New Visions : Serigraphs by Susan A. Point, Coast Salish Artist

Curator Duffek describes how Point incorporates traditional Salish designs in serigraphs, focusing on the distinction between copy and original. Biographical notes. 2 bibl. ref

Celebration: Tlingit, Haida, Tsimshian dancing on the land [book review]

Review of Celebration: Tlingit, Haida, Tsimshian Dancing on the Land by Rosita Worl. Foreword by Byron I. Mallott and essays by Maria Williams and Robert Davidson. Photographs by Bill Hess. Edited by Kathy Dye. Juneau/Seattle: Sealaska Heritage Institute/University of Washington Press, 2008. 152 pp. Ilus.Other UBCReviewedOthe

Bill Reid : Beyond the Essential Form

In an extensive account of Reid's career, Duffet considers his jewellery and wood carvings as both a revival and progression of Haida art forms. Circa 20 bibl. ref

Bob Boyer : A Blanket Statement

Describing the blanket paintings of this Metis artist, Duffek points to his use of a modernist approach to Native philosophy and visual language and his redefinition of a physical, cultural, political and historical sense of place. 4 bibl. ref

Carl Beam: the poetics of being

Other UBCUnreviewedOthe

Tsimshian treasures: the remarkable journey of the Dundas Collection [book review]

Review of Tsimshian treasures: the remarkable journey of the Dundas Collection. Donald Ellis, editor. Donald Ellis Gallery, Douglas and McIntyre, and University of Washington Press, 2007. 144 pp.Other UBCReviewedOthe

The contemporary northwest coast Indian art market

In the 1960's a revival of Northwest Coast Indian art began to take place in British Columbia, following several decades of decline in art production that resulted from effects of European contact on traditional native social structure. By the late 1970's the Indian art market had become a several million dollar industry, involving several hundred native artists, and supported by a primarily non-Indian consumer public. This thesis examines the contemporary Northwest Coast Indian art market in terms of the role and significance of the art within its contemporary social context, focusing on the relationship between the consumers and the art they collect. The history of the Indian art revival, the development of the market, changes that Northwest Coast art has undergone in response to its new purpose for production, and consumer expectations and buying preferences are discussed. This thesis shows that the revival of Northwest Coast art has involved not only the artists who create the contemporary work, but also the consumers, anthropologists, museums, and dealers, who have participated with the artists in a reconstruction and redefinition of "Indianness" and tradition, and in the development of an audience to support art production. Surveys of consumers and museum visitors conducted for the thesis suggest that an important and valued quality of contemporary Northwest Coast art is its "otherness" or Indianness. Today, Northwest Coast art traditions are used in a contemporary expression that refers to the value of tradition and heritage not only to the consumers, but to native society as well. The concept of acculturated arts is used in this study of Northwest Coast Indian art, providing a comparative context of changing art forms brought about by culture contact, and illustrating the transformation of traditional cultural elements into marketable commodities for non-native tourists and collectors. This thesis is a contribution to the literature on Northwest Coast Indian art in particular, and acculturated arts in general.Arts, Faculty ofAnthropology, Department ofGraduat

Lyle Wilson : When Worlds Collide

In her discussion of works by Wilson, Duffek considers the invocation of Native tradition as a means of expressing a present collective and political identity. Wilson elaborates on the status of oral history and the role of culture in his work. Biographical notes. 3 bibl. ref