Download Bill Reid and Beyond: Expanding on Modern Native Art by Karen Duffek, Charlotte Townsend-Gault, Ruth B. Phillips, PDF

By Karen Duffek, Charlotte Townsend-Gault, Ruth B. Phillips, Nika Collison

Bill Reid’s paintings has lengthy been said for its astute and eloquent research of Haida culture, and for the anomaly of constructing smooth artwork from the outdated Haida tales. It helped to make the so-called renaissance of Northwest Coast local paintings seen to all. Bill Reid and Beyond will pay Reid the praise of increasing on his personal clear-eyed self-scrutiny as he got here to face for local paintings and artists, extra probably than he may have wished.

The book’s nineteen participants write from many views, breaking down barriers among paintings historical past and anthropology, among educational and artist, among colleague and politician.

Alert to the political, fiscal, and social occasions of invoice Reid’s lifetime, that have greatly replaced the best way local paintings is produced and got, this publication participates within the very important ongoing debates approximately local paintings, demonstrating vividly that the trade of rules can, like artistic endeavors, switch people’s minds.

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Computer scans by B. insert01 FIGURE 2 FIGURE 3 2/13/04 8:33 Page ii BillReid_PhotoSec1 3/1/04 13:33 Page iii FIGURE 4 Two views of a rattle, Haida c. , British Museum , reproduction courtesy of the Trustees of the British Museum. insert01 2/13/04 8:33 Page iv FIGURE 5 Figure : pencil sketch by Bill Reid c. . Figure : silver brooch by Bill Reid c.  cm, private collection. Photos by B. McLennan FIGURE 6 BillReid_PhotoSec1 3/1/04 11:11 Page v FIGURE 7 Argillite dish and details of figure by Charles Edenshaw c.

His personal journey to self-discovery, inspired by and commencing with those first youthful trips to Haida Gwaii, took on momentum, direction and method when, while announcing for the  in Toronto in the s, he discovered the large and magnificent Haida totem pole rising three storeys in the big stairwell of the Royal Ontario Museum —a wonderful installation in which the pole unfolds before you as you mount the stairs. The pole was from T’anuu, the village where his grandmother was born and where he would be buried almost fifty years later.

These were engraving tools that Charles Edenshaw had made and used. Their worn zoomorphic handles conveyed the beliefs of their maker. By extension, the most striking trait that Bill exhibited in the studio was his fervent identification with the handmade carving tool. The overall form of these tools maximizes the carver’s ability to match the positive blade shape to the negative of the ovoid being carved. Beyond their function, however, Bill’s hook knives and adzes had to possess an internal aesthetic in order to function as progenitors for new work, passing, as genes do, from parent to offspring.

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