An exhibition entitled Kenojuak Ashevak: Life and Legacy at the University of Saskatchewan Art Galleries in Saskatoon features more than 30 never-before seen drawings by this iconic Cape Dorset, Nunvut artist. The West Baffin Eskimo Cooperative recently caught up with the galleries’ curator Leah Taylor to discuss the exhibition. This interview was conducted 14 April 2020.

Let's start with a basic introduction to the University of Saskatchewan’s exhibition program. Tell us more about your curatorial vision for the three gallery spaces you program.

Sure. I am the curator for the Kenderdine Art Gallery/ College Art Galleries at the University of Saskatchewan, situated on Treaty 6 Territory. The galleries’ programming focuses on disseminating the urgent and critical matters of our time, whether they be social, political, aesthetic, intellectual, environmental or cultural. My curatorial research has focused on contemporary issues in relation to the archive, art and resistance and cultural diasporas. Some notable exhibition projects I’ve had the opportunity to curate for our spaces in the last few years include, Lori Blondeau: Grace, A Survey, Amalie Atkins: Wundermarchen, Tau Lewis: when last you found me here and Joi T. Arcand: she used to want to be a ballerina. I believe that artists are typically the first to challenge social constructions that need to be refigured or deconstructed and are willing to take risks, especially with difficult and challenging subjects, by presenting new or diverse perspectives for viewers to consider. As a curator, I have the opportunity to frame this work for our public and academic audiences.

Earlier this year, you opened the exhibition Kenojuak Ashevak: Life and Legacy. Can you tell us a little bit about the installation at College Gallery 1 and perhaps how you became interested in the project?

Since studying Kenojuak Ashevak in university art history, I have always had a strong interest in her work. I vividly recall my professor, Ruth Cuthand, showing us the film produced by the National Film Board in 1961 about Ashevak’s traditional life and art. It left a strong impression on me. The film is still shown today, and was instrumental in introducing her to the world beyond Cape Dorset. Therefore, when curator William Huffman approached our gallery regarding the touring exhibition of never-before shown Ashevak drawings, I was immediately interested in including it in our gallery programming. The exhibition is installed in one of our three professional gallery spaces, showing concurrently with contemporary artists Caroline Monnet and Catherine Blackburn. The three respective solo exhibitions coalesce to present a dynamic, diverse range of incredible Canadian female Indigenous artists, representing multiple generations, histories, territories and artistic practices. Ashevak’s work offers a more historical component but the 31 drawings and three prints aesthetically present as clean and contemporary, hung in all white frames in horizontal groupings to line the gallery walls, creating a minimalist effect within the gallery environment.

Kenojuak Ashevak was part of that first wave Inuit artist movement, which began in the 1950s, so her work can be considered a historical form of Inuit creative expression. From your perspective, how does Ashevak and this exhibition situation themselves in a contemporary, current discourse?

As I had previously mentioned, showing Ashevak’s drawings in-tandem with two contemporary artists has situated the importance of her legacy and practice within the context of today. Ashevak had been internationally celebrated well before many of today’s contemporary Canadian Indigenous female artists who are now (long-overdue) receiving solo exhibitions with institutional galleries and museums. In a way, she has been part of forging this space for artists like Blackburn and Monnet. Having had museum exhibitions as early as the 1950s, Ashevak was a pioneer for introducing the world to Inuit imagery that represented her family, culture and land. The unwavering existence of the West Baffin Artist Co-operative, situated now within the Kenojuak Cultural Centre, will ensure her legacy will continue to support artists and provide this critical space for cultural development in Cape Dorset, particularly for female artists.

In recent years, the work of Canadian Inuit artists seems to have experienced an international renaissance; major institutions, important exhibitions and biennials are featuring these artists. Can you give us your thoughts on what you’re seeing happening with Inuit art in the world?

I think that the interest has been building for some time, but the recent ‘renaissance’ could be linked to curators and institutions stepping up to deliver important solo exhibitions, to truly highlight the incredible talent of artists coming out of the Cape Dorset studios. Beyond the inclusion of one or two artworks in large, curated group exhibitions. The 2019 Venice Biennale clearly had influence in this shift with Isuma representing Canada. Isuma is an Inuit artist collective working in film and other multimedia platforms to challenge stereotypes about life in the North. Also, the recent solo exhibition of Shuvinai Ashoona: Mapping Worlds at the Vancouver Art Gallery. Ashoona’s large-scale drawings reflect the dramatic changes in the North and the shift from life on the land to settled communities and access to popular culture, challenging the stereotypical notions of Inuit art. And, of course, the touring Kenojuak Ashevak: Life and Legacy exhibition that we have now on view (currently closed due to Covid-19). In part, as Canada continues to reconcile its colonial history of Indigenous genocide through the government ‘calls to action’ of the Truth and Reconciliation Commission, I think that important Inuit methodologies of storytelling through art will be widely recognized on the forefront of contemporary Canadian art. We will continue to see incredible Inuit artist from Cape Dorset receive the national attention their work deserves by challenging the misunderstandings of the North today.

Our current moment in history presents us with much uncertainty and many questions. This new environment has shifted typical discourse and preempted usual thinking. In light of this, how has the relevance and role of exhibition spaces shifted? Are there concerns or opportunities that you’re thinking about, moving forward?

I think that as we see the dramatic changes of regeneration and recovery in our natural environment, after only weeks of a global, socio-economic slowdown, we will place more value on the wisdom of artists like Ashevak – who have always pointed to the importance of human-animal and natural world connection through their imagery. Moreover, I think our contemporary world may see more resonance and connection now with her artwork, than ever before. The College Art Galleries are thrilled to be able to foster this connection through our programming, as we continue to disseminate Kenojuak Ashevak’s exhibition online until August 23, 2020.