Knowledge Within: Treasures of the Northwest Coast looks into seventeen of the numerous sites in the Pacific Northwest region with major collections of Northwest Coast Indigenous material culture, bringing attention to a wide range of approaches to caring for and exhibiting such treasures. Each chapter is written by one or more people who work or worked in the organization they write about. Each author takes a different approach to the invitation to reflect upon their institution: some narrate a history of the institution, some focus on particular pieces in the collection, and some consider the significance of the work currently being done for the present and future. They show that these are places and moments in a much longer story, still ongoing, with many characters – communities, individuals, institutions, artworks, treasures.

Hardcover

Published in 2022

with Robert Davidson.

In collaboration with the Vancouver Art Gallery. Forward by Karen Duffek.

“With over two hundred serigraphs and paintings, Echoes of the Supernatural: The Graphic Art of Robert Davidson is an exhilarating tour of a half-century of mastery and innovation of Haida formline by the most prominent Northwest Coast artist of his generation.”

Hardcover

Published in 2022

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Art of the Northwest Coast is a superbly illustrated and informed overview of the Indigenous art of the Northwest Coast, covering the region from Puget Sound to Haida Gwaii to Alaska, and proceeding from prehistoric times to the present.

By tracing the development of the art alongside historical events following contact with settlers, Jonaitis sheds light on the creativity of artists as they transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicolson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who addresses important themes ranging from Indigenous sovereignty and the power of Indigenous women, to the destruction of the environment and reconciliation efforts to heal the wounds of racism and discrimination.

Aldona Jonaitis is the former Director of the University of Alaska Museum of the North and a professor of Anthropology at the University of Alaska Fairbanks.

Published in 2021

Softcover

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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 1985, photographer and writer Vickie Jensen spent three months with Nisga’a artist Norman Tait and his crew of young carvers as they transformed a raw cedar log into a forty-two-foot totem pole for the BC Native Education Centre. Having spent years recovering the traditional knowledge that informed his carving, Tait taught his crew to make their own tools, carve, and design regalia, and together they practiced traditional stories and songs for the pole-raising ceremony.

Totem Pole Carving shares two equally rich stories: the step-by-step work of carving and the triumph of Tait teaching his crew the skills and traditions necessary to create a massive cultural artifact. Jensen captures the atmosphere of the carving shed — the conversations and problem-solving, the smell of fresh cedar chips, the adzes and chainsaws, the blistered hands, the tension-relieving humor, the ever-present awareness of tradition, and the joy of creation. Generously illustrated with more than 130 striking photographs, and originally published as Where the People Gather, this second edition features a new preface from Jensen and an updated, lifetime-spanning survey of Tait’s  major works.

Published in 2020

Softcover

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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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As beautiful as it is useful, Understanding Northwest Coast Indigenous Jewelry is an invaluable tool for anyone interested in learning about or deepening their understanding of a fascinating craft.

Indigenous hand-engraved jewelry from the Pacific Northwest Coast is among the most distinctive, innovative, and highly sought-after art being produced in North America today. But these artworks are more than just stunning—every bracelet, ring, and pendant is also the product of a fascinating backstory, a specialized set of techniques, and a talented artist.

With a clearly written text, a foreword by award-winning First Nations artist Corrine Hunt, and more than one hundred striking color photographs and sidebars, Understanding Northwest Coast Indigenous Jewelry offers an illuminating look at an exquisite craft and the context in which it is practiced.

Providing a step-by-step overview of various techniques, the book also introduces the specifics of formline design, highlights the traits of the most common animal symbols used, offers tips for identification, and features biographies and works from over fifty of the Coast’s best-known jewelers. Finally, it delves into the history of the art form, from the earliest horn and copper cuff bracelets to cutting-edge contemporary works and everything in between.

Softcover

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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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