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Unsettling Native Art Histories on the Northwest Coast
Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to this volume foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history.
By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.
By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.
- GenresArt
344 pages, Hardcover
Published July 20, 2020
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Displaying 1 - 2 of 2 reviews
August 9, 2022
This book does an excellent job of encapsulating the changing landscape of how Northwest Coast Native art is viewed and treated. One of the (white) editors has been involved in NW Coast art for fifty years, and recounts her mistakes (common at the time) in formulating her dissertation.
Some of the elements discussed include non-Native participation in developing art, and how that perspective has changed in the past fifty years. Another chapter focuses on 'women's work', the blankets, baskets, and other largely soft goods that were not considered to be equal to the carved work of men.
There is much discussion of the role of museums in acquiring the work (either by purchase or theft), and moves towards repatriation of these items back to the tribes. For those items still held within museums, there is now outreach toward Native communities to come in and examine and handle the materials from their ancestors, in order to learn more about older techniques and also inform the museum curators about their purposes and use.
Other chapters discuss contemporary Native artists who adapt older techniques and images in new ways, inviting us to interact with the art in a different way than before.
Speaking of interacting, a large point is made that there is no Native equivalent to the word 'art': these were purpose-built items that can only be fully understood if you know how they were used by their Native communities. They were integral to the preservation of the culture, and Natives often find it disturbing to see them presented statically and sterilely behind museum glass.
For any non-Native who has admired Northwest Coast Native art over the years, this book will be very illuminating. For Native readers, I would hope that it shows that events have been moving in a more positive direction over the last couple of decades, with more engagement with Native communities to better understand and appreciate the true purpose of these objects, and to repatriate or lend them back to the people from whom they were taken.
Some of the elements discussed include non-Native participation in developing art, and how that perspective has changed in the past fifty years. Another chapter focuses on 'women's work', the blankets, baskets, and other largely soft goods that were not considered to be equal to the carved work of men.
There is much discussion of the role of museums in acquiring the work (either by purchase or theft), and moves towards repatriation of these items back to the tribes. For those items still held within museums, there is now outreach toward Native communities to come in and examine and handle the materials from their ancestors, in order to learn more about older techniques and also inform the museum curators about their purposes and use.
Other chapters discuss contemporary Native artists who adapt older techniques and images in new ways, inviting us to interact with the art in a different way than before.
Speaking of interacting, a large point is made that there is no Native equivalent to the word 'art': these were purpose-built items that can only be fully understood if you know how they were used by their Native communities. They were integral to the preservation of the culture, and Natives often find it disturbing to see them presented statically and sterilely behind museum glass.
For any non-Native who has admired Northwest Coast Native art over the years, this book will be very illuminating. For Native readers, I would hope that it shows that events have been moving in a more positive direction over the last couple of decades, with more engagement with Native communities to better understand and appreciate the true purpose of these objects, and to repatriate or lend them back to the people from whom they were taken.
December 10, 2021
Really interesting collection of essays that ponder and probe many aspects of art, cultural heritage, history, museums, academia and more. A very important and thought provoking book that delves into some uncomfortable topics (cultural appropriation and colonialism, for starters), and provides a very structured and analytical framework for viewing these topics.
The chapter on “Artifakes” or work by non-native artists was particularly interesting to someone who has studied and admired traditional art of the Northwest Coast for many years from a white, non-native perspective.
Make no mistake, the book is very academic, but very well put together and the essays are all very accessible to non-academics.
This book should be required reading for anyone interested in educating themselves about Indigenous culture, art, museum practices, collaboration with artists, etc.
The chapter on “Artifakes” or work by non-native artists was particularly interesting to someone who has studied and admired traditional art of the Northwest Coast for many years from a white, non-native perspective.
Make no mistake, the book is very academic, but very well put together and the essays are all very accessible to non-academics.
This book should be required reading for anyone interested in educating themselves about Indigenous culture, art, museum practices, collaboration with artists, etc.
Displaying 1 - 2 of 2 reviews