered in ourability to engage in long-termplanning.

SSttaaffffOur current staffing complement includesExecutive Director Marybelle Mitchell, four full-time employees, and one part-time employee.There has been some internal reorganizing ofroles and responsibilities following the depar-tures of a number of former staff members.

Pam Brown, who left in May, has beenreplaced by Carol Harrison, who does ourbookkeeping on a part-time basis. Officemaintenance and other duties previously han-dled by Pam have been taken on by otherstaff.

Mishak Allurut, who had joined IAF in Januaryto work with Clare Porteous-Safford in Trainingand Development, returned to Arctic Bay in thefall, leaving this position vacant. We have notyet been successful in finding a replacementfor him. This is a vital but difficult position tofill as it requires a mature person who is fluentin Inuktitut and able to relate to artists. Whiletraining is provided, our financial resourcesare such that the incumbent must be almostimmediately productive. Mishak, who accord-ing to our directors was "the best translator wehave ever had," continues to provide us withsome written translation services from hishome.

Communications Manager Sheila Sturk-Greenleft the foundation at the end of this fiscal year.Her main responsibilities have been delegated toother staff members. Assistant Editor JamesSinclair has assumed responsibility for the pro-duction of Inuit Art Quarterly. He also now man-ages copyright services and translation requests.As part of his regular duties, James deals withfreelance writers and photographers, does in-house writing for the foundation and magazine,and serves as board secretary.

In addition to coordinating the CulturalIndustries Training Program (CITP), Training andDevelopment Coordinator Clare Porteous-Safford also works on several important projects,including the Cultural Arts and HeritageSustainability Program (CAHSP) and IAF's pro-posal for a National Inuit Cultural Centre. Shealso continues to provide supervision of market-ing activities as part of the development functionof her "department."

Katie Ingrey is now into her second year as man-ager of the Inuit Artists' Shop. This year Katie hastaken on new responsibilities in the shop, includ-ing maintaining monthly statistics and budgetingfor shop expenditures, including advertising.Following Sheila's departure, Katie also assumedresponsibility for advertising sales for IAQ.

administration

This course taught me more than enoughto prepare me for my job search, includinginterviewing techniques, resume writingand the life skills necessary to obtainemployment.

— CITP student Jonah Angutiqjuaq

Circulation Manager Tania Budgell provides ful-filment services and manages the subscriberdatabase for IAQ. She also designs in-housepromotional material and provides administra-tive support to the foundation.

OOffffiiccee MMaaiinntteennaanncceeThe main filing system was reorganized this yearto make files easier to access and to facilitate thegathering of data for funding proposals. Whileour present office configuration remains work-able, we are looking at ways to utilize spacemore efficiently and to incorporate aniticipatednew staff.

BBooaarrdd MMeeeettiinnggssThe board met once in person and once by tele-conference this year. The first meeting in thespring was timed to coincide with Arts Alive ‘05and the Siberian workshop. This arrangementallowed the directors to share their knowledgeand expertise with the festival-going public andwith the workshop participants from the Russianfar north.

The Annual General Meeting (AGM) inSeptember was held by teleconference, utilizingthe facilities provided by the Department ofIndian Affairs and Northern Development(DIAND). While this was not an ideal situation, itresulted in considerable savings. The ExecutiveCommittee—Mattiusi Iyaituk, Okpik Pitseolakand Mathew Nuqingaq—met in Ottawa for afew days before the teleconference.

A new slate of directors was elected at the AGM,including three new directors: Jackussie Itukallukof Puvirnituq, Paul Maliki of Repulse Bay, andMartha Koonoo of Pond Inlet. Returning directorsare: Mattiusi Iyaituk, Okpik Pitseolak, MathewNuqingaq, John Terriak, and Nuna Parr. All sit-ting members of the executive committee werere-elected: Mattiusi as President, Okpik as Vice-President and Mathew as Secretary Treasurer.


EEddiittoorriiaallEditorial sections of IAQ remained the sameas in previous years, with a few notableexceptions. Maria von Finckenstein's regularcolumn, "Curator's Choice," was publishedfor the last time in the summer 2005 issue.The column was discontinued followingMaria's retirement from the CanadianMuseum of Civilization (CMC) and her with-drawal from active participation in the Inuitart world. Her last published submissionprovided an overview of Archetypes inStone, her final exhibition at the CMC.

That same issue also featured a tribute toJames Houston in the form of a pull-outsection. Additional run-offs of the supple-ment were made available upon requestand a number were provided to Houston'swidow, Alice, who had allowed us to useselections from her personal collection ofphotographs. We received a number of let-ters congratulating the editorial staff on a"moving" and "impressive" tribute, as well as"a fitting farewell to a figure seminal in thedevelopment of Inuit art in Canada."

Also noted in the pages of IAQ's "InMemoriam" section were the deaths of a

number of important artists, including LucyMeeko, Noah Meeko, Janet Kigusiuq, LucyAmarualik, Josiah Nuilaalik, Annie KilabukJr. and Osuitok Ipeelee.

An abundance of information, analysisand insight was contained in the other sec-tions of the magazine. Some of the artistsprofiled included Nick Sikkuark, NapachiePootoogook, Andrew Qappik, AbrahamAnghik Ruben, Zach Kunuk and theceramic artists of the Matchbox Gallery inRankin Inlet.

Among recent publications reviewed inIAQ were Eskimo Drawings, Uqalurait, TheWay of Inuit Art, and Cape DorsetSculpture. Exhibitions featured in our"Curatorial Notes" section included ArcticSpirit at the Heard Museum, TheScheonfeld Mitchell Collection at CarletonUniversity Art Gallery and Early Masters atThe Winnipeg Art Gallery. The "Update"section of IAQ helps keep readersinformed about issues in the Inuit artworld. A new and more versatile format of"Update," including a "Briefly Noted" sec-tion, was initiated in the Spring 2005issue.

communications

As Inuit we are always bombarded with thequestion: Is our culture going to disappear?The artist has always been the one to tell ourstory to the next generation. IAQ is able topass on that story through the art and in text.— Mathew Nuqingaq, IAF Secretary-Treasurer

IInnuuiitt AArrtt QQuuaarrtteerrllyy••

PPrroodduuccttiioonnThe design of the magazine has remainedfairly consistent throughout the year, withfew changes made to the layout. Beginningwith the spring 2005 issue, we added"Published by the Inuit Art Foundation" tothe cover of the magazine to increaseawareness of the foundation and its con-nection to IAQ.

Production of the Summer 2005 issue wasslightly delayed so that we could includethe memorial tribute to James Houston.With input from our designers and printer,IAQ editors were able to produce the pull-out supplement honouring Houston's con-tribution to Inuit art. All other issues in the2005/06 fiscal year met their publicationdeadlines.

AAddvveerrttiissiinngg RReevveennuuee IAQ enjoyed healthy advertising sales thisfiscal year. On average, the magazineincludes about 30 advertisements per issueand approximately 120 advertisements peryear. In addition to regular advertisers, sev-eral new clients placed advertisements inthe magazine this year. We will try to main-tain this trend by continuing to offer attrac-tive advertising packages.

CCiirrccuullaattiioonn For the first time since its inception, we raised thecover price and subscription rates for IAQ. Theincreased rates took effect in September 2005,with the most significant increase levied to over-seas subscriptions. The new rates were estab-lished to help offset the rising costs of mailingand printing the magazine. While it may be tooearly to tell, we have not noticed a readershipdecline as a result of the increased rates. Theprice of IAQ is, of course, not out of line withprices for other specialty magazines, which tendto have small circulations.

CCOOMMMMUUNNIICCAATTIIOONNSS PPRROOJJEECCTTSSIn addition to the production of Inuit ArtQuarterly, the Communications Department per-forms several other activities. Some of theseprojects help to raise funds for foundation pro-grams, while others spread awareness about thefoundation, its achievements and its mission.This year, the department undertook severalprojects and made new contacts in unexpectedplaces, including Zimbabwe and Rome:

BBuussiinneessss ooff AArrtt VViiddeeooDave Depper of Sierra VisualCommunications was engaged to producea video documenting the activities of thetwo-week Business of Art Workshop devel-


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CCoommmmiissssiioonnssIAF President Mattiusi Iyaituk travelled toOslo, Norway to install an inuksuk com-missioned by the Government of Canadaas a gift to Norway to commemorate itscentennial. The inuksuk was constructed byJoseph Suqslaq of Gjoa Haven, namedafter the boat "Gjoa," commanded byNorwegian explorer Raould Amundsen dur-ing his northern expeditions in theCanadian Arctic. The inuksuk was unveiledin June 2005 on the grounds of theNorwegian Maritime Museum, six metresaway from the historic Gjoa vessel. This isthe third inuksuk installation facilitated bythe Inuit Art Foundation. The other twoinsuksuit were installed in Russia andIceland.

PPUUBBLLIICC RREELLAATTIIOONNSSThe foundation's many achievements and itsunique status as a model indigenous-runorganization have attracted a lot of attentionaround the world. Over the past year, we havemet with several international visitors who haveexpressed an interest in learning more aboutour operations and the services that we offer.

In the fall, Doreen Sibanda, Executive Directorof the National Gallery of Zimbabwe met withthe Executive Director to discuss the similaritiesthat exist between the needs and situations ofAfrican and Inuit artists.

Later in the year, we met with StephanieTiberini, from the University of Rome, who isresearching Inuit women's art. We provided herwith an overview of what had been done topromote Inuit women's art at Canadian muse-ums and galleries, as well as resource materi-als that contained further reading on Inuitwomen's art.


Inuit artists can get ideas from reading the mag-azine .... The Qablunaat can read about theartists, what they do, how they do their work,and how it is important for future generations ofInuit to continue their art and pass on their skills.— Okpik Pitseolak, IAF vice-president

oped by the Inuit Art Foundation for Siberianartists. Depper recorded presentations by theExecutive Director and staff, as well as field tripsto galleries, museums, and marketing and artsorganizations in Ottawa and Toronto. The InuitCircumpolar Conference will dub the video inRussian for workshop participants.

DDrraaww BByy MMaaiillThe Communications department organized adraw-by-mail promotion this year, the first suchpromotion since 1998. Prizes were donated byAlbers Gallery in California, Stan Machnik inQuebec, Canadian Arctic Producers inWinnipeg, and Simon Tookoome of Baker Lake.A total of 176 tickets were sold at $25 each fora gross $4,400. After expenses, the net gain forthis initiative was about $2,600. The draw bymail was advertised in IAQ and signage pro-moting the draw was prominently displayed inthe Inuit Artists' Shop. Most of the tickets werepurchased by subscribers responding to the adin IAQ, with a few tickets purchased by shoppatrons. Although the revenues generated bythe draw were modest, the amount raised didhelp to defer some of the costs of sending freecopies of IAQ to artists in the North.

IINNUUIITT AARRTT SSEERRVVIICCEESSInuit Art Services covers activities such as arrangingfor copyright permissions, Inuktitut translation, andthe commission of artwork. This year, severalrequests came from various organizations for copy-right services. We had a contract with theCanadian Museum of Civilization to obtain copy-right permissions for a reprinting of CelebratingInuit Art. The foundation also facilitated a copyrightcontract with the Museum of Ethnology in Japan fora book on Inuit art. We also had a small contractwith Harvard Press. These services continue to gen-erate modest but important sources of revenue forthe foundation.

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We have had a chance to see how we can devel-op and what obstacles will be in our way. Whatsurprised me was how the IAF Board of directorscan protect artists' interests.

— Lena Takieva (Yamal)

I can certainly apply this experience in my com-munity but it will be on a different level, becausewe do not have the same level of administrativesupport. The marketing system could be used asa model for us. When I am back, we will try toorganize an analytical seminar and a regionalprogram for the development and support ofindigenous art.

— Galina Shuganova (Khanty-Mansiysk)

In November, we met with a Russian delegation,which included the speaker of the Norilsk Parliamentand the president of the Association of BusinessWomen (Russia), to discuss the Inuit art industry as asuccessful model of economic development. Themeeting was arranged by Marina Wilson of theCircumpolar Liaison Directorate (DIAND). Becausewe had just completed the Business of Art workshopearlier in the year, we had a great deal of resourcematerial available in Russian.

In December, at the request of Inuit Tapiriit Kanatami(ITK), the foundation participated in Arctic Day, a oneday event organized by the United Nations duringthe Kyoto Environmental Conference in Montreal.The event was an opportunity for us to discuss ourwork and promote our services to a wide internation-al audience. Thousands of people attended theevent, including many representatives of the Inuitcommunity. Directors Mattiusi Iyaituk, Okpik Pitseolakand Mathew Nuqingaq were very involved in theproceedings. Mattiusi spent two days prior to theopening carving a large polar bear ice sculpture thatwas displayed in front of the foundation's booth,which we shared with ITK. The sculpture attracted agreat deal of attention from the conference attendeesand media — as it melted over the course of theday! Mathew was on hand to display and discuss hisartwork and Okpik opened the ceremonies by light-ing the qulliq.

WWEEBBSSIITTEE ((wwwwww..iinnuuiittaarrtt..oorrgg))Launched in 1997, the IAF website is often the firstpoint of contact for people wanting to learn moreabout the foundation and the many things we do.This year, we made some minor changes to our site,which enabled us to improve service while reducingcosts. We are also looking at ways to revise the siteto improve navigation and provide more timelyupdates. Katie Ingrey has taken over responsibility formaintaining and updating the site following thedeparture of Sheila Sturk-Green.

An added feature to our web site this year is a list-ing of upcoming Inuit art exhibitions taking placearound the world. While this feature has long beenoffered in IAQ, providing online exhibition listingswill help promote Inuit art to an even greater audi-ence while also being of service to the many gal-leries that organize these important shows.

FFEESSTTIIVVAALLSSAt the end of the Business of Art workshop, Russianparticipants were joined by over a dozen visitingartists and the IAF board of directors (all practisingartists) for Arts Alive 05, a weekend arts festival andcultural exchange. In spite of the inclement springweather, throngs of visitors from Canada, the UnitedStates and Europe attended the events, whichincluded artist demonstrations and artist talks aswell as throatsinging and drumdancing routines byInuit and Siberian performers. Visiting artists fromCanada (other than the directors) included AnniePootoogook, Arnaqu Ashevak, Andrew Qappik,Victoria Mamnguqsualuq, Irene Avaalaaqiaq, MarkAirut, Shirley Moorhouse, Alacie Tullaugaq, AlacieSivuarapik, Taqaraliq Partridge and the throatsing-ing troupe Siqiniiup Qilauta (The Sun's Drum).Artwork from both cultures was on display and visi-tors were also given an opportunity to win an arcticcruise sponsored by Adventure Canada.

The event received exposure in numerous print andbroadcast media outlets. It was mentioned in thenorthern press (Nunavut News/North), and in theSouth (Ottawa Citizen). A write-up was also includ-ed in the July/August 2005 issue of above & beyondmagazine. Communications Manager Sheila Sturk-Green was also invited to appear on a local televi-sion show (Daytime, Rogers Cable 22) to promotethe event.

Financial assistance was received from CanadianHeritage (Arts Presentation Canada) and theGovernment of Nunavut.


IAF PresidentMattisui Iyaituk inOslo, Norway withcompleted inuksukcreated in GjoaHaven by artistJoseph Suqslaq

La Fédération desCoopératives duNouveau-QuébecManager BernardMurdoch providinga tour to CulturalIndustries TrainingProgram students

Baker Lake artistIrene Avaalaqiaqdemonstrating hersewing skills duringArts Alive 05

IInnuuiitt AArrttiissttss'' SShhooppThe Inuit Artists' Shop was launched by the foun-dation in 1996 as a revenue-generating activityand as a support to Inuit artists. Since then, ithas grown to take on several other functions,serving as a training site for Inuit and as a show-case for the broad range of Inuit material cul-ture. During workshops and training programsthe shop has provided artists, students andinterns with an opportunity to learn about mar-keting, retailing, art appreciation and art criti-cism. The shop displays a wide range of workfrom all areas of the North and the staff arededicated to promoting lesser-known artforms.The marketing policy of the foundation—to pro-mote contemporary art from living artists—helpsthe foundation pursue its mandate of encourag-ing the self-expression of artists while helping toensure the long-term vibrancy of the market.

In pecuniary terms, this year has been one of themost promising years for the Inuit Artists' Shop inrecent history. While the non-profit retailing armof the foundation was originally established togenerate revenue for other foundation pro-grams, it has struggled to realize this goal inrecent years. Last year, the shop fell just short ofbreaking even. This year, however, we are happyto report that the shop is on target to achieve amodest surplus that will support IAF education

services. A number of factors have contributedto the shop's apparent resurgence, chief ofwhich is the cultivation of a loyal and expand-ing customer base generated through advertis-ing, special events and promotional efforts.

CClliieenntteelleeThe Inuit Artists' Shop has continued to main-tain a fairly strong customer base since theclosing of the location on Clarence Street inthe Byward Market. Our permanent location,adjacent to our offices on Merivale Road, con-tinues to attract buyers in spite of being locat-ed outside of popular retail or tourist zones.Our customer base now seems to be largelythe result of past events we have run at theInuit Art Foundation, advertising run in localnewspapers and magazines, and our flashyoutdoor signage, which is clearly visible topassersby.

SSaalleessThe highest sales this year were once againgenerated in the month of December, duringour Annual Christmas Open House (see Eventsand Exhibitions below). During this, and eventssimilar to it, our most popular items tended tobe price-point gifts in the $1–$50 price range,including small carvings, prints, stationery,books and other moderately priced items.

marketing

During workshops and training pro-grams the shop has provided artists,students and interns with an opportunityto learn about marketing, retailing, artappreciation and art criticism.

Our downtown showroom in the Ottawa Schoolof Art boutique briefly closed at the beginning ofthis fiscal year when the boutique underwentextensive renovations. It reopened in April 2005with the position of Boutique Manager beingfilled by Philip Igloliorti, a former part-timeemployee with the foundation. The Inuit Artists'Shop's display at the school is now maintainedon a monthly basis. Although the sales at thislocation make up only about 2% of our totalannual sales, we benefit from the exposure.

Other smaller sales opportunities the shop hasparticipated in this year have included NationalAboriginal Day at the Museum of Civilization inQuebec, a silent auction at the Royal OttawaHospital, and the annual House of CommonsChristmas Craft Fair in December. We also setup small displays at the United States Embassy inOttawa for their annual orientation event fornew employees and their families and for theirannual Christmas bazaar in December. Althoughthese events did not generate large sales, theyprovided excellent promotional exposure, notonly for Inuit art but, also, for the Inuit ArtQuarterly and the Inuit Art Foundation.

EEvveennttss aanndd EExxhhiibbiittiioonnssIn April 2005, the Inuit Art Foundation, in con-junction with the Department of Indian Affairsand Northern Development, the InuitCircumpolar Conference (Canada) and theCanadian International Development Agency,organized a two-week marketing workshop forten visiting interns and artists from several differ-ent communities in Siberia. The Inuit Artists' Shop

presented some marketing sessions to theinterns, which took place in the shop itself andwere supplemented with visuals, written materialsand hands-on exercises. At the conclusion of thistwo-week period, two days were set aside for IAFdirectors to join the ten interns for a public artsfestival, Arts Alive ‘05. The Inuit Artists' Shopassisted the Siberian artists in setting up a dis-play of their work at the festival.

In June 2005, the Inuit Artists' Shop once againhosted the Annual Pangnirtung Print Collection.This is the second year in a row that the shophas held a sales exhibition of the annual collec-tion. We hope to make this an annual event.

In September 2005, in conjunction with thefoundation's executive committee meeting, theshop organized New Career Paths: A LectureSeries, featuring Mattiusi Iyaituk, Okpik Pitseolak,and Mathew Nuqingaq. Mattiusi talked abouthow his career has taken him to many differentplaces around the world. In her presentation,Okpik talked about what it means to be a prac-tising female Inuit artist. Pitseolak also showedthe 1997 CBC documentary Women's Workabout female Inuit artists, produced by AdrienneClarkson. Mathew, who presented along withRuby Clifford of Foreign Affairs Canada (FAC),talked about his recent journey to Japan and theimpact of Inuit art in a foreign culture. Thisevent was promoted by personal invitations andmailed flyers.

In December 2005, the Inuit Artists' Shop onceagain held the Annual Christmas Open House,


featuring various Christmas crafts, from orna-ments to handmade dolls made by Emily Flowersof Happy Valley-Goose Bay. Consecutive adsplaced in the Ottawa Citizen to promote thisevent produced a good response. In light of this,the Inuit Artists' Shop has continued to advertisein the Citizen.

Bears On Ice opened in February 2006 to coin-cide with Ottawa's Winterlude festival.

IAS Shop Manager Katie Ingrey


Puvirnituqthroatsinger AlacieSivuarapik showsSiberian folk artistLilia Banakanovahow to weave agrass basket

Business of Artinterns GalinaShuganova, VeraRosheva, ElenaPosvolskay andVladmirSulyandziga

Inuit Art Foundationdirectors MattiusiIyaituk and MathewNuqingaq withSiberian intern LiliaBanakanova

The Training and Development departmenthas encountered a growth node, a pivotalplace at which we needed to evaluate ourpast programs and projects to determine thedirection of our future growth. While weorganized some very successful programs andworkshops this year, including the 11th ses-sion of our Cultural Industries TrainingProgram and a marketing workshop forindigenous cultural workers from Siberia, weare revisiting some other services adminis-tered by the department. Many changes havetaken place in the North since our supportprograms for artists were initiated in 1991.While many of the old problems seem to per-sist—a lack of material supply and a need forsustained professional development opportu-nities—it is clear that many of the old solu-tions will no longer suffice. Aided by a capaci-ty building grant from Canadian Heritage, wehave initiated a broad round of consultationswith artists and arts organizations which weexpect will lead to a revamping of IAF'sapproaches to the ever-changing problems ofartists.

CCuullttuurraall IInndduussttrriieess TTrraaiinniinngg PPrrooggrraamm ((CCIITTPP))The 11th session of the Cultural IndustriesTraining Program (CITP)—which was initiatedin 1995 as an education and job training

program for Inuit living in Ottawa—was short-ened this year from six months to three months.Changes in the administration of training fundsfor indigenous people living in Ottawa resultedin fewer resources being allocated to Inuit-spe-cific programs.

The revised curriculum for the condensed versionof the program focussed on both skills develop-ment and cultural training. Douglas King, whohas been an instructor with the program for fouryears, assumed the role of student coordinatorthis year, helping to guide the group through thelife skills and job skills courses. Complementingthese sessions were four full-day workshops oncultural awareness taught by Caroline Anawak.This valuable segment of the program helped toreinforce Inuit values and identity, placing skillsdevelopment into an Inuit frame of reference.

Instruction in Art History and the Sociology ofInuit Art was complemented by curated tours ofthe Inuit collections at the Canadian Museum ofCivilization and the National Gallery of Canada.For a six-week period, students also participatedin job placements one day each week at variousInuit and cultural organizations in the Ottawaarea, including Larga Baffin, the Indian and InuitArt Centre (DIAND) and in Nunavut MP NancyKaretak-Lindell's office on Parliament Hill.

training &

development

Most successful artists working today aresuccessful because of working with theInuit Art Foundation. Artists in Labradorare able to use power tools because ofthe influence of the foundation. Beforethat, they would only use small handtools. — John Terriak

Five students enrolled in the program this year,four of whom graduated: Jonah Angutiqjuaq,Bernadette Immariotok, Sarah Qammaniq andSean Qappik. These graduates are now pursu-ing different options: the Inuit Art Foundationhired Sean Qappik on a three-month contract,Jonah Angutiqjuaq is applying to the CanadianMuseum of Civilization's Aboriginal TrainingProgram, and Bernadette Immariotok has beenmaking and selling her wall hangings to a localart dealer. All of these connections were madeduring the three-month CITP program.

Sadly, due to further funding constraints, wewere informed that this would be the last yearwe would be able to offer this valuable trainingfor Inuit in Ottawa. We do hope that increases toInuit-specific training funds will one day make itpossible for us to reinstate this program, asmany of our graduates have told us they wouldnot be where they are now were it not for CITP.

BBuussiinneessss ooff AArrtt WWoorrkksshhoopp ffoorr RRuussssiiaann IInntteerrnnss ——""FFrroomm PPrroodduucceerrss ttoo CCoonnssuummeerrss""In April 2005, ten cultural workers from theindigenous regions of the Russian North and FarEast arrived in Ottawa to learn first-hand aboutthe marketing system for Canadian Inuit art. Theparticipants were interested in exploring whatcomponents of the marketing system in Canadamight be useful to the artists in their communitiesand regions.

Organized by the foundation, the workshopmarked the end of a broader initiative spon-sored by the Canadian International

Development Agency, the Inuit CircumpolarConference, the Department of Indian Affairs andNorthern Development (DIAND) and the RussianAssociation of Indigenous Peoples of the North.The workshop, entitled From Producers toConsumers, gave the participants an overview ofthe unique process in Canada by which a work ofInuit art goes from creation by an artist to pur-chase by a consumer.

Discussion and analysis of the industry by staffand directors was reinforced with on-site presen-tations at wholesalers, retailers and public gal-leries in Toronto and Ottawa. Participants weregiven an insider's perspective of the industry dur-ing presentations at Arctic Cooperatives Limited(ACL) and Nunavut Development Corporation.R.J. Ramrattan, the buyer for ACL, gave a detailedoverview of the cooperative system and how itfacilitates artistic production in the North. TomChapman of Nunavut Development Corporationdiscussed different promotional strategies andefforts and provided a survey of the developmentprojects his corporation has initiated in the North.Visits to well-known Inuit art galleries and muse-ums in Toronto fostered discussions about presen-tation and pricing and its relationship to qualityand consumer demands. The Russian interns alsospent time at the Indian and Inuit Art Centres ofDIAND, learning about the government depart-ment's role in documenting and promoting Inuitart. The workshop ended with an evaluation, inwhich participants were able to provide feedbackon what they had learned over the past twoweeks. The feedback was overwhelmingly positive.Below is a sampling of some of the comments:


An article about the workshop appeared inthe fall 2005 edition of Inuit Art Quarterly andwas later reprinted, in English and Russian, inissue number 14 of the ANSIPRA (ArcticNetwork for the Support of the IndigenousPeoples of the Russian Arctic) Bulletin, pub-lished by the Norwegian Polar Institute.

CCuullttuurraall AArrttss aanndd HHeerriittaaggee SSuussttaaiinnaabbiilliittyyPPrrooggrraamm ((CCAAHHSSPP))The increasing demand for the foundation'sservices—from both its northern constituentsand their southern audiences—is difficult tomeet in face of unstable funding. Staff anddirectors regularly review our performanceand its relevance, an explicit topic at our lasttwo directors' meetings. The consensus is thatthe foundation is providing the maximum pos-sible service with funding levels that haveremained stagnant while expenses have con-tinued to increase.

Core funding from the Department of IndianAffairs and Northern Development hasremained constant and although we havepreviously been able to more than double it,this is no longer the case. Our budget hascontinued to hover around one million dollarsin spite of our best efforts to attract fundingfrom other government departments and torealize cost recoveries. Corporate funding hasbeen mostly unavailable to us, although wehave in the past several years, achieved somesuccess in attracting project-based fundingfrom other government agencies: CanadianHeritage and Human Resources and SocialDevelopment, as well as some small grantsfrom the Canada Council for the Arts and theGovernment of Nunavut. Private sector dona-tions from Canada and abroad haveremained constant at 4 to 5 per cent of ourbudget.


In Life Skills, I learned that a planned goal for thefuture actually works when done properly andefficiently. The Sociology of Inuit Art course taughtme more about the evolution of Inuit history inconnection with art forms from different ages (i.e.Dorset vs. modern contemporary art). The slideshows were great! The presentation itself was veryanimated and entertaining!

— CITP student Bernadette Immariotok

I was impressed to see that theBoard of Directors includes artistsand that the activities are direct-ed toward helping other artists.The seminars were very wellorganized and the activities andtopics of presentations were veryuseful.— Lydia Banakanova(Kamchatka)

We have had a very warm wel-come. The Inuit Art is very wellpreserved and developed. It is allvery well organized. We are juststarting to do it. When I am back,I will meet with the local adminis-tration and tell them of my expe-rience and what I have learned.Based on my new experience Iwill make some changes, intro-duce new ideas into the organi-zation of the museum.— Vera Rocheva(Yamal)

As a young artist just starting outI have learned a lot. It is veryimportant to exchange experi-ence because we can learn somuch from each other. Someproblems are similar, some ofthem have already been solved inCanada that we are just facingnow. When I am back I would liketo share my experience with peo-ple who are actively involved inpromoting indigenous art. — Iliya Raishev(Khanty-Mansiysk)

Apart from fundraising we have always exertedevery effort to recover costs through subscriptionsand advertising sales in Inuit Art Quarterly andsales of artwork in the Inuit Artists' Shop. We alsopackage and sell our services whenever possible(such as in the erecting of inuksuit for ForeignAffairs Canada and the negotiation of copyrightpermissions).

While we believe that we perform a valuable serv-ice for northern and southern players alike, it isclear that more revenue-generating activities willbe required if the foundation is to continue meet-ing the needs of its northern constituents. InJanuary 2006, we were awarded a capacity build-ing grant through Heritage's Cultural Arts andHeritage Sustainability Program (CAHSP) to coverthe costs of hiring a consultant to review the pro-grams and organizational structure of IAF and tomake recommendations as to how we can increaserevenues. Much of the preliminary work necessaryfor the review will be done by foundation staff,including a telephone survey of key artists and cul-tural workers in the North. The results will provideus with more current information about the needsof artists in the North, leading eventually to thecreation of more efficient programs to service thoseneeds. We are optimistic about this process andwhat it will mean for the future of our organization.

NNaattiioonnaall IInnuuiitt CCuullttuurraall CCeennttrree ((NNIICCCC))In 2004, the directors of Inuit Art Foundation pro-posed that Inuit organizations join in the creationof a National Inuit Cultural Centre to serve as acentre for the preservation and revitalization ofInuit cultural practices for future generations, aswell as raising the profile of Inuit in Canada andabroad.

As Inuit have become more politically active in theCanadian state, it is appropriate that their culturebe showcased in a centre they control. Additionally,

a national cultural centre will allow Inuit to devel-op their own distinctive tourism sector. Culturaltourism has been identified by the World TravelOrganization as one of the fastest growing inter-national tourism trends and the proposed centrewill be an unprecedented opportunity for Inuit toplay a leading role in one of the world's largesteconomic practices.The benefits of Aboriginal cultural tourism includeemployment and economic development oppor-tunities as well as the preservation and revitaliza-tion of Inuit cultural practices for future genera-tions.

In addition, the concentration of Inuit organiza-tions in a dedicated space would provide a rela-tively under-represented segment of the popula-tion with a greater presence as well as facilitatinginteraction between the organizations represent-ing Inuit in the national capital. The centre willserve as a focal point for Inuit visiting Ottawaand allow for the coordination of various culturalactivities under one roof.

While the concept of a National Inuit CulturalCentre has met with ready acceptance by all par-ties consulted, the initial plan of applying toHeritage Canada for funds to conduct a feasibili-ty study have been thwarted by a change in thatdepartment's funding criteria. Nonetheless, asteering committee has been struck with mem-bers from Inuit Tapiriit Kanatami and the Inuit ArtFoundation. Representatives of both organiza-tions participated in a one-day "visioning work-shop" on January 26, led by an employee ofCanadian Heritage, who helped us to flesh outthe concept and to develop some strategies forfunding. Our next step is to develop terms of ref-erence for the project.

Clare Porteous-SaffordTraining and Development Coordinator


PPaattrroonnss (($$11,,000000 oorr mmoorree))Daniel & Martha AlbrechtSusan CarterJoan A MartinNew Hampshire Charitable

Foundation Piscataqua RegionJohn & Joyce PriceDorothy M Stillwell

AAssssoocciiaatteess (($$550000 -- $$999999))J Stewart BryanPhilip & Catharine EvansJanice GonsalvesJack & Janet HelfensteinMargaret & Robert JacksonRandy LazarusDr Robert PolomenoJaan Whitehead

SSuuppppoorrtteerrss (($$110000 -- $$449999))Gunther & Inge AbrahamsonLea Algar-MoscoeGary & Marcia AndersonC Frederick & Annelore KurtzLorne BalshineJurg & Christel BieriJames & Chris BredtAndrew ChodosMichele M CoadIrena & Peter DixonJohn & Marcia Doelman, IIIArthur & Judy DracheElinor EricksonLeaha EricksonDr Charlotte FerenczDr Lee Ford-JonesAlain FournierSusan FoxMarie FrezzoEd FriedmanKenard GardinerConstance C GibsonS I GilmanDan GrayHerb & Cece Schreiber

Family FundHome & Away

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Jan Houston SmithDrs Laurence & Katherine JacobsJudith & Peter JekillRussell & Louise JonesDr H G JonesJay JonesAnn JorgensenJoyce KeltieNancy Keppleman &

Michael SmerzaCharles C KingsleyJo-Ann KolmesEilien LebsackMr & Mrs Donald LiftonDavid & Liz MacDonaldGordon MacLachlanMr & Mrs David MarcusMary McCutcheonLes & Sandy McKinnonMichael McLarneySerge MorinGary B NelsonAllan P Newell

Michael J NooneCatherine J PerezJoram PiatigorskyThomas C R ProctorHelen RappJane RedmonJudith S RycusRobert Scott & Diane SpruceSheldon & Lili Chester Fund

of the Minneapolis JewishCommunity Foundation

Charlotte & Arthur ShullDr Jacqui ShumiatcherNathan SilversteinTeri Smalley & Terry PfeifferBarbara C SmilesPeter & Elizabeth SolisJoyce & Fred SparlingRobert & Molly TuthillPeter & Peg Van BruntWarkInuitJoanne, Paris & Greg WilliamsonMervin & Ellen WittRobert WolfMark & Margie Zivin

FFrriieennddss ((UUpp ttoo $$9999))Bruce AllenAllyson BanasMarie R BauerSusan BaumJoan BechhoferMaree BrooksRobert A & Leah BrownCathleen ColehourRobert & Manuelle DiamondNancy DraperPatricia EamesJon E EliassenCatherine R ElwellEric GlattfelderRuth GuillardRuth HandelmanDr James M HarrisJoan E HeriotDr Jacqueline A HynesSelig & Gloria KaplanJ J KassenaarKirsch Law OfficeEllen Koteen & Diane PauladinoAssa MayersdorfMaya McClellandJohn McGreeveyLou & Paul McIsaacMartha MolloyEarl MountsNat'l Federation of Medical/LegalSusan NewloveDawson PrattM Louise ProctorHeinz RiegerDr Ruth RosenSherman D RosenWilliam SaltonstallMichael & Ilene SchechterRobert & Elizabeth SkinnerMichael & Trudy SloanJane Spaeth & Steve SlagleDr & Mrs Oscar & Dorothy SugarDr J E & B K ThompsonJean Ann TylerLilly VogrigGord Webster

05/06 donors

Martha KoonooPond Inlet

Nuna ParrCape Dorset

Jackussie IttukalukPuvirnituq

Mattiusi IyaitukPresidentIvujivik

Paul MalikiRepulse Bay

Okpik PitseolakVice-PresidentIqaluit

Mathew NuqingaqSecretary TreasurerIqaluit

John TerriakNain

board of directors

2005-2006 annual report -...

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