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The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027
In this volume, noted illustrator Madeleine Orban-Szontagh renders designs produced by the Indians of the Pacific Northwest, Alaska, and the western coast of Canada: Nootka, Kwakiutl, Tlingit, Haida, Tsimshian, and other groups. More than 270 original designs include stylized plants, birds and animals, abstract borders and repeating patterns, totemic images and symbols, and a host of other decorative elements. These arresting and beautiful Native American images lend themselves to use in a wide range of Indian-related graphic art and craft projects, as well as providing a rich source of design inspiration.
Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to this volume foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history. By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.
Thirty-three black-and-white drawings representing aspects of the culture and society of Indians of the Northwest coast.
Describes the Rasmussen collection of Northwest Coast Indian art.
Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination.
Discusses the social patterns, material culture, and religion of the Indian tribes of Northwest North America stressing aspects of their primitive art.
From the mighty cedar of the rainforest came a wealth of raw materials vital to the early Northwest Coast Indian way of life, its art and culture. For thousands of years these people developed the tools and technologies to fell the giant cedars that grew in profusion. They used the rot-resistant wood for graceful dugout canoes to travel the coastal waters, massive post-and-beam houses in which to live, steam bent boxes for storage, monumental carved poles to declare their lineage and dramatic dance masks to evoke the spirit world. Every part of the cedar had a use. The versatile inner bark they wove into intricately patterned mats and baskets, plied into rope and processed to make the soft, warm, yet water-repellent clothing so well suited to the raincoast. Tough but flexible withes made lashing and heavy-duty rope. The roots they wove into watertight baskets embellished with strong designs. For all these gifts, the Northwest Coast peoples held the cedar and its spirit in high regard, believing deeply in its healing and spiritual powers. Respectfully, they addressed the cedar as Long Life Maker, Life Giver and Healing Woman. Photographs, drawings, anecdotes, oral history, accounts of early explorers, traders and missionaries highlight the text.
American mariners made more than 175 voyages to the Northwest Coast during the half-century after 1787. The art and culture of Northwest Coast Indians so intrigued American sailors that the collecting of ethnographic artifacts became an important secondary trade. Malloy has brought details about these early collections together for the first time.
Bold, inventive indigenous art of the Northwest Coast is distinguished by its sophistication and complexity. It is also composed of basically simple elements which, guided by a rich mythology, create images of striking power. In Looking at Indian Art of the Northwest Coast, Hilary Stewart introduces the elements of style; interprets the myths and legends which shape the motifs; and defines and illustrates the stylistic differences between the major cultural groupings. Raven, Thunderbird, Killer Whale, Bear: all the traditional forms are here, deftly analyzed by a professional writer and artist who has a deep understanding of this powerful culture.