In collaboration with the Museum of Anthropology, University of British Columbia.

Where the Power Is: Indigenous Perspectives on Northwest Coast Art is a landmark volume that brings together over eighty contemporary Indigenous knowledge holders with extraordinary works of historical Northwest Coast art, ranging from ancient stone tools to woven baskets to carved masks and poles to silver jewellery. First Nations Elders, artists, scholars, and other community members visited the Museum of Anthropology at the University of British Columbia to connect with these objects, learn from the hands of their ancestors, and share their thoughts and insights on how these belongings transcend the category of “art” or “artifact” to embody vital ways of knowing and being in the world. Texts by the authors sketch the provenance of the objects, and, in dialogue with the commentators, engage in critical and necessary conversations around the role of museums that hold such collections.

The voices within are passionate, enlightening, challenging, and humorous. The commentators speak to their personal and family histories that these objects evoke, the connections between tangible and intangible culture, and how this “art” remains part of Northwest Coast Indigenous peoples’ ongoing relationships to their territories and political governance. Accompanied by over 300 contemporary and historical photographs, this is a vivid and powerful document of Indigenous experiences of reconnection, reclamation, and return.

Hardcover

Published in 2021

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In the Spirit of the Ancestors celebrates the vitality of contemporary Pacific Northwest Coast art by showcasing a selection of objects from the Burke Museum’s collection of more than 2,400 late-twentieth- and early-twenty-first-century Native American works.

Essays focus on contemporary art while exploring the important historical precedents on which so many artists rely for training and inspiration. Margaret Blackman reflects on building one of the largest collections of Northwest Coast serigraphs, and Joe David reminisces about his artistic journey through mask-making. Shaun Peterson, Lisa Telford, and Evelyn Vanderhoop discuss the historical precedents for working in styles that were kept alive only by a few critical artists and are now making a comeback. Robin K. Wright explores the history of box drums and their revival. Emily Moore discusses the repatriation of two stolen house posts and proposes a new concept of “propatriation” to describe the resulting commissioning of contemporary posts to take their place. Kathryn Bunn-Marcuse explores the power of adornment and how clothing, jewelry, and personal adornments like tattooing express tribal and personal identity in ways both connected to the past and grounded in the present.

The diversity of approaches presented by these contributors speaks to artists, collectors, academics, tribal communities, and all those interested in Pacific Northwest Coast art. Splendid color photographs of works never before published will delight everyone.

Soft cover

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Northwest Coast Kwakwaka’wakw art is renowned for its flamboyant, energetic, and colorful carving and painting. Among the best-known practitioners was Doug Cranmer, whose style was understated, elegant, fresh, and unique and whose work quickly found an international following in the 1960s. Named K’esu’, or Wealth Being Carved, as a child, he was an early player in the global, commercial art market and one of the first Native artists in British Columbia to own his own gallery. A long-time teacher, he inspired generations of young Native artists in Alert Bay and beyond.

This beautifully illustrated book is a record of the art, life, and influence of a man who called himself a “whittler” or “doodler” but who embodied “indigenous modern” well before the term had been coined. He pioneered abstract and non-figurative paintings using Northwest Coast ovoids and U-shapes; embraced the practice of silk-screening on wood, paper, and burlap; and adapted power tools to new applications in art. Skillfully weaving recollections from his friends and family, facts about his life and examples of his stunning artwork, K’esu’ is a wide-ranging celebration of Doug Cranmer and his profound influence on Kwakwaka’wakw art.

Published in 2012

Paperback

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In a stunning resurgence over the past few decades, contemporary First Nations artists of the Northwest Coast have established themselves as among the most dynamic and important artist working in North America. Challenging Traditions honours this success by presenting the work of 40 of the most celebrated living artists, whose achievements reveal an accomplished melding of contemporary vitality with traditional genres. The work of such acknowledged masters as Robert Davidson, Dempsey Bob, Susan Point, Preston Singletary, Lawrence Paul Yuxweluptun, Jim Hart, and Richards Hunt, plus many younger artists, is presented in 100 colour photographs of primarily new pieces, amply demonstrating that the historic strengths of Northwest Coast culture are alive, well and continuously evolving.

For more than a century, the state and church actively discouraged First Nations from pursuing their traditional cultures, but they persisted in keeping alive their art and ceremony. With the rise of cultural and political activism, Native art is now flourishing on an unprecedented scale. Many artists are examining the meaning and purpose of First Nations art in the twentieth-century, while following traditions and boldly experimenting with innovative subjects, techniques and materials.

Ian Thom explores these contradictions by describing the career, working methods and philosophy of each artist, all of whom he interviewed especially for this book. He also discusses at least two significant recent artworks by each artist.

Both senior and younger artists from all of the major First Nations on the Northwest Coast are featured, working in a variety of media and styles: groundbreaking abstract painting and metal sculptures, painstakingly woven spruce root hats and ceremonial woollen robes, works in glass, masks, carved panels, painted drums, striking political paintings, “Haida manga,” jewelry, carved argillite works and bentwood boxes.

This book is beautiful, provocative introduction to the best contemporary First Nations art of the Northwest Coast, in the words and works of some of its leading lights.

Published in 2009

Hardcover

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