Reference: see
Tailfeathers, Indian Artist by H.Dempsey, Art Series 2, Glenbow-Alberta Institute, 1970;
Tailfeathers/Sapp/Janvier - Selections from the Art Collection of the Glenbow Museum, by E.McLuhan, Thunderbay Art Gallery, 1982

biography and other examples in
Time for Dialogue, by J.Cardinal-Schubert, pg.20, Calgary Aboriginal Awareness Society, 1992;
American Indian Painters, A biographical Directory, by Jeanne O. Snodgrass, pg.55, Museum of the American Indian Heye Foundation, New York, 1968;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.52, Westbridge Pub., 2003

Reference: included on the Katilvik website, disc number E4-120, community Gjoa Haven / Uqsuqtuuq

Reference: included on the Katilvik website, disc number E9-818, community Povungnituk; see Joe Talirunili, a Grace Beyond the Reach of Art, ed.M.Myers, Federation des cooperatives du Nouveau, 1977; Sculpture of the Inuit, by G.Swinton, pg.359, McClelland Stewart, 1992; in Biographies of Inuit Artists, Vol.2, by Canadian Arctic Producers

Reference: included on the Katilvik website, disc number E6-416, community Broughton Island / Qikiqtarjuaq

Reference: included on the Katilvik website, disc number E7-978, community Cape Dorset;

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website;

listed on www.artprice.com; listed on www.artprice.com

Reference: included on the Katilvik website, disc number E7-977, community Cape Dorset; see biography in Biographies of Inuit Artists, Vol.2, by Canadian Arctic Producers; included in Arts of the Eskimo: Prints, by P.Furneaux, Signum Press, 1974; included in Cape Dorset Print Collection 1970, Eskimo Graphic Art; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; listed on www.artprice.com

Reference: included on the Katilvik website, community Cape Dorset

Reference: listed on www.artprice.com

Reference: see artist's website at www.ahnisnabae-art.com; see Roy Thomas, by G.MacDonald, Canadian Indian Marketing Services, 1977; Vision Circle, the Art of Roy Thomas, by Elizabeth McLuhan, Thunder Bay Art Gallery, 2012; Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: see Grasp Tight the Old Ways:, by J.Blodgett, A.G.O., 1983; Irene Avaaliaq, by B.Jordan, Canadian Art, Vol.11, No.3, Fall 1994; The Inuit Print - L'Estampe Inuit, National Museum of Man, 1977; Eskimo Art, by C.Burland, Hamlyn Pub., 1973; biography in Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers

Reference:

Reference: included on the Katilvik website, disc number E2-426, community Baker Lake;

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference:

Reference: listed on www.katilvik.com

Reference: included on the Katilvik website, disc number E7-1682, community Cape Dorset / Kinngait

Reference: included on the Katilvik website, disc number E9-124, community Belcher Islands / Sanikiluaq

Reference: included on the Katilvik website, disc number E9-853, community Povungnituk

Reference: husband of Oviloo Tunnillie; from Cape Dorset / Kinngait

Reference: Oviloo Tunnillie, RCA, was a sculptor who became one of the few early female carvers to achieve international fame. Born in Kangia, one of several small camps on the southern coast of Baffin Island, she produced the majority of her work in Kinngait [Cape Dorset], NU. Tunnillie is best known for her particular focus on women, autobiographical carvings and taboo subjects, creating a unique collection of work that spoke to the lives of Inuit women over the course of her life.

Toonoo and Sheojuke, Tunnillie’s parents, were both artists, and Toonoo in particular helped Tunnillie hone her craft from a young age. When discussing the process of learning to be a sculptor, Tunnillie stated, 'I didn’t know I could carve, but watching my father, Toonoo, I learned . . . From there, I began to carve, always noticing the beauty and shape of the rock'. In an interview, she recalled the first work that she sold in 1966 was a carving of a woman in traditional clothing, which she noted with some humour was not fully formed but sold anyway. Tunnillie’s decision to work in the male-dominated medium of stone was a revealing indication of her independence. In these early stages of her career Tunnillie created realistic human and animal sculptures, before moving on to less traditional and more taboo themes in the 1980s, and finally to her autobiographical content in the 1990s.

Tunnillie worked with a range of stones including quartz crystal, white marble and serpentinite, a distinctive deep green stone from the area surrounding Kinngait. Her works are visually evocative, sensitively addressing painful subjects as well as bringing laughter and delight. A common theme in her work is the female form, in particular the female nude. As a young child, Tunnillie was affected by a major outbreak of tuberculosis across the North, a result of colonization. She was sent south to Manitoba for treatment, returning to Kinngait when she was ten. She was deeply affected by the time spent away from her family, and in 1991 produced the autobiographical steatite sculpture This Has Touched My Life in response, presenting herself as a young person being escorted away by nurses whose faces are obscured by surgical masks. Through works like this, Tunnillie is able to confront settler-colonial power structures and the trauma of displacement and dislocation. Another sculpture, Woman Passed Out [1987], depicts a woman held in the arms of another figure, having imbibed alcohol and lost consciousness. The head is thrown back, exposing the neck in a painful arch and suggesting the complete vulnerability of the woman depicted. Rather than presenting an idealized depiction of life in the North, featuring traditional lifestyles and activities, Tunnillie chose to address the real struggles of contemporary Inuit society in general and of women in particular.

As a deliberately contemporary artist who drew on her own experiences to tackle difficult issues head-on, Tunnillie was one of the most innovative and important sculptors of her generation, holding particular significance for a later generation of Inuit sculptors who have been similarly determined to address contemporary life. She is one of few Inuit female carvers to achieve international success, with more than a dozen solo exhibitions and countless group exhibitions that have crisscrossed North America and taken her work as far afield as Sweden, Germany and Russia. In 2003, she was elected to the Royal Canadian Academy, and in 2019 the Winnipeg Art Gallery in Manitoba released a book on her life, titled Oviloo Tunnillie: Life & Works.

biography from the Inuit Art Foundation

Reference:

Reference: listed on www.katilvik.com; disc number E4-341

Reference: included on the Katilvik website, disc number E3-277, community Baker Lake / Qamani'tuaq

Reference: see artist's website josefinarv.com; represented by Christine Klassen Galley, Calgary

Josefina Rodriguez is a Canadian-Argentinian artist based in Calgary, Alberta [Treaty 7 Territory]. She holds a BFA in Ceramics from the Alberta University of the Arts. Rooted in her experiences growing up in Latin America - a region marked by patriarchal structures - Rodriguez’s practice explores the social and cultural forces that shape gender roles. Her work challenges the narrow, often one-dimensional narratives imposed on the female experience, and seeks to reclaim space for complexity, sensuality, and autonomy.
Through hand-built figurative ceramics and expressive drawings, Rodriguez invites viewers to engage with the themes of sensation, pleasure, and resistance as vital, humanizing forces. Her work celebrates the strength and beauty found in the unconventional, the unapologetic, and the rebellious aspects of womanhood.

Reference: see artist's website at royhenryvickers.com; see Storyteller: The Art of Roy Vickers, pub. By Harbour Publishing Co., 2014; biography and another example in Carmanah, Artistic Visions of an Ancient Rainforest, pg. 152, published by the Western Canada Wilderness Committee, 1989; biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.85, Westbridge Pub., 2003; ; Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: listed on www.artprice.com

Reference: An artist of Metis descent born in Prince Albert, SK in 1951. Dennis lived most of his life in Calgary, AB before moving to Kelowna, BC in 1999. He is a Signature member [Associate] of the Federation of Canadian Artists and a Senior Member of the Canadian Institute of Portrait Artists.

Reference: listed in Artists in Canada - Union List, N.G.C., 1988

Reference:

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: biography Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.106, Westbridge Pub., 2003; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference:

Reference: see artist's website at tiffanywollman.com

Tiffany Wollman is a contemporary Cree-Métis [and early European settler] artist raised on a dozen acres near the City of Calgary and she is a citizen of the Otipemisiwak Métis Government. Her painting practice explores memory, identity, and place through colour and light. Working between intimate autobiographical works and expansive landscapes, she examines the passage of time and the relationship between the self and the land. Her kinship paintings rooted in Métis lineage, act as gestures of preservation - holding story and resisting erasure. In contrast, her large-scale waterscapes and landscapes invite quiet reflection, capturing fleeting moments of natural beauty. Across her work, Wollman navigates the space between personal and collective experience, creating paintings that honour memory, deepen connections, and evoke a contemplative engagement with nature.

Reference: Born and raised in Regina. Wood painted interior scenes and still lifes from the isolation caused by the harsh environment of winter prairies. He studied painting at the Alberta College of Art and sculpture at the University of Manitoba. He worked as the curator for the art gallery and taught at the Alberta College of Art.
listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: see artist's website at chelseayangsmith.com

Cy Yang-Smith [they/them] is a visual artist and photographer based in Alberta on Treaty 7 territory. Working across print, soft sculpture, photography, and text, their practice explores cultural iconography, storytelling, personal narrative, and the complexities of vulnerability and intimacy.

Yang-Smith holds a Bachelor of Design in Photography from Alberta University of the Arts (2016). Their work has been presented in solo and group exhibitions throughout Moh’kins’tsis, Calgary, Alberta. They are currently the Photography Facilitator at Banff Centre for Arts + Creativity and maintain an active commercial photography practice, working with clients across Canada.

Reference: Born on the Red Bank Reserve [Metepenagiag] in New Brunswick, Canada in 1938, Young attended both the Vesper George School of Art and the School of the Museum of Fine Arts in Boston, as well as the New Brunswick Provincial Exhibition Center in Fredericton, Canada. Young’s work has been exhibited throughout the northeastern United States and southeastern Canada, including at the People of the Dawn Festival in Nova Scotia, the Haffenreffer Museum of Anthropology at Brown University, as well as the Museum of the American Indian and the American Indian Community House Invitational Exhibition in New York. Young spent most of his young adult life in Somerville, Massachusetts but moved back to Newcastle as he grew weary of the city’s rapid pace. In 1988 he returned to his native Red Bank in New Brunswick where he passed away in 1993. - biography from massaudubon.org

Reference: listed on www.artprice.com