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Few twentieth-century artists were catalysts for the reclamation of a culture, but Iljuwas Bill Reid (1920-1998) was among them. The first book on the artist by an Indigenous scholar details Reid's incredible journey to becoming one of the most significant Northwest Coast artists of our time. Born in British Columbia and denied his mother's Haida heritage in his youth, Iljuwas Bill Reid lived the reality of colonialism yet tenaciously forged a creative practice that celebrated Haida ways of seeing and making. Over his fifty-year career, he created nearly a thousand original works and dozens of texts, and he is remembered as a passionate artist, community activist, mentor, and writer. Reid was often said to embody the Raven, a trickster who transforms the world. He followed in the footsteps of his great-great-uncle, master Haida artist Daxhiigang (Charles Edenshaw), engaging with a culture whose practices were once banned by the Indian Act and producing symbols for a nation. His iconic large-scale works now occupy sites such as the Canadian Embassy in Washington, D.C., and the Museum of Anthropology at the University of British Columbia in Vancouver. Reid's legacy is a complex story of power, resilience, and strength. In Iljuwas Bill Reid: Life & Work, acclaimed scholar Gerald McMaster examines how the artist made a critical inquiry into his craft throughout his life, gaining a sense of identity, purpose, and impact.
"This new edition of a collaboration between one of the finest living artists in North America and one of Canada’s finest poets includes a new introduction by the distinguished anthropologist Claude Lévi-Strauss. Ten masterful, complex drawings by Bill Reid and ten tales demonstrate the richness and range of Haida mythology, from bawdy yet profound tales of the trickster Raven to poignant, imagistic narratives of love and its complications in a world where animals speak, dreams come real, and demigods, monsters, and men live side by side."--Abebooks.com viewed Oct. 24, 2022.
Bill Reid was at the forefront of the modern-day renaissance of Northwest Coast Native art; but his art, and his life, was not without controversy. Like the raven -- the trickster and principal figure in countless Haida myths -- Bill Reid reinvented himself several times over. Born to a partly Haida mother and a father of German and Scottish descent, his public persona as a Haida Indian seems to have been as much a product of journalists, art patrons, museum curators and others in the non-Native establishment as of Bill Reid himself. It is clear that Reid?s art arose from the tension that existed between his Native and white artistic perceptions.
A seminal collection of writing from one of Canada's most revered artists, spanning forty years of his life. When Haida sculptor and Canadian icon Bill Reid died, in the spring of 1998, he was more widely and more fervently admired than any other Native artist in North America. Although Reid attained his greatest fame in the visual arts, words were his first professional medium. Until he received his first large carving commission, in 1958, he made his living as a radio announcer and script writer. This work earned him the Haida name Kihlguulins, the "One with the Beautiful Voice." In his later years, Parkinson's disease curtailed his public speaking, but it did not prevent him writing. His oratorical and literary gifts are rightly part of the Reid legend. Recordings of his voice can still be played in a number of major museums around the world. Despite his gift for words, much of what he wrote was published only in newspapers, magazines and exhibition catalogues. Some was made public in audio form but never printed, and some has languished in manuscript for years. This book collects, for the first time, the most important of these widely scattered writings: seminal statements on the art on the Northwest Coast, the role of the Native artist in a multicultural world, and the quintessential role of the environment to the survival of human culture.
With the intent of providing a how-to manual for future coaches, Reid set down day by day an account of his activities on and off the field. In so doing, he provides clear evidence of what many have suspected for a long time: that the unethical conduct so common in modern-day football has roots in the early history of the game and has not been limited to the so-called football factories. Reid offhandedly discusses such topics as spying on other teams, pressuring faculty members to give players passing grades, requiring that players cut classes to attend practice, and hiding injuries from players to keep them on the field.
Over his lifetime, Bill Reid created many historic pieces of art including the large bronze sculpture The Spirit of Haida Gwaii, nicknamed the Jade Canoe and displayed at the Vancouver International Airport, and The Raven and the First Men, a yellow cedar carving. Both are featured on the Canadian $20 bill. In addition to the immense praise for his artwork, Reid received the National Aboriginal Achievement Award for Lifetime Achievement in 1994. He continued to create stunning sculptures up until his death in 1998. Bill Reid Collected features the largest chronological collection of memorable works of Reid’s career in full-color photographs and images to date. Along with an introductory essay by Dr. Martine J. Reid, this collection pays tribute to one of Canada’s most renowned First Nations artists.
Elegant and evocative, this is a classic that pays tribute to one of the great sculptural works of this century. The artist Bill Reid, who is part Haida, is internationally renowned for his totem poles and other large pieces, as well as for his work on a small scale in silver and gold. His masterpiece, The Spirit of Haida Gwaii, is a bronze canoe six meters (20 feet) long, filled to overflowing with the creatures of Haida mythology. Its ten passengers include the Raven, the Eagle, the Bear and his human wife, the Mouse Woman and the Dogfish Woman. In the middle stands the Chief holding in his hand a smaller sculpture: a talking stick that depicts the story of creation in Haida terms. Ulli Steltzer’s superb black-and-white photographs record and reveal intimate insights into the creative process of this sculpture, as well as the parts and the whole of this monumental work. The story of the sculpture and of its creator, Bill Reid, is engagingly related by Robin Laurence. And Bill Reid’s own descriptions of the creatures in the canoe provide glimpses into the mythic complexity and power of The Spirit of Haida Gwaii.
A fresh perspective from Haida leaders, art and cultural historians, anthropologists and artists on the lasting legacy of the famed Haida artist Bill Reid.
When Bill Reid, one of North America's great artists, died on March 13, 1998, he left behind a legacy of magnificent art that drew deeply on that of his Haida ancestors. His work continues to be exhibited internationally and is in many private and public collections around the world. This book celebrating the artist and his work was first published in 1986. For the updated edition, Doris Shadbolt has written a new chapter covering Reid's last years from 1987 to 1998, including his masterwork, the great bronze sculpture titled The Spirit of Haida Gwaii, as well as the moving details of his ceremonial Haida burial on Haida Gwaii. In a long career, Reid embraced many art forms, driven always by a passion for the well-made, well-crafted object. This impulse, combined with his gradual rediscovery and rekindling of a rich Haida cultural heritage, informed and inspired his development as a visual artist of tremendous power and brilliant accomplishment.
A well-illustrated look back at AEC lorries.