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This book is about Bill Reid's 'Spirit of Haida Gwaii', a sculpture commissioned for the courtyard of the new Canadian chancery in Washington, D.C., together with a brief summary of Haida history and culture and biography of Bill Reid.
Bill Reid and the Haida Canoe by Martine Jeanne Reid Pdf
Northwest Coast peoples were maritime engineers who mastered the art of building dugout canoes from gigantic red cedars, using only tools made from bone, stone, and wood. Ubiquitous, these elegant craft were used for everyday and ceremonial purposes, for fishing, hunting and trading, for feasting and potlatching, and in warfare--they were the keys that unlocked the treasure chest of the North Pacific. Bill Reid and the Haida Canoe tells the story of the Northwest Canoe from its zenith in pre-contact times, through its decline in the late nineteenth century, to its revival in Lootaas (Wave Eater) which Bill Reid built for Expo '86, to its culmination with the Tribal Canoe Journeys of the twenty-first century and The Spirit of Haida Gwaii sculptures. Bill Reid expressed awe for the traditional Haida canoe and what it represents visually, symbolically, and culturally. In his words, "Western art starts with the figure--West Coast Indian art starts with the canoe." The successive journeys of Lootaas were significant stages in Bill Reid's work, which culminated with the iconic sculpture The Spirit of Haida Gwaii, a monumental bronze canoe filled to overflowing with creatures of Haida mythology (currently featured on the Canadian twenty-dollar bill). As a final creative act Bill Reid requested that, at the end of his life, his ashes be transported in Lootaas paddled by a crew of his Haida friends and relatives to Tanu, his grandmother's village in Gwaii Haanas. The story is told through writings and artworks by Bill Reid, vivid photographs by Phillip Hersee, Ulli Steltzer, Robert Semeniuk and others, texts by James Raffan, Martine J. Reid, and Mike Robinson and first-hand accounts by First Nations paddlers. Bill Reid and the Haida Canoe is a companion book to the Bill Reid and the Haida Canoe exhibition mounted by the Bill Reid Gallery of Northwest Coast Art and touring to the Canadian Canoe Museum in Peterborough, Ontario.
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 book is about Bill Reid's 'Spirit of Haida Gwaii', a sculpture commissioned for the courtyard of the new Canadian chancery in Washington, D.C., together with a brief summary of Haida history and culture and biography of Bill Reid.
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.
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 metres (20 feet) long, filled to overflowing with the creatures of Haida mythology. 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 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.
"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.
Author : Bill Holm Publisher : University of Washington Press Page : 144 pages File Size : 48,6 Mb Release : 2017-01-03 Category : Art ISBN : 9780295999500
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
According to eminent French anthropologist Levi-Strauss, Reid "brought Northwest Coast art to the world scene, into dialogue with the whole of mankind." In this artistic biography, Karen Duffek gives an account of Bill Reid's life and work and of his role as artist, innovator, and ambassador of Haida art. After describing the processes by which Reid came to reconstruct the formal rules of a complex artistic tradition, Duffek focuses on his mastery of new techniques, particularly in making jewellery, techniques which others now emulate. In the key chapter "Beyond the Essential Form," she uses Reid's own categories of his work as "copies, adaptations and explorations," to give a candid appraisal of his artistic achievements -- from massive poles to gold boxes, from intricate bracelets to the great bronze Killerwhale statue.
Magnificent and haunting, the tall cedar sculptures called totem poles have become a distinctive symbol of the native people of the Northwest Coast. The powerful carvings of the vital and extraordinary beings such as Sea Bear, Thunderbird and Cedar Man are impressive and intriguing. In Looking at Totem Poles, Hilary Stewart describes the various types of poles, their purpose, and how they were carved and raised. She also identifies and explains frequently depicted figures and objects. Each pole, shown in a beautifully detailed drawing, is accompanied by a text that points out the crests, figures and objects carved on it. Historical and cultural background are given, legends are recounted and often the carver’s comments or anecdotes enrich the pole’s story. Photographs put some of the poles into context or show their carving and raising.
"Ancient records of canoes are found from the Pacific Northwest to the coast of Maine, in Minnesota and Mexico, in the Southeast, and across the Caribbean. And if a native of those distant times might encounter a canoe of our day, whether birch bark or dugout or a modern marvel made of carbon fiber, its silhouette would be instantly recognizable. This is the story of that singular American artifact, so little changed over time: of canoes, old and new, the people who made them, and the labors and adventures they shared. With features of technology, industry, art, and survival, the canoe carries us deep into the natural and cultural history of North America. "--
A spectacular overview of one of the most highly acclaimed art collections on the West Coast, which greets travelers at Vancouver International Airport (YVR) as they journey between land, sea, and sky. The airport which is known for its modern design and expansive topography, offers an impressive visual display of award-winning art and architecture. Each terminal building represents the culture heritage, natural beauty, and iconic experiences that embody British Columbia, and the artwork exhibited throughout plays an integral role in telling those stories. Revered in particular for its focus on Pacific Coast Native art, the collection is presented in the thematic groupings of land, sea, and sky—three realms that intersect at YVR. In A Sense of Place, art historian and critic Robin Laurence will examine the commissioning of dozens of striking artworks as a response to the airport’s overall architectural and design plan, and particularly as a reflection of the cultural heritage and natural environment identified with the province of British Columbia. Among the highlights of the collection are monumental sculptures by leading Northwest Coast First Nations artists including Susan A. Point (Coast Salish), Robert Davidson (Haida), Dempsey Bob (Tahltan-Tlingit), Richard Hunt (Kwakwaka’wakw), Lyle Wilson (Haisla), Joe David (Nuu-chah-nulth), Connie Watts (Nuu-chah-nulth, Kwakwaka’wakw and Gitxsan), and the late Bill Reid, famed for The Spirit of Haida Gwaii: The Jade Canoe. Their art both welcomes and bids farewell to the millions of travellers who make their way through YVR each year.
