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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.
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.
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.
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.
Beau Dick by LaTiesha Fazakas,John Cussans,Cole Speck,Alan Hunt Pdf
"With this body of work, Beau intended to launch his most overt critique of a system that he knew was unsustainable, in favour of a return to the cultural values of his people, and his profound generosity compelled him to share these values as widely as possible." ? LaTiesha FazakasBeau Dick (1955 - 2017) was celebrated far beyond his hometown of Alert Bay, B.C., for both his political activism and his creation of striking, larger-than-life carved masks inspired by the traditional stories of the Kwakwaka'wakw. Dick's multi-faceted engagement with Kwakwaka'wakw culture included carving (which he learned from Northwest Coast artists such as Henry Hunt, Doug Cranmer, and Bill Reid), storytelling, and dancing. As a high-ranking member of Hamat'sa, the prestigious Kwakwaka'wakw secret society centred on the story of a ravenous, man-eating spirit, Dick drew on all these art forms to create regalia for and participate in elaborate ceremonies that enacted Kwakwaka'wakw cosmology. Devoured by Consumerism shares nearly two dozen of these masks: vivid, unforgettable creations, made with traditional and contemporary methods and materials, depicting figures like Cannibal Raven, Nu-Tla-Ma (Fool Dancer), and Bookwus (Wild Man of the Woods).Texts by LaTiesha Fazakas, John Cussans, and Candice Hopkins outline the stories that the masks depict, consider the inescapable parallels between Hamat'sa and the consumerism of capitalist society, and grapple with the philosophy that animates Hamat'sa - one that seeks to confront and, ultimately, master the voracious appetites inside us all.
Understanding Northwest Coast Indigenous Jewelry by Alexander Dawkins Pdf
As beautiful as it is useful, Understanding Northwest Coast Indigenous Jewelry is an invaluable tool for anyone interested in learning about or deepening their understanding of a fascinating craft. Indigenous hand-engraved jewelry from the Pacific Northwest Coast is among the most distinctive, innovative, and highly sought-after art being produced in North America today. But these artworks are more than just stunning—every bracelet, ring, and pendant is also the product of a fascinating backstory, a specialized set of techniques, and a talented artist. With a clearly written text, a foreword by award-winning First Nations artist Corrine Hunt, and more than one hundred striking color photographs and sidebars, Understanding Northwest Coast Indigenous Jewelry offers an illuminating look at an exquisite craft and the context in which it is practiced. Providing a step-by-step overview of various techniques, the book also introduces the specifics of formline design, highlights the traits of the most common animal symbols used, offers tips for identification, and features biographies and works from over fifty of the Coast’s best-known jewelers. Finally, it delves into the history of the art form, from the earliest horn and copper cuff bracelets to cutting-edge contemporary works and everything in between.
Author : Bill Holm Publisher : University of Washington Press Page : 144 pages File Size : 51,9 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
In his long career Bill Reid (1920-1998) embraced many art forms and was driven by a passion for the well-crafted object. In addition to creating jewelry, he wrote and illustrated books, pioneered the development of silk-screen art prints among the Indians of the Northwest Coast, among other endeavors. This revised biography includes a new chapter by the author. 193 illustrations, 49 in color.
Norval Morrisseau (1932–2007), Ojibway shaman-artist, drew his first sketches at age six in the sand on the shores of Lake Nipigon. By the end of his tumultuous life, the prolific self-taught artist was sought by collectors and imitated by forgers. Critics, art historians and curators alike consider him one of the most innovative artists of the twentieth century. Norval Morrisseau: Man Changing Into Thunderbird is an innovative and rich biography of this charismatic and troubled figure. Drawing upon years of extensive research, including interviews with Morrisseau himself, Armand Ruffo evokes the artist’s life from childhood to death, in all its vivid triumphs and tragedies. Ruffo draws upon his own Ojibway heritage and experiences to provide insight into Morrisseau’s life and iconography from an Ojibway perspective. Captivating and readable, this is a brilliantly creative evocation of the art and life of Norval Morrisseau, a life indelibly tied to art.
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.
Author : Christopher F. Roth Publisher : University of Washington Press Page : 296 pages File Size : 52,7 Mb Release : 2011-01-01 Category : Social Science ISBN : 9780295989235
The Tsimshian people of coastal British Columbia use a system of hereditary name-titles in which names are treated as objects of inheritable wealth. Human agency and social status reside in names rather than in the individuals who hold these names, and the politics of succession associated with names and name-taking rituals have been, and continue to be, at the center of Tsimshian life. Becoming Tsimshian examines the way in which names link members of a lineage to a past and to the places where that past unfolded. At traditional potlatch feasts, for example, collective social and symbolic behavior �gives the person to the name.� Oral histories recounted at a potlatch describe the origins of the name, of the house lineage, and of the lineage's rights to territories, resources, and heraldic privileges. This ownership is renewed and recognized by successive generations, and the historical relationship to the land is remembered and recounted in the lineage's chronicles, or adawx. In investigating the different dimensions of the Tsimshian naming system, Christopher F. Roth draws extensively on recent literature, archival reference, and elders in Tsimshian communities. Becoming Tsimshian, which covers important themes in linguistic and cultural anthropology and ethnic studies, will be of great value to scholars in Native American studies and Northwest Coast anthropology, as well as in linguistics.
Author : T. R. Reid Publisher : Henry Holt and Company Page : 159 pages File Size : 54,9 Mb Release : 1980-03-15 Category : Political Science ISBN : 9781466834842
Washington Post reporter T.R. Reid takes a candid look at Washington personalities and politics, revealing the motives and strategies, the cooperation and rivalry, the honesty and the deceit behind a seemingly minor piece of legislation. He traces the course of S.790--the Inland Waterways Bill--from its inception to its eventual passage, a process with as many twists and subplots as a novel, and with characters just as vivid. In Congressional Odyssey: The Saga of a Senate Bill you will discover: - a cast of main characters including Jimmy Carter, Edward Kennedy, Walter Mondale, Hamilton Jordan, Howard Baker, Tip O'Neill, Russel Long, and other key political figures - a covert alliance between the railroad lobby and environmentalists, masked by a money-laundering scheme - the White House in-fighting triggered by the bill, leading to the ouster of Brock Adams during President Carter's cabinet shakeup - Carter's problems with the Congressional leadership, exacerbated by his support of the Inland Waterways Bill authored by Republican Senator Pete Domenici - "know-who" lawyers, who get things done through their connections rather than their legal abilities - the Alton, Illinois, Lock and Dam 26 project that earned Senator Proxmire's first "Golden Fleece Award" for wasting tax dollars - the thoughts and feelings of the dozens of central personalities who talked with surprising frankness to T.R. Reid Congressional Odyssey: The Saga of a Senate Bill makes fascinating reading for anyone interested in the people and the power struggles in the public eye, and behind closed doors, on Capitol Hill and in the White House.
Salish Blankets by Leslie H. Tepper,Janice George,Willard Joseph Pdf
"A wide-ranging cultural study that explores Coast Salish weaving and culture through technical and anthropological approaches."--Provided by publisher.
Carrying on "Irregardless" is a handsomely illustrated paperback based on the first exhibition to focus on humour in Northwest Coast First Nations art. The show, mounted by the Bill Reid Gallery of Northwest Coast Art in Vancouver is titled after one of Bill Reid's favourite deliberate grammatical blunders that were part of the sense of humour that, as Martine J. Reid says in her introduction, "was perhaps a part of his survival kit, as it often seems to be for First Nations people." Within this book are the photographed artworks of twenty-eight prominent Northwest Coast artists, including such varied approaches to humour as a rare prehistoric Coast Salish bowl featuring a smiling face carved from stone, a 1990s etching depicting Raven and the First Men Overlooking Wreck Beach (to catch a glimpse at all the nudists, of course!) and a pair of red and yellow cedar bark high heels titled Too Haida. Collected here are artworks that act as political weapons, bold challenges to stereotypes, and nods to the Trickster. They satirize, ridicule and play. And, above all, they make us laugh, and think, and laugh again. Accompanying the work are descriptions, quips and jokes from the artists themselves. And preceding it stands three impassioned contextualizing essays that range from the poetic to the academic to the anecdotal, by Tahltan artist, stand-up comedian and co-curator, Peter Morin; Director of Content and Research for the Bill Reid Gallery of Northwest Coast Art and co-curator, Martine J. Reid; and CEO of the Bill Reid Trust and Director for the Bill Reid Gallery of Northwest Coast Art, Mike Robinson.
