Description
Book SynopsisAn insightful examination of the complex functions of Northwest Coast art objects produced between 1922 and 1961, and a vital addition to First Nations and Canadian history.
Trade ReviewRonald W. Hawker exposes and then considers the multiple ways in which meaning has been created and consumed around First Nations art objects by its viewing audiences. In so doing, he brings a new line to bear on the role Native art has played in the negotiation of social and geographical spaces in British Columbia. The book will interest scholars of Native studies, Canadian art history, anthropology, and cultural studies. -- Andrea N. Walsh * University of Toronto Quarterly, Winter 2004/05 *
Table of ContentsIllustrations
Acknowledgments
1 Introduction
2 The Cranmer Potlatch and Indian Agent Halliday’s Display
3 Totem Poles in Stanley Park
4 Northwest Coast Art as National Heritage: Two Federal Projects of the Late 1920s
5 The New Deals: George Raley and Depression-era Reform in British Columbia
6 Alice Ravenhill and the BCIAWS
7 Mathias Joe, Mungo Martin, and George Clutesi: "Art" as Resistance
8 UBC, the BCPM, and the Totem Pole Carver Training Program
9 The Totem Pole Preservation Committee and the Case of the Gitanyow
10 Tales of Ghosts That Hover in the World Like Fading Smoke
Appendices:
A Map showing First Nations groups in British Columbia
B Chronology of First Nations art in British Columbia, 1921-61
Notes
Bibliography
Index
