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M E D I a R E L E A
M e d i a R e l e a s e Mother-Son Artist Team Selected to Create Public Art to Enhance Johnson Street Parkade Date: Friday, August 21, 2015 For Immediate Release VICTORIA, BC — Yesterday, City Council selected a Vancouver-based, mother and son Musqueam First Nation artist team, Susan Point and Thomas Cannell, for their Woven Together proposal to create contemporary First Nations artwork to enhance the exterior of the Johnson Street Parkade. The artwork will be installed in April. “The extraordinary piece of art proposed by Susan Point and Thomas Cannell will celebrate the history of the local Coast Salish people and will make Johnson Street Parkade more welcoming, while enlivening Victoria’s downtown streetscape,” said Councillor Pamela Madoff, Council Liaison to the City’s Art in Public Places Committee. “Public art sends a strong message about a community and its values. It demonstrates that a city is tended and cared for and that its public realm is celebrated.” Woven Together will consist of colourful, powder-coated aluminum circular forms that are often used in Coast Salish art to represent the cycle of life, but also the traditional weaving spindle whorl and transportation. Colour will play a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre will be made up of four eye motifs that create four butterfly images symbolizing the ability to accept change, metamorphosis, and the beauty of nature. The number four is important within First Nations culture as it represents the four winds, seasons, directions, elements, moons and peoples. -
Pacific Coast Salish Art and Artists: Educator Resource Guide
S’abadeb— TheGifts: PacificCoast SalishArt &Artists SEATTLE ART MUSEUM EDUCATOR RESOURCE GUIDE Grades3-12 SeattleArtMuseum S’abadeb—The Gifts: Pacific Coast Salish Art and Artists 1300 First Avenue is organized by the Seattle Art Museum and made Seattle, WA 98101 206.654.3100 possible by a generous leadership grant from The Henry seattleartmuseum.org Luce Foundation and presenting sponsors the National Endowment for the Humanities and The Boeing Company. © 2008 Seattle Art Museum This project is supported in part by an award from the National Endowment for the Arts with major support Pleasedirectquestionsabout thisresourceguideto: provided by the Mayor’s Office of Arts & Cultural Affairs, Adobe Systems, Incorporated, PONCHO, Washington State School & Educator Programs Arts Commission, and U.S. Bancorp Foundation. Additional Seattle Art Museum, 206.654.3146 [email protected] support provided by the Native Arts of the Americas and Oceania Council at the Seattle Art Museum, Thaw Exhibitionitinerary: Charitable Trust, Charlie and Gayle Pancerzewski, Suquamish Seattle Art Museum Clearwater Casino Resort, The Hugh and Jane Ferguson October 24, 2008–January 11, 2009 Foundation, Humanities Washington, Kreielsheimer Exhibition Endowment and contributors to the Annual Fund. Royal British Columbia Museum November 20–March 8, 2010 Art education programs and resources supported in Editing: John Pierce part by PONCHO and the Harrington-Schiff Foundation. Author: Nan McNutt Illustrations: Greg Watson ProjectManager: -
First Nations Public Art to Be Installed This Week at Johnson Street Parkade
M e d i a R e l e a s e First Nations Public Art to be Installed This Week at Johnson Street Parkade Date: Wednesday, August 24, 2016 For Immediate Release VICTORIA, BC — Public art will soon enhance the exterior of the Johnson Street Parkade and the downtown streetscape. Work is underway to install Woven Together , the contemporary First Nations artwork by Vancouver-based mother and son Musqueam artist team Susan Point and Thomas Cannell. Woven Together consists of colourful, powder-coated aluminum circular forms that are often used in Coast Salish art to represent the cycle of life, but also the traditional weaving spindle whorl and transportation. Colour plays a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre is made up of four eye motifs that create four butterfly images symbolizing the ability to accept change, metamorphosis, and the beauty of nature. The number four is important within First Nations culture as it represents the four winds, seasons, directions, elements, moons and peoples. Approximately six metres wide by eight metres high, Woven Together contains 82 pieces which will be mounted to the building’s façade. A template will be used to mark and pre-drill holes in which to secure each art piece. The Johnson Street Parkade will remain open during the artwork’s installation but parking customers may experience minor delays entering the parkade. The work will take place daily this week from 9 a.m. – 8 p.m. and is anticipated to be completed by Friday. -
Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017
FOR IMMEDIATE RELEASE Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017 Audain Prize goes to Carole Itter; VIVA Award to Lyse Lemieux; Balkind Prize to Grant Arnold Image Credits: (Bottom Left): Carole Itter, Grand Piano Rattle: a Bosendorfer for Al Neil, 1984, metal, paint, wood, light fixture, Collection of the Vancouver Art Gallery, Acquisition Fund, VAG 86.34 a-e, Photo: Trevor Mills, Vancouver Art Gallery (Bottom Right): Catalogue produced for the exhibition Susan Point: Spindle Whorl (2016-17), co-curated by Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery, Photo: Maegan Hill-Carroll, Vancouver Art Gallery (Top): Installation view of Lyse Lemieux, Ovals for Richmond, 2016, in A Girls Gotta Do What A Girls Gotta Do, Richmond Art Gallery, 2016, Photo: Dennis Ha When: 7:00 p.m., Wednesday, April 19, 2017 Where: The Great Hall (BC Law Courts building) The Ceremony is free and open to the public April 5, 2017 Vancouver, BC – Three distinguished individuals in the field of visual arts in British Columbia will receive the most prestigious awards in this Province: the Audain Prize for Lifetime Achievement in the Visual Arts, the VIVA Awards and the Alvin Balkind Curator’s Prize. This year, Carole Itter is awarded the fifteenth Audain Prize, supported by the Audain Foundation. Lyse Lemieux is the recipient of the 2017 VIVA Award, granted annually by the Jack and Doris Shadbolt Foundation for the Visual Arts. The Foundation will also present the second biannual Alvin Balkind Curator’s Prize to Grant Arnold, Audain Curator of British Columbia at the Vancouver Art Gallery. -
Chris Paul Is a Coast Salish Artist Whose Work We Started to Collect in 2004
September 2013, Issue 5 Salish Weave Collection – Newsletter Chris Paul is a Coast Salish artist whose work we started to collect in 2004. The imagery of two of his drums, Conservation and Swan Drum was used to print two limited editions of 50 serigraphs that are included in the Salish Weave Collection Box Set I. Works of glass are also part of the collection. In this newsletter, we introduce Chris and present some of his most recent work exhibited at Alcheringa Gallery of Victoria, BC until September 14. For this exhibition, Chris joined his friend and mentor Mark Preston, a Tlingit artist from the Yukon, whom he met while training in Hazelton, Northern BC. Born near Victoria, British Columbia in 1969, a member of the Tsartlip nation, Chris was immersed in Coast Salish art as a child. He completed one year of training at the Gitanmaax School of Northwest Coast Art in ‘Ksan and a two- year apprenticeship under celebrated Tsimshian artist, Roy Henry Vickers. Chris’ artwork often depicts flora and fauna near his home on Vancouver Island and the mythologies of his culture. His designs are rendered as limited edition prints, paintings, carvings, jewelry, glass sculptures and sandblasted cedar panels such as A New Day Panel at the right. In 2007, Chris was commissioned by the Sidney Pier Hotel and Spa. He created three large-scale etched glass panels for the lobby and smaller panels for each of the hotel’s 55 rooms. Chris also gained A New Day Panel exposure through the hit television series Sandblasted red cedar, paint Grey’s Anatomy in which some of his prints 60" x 12" x 1.75" were featured. -
A Man from Roundup: the Life and Times of Bill Holm
A Man from Roundup: The Life and Times of Bill Holm Lloyd J. Averill 2 About the Author Lloyd J. Averill, a faculty colleague at the University of Washington, and longtime friend of Bill Holm, is also the co-author (with Daphne K. Morris), of Northwest Coast Native and Native-Style Art: A Guidebook for Western Washington (University of Washington Press, 1995), and (with Steven C. Brown) of Sun Dogs and Eagle Down: The Indian Paintings of Bill Holm (University of Washington Press, 2000), as well as of 11 other books on higher education, religious history, and sociology, and one novel. Copyright Ó2003 by Lloyd J. Averill 2 3 This book is dedicated to Marty, Carla, and Karen Holm, and to that larger family of unnumbered women and men around the world who honor Bill Holm as examplar and friend 3 4 Acknowledgements A number of people, who have had a significant relationship over the years with Bill Holm, generously gave me time for tape-recorded interviews in preparation for this biography. I could not have written it without them, and their contributions are gratefully acknowledged: Steve Brown, Donn Charnley, Joe David, Robert Davidson, Barry Herem, Karen Holm, Marty Holm, Jack Hudson, Nathan Jackson, Aldona Jonaitis, Carla Holm Martens, Betty Holm Odle, Marvin Oliver, Duane and Katie Pasco, Bill and Martine Reid, Cheryl Samuel, Judge Alfred Scow, Henry Seaweed, David Stephens, and Robin Wright. Otherwise unattributed direct quotations are drawn from the tape- recorded interviews. Many other people, who also have had a significant relationship with him, might have been included, but time is a stern taskmaster and sets difficult limits. -
A History of Changing Ideas
NATIVE ART OF THE NORTHWEST COAST A HISTORY OF CHANGING IDEAS Edited by Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ḳe-in ubc press vancouver toronto Sample Material © 2013 UBC Press Contents Contents with Excerpts Listed ix List of Figures xxix Preface xxxiii Introduction: The Idea of Northwest Coast Native Art 1 Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ke-iṇ 1 Interpreting Cultural Symbols of the People from the Shore 15 Daisy Sewid-Smith 2 Hilth Hiitinkis – From the Beach 26 Ḳi-ke-iṇ 3 Haida Cosmic 31 Michael Nicoll Yahgulanaas 4 From Explorers to Ethnographers, 1770-1870 46 Ira Jacknis 5 Thresholds of Meaning: Voice, Time, and Epistemology in 92 the Archaeological Consideration of Northwest Coast Art Andrew Martindale 6 Objects and Knowledge: Early Accounts from Ethnographers, and 128 Their Written Records and Collecting Practices, ca. 1880-1930 Andrea Laforet 7 “That Which Was Most Important”: Louis Shotridge on Crest Art 166 and Clan History Judith Berman 8 Anthropology of Art: Shifting Paradigms and Practices, 1870s-1950 203 Bruce Granville Miller Sample Material © 2013 UBC Press vi contents 9 Going by the Book: Missionary Perspectives 234 John Barker 10 The Dark Years 265 Gloria Cranmer Webster 11 Surrealists and the New York Avant-Garde, 1920-60 270 Marie Mauzé 12 Northwest Coast Art and Canadian National Identity, 1900-50 304 Leslie Dawn 13 Art/Craft in the Early Twentieth Century 348 Scott Watson 14 Welfare Politics, Late Salvage, and Indigenous (In)Visiblity, 1930-60 379 Ronald W. Hawker 15 Form First, Function -
{PDF EPUB} Indian Art of the Northwest Coast A
Read Ebook {PDF EPUB} Indian Art of the Northwest Coast A Dialogue on Craftsmanship & Aesthetics by Bill Holm Indian Art of the Northwest Coast: A Dialogue on Craftsmanship & Aesthetics by Bill Holm. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #0129ed20-c335-11eb-a6ab-1704d8bbdd02 VID: #(null) IP: 188.246.226.140 Date and time: Tue, 01 Jun 2021 23:56:38 GMT. Indian Art of the Northwest Coast: A Dialogue on Craftsmanship & Aesthetics by Bill Holm. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #01344d60-c335-11eb-b7ec-ab17eb1f1dbc VID: #(null) IP: 188.246.226.140 Date and time: Tue, 01 Jun 2021 23:56:38 GMT. Indian Art of the Northwest Coast: A Dialogue on Craftsmanship & Aesthetics by Bill Holm. Abbott, Donald N. (editor) 1981 The World is as Sharp as a Knife: An Anthology on Honor of Wilson Duff , British Columbia Provincial Museum, Victoria. Barbeau, Marius 1929 Totem Poles of the Gitksan, Upper Skeena River, British Columbia , National Museum of Canada. 1950 Totem Poles vol. -
Learning Lesson 23C June21coast Salish
Burnaby Schools Created by: April Strickland & Brandi Price Indigenous Education Celebrating National Indigenous Peoples Day- June 21, 2020 Activity-Coast Salish Artist Suggestion: At the beginning of the week, on the PA, read the following paragraphs on National Indigenous Peoples Day. National Indigenous Peoples Day takes place on June 21st of every year. It began in 1996 and was originally called National Aboriginal Day. The day commemorates and honours First Nations, Inuit, and Métis People’s cultures, histories, and contributions to Canada. June 21st was chosen because it is the longest day of the year and has long been celebrated by Indigenous Peoples. This day is an opportunity to recognize the historic contributions of Indigenous Peoples to the development of Canada. There are many ways to celebrate the day but as June is also National Indigenous History Month there is an opportunity to learn about Indigenous history and to deepen our understanding of Indigenous people and their role in the present-day and future of Canada all month long. Coast Salish Artist Activity Here is a list of Coast Salish Artists that you could show students during the week of June 15-19 to celebrate Indigenous Day (June 21). We suggest reading the paragraph on the artist, show the picture of their art and read the meaning behind their art. Before introducing the artist, please read the following to the students so they understand who the Coast Salish People are and the meaning behind the art they create. The Coast Salish peoples are indigenous to the lower mainland of Vancouver and southern tip of Vancouver Island, B.C. -
Coast Salish Art Bibliography
Coast Salish Art Bibliography Abbott, Donald 1981 The World is as Sharp as a Knife: An Anthology in Honour of Wilson Duff. Victoria: B.C. Provincial Museum; 1981: 175-200. Amoss, Pamela. 1978 Coast Salish Spirit Dancing. Seattle: University of Washington Press. Arima, Eugene Y. 1983 The West Coast People: The Nootka of Vancouver Island and Cape Flattery. Victoria: British Columbia Provincial Museum Special Publication #67. Baillargeon, Pat 1977 “Arts Interview: Marvin Oliver,” Puget Soundings (April): 30-31. Barnett, H. G. 1955 The Coast Salish of British Columbia. University of Oregon Press. 1957 Indian Shakers: A Messianic Cult of the Pacific Northwest. Carbondale: Southern Illinois University Press. Bierwert, Criska *1982 Sahoyaleekw: Weaver’s Art. Seattle: Burke Museum. 1999 Brushed by Cedar, Living by the River: Coast Salish Figures of Power. University of Arizona Press. Black, Martha 1997 Bella Bella: A Season of Heiltsuk Art. Toronto and Seattle: Royal Ontario Museum, Douglas and McIntyre, and University of Washington Press. 1999 Huupukwanum Tupaat: Out of the Mist: Treasures of the Nuu-chah-nulth Chiefs. Victoria: Royal British Columbia Museum. Blanchard, Rebecca and Nancy Davenport (eds) 2005 Contemporary Coast Salish Art. Seattle: Stonington Gallery and University of Washington Press. Brotherton, Barbara (ed). 2008 S'abadeb, The Gifts - Pacific Coast Salish Art and Artists. Seattle: Seattle Art Museum and University of Washington Press. Brown, Steven C. 2001 “Norman Feder and the Central Coast Salish Art Style,” in Feest (ed) Studies in American Indian Art: A Memorial Tribute to Norman Feder, Altenstadt: European Review of Native American Studies: 33-41. 1994 "In the Shadow of the Wrangell Master: Photo Documentation of the Work of Two Nineteenth Century Tlingit Artists," American Indian Art Magazine. -
PUSHING the BOUNDARIES of TRADITION in ART: an Interview with Susan Point
PUSHING THE BOUNDARIES OF TRADITION IN ART: An Interview with Susan Point JAN HARE MET WITH SUSAN POINT in her studio at Musqueam First Na tion, situated between a neighbourhood in southwest Vancouver I and the banks of the Fraser River. Musqueam, meaning "people of the grass," is where she lives and works. Having lived all her life on the Musqueam Reserve, Susan's life has been shaped by her family and community and the traditions which have sustained them as Salish peoples. Her world is reflected in the themes, motifs, and images that mark her unique Salish art. I had the opportunity to meet with Susan Point, where she reflected on the creative style and the influences on her work. When I entered the studio, the space was neatly defined, with pieces of her work positioned in careful relation to one another. Waiting for Susan, I walked around the studio paying closer attention to the visual presentation and detail of the work. It was very clear: Susan Point is one who is meticulous and stylized in her space and the creation of her work. She has innovatively brought together the traditional elements of Coast Salish art with contemporary style in new mediums. In a recent book about the artist, Susan Point, Coast Salish Artist, her work has been described by Peter Macnair as visionary, innovative and exacting. "She has brought the two thousand-year- old Coast Salish art form - which many scholars see as the ancient prototype for the more recent formalized and intellectualized two- dimensional art of the northern coast - to a position of admired and deserved appreciation, giving it new life and definition, an en couraging introduction to the new millennium" (p. -
1-Intro & Salish
An Introduction to Indigenous Art of the Northwest Coast The continuity between traditional and contemporary with Jane Horner, MA Today Introductions The Pacific Northwest – geography, history Five Indigenous Peoples of the NWC Coast Salish Art Indigenous regions, Pre-Contact Point to All Contemporary Indigenous communities on the west coast Our focus: Coast Salish, Nuu-Chah-Nulth, Kwakwaka’wakw, Tsimshian, Tlingit and Haida. Point out Vancouver & Alert Bay, Cowichan locations! Geography BC Coast – Many Mountain ranges throughout BC, rugged shoreline, rivers winding through – Fraser, Columbia, Thompson Multi-coloured starfish and seaweed at low tide Rich marine life – clams, oysters, mussels (Al Harvey) Ancient trees – 700 years old in a few places – Carmanah, Claquot Sound, Haida Gwaii Growth so thick made it difficult to move from one place to another. Rivers were the original highways Sea animals Variety of sea creatures: seals, sea otters, salmon, cod, halibut, sea lions, orcas, large whales Wolves, mountain goats, elk, cougars, wolverines, marmots All kinds of bears All kinds of bears. Black & brown bears, grizzlies and these spirit bears These creatures appear in most NWC art Favourite artworks from all of Northwest Coast Bill Reid, Haida, Raven and The First Men, 1980 (1920-1988) Museum of Anthropology, UBC Yellow cedar, creation story of the Haida people Spirit of Haida Gwaii, Washington Haida Chief’s Rattle Handle on left, Raven with sun in beak, shaman talking to animal. Owned by an individual chief and passed down to next chief Beau Dick, Mask Contemporary, raven looking out from cedar bark hair Kwakwaka’wakw Alert Bay (1955-March 2017) Susan Point, Salish, Looking Forward, 2000 Glass, wood, spindle and whorl, whirlpool Today’s focus Robert Davidson, Child of Mouse Woman, 1983 Contemporary interpretation of Haida design Distinctive northern NWC shapes – trigon, U-shape Debra Sparrow, Salish Weaving Vancouver Indigenous Fashion Week Lawrence Paul Yuxweluptun, Portrait of a Residential School Girl, 2013 Acrylic, gold leaf on canvas.