Notes
[1] Heather Igloliorte, “Inuit Ceramics and Other Outliers,” in Earthlings, edited by Naomi Potter and Shauna Thompson (Calgary: Esker Foundation, 2017), 93-99. Published in conjunction with the exhibition “Earthlings” curated by Shary Boyle and Shauna Thompson, shown at the Esker Foundation in Calgary, AB.
[2] Between 1967 and 1970 ceramics from Kangiqliniq were exhibited in Edmonton, AB, Montreal, QC, London, ON, Ottawa, ON, Saskatoon, SK, Toronto, ON and Winnipeg, MB in Canada, Fort Worth, TX, Los Angeles, CA, Middletown, CT, Milwaukee, WI, New York, NY, Palo Alto, CA, Rochester, NY, Scottsdale, AZ, Washington, DC, Seattle, WA in the United States and Paris, France, Sydney, Australia and Stockholm, Sweden internationally.
[3] Stacey Neale, “The Rankin Inlet Ceramics Project, Part Two: The Quest for Authenticity and Market Share,” Inuit Art Quarterly 14.2 (Summer 1999): 6-17.
[4] Abraham Anghik Ruben, “Where We Go From Here,” Inuit Art Quarterly 30.3 (Fall 2017): 54-63.
[5] Jim Shirley, excerpt from “A Change in Fortunes,” Ceramic Work from Rankin Inlet, (Canadian Clay and Glass Gallery, 2006), 12.
[6] Quotes from Pierre Aupilardjuk, John Kurok and Leo Napayok from interviews conducted by the author in August, 2019.
Credit: This article was originally published in the Winter 2019 issue of the Inuit Art Quarterly. Copyright the Inuit Art Foundation.
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