uas..edu UA is an AA/EO employer and educational institution and prohibits illegal discrimination against any individual: www.alaska.edu/nondiscrimination. Artwork photography by Ron Klein. Egan Library photography by Ryan Cortes. Design by UAS Creative Agency, 2019 (update) Welcome The William A. Egan Library opened in January, 1990. This booklet describes the library’s Northwest Coast Native Art Collection and two separately funded on the UAS campus. The library was named for William A. Egan, who served as Alaska’s governor for 12 years between 1959 and 1974 and devoted nearly fifty years to Alaska politics. An early proponent of statehood, he led the Alaska Constitutional Convention which preceded statehood in 1959. While the library was still under construction, the Alaska Percent for Art in Public Places Committee recommended 14 artists’ propos- als which were approved by the UAS Chancellor and UA Board of Regents. These pieces comprise the library’s native art collection. The University of Alaska Southeast is located on lands originally inhabited by the Aak’w Kwáan people. Áak’w Kwáan Aaní káx’. The mission and core values of UAS reflect support of Alaska Native students and an increasing awareness and knowledge of Alaska Native heritage unique to .

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 1 Level Two 2 Aak’w House Posts Steve Brown and Wayne Price Main Library Entrance (flanking stairs)The house posts, 1 Four Masks carved in red cedar, are derived Edna Jackson from an early Stikine Tlingit style. The four female masks are made Each portrays characters from Tlin- of cedar bark . Below the two git legends. Tlingit society is divided center masks are shredded and spun into two sides (moieties), Raven and cedar bark rings which encircle Eagle, with each side subdivided Eagle and Raven. Designs repre- into clans characterized by one or senting Eagle or Raven are painted more emblems or crests. on two of the women’s cheeks. The As you face the house posts, the artist initially deemed her attempts post on the left recalls how Raven at this artwork unsuccessful because stole the sun and carried it into she sought to duplicate traditional the sky. The Dog is shown carved wooden masks. Paper is not a swimming upstream. On the lower traditional material used in Tlingit portion of the post is Good Luck art. After experimentation in the Woman (L’enaxxeet’ak’w). Tradition paper making medium, however, has it that anyone who comes in she discovered a more successful ap- contact with her will have good luck. proach by focusing on the inherent Misfortune, however, awaits wan- qualities found in handmade paper. dering children who meet her for they are carried away into the forest.

2 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST At the base of the post are stacks of wears the bear’s ears and fringed mussel shells from a recent meal. robe as a sign of his role as spiritual The post on the right shows the healer and prophet. Big Dipper in human-animal form The Weasel, the figure at the bottom wearing a crown of stars. The next of the , sometimes acts as the figure shows the shaman(I xt). He Ixt’s helper.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 3 3 Head Behind Frog is Eagle, Raven’s Steve Brown opposite; on the bow and the stern This red cedar panel (upper wall are figures of . The opposite stairs) symbolizes that all dorsal fin of the rear Killer Whale humans and animals share in the extends above the gunwale, suggest- spirit of life. The canoe carries ing that he is part of the canoe, but some of the animal spirits of Tlingit in some respects, apart from it. On mythology, representing each side of the bow is a human figure grasping Tlingit society and some clans. The the gunwales as he is carried along prominent figure is Raven holding on the supernatural ocean by his the moon in his beak, a reference to spirit friends. The Head Canoe is the story of Raven bringing moon- a reminder of the benefits and kind- light to the world. Next is Bear, ness given by the animal spirits. from the Eagle moiety, clutching the Their gifts include medicines, gunwales of the canoe. Behind Bear dreams, intuitive wisdom, and in- is Frog, from the Raven moiety. spiration that lead mortals through the voyage of life.

4 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST 4 Circular Wooden Panels: tease and trick, to woo and win; he Raven and Eagle is clever and he cheats. It is Raven Nathan Jackson who gave the world the sun and the moon, the stars, the rivers and These panels (upper wall flanking lakes, the fish and other animals. reference desk) are made of red cedar and are four-and-a-half feet in Entertaining stories of Raven’s diameter. They are four inches adventures are found along the thick in the center and taper off to a Northwest Coast, throughout Alaska thickness of one-and-a-half inches and even in parts of Siberia. at the edges. In , Eagle is a symbol of power and as in life, Raven’s beak is long and prestige and is, in many respects, pointed, while Eagle’s beak is shorter Raven’s opposite. In traditional and curved downward. Tlingit culture, persons must marry Raven is a leading figure in North- opposites: Ravens to Eagles, Eagles west Coast mythology. He is the to Ravens. The panels reflect this trickster and creator; he loves to social balance in Tlingit society.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 5 5 Eagle-Shark Panel acrylic. Graphite was added to the Jennifer Brady Morales black paint to make it glisten like (upper wall near rear) Shark is the traditional charcoal paint. principal crest of the Wooshkeetaan The human figure in the front clan of the Eagle moiety. This dorsal fin depicts a husband while relationship is illustrated by having the figure in the second dorsal fin Eagle’s head and claws form the symbolizes his wife with a lip plug upper portions of Shark. The “S” or labret. The lower pectoral fins shapes on the upper side of Eagle’s show their son and daughter. The wings serve a dual purpose: they children are shown without teeth represent the backbone of Eagle and and only four fingers to symbolize Shark. their immaturity. This combina- This panel is comprised of sixteen tion of family figures, symmetrically yellow cedar boards with the grain balanced in splayed design, honors running vertically. The paint is the importance of clan and family in Northwest Coast societies.

6 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST Level One Level One 6 Big Dipper Panels Display Case Nathan Jackson 7 Plaited Utility Basket (upper wall) The Big Dipper (Yax-te) Jan Criswell is an important crest of the Aak’w This square basket is made from Tlingit. The crest is said to have plaited red cedar bark. Northwest been given to the Aak’w’ warriors Coast weavers used various local after a battle near Klawock. The materials for their baskets. Red red cedar panel on the left depicts cedar grows in southern Southeast Raven and the one to the right Alaska and in and depicts Bear. The copper discs not was used by and Haida only highlight the animal crest, but craftsmen in making many objects. also show the big dipper in the night Farther north, among the Haida sky over Aak’w village and the city of and Tlingit, most was done Juneau. with roots, as red cedar is seldom found north of Prince of Wales Island.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 7 7 Midwinter Ravenstail 7 Open Weave Clam Robe Basket Cheryl Samuel Jan Criswell The ravenstail style of weaving was This basket (upper right) is made with a predecessor of the technique used spruce roots gathered in Juneau. in making Chilkat robes and tunics. The open weave was designed for The technique had not been used baskets used for harvesting shell- for the past 150 years until its recent fish and other resources so that the revival by artists such as Samuel. items could be washed after being This modern blanket does not use collected. traditional colors or fibers. It repre- sents the colors of the winter beach, 7 Haida Storage Basket with a black warp and silk strands of Mary Lou King mauve, blue-green, steel blue, and This mid-sized storage basket (lower pink. right) is woven from spruce roots The center is black with a design collected in the Juneau area. Baskets in the color of mussel hearts. The such as this were woven in various pattern across the top represents sizes and used for holding house- dark mountains with a single ray hold items. The skip-stitch pattern of golden hope streaming from the in the weaving on the top section is peaks. The long tassels flow with the called st’alaaw in Haida, meaning tides, reflecting the hues of winter slug or snail. light. The collar is trimmed with marten fur.

8 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST 7 Haida Ceremonial Hat grooved, or kerfed, into four sec- Mary Lou King tions. The wood was then steamed The ceremonial hat is made of or moistened with boiling water woven spruce roots. Since spruce and quickly folded into rectangular roots swell when wet, the hat is form. The final corner, where the waterproof when worn in the rain. ends come together, was fastened The pattern in the weave is called with spruce root lacing. A cover and k’uhichihaangaat in Haida, meaning bottom were then added. Such box- spider web. es were used to store food, ceremo- nial items and family heirlooms. In the past, such hats were some- times topped with small spruce root The Tlingit design on this box rings known as rings. An portrays a Killer Whale with bared important person could add a ring teeth. The small face on top repre- for each major memorial feast or sents the spirit of the whale at the potlatch they had sponsored. blowhole. 7 Cylindrical Basket 7 Box Delores Churchhill Ray Watkins This basket represents weaving Bentwood boxes were made techniques of the Haida, Tlingit and throughout the Northwest Coast Tsimshian. The cresting wave design and some of the finest were made was used by all three S.E. Alaska by Tlingit and Haida craftsmen. tribes. The bottom third is Tlingit, To make such a box, a plank was woven clockwise as the basket is held

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 9 right side up. The Tlingit use maid- 7 Carved Bowl, Seal Design enhair fern, sunbleached grass and Ray Watkins spruce roots except for the Wrangell The bowl is made of alder wood and weavers who often use cedar bark. inlaid with operculum shells. Bowls The middle third is Alaskan Tsim- like this were used for storing and shian who also weave clockwise with serving foods such as dried fish, fish sunbleached grass and maidenhair eggs, dried berry cakes, seaweed, fern. The Alaskan Tsimshian were eulachon oil, and seal oil. The bowl influenced by the Tlingit to compact represents a seal sitting on a rock, twine, as originally they plaited warming itself on a sunny day, their baskets with red cedar bark. arching its long hind flippers and The upper third of the basket is stretching its head upwards. Haida, woven counterclockwise and On ceremonial occasions a bowl upside down with spruce and alder such as this was sometimes filled bark. The cresting wave design is with food and oil and presented to surrounded by a strawberry design. a distinguished guest. A gift of this The lid design includes Tlingit fern sort brought great honor to both the fronds (on the nob), Haida red recipient and the donor. cedar tree branches and the outer Tsimshian design of red cedar sun- bleached grass representing smoke house racks.

10 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST 7 Raven Headdress 7 Ravenstail Apron Harry Calkins Delores Churchill This Raven Headdress (pictured on The design and weaving of this previous page) was inspired by the art apron incorporates Tlingit, Haida, of the peoples of British and Tsimshian art forms. The ma- Columbia. It is made in three pieces terials used include merino , from birch which is stained black fur, and deer hooves. The weaving is with designs rendered in silver done with a handspun warp. paint. The body, head and tail com- The top portion is a Haida weave prise a single piece, while the wings called spider web. The central sec- are separate pieces attached to move tion, traditionally made of leather up and down as the dancer moves. with a porcupine quill trim, repre- Such headdresses were worn for the sents the seasons of the mountains Sisaok Ceremony, where important and is a Tlingit design. The bottom chiefs would demonstrate their section, representing lightning, is a family’s history. Masks and head- Tsimshian design. dresses used in the Sisaok would be handed down from generation to generation.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 11 Outside Library Mourant Courtyard Ch’áak’ Kootéeyaa [Eagle ] Joe Young, T.J. Young The Eagle Totem Pole was raised during a large community celebra- tion on April 24, 2010, eighteen years after the raising of the Raven Totem Pole across from the White- head building. The Eagle pole was jointly funded by Sealaska, UAS, and community contributions. Wooch.een, a UAS native student group, helped select the crests depicted and helped promote and raise funds for the project. Balance is a key principle in South- east Alaska native culture, and the arrival of the Eagle pole restored the balance lacking since the Raven pole came to UAS in 1993. The Eagle Totem Pole is made from a 400-year-old red cedar tree from Prince of Wales Island and stands 36 feet. Starting at the top, the Eagle Clan crests represented are the Eagle and the Shark in transforma- tion representing the Wooshkeetaan or Shark Clan of the Aak’w Kwáan or “People of the Small Lake” who were the original inhabitants of the land where the UAS campus is now. The Killer Whale, the and the Wolf, all other crests of the Eagle Moiety, complete the pole.

12 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST Across from Whitehead Building Yéil Kootéyaa [Raven Totem Pole] Tommy Jimmie Sr., Wes Willard, Leo Jacobs This 36-foot red cedar totem pole overlooks the campus buildings and Auke Lake. The pole was carved in 1963 near Haines, Alaska. It was later raised at a Chevron refinery near Nikiski on the Kenai Penin- sula. Sometime after the refinery closure in 1991, it was donated to UAS and raised on the Auke Lake Campus on October 3, 1993. Raven, a symbol of Tlingit heritage, is the top figure. The Aak’w Kwáan people originally lived in the Auke Lake campus area. Raven, a source of creativity, is standing on the sun. A person hold- ing a copper or Indian money piece as a symbol of wealth is the next figure; they are followed by a man representing strength shown ripping apart a Sea Lion. The Beaver at the base represents diligence.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 13 Steve Brown cedar bark, wool and natural dyes. Steve Brown has had a long career She has received numerous awards as a carver, researcher, author and including the National Heritage museum curator. His mediums in- Fellowship Award. clude wood and metalwork. He cur- Edna Jackson rently resides in State. Edna Jackson is a life-long Tlingit Harry Calkins resident of Kake, Alaska who has Harry Calkins, after teaching worked and exhibited in the medi- Alaska Native Arts for four years, ums of paper, and jewelry. has moved to the Midwest where he Nathan Jackson currently teaches math. In his spare Nathan Jackson is Chilkoot Tlingit time, he continues to create art of the Raven moiety, who has been inspired by Northwest Coast Indians creating artwork since 1959. His and the people of China, Japan and projects include masks, screens, India. panels, house posts, totems and Janice Criswell jewelry. He has instructed wood- Janice Criswell is a Tlingit/Haida carving and design at several artist who has taught Northwest institutions, and his work is found Coast basketry at the University of in museums and private collections Alaska Southeast for several years. throughout the world. He currently She learned to weave Raven’s Tail resides in Ketchikan, Alaska. robes from Cheryl Samuel and Leo Jacobs Sr. baskets from Delores Churchill. Leo Jacobs Sr. was a Tlingit artist Her work is in various museum and of the Coho Clan, from Haines, private collections. Alaska. He carved many art pieces, Delores Churchill and museums across the United Delores Churchill is a Haida artist States own his work. and weaver of baskets, hats, robes and other regalia. Her exhibited works include utilitarian and cere- monial objects made of spruce root,

14 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST About the Artists

Tommie Jimmie Sr. Wayne Price Tommie Jimmie, Sr. is a Tlingit Wayne Price is a Wooshkeetaan resident of Juneau, who has been Tlingit master carver who has carved carving since the age of 14. He is over 20 traditional and non-tra- from the L’uknax.ádi Clan of the ditional totems. He is an associate Raven Moiety. His art includes to- professor of Northwest coast arts at tems, smaller wood and stone carv- UAS. ings and jewelry. In addition to his Cheryl Samuel work on the Raven Totem at UAS Cheryl Samuel has had a long career and in “Auke Village” close to the as a weaver, researcher, author and ANB Hall downtown, two totems in teacher. She is associated with the the Sitka National Historical Park revival of Raven’s Tail weaving. She are solo creations. Tommie Jimmie, was adopted by the Eagle/Wolf Clan Sr. has also been a musician. of the Chilkat Tlingit. Mary Lou King Ray Watkins Mary Lou King is a long time Ray Watkins began carving and resident of Juneau who learned her studying Northwest Coast Art in basketry skills at UAS from Selina 1978. He was adopted into the Peratrovich, Janice Criswell and Raven Sockeye Clan of Haines. Delores Churchill. She has also He teaches carving at UAS and has authored and taught in the field of received awards for his work; many outdoor education. pieces are in public and private col- Jennifer Brady Morales lections. Jennifer Brady Morales is a late Wesley J. Willard Tlingit/Tsimshian artist who worked Wesley J. Willard was a master totem and exhibited in the mediums of carver and lifelong Chilkat Valley silver, wood, ivory and painting. resident until his death in 1994. He She also created drums. demonstrated his carving skills at the 1964 World’s Fair in . He was also an accomplished musician and danced with the Chilkat Dancers.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 15 T.J. Young Cyril George Indigenous T. J. Young, a member of the Yaadaas Eagle Clan of the Kaigani Knowledge Collection Haida, is from Hydaburg, Alaska (est. 2016) and was introduced to Haida art by This special collection is named after his grandfather Claude Morrison. Kaalkáawu Cyril George, a Tlingit In addition to carving totems and leader from the Deisheetaan Clan ceremonial objects he has studied of Angoon, and partially funded in ’s Northwest Coast by a Rasmuson Foundation grant. Jewelry Arts Program. The Cyril George Collection honors Joe Young indigenous voices and Alaska Native Joe Young, from the Yakw’laanaas Knowledge in a collection of over Raven Clan, is T.J. Young’s brother 3,000 volumes on the main floor [level and also from Hydaburg. He began two] of Egan Library. The collection drawing in junior high school and includes sub-collections for Alaska learned the basics of carving from Native Arts, Alaska Native Language, Warren Peele. Prior to carving the Eagle Pole on the UAS Juneau and Alaska Native Society. A Global campus, the Young brothers com- Indigenous Knowledge collection pleted poles which stand in the has materials with more of a focus Sitka National Historical Park and on indigenous people of North Hydaburg Totem Park. America and the world, as well as more general language materials, and literature. All of the indigenous literature can be found in the Global collection, including by Alaskans, so that they can all be located together for a broader collection representing indigenous voices. There are also two material-based sub-collections, for Media and Oversize materials.

16 | NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST Selected from the Egan Library Bibliography Brown, Steven Clay. Native Visions: Evolution Meuli, Jonathan. Shadow House: in Northwest Coast Art from the Eighteenth Interpretations of Northwest Coast Art. through the Twentieth Century. Seattle: Amsterdam: Harwood Academic Publishers, Seattle Art Museum & University of Washing- 2001. ton Press, 1998. Norris, Karen; Norris, Ralph. Northwest ____. Spirits of the Water: Native Art Carving Traditions. Atglen, PA.: Schiffer Pub., Collected on Expeditions to Alaska and 1999. British Columbia, 1774-1910. Seattle: Native Art of the Northwest Coast : a Press, 2000. History of Changing Ideas. Townsend-Gault, Busby, Sharon. Spruce Root Basketry of the Charlotte; Kramer, Jennifer; Ki-ke-in; editors. Haida and Tlingit. Seattle: Marquand Books, Vancouver: UBC Press, 2013. 2003. Ravens and Eagles [DVD]. Haida Art. Van- Carved From the Heart: a Portrait of Grief, couver, B.C.: Ravens & Eagles Productions Healing, and Community [DVD]. Harriman, Ltd. et al, c2001-2003. N.Y.: New Day Films, 2000. Samuel, Cheryl. The Chilkat Dancing Holm, Bill. Northwest Coast Indian Art: Blanket. Seattle: Pacific Search Press, 1982. an Analysis of Form. Seattle: University of ____. The Raven’s Tail. Vancouver, B.C.: The Washington Press, 1965. University of British Columbia Press, 1987. Jensen, Vickie. Totem Pole Carving: Bringing Shearar, Cheryl. Understanding Northwest a Log to Life. Vancouver: Douglas & Coast Art: A Guide to Crests, Beings and McIntyre; Seattle: University of Washington Symbols. Seattle: University of Washington Press, 2003. Press, 2000. Jonaitis, Aldona. From the Land of Totem Sharing Our Knowledge: a Conference Poles: The Northwest Coast Indian Art of Tlingit Tribes and Clans [DVD]. (2009. Collection at the American Museum of Juneau, Alaska). Vol 6 Northwest Coast Art; Natural History. : American Vol. 8 Tlingit Basketry and Beadwork; Vol. 29 Museum of Natural History, 1988. Appreciation. King, J.C.H. Portrait Masks from the North- Stewart, Hilary. Looking at Indian Art of west Coast of America. New York: Thames the Northwest Coast. Seattle: University of and Hudson, 1979. Washington Press, 1979. Lobb, Allan. Indian Baskets of the ____. Totem Poles. Seattle: University of and Alaska. Portland, OR; Washington Press, 1990. Graphic Arts Center Publishing Co., 1990. Thom, Ian M. Challenging Traditions: Mailin, Edward. Totem Poles of the Pacific Contemporary Art of the Northwest Coast. Portland: Timber Press, Northwest Coast. Seattle: University of Inc., 1998. Washington Press, 2009. McNair, Peter; Hoover, Alan; Neary, Kevin. Wardwell, Allen. Tangible Visions: Northwest The : Tradition and Innovation Coast Indian and its Art. New in Northwest Coast Indian Art. Seattle: York: Monacelli Press with the Corvus Press, University of Washington Press, 1981. 2009.

NORTHWEST COAST NATIVE ART COLLECTION | UNIVERSITY OF ALASKA SOUTHEAST | 17 WILLIAM A. EGAN LIBRARY

Cyril George Indigenous Knowledge Collection

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CIRC. LEVEL 1 DESK EVENTS 1 IT Classroom 1 Four Masks Support Desk Level Two 2 Aak’w House Posts 3 Head Canoe LIBRARY ENTRANCE & CONNECTION TO 4 Raven & Eagle Panels EGAN CLASSROOM WING 5 Eagle-Shark Panel 6 Big Dipper Panels 7 Display Case

WRITING CENTER

CENTER FOR EXCELLENCE IN LEARNING & TEACHING 7 6 6 LEVEL 1 LEARNING & Children’s EVENTS TESTING Alaskana SPACE CENTER Collection

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