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This thesis on the development of contemporary Inuit art examines the period between 1948 and 1953 when James Houston united the Hudson’s Bay Company, the Canadian Handicrafts Guild, and the Department of Mines and Resources, Northwest Territories Branch, in an effort to encourage handicrafts and carvings production amongst the Inuit of the Eastern Canadian Arctic. This thesis on the development of contemporary Inuit art examines the period between 1948 and 1953 when James Houston united the Hudson's Bay Company, the Canadian Handicrafts Guild, and the Department of Mines and Resources, Northwest Territories Branch, in an effort to encourage handicrafts and carving production amongst the Inuit o f the Eastern Canadian Arctic. It situates the booklet within a broader history of outsider influence and instruction on Inuit artistic development, and examines the shift from souvenir to fine art production in the mid­ twentieth century in relation to modernist primitivism, tourist art, transculturalism and cultural contact. The Thesis argues that the impact o f Houston’s unsuccessful 1951 instructional booklet, Sunuyuksuk: Eskimo Handicrafts, during the formative years of contemporary Inuit art has been underestimated, and that its failure was a turning point in the history of contemporary Inuit art, serving to define the two distinct streams of production, fine art and craft, which continue to the present.

Influence and instruction: James Houston, Sunuyuksuk: Eskimo handicrafts, and the formative years of contemporary Inuit art