173:
76:
147:
277:
artists have the moral right to make use of Native motifs and visual art styles. Some non-Native artists, such as John
Livingston, have been adopted into First Nations and have thus formally acquired the right to produce such art. In some nations, such as the Haida, adoptions are seen by some only as gestures, and production of work in their trademark style by outsiders may, in some contexts, be viewed as economic and cultural appropriation.
230:. A revival of traditional ceremonial ways also drove the increased production of traditional arts. This time also saw an increasing demand for the return of art objects that were illegally or immorally taken from First Nations communities. This demand continues to the present day. Today, there are numerous art schools teaching formal Northwest Coast art of various styles, and there is a growing market for new art in this style.
938:
156:
certain relationship to Eskimo engraving and painting among the
Tlingit to the north. The shift in emphasis is gradual - Bella Bella art, for example, has a close affinity to its Coast Tsimshian counterpart. Two-dimensional art of all these groups, however, is much more closely related than is their sculpture, especially among the northern tribes of Tlingit, Haida, Tsimshian, and Bella Bella.
17:
256:
also traditionally produced art which shares some characteristics of
Northwest Coast art, these styles of art are not usually included in the term, since the patterns and artifacts produced are rather different. For example, Salish peoples traditionally created standing welcome figures not created
155:
Although highly conventionalized decorative design occurs all along the coast, to the south and north of this center the representational motive becomes progressively stronger. Krickeberg (1925: 144) characterizes this as a fresh naturalism to the south among the
Kwakiutl, Nootka, and Salish and a
194:
system, hereditary systems of rank and descent, ceremonial societies, and permanent villages. Social organization involved groups of kin, reckoned variously matrilineally, patrilineally or bi-lineally. These groups hold various tangible and intangible rights and properties. Among them are origin
142:
are the most well-known artifacts produced using this style. Northwest Coast artists are also notable for producing characteristic "bent-corner" or "bentwood" boxes, masks, and canoes. Northwest Coast designs were also used to decorate traditional First
Nations household items such as spoons,
276:
artists of the appropriate nation have the moral right to produce art of given types and using given motifs, or whether only the intent of the person and the respect given to the respective peoples are significant. Likewise, in
Ontario, similar controversies have arisen over whether non-Native
257:
by other
Northwest Coast peoples, did not traditionally create totem poles, and did not traditionally use the form lines and shapes of other Northwest Coast peoples. One corollary of this fact is that — contrary to popular belief — other than some of the peoples of the
242:
198:
After
European contact, in the late 18th century, the peoples who produced Northwest Coast art suffered huge population losses due to diseases such as smallpox, and cultural losses due to colonization and assimilation into European-North
217:
In the early 20th century, very few First
Nations artists in the Northwest Coast region were producing art. A tenuous link to older traditions remained in artists such as Charles Gladstone, Henry Speck, Ellen Neel, Stanley George, and
889:
122:
applies formline designs to textiles. Tlingit, Haida, and
Tsimshian have traditionally produced Chilkat woven regalia, from wool and yellow cedar bark, that is important for civic and ceremonial events, including potlatches.
114:), stone, and copper; since European contact, paper, canvas, glass, and precious metals have also been used. If paint is used, the most common colours are red and black, but yellow is also often used, particularly among
882:
214:
objects from the region to museums and private collectors around the world. Some of this export was accompanied by financial compensation to people who had a right to sell the art, and some was not.
875:
143:
ladles, baskets, hats, and paddles; since European contact, the Northwest Coast art style has increasingly been used in gallery-oriented forms such as paintings, prints and sculptures.
268:
Traditionally, within a given community, some patterns and motifs could be used only by certain families and lineages, or with the agreement of those families and lineages. Today, in
979:
507:
Holm, Bill. Northwest Coast Indian Art: An analysis of Form. Thomas Burke Memorial Washington State Museum Monograph No. 1. Douglas & McIntyre. Vancouver/Toronto. 1965. p. 20.
300:, another notable carver and builder who is also Haida political leader. Other notable Northwest Coast artists of the 20th and 21st centuries include Charlie James, Henry Speck,
974:
898:
172:
233:
The revival of ceremonial life, following the lifting of the potlatch ban, has also driven production of traditional clothing, painting and carving for use in ceremonies.
164:, Raven's Tail Weavings, Button Blankets, and elaborate ceremonial regalia using a range of materials. Three dimension art was created from many materials, notably wood.
969:
954:
857:
917:
75:
265:
of Washington and Oregon states produced totem poles and other characteristic, formline, Northwest Coast-style art objects before European contact.
912:
222:. The mid-20th century saw a revival of interest and production of Northwest Coast art, due to the influence of artists and academics such as
828:
60:
190:
Prior to contact with Europeans, First Nations on the Northwest coast evolved complex social and ceremonial institutions, including the
1099:
1089:
927:
802:
783:
764:
745:
722:
655:
634:
618:
528:
512:
589:
853:
542:
1063:
1048:
629:
McLennan, Bill and Karen Duffek. The Transforming Image: Painted Arts of the Northwest Coast First Nations. UBC Press. 2000.
285:
Notable Northwest Coast artists of the 19th century include- Albert Edward Edenshaw (Haida), Captain Carpenter (Heiltsuk),
415:, though she did not formally adopt the techniques, commonly used native art as the motif of many of her early paintings.
1094:
1084:
386:
200:
262:
87:, who say that when this bird ruffles its feathers, it causes thunder and when it blinks its eyes, lightning flashes.
206:
Toward the end of the 19th century, Northwest Coast artists began producing work for commercial sale, such as small
1058:
409:(1987) describes northern weaving style known as Raven's Tail - used to make ceremonial robes and other regalia.
378:
353:
227:
450:
321:
964:
959:
363:
273:
184:
131:
56:
498:
Bill Holm, Northwest Coast Indian Art: An Analysis of Form. University of Washington Press, Seattle, 1965
613:
MacDonald, George F. Haida Art. Joe Wilson. University of Washington Press. Seattle. 1996. p.p. 211-212.
867:
52:
345:
146:
1017:
455:
293:, who is widely acknowledged as a master whose art is in all the great collections around the world.
253:
475:
460:
390:
210:
carvings. The end of the 19th century also saw large-scale export of totem poles, masks and other
83:, 19th century. The Thunderbird is believed to be an Ancestral Sky Being of the Namgis clan of the
671:
359:
180:
127:
1043:
922:
824:
798:
779:
760:
741:
718:
651:
630:
614:
524:
508:
425:
333:
258:
126:
The patterns depicted include natural forms such as bears, ravens, eagles, orcas, and humans;
111:
64:
1022:
995:
440:
290:
269:
115:
84:
48:
546:
435:
344:, Amos Wallace, Lyle Wilson, Sam (Sammy) Robinson, Ron Hamilton, Art Thompson, Joe David,
305:
161:
119:
88:
1010:
702:
430:
402:
374:
329:
286:
195:
stories. Many instances of Northwest coast art are visual references to these stories.
28:
539:
1078:
394:
349:
246:
241:
445:
313:
301:
219:
95:
32:
937:
734:
590:"Toronto gallery cancels show after concerns artist 'bastardizes' Indigenous art"
27:
is the term commonly applied to a style of art created primarily by artists from
1000:
337:
139:
1027:
470:
412:
341:
317:
1005:
840:
The Indian History of British Columbia: Volume 1 The Impact of the White Man
382:
325:
309:
223:
207:
138:; and abstract forms made up of the characteristic Northwest Coast shapes.
44:
16:
842:. Province of British Columbia Department of Recreation and Conservation.
776:
The Transforming Image: Painted Arts of the Northwest Coast First Nations
465:
211:
191:
36:
297:
176:
135:
373:
Notable academics and publishers of northwest Northwest Coast include
523:
Jonathan Meuli. Shadow House: Interpretations of Northwest Coast Art
67:
of North America, from pre-European-contact times up to the present.
40:
110:. Before European contact, the most common media were wood (often
94:
Two-dimensional Northwest Coast art is distinguished by the use of
821:
Northwest Coast Indian Painting: House Fronts and Interior Screens
171:
145:
74:
15:
871:
759:. Seattle: University of Washington Press. pp. 211–212.
936:
203:. The production of their art dropped drastically as well.
862:
648:
Alaska native art : tradition, innovation, continuity
405:- and their history and forms. Cheryl Samuel and her book
736:
A Wealth of Thought: Franz Boas on Native American Art
98:, and the use of characteristic shapes referred to as
899:
Visual arts of the Indigenous peoples of the Americas
854:
Bill Holm Center for the Study of Northwest Coast Art
1036:
988:
947:
905:
578:. Douglas & McIntyre, Vancouver/Toronto, 19795
245:Tommy Joseph, Tlingit woodcarver and sculptor from
733:
708:. Vancouver: University of British Columbia Press.
701:
565:. Douglas & McIntyre, Vancouver/Toronto, 1993
179:twined basket tray, late 19th c., spruce root,
153:
160:Textile arts from the Northwest Coast include
883:
8:
576:Looking at Indian Art of the Northwest Coast
401:(1986) deals with ceremonial robes - called
650:. Fairbanks, Alas.: Univ. of Alaska Press.
272:, it is a point of contention whether only
890:
876:
868:
252:Although neighbouring peoples such as the
20:Totem poles, a type of Northwest Coast art
240:
494:
492:
488:
774:McLennan, Bill; Duffek, Karen (2000).
226:(a grandson of Charles Gladstone) and
7:
715:Robes of Power: Totem Poles on Cloth
369:Notable art historians and thinkers
797:. University of Washington Press.
150:Mary Ebbets Hunt - Chilkat blanket
14:
704:Totem Poles: An Illustrated Guide
672:"R.I.P Hilary Stewart, 1924-2014"
713:Jensen, Doreen; Sargent, Polly.
1064:Southeastern Ceremonial Complex
732:Jonaitis, Aldona; Boas, Franz.
81:Thunderbird Transformation Mask
71:Distinguishing characteristics
1:
755:MacDonald, George F. (1996).
700:Halpin, Marjorie M. (1981).
863:Reciprocal Research Network
676:Northwest Coast Archaeology
1118:
1100:Art in Washington (state)
934:
397:and Polly Sargent's book
354:Lawrence Paul Yuxweluptun
1090:Indigenous art in Canada
451:Haida argillite carvings
364:Nathan Jackson (artist)
237:Cultural appropriateness
646:Fair, Susan W. (2006).
263:Native American nations
185:Cleveland Museum of Art
941:
819:Malin, Edward (1999).
563:Looking at Totem Poles
552:(retrieved 27 Dec 2009
550:Alaska Native Artists.
249:
187:
158:
151:
91:
21:
940:
838:Duff, Wilson (1964).
244:
175:
149:
78:
19:
975:Precolonial painting
913:Art history timeline
795:Privileging the Past
254:Coast Salish peoples
1095:Native American art
1085:Northwest Coast art
793:Ostrowitz, Judith.
476:Transformation mask
461:Native American art
391:George F. MacDonald
128:legendary creatures
25:Northwest Coast art
942:
918:Individual artists
545:2009-06-15 at the
385:, Bill McLennan,
304:, Stanley George,
250:
188:
181:American dunegrass
152:
92:
22:
1072:
1071:
928:Women in the arts
830:978-0-88192-471-8
588:Nasser, Shanifa.
561:Hilary Stewart.
456:Kwakwaka'wakw art
426:Alaska Native art
346:Reginald Peterson
334:Roy Henry Vickers
259:Olympic Peninsula
112:Western red cedar
1107:
892:
885:
878:
869:
843:
834:
823:. Timber Press.
808:
789:
770:
751:
739:
728:
709:
707:
687:
686:
684:
683:
668:
662:
661:
643:
637:
627:
621:
611:
605:
604:
602:
600:
585:
579:
572:
566:
559:
553:
537:
531:
521:
515:
505:
499:
496:
441:Coast Salish art
407:The Raven's Tail
291:Charles Edenshaw
289:(Kwakwak'wakw),
270:British Columbia
201:American culture
1117:
1116:
1110:
1109:
1108:
1106:
1105:
1104:
1075:
1074:
1073:
1068:
1054:Northwest Coast
1049:Native American
1032:
984:
943:
932:
901:
896:
850:
837:
831:
818:
815:
813:Further reading
805:
792:
786:
773:
767:
754:
748:
731:
725:
712:
699:
696:
691:
690:
681:
679:
670:
669:
665:
658:
645:
644:
640:
628:
624:
612:
608:
598:
596:
587:
586:
582:
574:Hilary Stewart,
573:
569:
560:
556:
547:Wayback Machine
540:"Tommy Joseph."
538:
534:
522:
518:
506:
502:
497:
490:
485:
480:
436:Chilkat weaving
421:
371:
322:Robert Davidson
306:James Schoppert
283:
281:Notable artists
239:
212:traditional art
170:
162:Chilkat weaving
120:Chilkat weaving
89:Brooklyn Museum
73:
65:Northwest Coast
61:Native American
12:
11:
5:
1115:
1114:
1111:
1103:
1102:
1097:
1092:
1087:
1077:
1076:
1070:
1069:
1067:
1066:
1061:
1056:
1051:
1046:
1040:
1038:
1034:
1033:
1031:
1030:
1025:
1020:
1015:
1014:
1013:
1003:
998:
992:
990:
986:
985:
983:
982:
977:
972:
967:
962:
957:
951:
949:
945:
944:
935:
933:
931:
930:
925:
920:
915:
909:
907:
903:
902:
897:
895:
894:
887:
880:
872:
866:
865:
860:
849:
848:External links
846:
845:
844:
835:
829:
814:
811:
810:
809:
803:
790:
784:
771:
765:
752:
746:
729:
723:
710:
695:
692:
689:
688:
663:
656:
638:
622:
606:
580:
567:
554:
532:
516:
500:
487:
486:
484:
481:
479:
478:
473:
468:
463:
458:
453:
448:
443:
438:
433:
431:Button blanket
428:
422:
420:
417:
403:Button blanket
399:Robes of Power
375:Hilary Stewart
370:
367:
330:Willie Seaweed
287:Willie Seaweed
282:
279:
238:
235:
169:
166:
72:
69:
63:tribes of the
53:Nuu-chah-nulth
13:
10:
9:
6:
4:
3:
2:
1113:
1112:
1101:
1098:
1096:
1093:
1091:
1088:
1086:
1083:
1082:
1080:
1065:
1062:
1060:
1057:
1055:
1052:
1050:
1047:
1045:
1042:
1041:
1039:
1035:
1029:
1026:
1024:
1021:
1019:
1018:Kwakwakaʼwakw
1016:
1012:
1009:
1008:
1007:
1004:
1002:
999:
997:
994:
993:
991:
987:
981:
978:
976:
973:
971:
968:
966:
963:
961:
958:
956:
953:
952:
950:
946:
939:
929:
926:
924:
923:Pre-Columbian
921:
919:
916:
914:
911:
910:
908:
904:
900:
893:
888:
886:
881:
879:
874:
873:
870:
864:
861:
859:
855:
852:
851:
847:
841:
836:
832:
826:
822:
817:
816:
812:
806:
804:0-295-97814-7
800:
796:
791:
787:
785:0-7748-0427-0
781:
778:. UBC Press.
777:
772:
768:
766:1-550-54402-0
762:
758:
753:
749:
747:0-295-97325-0
743:
738:
737:
730:
726:
724:0-7748-0264-2
720:
716:
711:
706:
705:
698:
697:
693:
677:
673:
667:
664:
659:
657:1-889963-79-8
653:
649:
642:
639:
636:
635:0-7748-0427-0
632:
626:
623:
620:
619:0-295-97561-X
616:
610:
607:
595:
591:
584:
581:
577:
571:
568:
564:
558:
555:
551:
548:
544:
541:
536:
533:
530:
529:90-5823-083-X
526:
520:
517:
514:
513:0-88894-172-2
510:
504:
501:
495:
493:
489:
482:
477:
474:
472:
469:
467:
464:
462:
459:
457:
454:
452:
449:
447:
444:
442:
439:
437:
434:
432:
429:
427:
424:
423:
418:
416:
414:
410:
408:
404:
400:
396:
395:Doreen Jensen
392:
388:
384:
380:
376:
368:
366:
365:
361:
358:
355:
351:
350:Freda Diesing
347:
343:
339:
335:
331:
327:
323:
319:
315:
311:
307:
303:
299:
294:
292:
288:
280:
278:
275:
274:First Nations
271:
266:
264:
260:
255:
248:
247:Sitka, Alaska
243:
236:
234:
231:
229:
225:
221:
215:
213:
209:
204:
202:
196:
193:
186:
182:
178:
174:
167:
165:
163:
157:
148:
144:
141:
137:
133:
129:
124:
121:
117:
116:Kwakwaka'wakw
113:
109:
105:
101:
97:
90:
86:
85:Kwakwaka'wakw
82:
77:
70:
68:
66:
62:
58:
57:First Nations
54:
50:
49:Kwakwaka'wakw
46:
42:
38:
34:
30:
26:
18:
1053:
996:Coast Salish
858:Burke Museum
839:
820:
794:
775:
756:
735:
714:
703:
680:. Retrieved
678:. 2014-06-16
675:
666:
647:
641:
625:
609:
599:21 September
597:. Retrieved
593:
583:
575:
570:
562:
557:
549:
535:
519:
503:
446:Formline art
411:
406:
398:
387:Martha Black
372:
356:
314:Mungo Martin
302:Doug Cranmer
295:
284:
267:
251:
232:
220:Mungo Martin
216:
205:
197:
189:
159:
154:
132:thunderbirds
125:
107:
103:
99:
93:
80:
24:
23:
970:Photography
338:Don Yeomans
183:, pigment,
140:Totem poles
1079:Categories
989:By culture
694:References
682:2024-03-24
471:Totem pole
413:Emily Carr
342:Jay Simeon
318:Ellen Neel
55:and other
1037:By region
757:Haida Art
383:Bill Reid
379:Bill Holm
360:Tony Hunt
326:Beau Dick
310:Bill Reid
228:Bill Holm
224:Bill Reid
208:argillite
118:artists.
96:formlines
45:Tsimshian
1059:Paraguay
1011:clothing
980:Textiles
955:Ceramics
948:By media
543:Archived
466:Potlatch
419:See also
192:potlatch
136:sisiutls
130:such as
79:Namgis,
37:Heiltsuk
1001:Huichol
965:Jewelry
960:Fashion
906:Surveys
856:at the
298:Guujaaw
177:Tlingit
168:History
108:S forms
104:U forms
29:Tlingit
1044:Alaska
1028:Muisca
827:
801:
782:
763:
744:
721:
654:
633:
617:
527:
511:
389:, and
100:ovoids
41:Nuxalk
1006:Inuit
483:Notes
296:Also
261:, no
33:Haida
1023:Maya
825:ISBN
799:ISBN
780:ISBN
761:ISBN
742:ISBN
719:ISBN
652:ISBN
631:ISBN
615:ISBN
601:2018
525:ISBN
509:ISBN
362:and
134:and
106:and
59:and
594:CBC
1081::
740:.
717:.
674:.
592:.
491:^
393:.
381:,
377:,
352:,
348:,
340:,
336:,
332:,
328:,
324:,
320:,
316:,
312:,
308:,
102:,
51:,
47:,
43:,
39:,
35:,
31:,
891:e
884:t
877:v
833:.
807:.
788:.
769:.
750:.
727:.
685:.
660:.
603:.
357:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
