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We’re Hiring

17 May

Are you a student who’s interested in working in a museum? Do you want to learn about working with collections? Are you good with power tools?

We’re hiring a technician for the summer. You need to be eligible to participate in Young Canada Works (meaning you need to be returning to school in the fall) and send  me your cover letter and resume to before the 25th at aprocida (at) miamuseum (dot) com.

Here’s the full job description: YCW Technician Position - we’re looking forward to working with a new member of the team!

Posted by: Alysa Procida, MIA’s Associate Curator


Surveys and Suggestions

2 Sep

If you’ve visited the museum during the last few weeks, you may have been approached by some very inquisitive MIA volunteers. We always love hearing from visitors about their trips to the Arctic, pieces of art they’ve collected, or which work was their favourite piece on display, our volunteers had some specific topics in mind as they distributed this years Visitor Evaluation.

A Visitor Evaluation is a simple questionnaire or survey that helps the museum answer specific questions in order to  improve the museum experience. Surveys can be targeted to a particular exhibition, program, or tour, but they could also be broader in scope to get the “big picture”. For the purposes of our latest evaluation, we looked at: who visits, why they visit, and what they both expected to see that day and would like to see in the future. By asking these questions, we’ll be able to tailor our museum to create the ultimate museum visit and offer you more of what you like.

Just as there are different types of questions that can be asked, how you deliver the survey can also vary. I think we’ve all been prompted by messages online to complete a customer survey, or received a phone call asking for feedback. When we created our evaluation, we wanted to be as unobtrusive as possible so we chose the face-to-face interview method. This less formal style keeps the interactions light and friendly, with the added bonus of being able to share those great stories of your Arctic/Inuit art experiences.

We’ve just about wrapped up our summer round of evaluations but there are still plenty of ways to have your voice heard if you have a comment or suggestion to make. Inside the museum we have a visitor comment board where you can leave a question (or fun drawing like on this board).

The visitor comment board can be found at the entrance to the M. and G. Thiel Audio-Visual Centre.

We’re also on Facebook and Twitter if you wanted to leave us a message online.

To everyone who has already participated, a GIANT “thank you!” for spending some time with our volunteers and answering their questions. And keep an eye out during our next exhibition or program – you might just see some of your suggestions in action!

- Posted by: Brittany Holliss, MIA Visitor Services Officer

Penny (or Membership) for Your Thoughts

28 Jun

A few days ago, we Tweeted about the arrival of some surprise Trip Advisor mail.
MIA is now the proud new holder of a Certificate of Excellence *Oooo! Ahhhh!*

This accolade is given only to establishments that, “consistently achieve outstanding traveler reviews on TripAdvisor- approximately 10 percent of businesses listed on TripAdvisor receive this prestigious award. To qualify for the Certificate of Excellence, businesses must maintain an overall rating of four or higher (out of a possible five) as reviewed by travelers. Additional criteria include the volume of reviews received within the last 12 months.”

Pretty cool stuff! Not just because we have a shiny new window cling to put on our front door, or a certificate we can show off in our office – but because our visitors take the time to let us know their thoughts and ideas.

It’s a tricky thing to figure out what people like and don’t like. Museums spend a TON of time creating surveys, asking questions, and analyzing their findings so that future exhibitions and programing are more inline with what visitors expect. Just the other night, while I was checking out the summer exhibition of another local museum, a man with a clipboard came over to ask what I found the most interesting about the show.

Now this  guy was a pro (he literally took courses on visitor studies) AND he happened to be a friend, so I wasn’t the least bit bothered by answering some simple questions BUT not everyone has mastered this delicate question-asking skill. It can be really hard to find that line between inquisitive staffer and pesky telemarketer.

Which leads us back to Trip Advisor, and how this site is pretty amazing for museums.
In case you’ve never visited their site, the basic idea is that whenever you eat at a restaurant, stay in a hotel, or visit any number of businesses – you rate your experience and leave a brief explanation. These comments are all online, so anyone with an internet connection can read them and potentially be influenced as to whether or not they also want to visit those businesses. So if you had a fantastic time at a cafe down the street and you want to help promote them, you can give them a 5 star rating and encourage people to visit them. The same is true if you’ve had a less than pleasant experience and you think people should know how their service could be improved.

Despite the fact that MIA  has this super wonderful certificate of Excellence, we have had some reviews in the past that pointed out an area that could be improved. We took a visitors comment and used it as a great learning experience. When we know what issues people are coming across and we can fix them. While some people might be deterred by the fact that you can’t please everyone, we strive to be as transparent as possible and welcome honest feedback. It’s part of the reason we have a white board comment wall in our museum AND THEN post pictures of it on our Flickr page.

There are plenty of other sites that rate businesses with a similar visitor scale such as Yelp and Foursquare of which we have accounts for both. And if the satisfaction of letting your voice be heard is not enough, we’ve also been rewarding visitors who use those platforms by giving away free stuff like books and memberships when they check in!  It’s a win-win for everyone!

Our Trip Advisor award is not the only recognition the museum has gotten. Yelp presented us with a similar high ratings award with their “People Love Us” stamp of approval/window cling. Maybe there will be some more additions someday soon…

- Posted by: Brittany Holliss, MIA’s Educational Assistant

Let’s talk about Inuksuit!

2 Jun

Visitors coming into the museum are greeted by an Inuksuk by Adam Noah Alorut. These are one of the most recognizable symbols of the Canadian Arctic. The plural of inuksuk is inuksuit, which means “acting in the capacity of a human”. These manmade rock formations have been created for over 2000 years and are an important survival tool in the Arctic environment, where natural, easily distinguishable landmarks can be few and far between.

“Inuksuk” (2011) by Adam Noah Alorut from Saniarjak (Hall Beach), stone, MIA Collection

We often hear the comment that visitors have seen these stone structures around. Whether by the side of the road, or on top of a hill, inuksuit seem to pop up everywhere. When I was looking into inuksuit, it was interesting to find out that there are actually several types of stone structures.

Director David Harris and Educational Coordinator Alysa Procida in front of a large inuksuk in the centre of Kangirqliniq (Rankin Inlet)

The innunguaq means “in the likeness of a human” and is a stone structure that resembles the form of a human. These are easily recognizable because of their characteristic “legs” and “arms” that give them the human-like shape. Interestingly enough, innunguaq are not actually considered inuksuit because they do not serve as a functional tool.

There are a variety of categories of inuksuit and they are divided by their intended purpose. For example, a tunillarvik, which is characteristically defined by having one large upright stone among a variety of little ones, is used to provide healing and protection to those that venerate it.

The nalunaikkutaaq is a stone structure that means “deconfuser”. It is often in the shape of a single upright  stone standing on end and is used to remind its builder of a variety of things, like where he cached his summer equipment, for instance.

tikkuuti is a pointer. These can be made in different sizes and shapes, suck as a triangular rock lying flat on the ground or a simple arrangement of rocks places in a straight line.

An inuksummarik or an inuksukjuaq, are often rounded boulders placed to form the shape of a pyramid and noted for being larger than average size. These are used as directional aids.

Within these categories, inuksuit can get pretty specific. For example, a niungvaliruluit is an inuksuk in the shape of a window which is used for sighting and aligning. Sometimes, you can see the next place marker within the frame of the niungvaliruluit or the destination itself. Even though it has its own name, because it is a directional aide, it belongs to the inuksukjuaq category of inuksuit.

For more information about these stone structures, you can check out the book Inuksuit: Silent Messengers of the Arctic by Norman Hallendy that we have available at the front desk. Next time you see an inuksuk in the great outdoors, or in our museum,  you can now know its intended purpose, since they are all so different!

Posted by Karolina Tomaszewska, MIA’s Development Officer


Greetings from the newest MIA Development Officer

28 May

Christine Platt, Development Officer, with her favourite Abraham Anghik Ruben artwork, “Raven and Sedna,” 2009

Hello everybody!

My name is Christine Platt, and I just joined the MIA team as a Development Officer! I am excited to work on the Inuit Art Magazine, the Canadian Inuit Art Project and much more. I especially look forward to sharing knowledge and ideas on contemporary Inuit art with all of you.

Before joining MIA, I completed a Masters in Museum Studies and a Masters in contemporary Chinese art. I also worked for a contemporary art fund in the Netherlands, and I’ve volunteered at many museums while living and working around the world (including at MIA as a docent).

I hope that together with the MIA staff and volunteers, I will help to engage an even wider audience in learning and experiencing Inuit art. I particularly aim to help attract more collectors to enter the contemporary Inuit art market. The artworks featured at the museum and in the gallery express so much in form, style, emotion and cultural heritage, which could enhance many private and corporate collections and the personal life experiences of our visitors and friends.

I will write on the blog to tell you more about this as I collaborate on different projects in the museum. Stay tuned for more!

-posted by Christine Platt, Development Officer

Summer Intern Introduction

1 May

Brittany Holliss, the MIA's summer intern, with her favorite Dancing Bear sculptures

Good afternoon! ᐅᓐᓄᓴᒃᑯᑦ (unnusakkut)
My name is Brittany Holliss, and I’m the latest member of the MIA team! For the next few months I’ll be interning here in the museum, and posting about all the interesting things I get to learn and experience as a future museum professional.

Before moving my way up from museum visitor, to volunteer, to intern I was a roaming student. I’ve been all across Canada, Europe, and Asia (I actually lived in South Korea for a few years). Through it all I loved exploring different museums and cultural heritage sites, intrigued by local customs, traditions, food, and art.

There are still a lot of places I have yet to visit, but in the meantime I’m working on combining my love of globetrotting with my passion for art. As part of my Master of Museum Studies program at the University of Toronto, I’ve been given the opportunity to work with MIA. I was so excited to learn that Toronto is home to the World’s only exclusively Inuit museum, and that they were interested in taking me on as an intern. Through their collection and expertise I’ve been given an opportunity to pseudo-travel to the Arctic AND learn more about the Canadian contemporary art scene.

Over the next few weeks I’ll be sharing my experience with you.
Stay tuned and enjoy!

- posted by Brittany Holliss, Educational Assistant

Sustainable, Enjoyable Commuting at MIA

29 Apr

The weather in Toronto has been a bit up and down lately, but days like today remind us all how beautiful the Waterfront can be here. Our Director David Harris knows this first hand – he cycles to work almost every day.

David often wears the colours of the Nunavut flag when he cycles. Having been a teacher in Kinngait (Cape Dorset) before returning to southern Canada, he actually has a Nunavut flag patch attached to his bag. David has previously used his cycling to raise awareness about the Arctic, too.

There are lots of places to park your bike near MIA if you want to join David in cycling to the museum on a nice day (plus parking and public transit options).

-Posted by: Alysa Procida, MIA’s Educational Coordinator

Introducing: The MIA Magazine!

17 Jan

Today we are excited to announce that MIA has expanded its operations to include publishing a semi-annual magazine devoted to the museum, its collections and its visitors!

Museum of Inuit Art Magazine 2012 Vol.1

Launching today, the inaugural issue features 188 pages of information about the museum, a history of one of the largest co-operative organizations in the Arctic, a feature on an exciting collaborative venture in Kangirqliniq (Rankin Inlet), a profile of an important work on display and special features about our visitors and programming in both English and French. As an added bonus, a special exhibition catalogue for MIA’s exhibition, “The Unique World of Jessie Kenalogak,” is included.

The magazine is available for purchase  in print or as a complimentary digital copy.

Get your copy today! 

Posted by: Karolina Tomaszewska, MIA’s Development Officer

Celebrate the launch of International Year of Co-operatives!

12 Jan

To celebrate the 2012 International Year of Co-operatives launch we’re posting an article about Canadian Arctic Producers featuring R.J. Ramrattan, showroom manager and buyer. Check it out below!

Canadian Arctic Producers: Recalling the Past and Looking to the Future

By: Karolina Tomaszewska and Kate Mossman

Canadian Arctic Producers in Mississauga, Ontario

Canadian Arctic Producers, or CAP, a Canadian institution and supporter and promoter of art made by Inuit and northern First Nations, celebrates its 46th anniversary in 2012, which also marks the International Year of Co-operatives. During these past forty-six years, it has played, and continues to play, a significant role in the development of Inuit art within Arctic communities.

CAP’s story begins with the emergence of the co-operatives in the North, which were first formed in 1959 to market traditional industries to the South, such as marketing Arctic char to southern cities like Montreal, as well as other locally produced goods, including arts and crafts. In those early days, it was the first co-operative members who produced carvings and gave them to their co-operative to sell. The co-operative would send carvings to the south once a year, and when the artist would eventually receive payment for the carvings, they would accept very low payment for their work.

To address some of these issues, a conference of local co-operatives was held in Iqaluit in 1963. The Co-operative Union of Canada was in attendance, and it was during this conference that participating co-operatives asked for assistance with the formation of a marketing agent for Inuit art. The Canadian Government agreed to establish a marketing agency as a limited company, investing funds in preferred shares. Each of the founding co-operatives was required to purchase one common share of $1.00 each. Any profits generated by the sale of the art would be allocated to the participating co-operatives as patronage and used to repurchase the government shares. When the investment by the co-operatives exceeded that of the government, control of the company was passed on to the co-operatives.

In 1965, CAP was incorporated to market the arts and crafts of the Aboriginal people of northern Canada. CAP’s aim was to act as an intermediary between remote northern co-ops and southern galleries. The organization’s first director was Alma Houston, the wife of James Houston, a Canadian artist instrumental in developing the market for Inuit art in the south. James Houston worked in collaboration with the Canadian Guild of Crafts, the Canadian government and the Hudson’s Bay Company before co-operatives in the North were first established. In its early years, CAP worked to establish supporters in prestigious art galleries, mount exhibitions, and create more significant appreciation for this art form. These efforts achieved widespread recognition and value for northern work, especially art made by Inuit.
A cornerstone of CAP’s operation was the commitment to fair and timely compensation for the artists. In 1979, CAP made the transition from government-supported corporation to fully Aboriginal-owned and operated co-operative. This ensured that artist-members would direct the operations of their marketing agency. In 1982, CAP amalgamated with the Canadian Arctic Co-operative Federation Limited to form Arctic Co-operatives Limited (ACL). ACL is a co-operative service federation dedicated to providing services and business development opportunities to communities throughout Canada’s Arctic.

Today, CAP is the wholesale marketing arm of co-operatives in select communities in Nunavut and the Northwest Territories, and it continues to purchase and distribute fine arts and crafts produced by Inuit and northern First Nations people. It is one of the world’s largest wholesale distributors of Inuit art. Proudly Aboriginal owned and controlled, CAP markets this unique art form which reflects the artists’ connection to the land and its animals, folklore and contemporary imagery. Its clients include galleries and art dealers throughout the world.

Recognizing the importance of 2012 to the co-operative movement, MIA felt that it was important to seek some personal perspectives on CAP’s important role in supporting the advancement of art made by Inuit. R.J. Ramrattan, showroom manager and buyer at CAP, kindly agreed to discuss his experiences with MIA regarding his work at CAP over the past twenty years and shed some light on how CAP’s work affects individuals as well as communities.

R.J. Ramrattan, showroom manager and buyer at CAP (Photo courtesy of CAP)

Ramrattan was first introduced to ACL through his sister who was working for the service federation headquartered in Winnipeg. He was hired as a summer student in 1989, a position in which Ramrattan was designated to work in the warehouse, opening new art as it came in. He says, “This was a particularly interesting position because some weeks I could open up to a hundred boxes filled with brand new, beautiful art.” It is here that Ramrattan’s passion and interest for the art began to grow and through these early experiences, he came to learn of the values and principles of the co-operative enterprise. “I found out how the co-op gives back to the community,” he says, “and helps the people by buying the art; that the co-op actually gives them the opportunity to have money in their hand and go buy the necessities of life.” Ramrattan notes that from that point, “I never turned back because the passion just continued to grow.”  Not only did he have an innate affinity for the art, but he stood whole-heartedly behind the co-operative system as well. With an eager mind, Ramrattan was hired on full time the following year. He began working in the shipping and receiving department, but soon found himself involved in marketing and many aspects of the organization.

Ramrattan recalled that in his first year with ACL, he was invited on a trip to Sanikiluaq as part of the marketing arm, working alongside a team of individuals in construction, project management and accounting. On this trip, he understood more fully the importance of supporting the Inuit art industry and the communities engaged in producing this art. He explains, “We were not just moving art but we are helping a family to get through their daily lives in those communities. I felt I was doing something good.” Ramrattan found this to be a significant event in his career and life noting how it, “…changed the way I do things. I fell more in love with the art. I saw the women weaving the baskets up North and just wow!” Ramrattan began directing his focus towards growing with the co-operative, and working on not simply survival, but building better futures for these communities. His experiences with CAP in the Arctic have provided him with an appreciation for the talents of the local people, and he points out that “I fell in love with the people and the art.”

Today, Ramrattan takes on a variety of roles in his position as showroom manager and buyer for CAP. First and foremost, he oversees the daily operations at CAP and puts their resources to work. On any given day he can have walk-in clients at his Mississauga office or members of co-operatives coming to town that need support. Education is also a major component of Ramrattan’s job description. He educates clients about Inuit art and on the realities of life in the North and also uses his resources to encourage awareness of Inuit art in southern communities by collaborating with educational and cultural institutions. The Museum of Inuit Art is one of the first museums he has worked closely with to achieve these goals. This is not only because of MIA’s proximity to CAP in Mississauga, but also because MIA is the only museum in southern Canada dedicated solely to Inuit art and culture. He has had a unique experience collaborating with MIA, and it has really broadened his horizons in the field of Inuit art.

Education for Ramattan also extends to the artists that he has the opportunity to work with. He encourages artists to always learn and challenge themselves, either through engaging with different subject matter or improving sculpting techniques. For example, he finds that some artists are very talented in producing realistic objects. Ramrattan tries to encourage them to challenge themselves and create more abstract works that connect with spiritual and cultural aspects of Inuit life. As he notes, “I encourage them to open their minds, and be more artistic and creative.” Daniel Shimout (1972-) from Salliq (Coral Harbour) is one of the artists he has encouraged in this direction. Ramattan points out that “This artist is proven. He does amazing hunters and drummers with faces that are really wonderful. I suggested he take his work to another level, encouraging him to be more spiritual in his vision.” Ramrattan noted that he recently received new sculptures from Shimout, and the new abstract pieces by this artist are remarkable. For Ramrattan, it is important that he continues to build relationships with artists in order to create a bond based on trust and loyalty. The results are stronger friendships and business relationships.

Bird Spirit (2011) by Daniel Shimout (1972- ), Coral Harbour, walrus bone, CAP Collection.

Ramrattan has also had many unique experiences through his work with CAP. For example, when Canadian Arctic Gallery-Inuit Art, a regular client from Basel, Switzerland, began purchasing pieces from CAP on a routine basis, Ramrattan noticed a trend in their selection of pieces by Pitsuilak Qimmirpik (1986- ). He suggested they take on a solo exhibition of the artist. Both artist and gallery agreed, and the yearlong preparations began to take shape. Qimmirpik was challenged with producing a variety of subject matter for the show and as a result, this show gained immense media attention. The show, which was advertised all across Europe, took place from Sept. 3rd to Oct. 9th, 2004, with the Canadian ambassador, Jean-Paul Hubert, attending the ribbon-cutting ceremony. This show sparked greater interest in the artist, and when Qimmirpik carved an owl in the gallery space over the course of four days, individuals were fighting to buy it once it was finished. This type of experience truly solidified the relationship between CAP and Qimmirpik as well as between the artist and his audience.

Having been with CAP for over twenty years, Ramrattan has seen many changes take place with regards to the marketing of Inuit art, the subject matter of the art, and also the technology involved in communicating with artists in the Arctic. As he explains, “Twenty years ago, there was much less access to the Arctic whereas today, many more people can jump on a plane and buy directly from artists. Also, there are more independent wholesalers. This becomes a challenge because an artist can only produce a limited amount during a year, and when it all becomes distributed through various wholesalers, it is difficult to keep track of an artist’s stylistic evolution.” As a co-operative, CAP gives back to the communities, and as Ramrattan observes, “The more you support the system the more you get out of it.” This ethos is an important component of how CAP operates.

Ramrattan has also noticed changing trends in art production. Modern imagery is making an appearance in more and more artistic pieces. “When an artist used to create a boat, it usually came equipped with paddles, whereas now the artist will replace paddles with a motor. Artists are also challenging themselves with a variety of mediums. Stone, bone and antler are being incorporated to come up with unique aesthetics, whereas in the past the tradition was to work with a single medium,” he explains. In addition, he points out that technology has changed the way art is purchased. In the past when Ramrattan was deciding whether or not to purchase a piece the transaction would take place on the telephone. It would be up to him to try and visualize it based on his knowledge of the artist and their previous works. The next stage of technology was Teleview, which was used to send still images of the artwork. In the age of advanced technology and the internet, dozens of images can be sent within seconds. This not only allows for better judgment but it improves efficiency for both parties, allowing for enhanced communication across great distances. As a result, now artists can be immediately compensated for their artwork and focus their efforts on pursuing further art production.

An example of a modern boat sculpture is "Whale Hunting" (2011) by Daniel Shimout (1972- ), Coral Habour, soapstone, ivory, antler, caribou skin, sinew, CAP Collection.

Finally, in his position at CAP, Ramrattan expressed feeling fortunate to have had met so many interesting and creative people through his work. This includes meeting artist Elijah Michael (1929-2008), an elder from Kimmirut (Lake Harbour), Nunavut. Ramrattan noted that he had had the chance to meet Michael’s wife, Annie Michael (1935-1999), who was also an artist. He also had the opportunity to watch Michael carve his artwork, which largely involved images of family. As noted by Ramrattan, “His artwork was about family and strong values and he was passionate about that and those pieces were memorable for me.” Michael’s art and friendship continues to be very important to him. It is these experiences, including meeting inspiring and talented individuals, engaging with beautiful pieces of art, and supporting Arctic communities, that fuels Ramrattan’s passion for working at CAP, an organization that continues to play a significant role in connecting the North and South. These important contributions are being celebrated throughout this following year with the United Nation’s designation of 2012 as the International Year of the Co-Operative, which MIA will be commemorating through a variety of future activities.

Artist Elijah Michael (1929-2008) working on a sculpture in Kimmirut (Lake Harbour), Nunavut

View of Kimmirut (Lake Harbour), Nunavut (Photo courtesy of CAP)

2011 In Review

3 Jan

As we move into 2012, we want to quickly take a look back at 2011. It’s been a big year for the museum as we’ve expanded and moved into new territory, such as this blog. Here is 2011 in review:


Artist Abraham Anghik Ruben visited MIA to install Memories: An Ancient Past (2010), a sculpture which will eventually travel to the Smithsonian in 2012.


We opened our Twitter account and this blog!

We published its Inuit Wallhangings colouring book, focusing on wall hangings from Qamani’tuaq (Baker Lake). The museum donates 500 copies to Rachel Arngnammaktiq Elementary School in Qamani’tuaq.


We posted our introductory guide on our website.


MIA celebrated International Museum Day by conducting tours focused on museums and their relationship to memories.

MIA welcomed artist Noah Maniapik to conduct a printmaking workshop with visitors, courtesy of the M. and G. Thiel Educational Centre.



MIA celebrated National Aboriginal History Month by beginning Playing Favourites, a project encouraging visitors to have their pictures taken with their favourite piece in MIA’s collection and tell us why it is their favourite. The project is so successful it is extended indefinitely.



MIA began offering Quick Chat programming, aimed to entice visitors to look more closely at objects in the museum’s collection by giving short, focused introductions to particular objects.


In addition to the museum’s traditional audio guides, the museum now offers printed versions of the text for those who prefer to read rather than listen. The museum also began implementing bilingual signage throughout the museum’s interior to better serve its diverse audience and installed family-friendly labels throughout the museum in order to better serve the museum’s family audience.


MIA Director David Harris and Educational Coordinator Alysa Procida travelled to Kangirqliniq (Rankin Inlet), Nunavut from September 17 to September 24 to assist with project development, museum acquisitions and future exhibition planning.


We participated in Culture Days, a nation-wide weekend of free cultural activities aimed at engaging the community in arts and cultural programming. MIA offers free printmaking workshops and hands-on activities.

We welcomed the Inuit Art Society and artist Billy Gauthier to tour the museum as part of their annual conference. Representatives from the museum discuss the museum’s progress, mission and plans for the future at the conference in Hamilton.

MIA completely overhauls its audio guide system and implements Quick Response (QR) codes throughout the museum. When scanned by a smartphone or tablet device, they link visitors directly with relevant audio tracks, photos, videos, maps and additional information relevant to the object.

We opened its exhibition The Unique World of Jessie Kenalogak and incorporated physical and virtual ways to ask the artist questions and begin dialogue about the artwork with other visitors.


We published its Inuit Art in Canada in softcover, as well as its Introductory Guide and Gallery Selected Pieces Volume 1  as eBooks.

MIA launched its new membership categories with overhauled benefits, responding to visitors’ needs for a more customizable system.


MIA partnered with the National Film Board Mediatheque in Toronto to celebrate the launch of Unikkausivut: Sharing Our Stories. MIA visitors and members are entitled to a 10% discount on the DVD, while visitors to the NFB Mediatheque who also visit MIA receive a complimentary copy of Inuit Art in Canada.

2011 was a great year for the museum and we are looking forward to 2012: it’s the International Year of Co-Operatives and our partnership with the NFB Mediatheque continues this month. Stay tuned for more updates!

Posted by: Alysa Procida, MIA’s Educational Coordinator


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