Chris Paul Is a Coast Salish Artist Whose Work We Started to Collect in 2004
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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. -
Re-Pressed: How Serigraphy Re-Envisions Northwest Coast Iconography*
RE-PRESSED: HOW SERIGRAPHY RE-ENVISIONS NORTHWEST COAST ICONOGRAPHY* India Young, University of New Mexico Abstract In 1986 Andy Warhol silkscreened a series of cowboys and Indians. In 1978 Roy Henry Vickers, a Tsimshian artist, silkscreened Jesus as well as a lacrosse player. Since the time of the Campbell’s Soup Can (1962), Northwest Coast Indigenous artists have been silkscreening fine art in their own vernacular. They have used the medium to reclaim heritage, to share histories, to educate, and to demand Western recognition through visuality. Today, as Western serigraphy has receded back to the commercial medium it was before Pop art, Indigenous artists continue to envision the possibilities serigraphy provides to challenge the art world and popular perceptions of Indigenous cultures. In this paper I reveal the modes of discourse opened through Indigenous people’s use of serigraphy. Since its inception into Northwest Coast culture, the serigraph has been used to tell the story of Northwest Coast tradition and progress: politically, economically, artistically and culturally. * I greatly appreciate Dr. Victoria Wyatt’s support and guidance and Joe David’s insight and generosity. India Young n 1986, Andy Warhol silkscreened a series of cowboys and Indians. In 1978 Roy Henry Vickers, a Tsimshian artist, silkscreened Jesus as well as a lacrosse player. Since the time of the Campbell’s Soup Can (1962) Northwest Coast IIndigenous artists have been silkscreening fine art in their own vernacular. They have used the medium to reclaim heritage, to share histories, to educate, and to demand Western recognition through visuality. Today, as Western serigraphy, or silkscreen printing, has receded back to the commercial medium it was before Pop Art, Indigenous artists continue to envision the possibilities serigraphy provides to challenge the art world and popular perceptions of Indigenous cultures. -
Henry Green) Email:[email protected] Tsm’Syen(Nation) – Gitando(Tribe) Ganhada (Raven) Crest
Wii G’winaalth (henry green) Email:[email protected] Tsm’syen(nation) – Gitando(tribe) Ganhada (raven) Crest Northwest Coast of -“Tsm’syen Lax Yuup”[inside the river of mist-territory/land] Wii Gwinaalth-(b. 1956), was raised in [on wild roses]=Lax Kw’alaams (Port Simpson) and [on where it foams-reversing rapids]=Lax Kxe’en (Prince Rupert), on what is now known as-British Columbia-Canada, in a family, tribe and community rich in knowledge and tradition. Henry credits-“ Freda Diesing, Haida and her nephew ,Don Yeomans, Haida”- in particular for stimulating his interest in the Arts and Woodcarving,-“George Clutesi, Nuu Cha’nuulth”-, for developing his appreciation and passion for learning about Westcoast Culture ,plus storytelling. Henry Green has pursued formal art training at the –“Emily Carr College of Art and Design” in Vancouver, B.C. (1986 - 87) and the -“Institute of San Miguel D'Allende”- in Mexico (1982 - 83). As well as being an innovator ,Wii Gwinaalth, is also an accomplished –Engraver –Jeweller- Designer-Printmaker-WoodCarver/Sculpture-Toolmaker-Historian-Educator-Mentor. Henry is strongly committed and supportive of “educational initiatives” and “cultural developmental programs.” His Artwork is in Private and Corporate Collections throughout- Canada ,Alaska ,United States of America ,Europe and Asia His work has been guided and sustained by an intensive approach to specific –“Tsm’syen Mythology, Heraldic Iconic emblems , ideological, historical and modern references.” Within this context, his commitment to specific, stylistic purity has allowed for a rich and innovative portfolio of multi-media processes. SELECTED ARTWORK IN SITU Museum of Northern BC – 16’ foot: Lax Sgiik (Eagle) and Sto’ol (beaver) pole. -
Ksan Historical Outdoor Museum and the Kitanmax School of Northwest Coast Indian Art
It Took More Than a Village: The Story of The ‘Ksan Historical Outdoor Museum and The Kitanmax School of Northwest Coast Indian Art by Chisato Ono Dubreuil B.A., The Evergreen State College, 1990 M.A., University of Washington, 1995 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of History in Art © Chisato Ono Dubreuil, 2013 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii It Took More Than a Village: The Story of The ‘Ksan Historical Outdoor Museum and The Kitanmax School of Northwest Coast Indian Art by Chisato Ono Dubreuil B.A., The Evergreen State College, 1990 M.A., University of Washington, 1995 Supervisory Committee Dr. Catherine Harding (Department of History in Art) Supervisor Dr. Bill Zuk (Department of Education) Outside Member iii ABSTRACT Supervisory Committee Dr. Catherine Harding (Department of History in Art) Supervisor Dr. Bill Zuk (Department of Education) Outside Member My dissertation analyzes the development of the visual culture of the people known as the Gitksan, as witnessed through the creation of ‘Ksan, a tourist village located at present day Gitanmaax (Hazelton, B.C.). I demonstrate how the fields of ‘art’, ‘craft’ and ‘artifact’ come into play in a more nuanced understanding of the development of various sectors at this key tourist site. The focus of the dissertation includes the complex motives that led to the creation of ‘Ksan. I consider the interrelationship of its art, the school as well as its business practices. -
Larsen Washington 0250O 114
© Copyright 2013 Maria Cristina Larsen Christian Motifs in Pacific Northwest Coast Native American Art Maria Cristina Larsen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Robin K. Wright Haichang Wang Program Authorized to Offer Degree: Art History Table of Contents Page Chapter 1: Introduction 1 Chapter 2: Review of Literature on Christianity in Native 9 Communities Chapter 3: Appropriation of Christian Motifs 30 Chapter 4: Economic Motivation: The Use of Christian Motifs 53 for Commissioned Projects Chapter 5: Devotional Pacific Northwest Coast Native 66 American Art Chapter 6: Indigenized Christian Spaces 88 Chapter 7: Conclusion 125 Bibliography 132 Acknowledgements I would like to first thank my advisor, Dr. Robin Wright, for her guidance from the conception to the conclusion of this thesis. I would also like to thank Dr. Haichang Wang for being a part of my committee. I am thankful for their patience and their dedication to my research. I am thankful for my colleagues that have supported me since the beginning, including Ashley Verplank McClelland and Dr. Katie Bunn-Marcuse. Finally, I would like to thank my husband for being with me during the many all nighters and for reminding me of God’s many graces. Foreword A colleague once asked me, “As a Christian, how can you study the revival of Indigenous traditions that clash with your beliefs?” At the time, I did not know how to answer that. I am a Christian and at the same time, I felt compelled to continue my path to study Indigenous art history.