Native People Art of Man and Nature Symbol of Understanding

Northwest Tribal Art

(Gallery Of Fine American Native Arts)

1417 1st Ave Seattle, Washington 98101 : Since 1981 :

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Alvin Adkins Andy Everson Alex McCarty Makah Carver Alex McCarty, is a immature caver with neat respect for older carving traditions. His interest in Makah carving traditions and culture was triggered in high school, when he was asked to work on a model of the Ozette Hamlet for the Makah Museum. Working on the project over a nine-month period, Alex had a take chances to wait deeply into the past. Function of his preparation for making the model was to visit the landforms at the site, and to become familiar with the collection of artifacts housed at the museum. It was Alex's job to understand everything he could about everyday life at the village, and this helped to create his passion for history. Through carving, Alex seeks to preserve cultural traditions that he can trace back through time. By observing the pieces from Ozette, as well every bit other archetype W Declension carvings, he discerns "prevalent form-lines," which narrate the Makah tradition. He works hard at understanding the essence of his heritage, and sees his ain work as a preservation and interpretation of this older style. Alex is driven to understand the by in his quest to develop his carving. He observes that "you need to get something before you can preserve it." In his piece of work, Alex strives to incorporate deep in-grain cuts and flowing, bold-line designs that he feels are and then characteristic of archetype West Declension carving. Information technology is important to him that his carving is done well, and that his designs work from different perspectives. As a instructor, he makes the analogy that we need "to run into things through multiple perspectives-the way that other people see things," to proceeds a deeper agreement of the world. While Alex's work is in demand, often commissioned by galleries or individual collectors, he sees carving as providing more in his life than just income. As a teacher, he is quick to bespeak out that the activity of carving in a group tin can be an commutation of learning, "a social thing...a sharing thing." He values teaching and learning from other carvers, and advises people to seek out learning opportunities such as the one he had at Ozette, which he sees as an under-utilized resource. Perhaps his approach to his carving tradition tin be summarized in this way: "larn information technology with intendance, preserve it with beauty, and pass it on." Brad Joseph Bill Reid (1920-1998) One of Canada's foremost artists, Haida artist Bill Reid, an outstanding gold and silversmith turned sculptor, was proclaimed a National Living Treasure and was instrumental in inspiring a people to reclaim their cultural heritage. Collected internationally and much-honored, Neb Reid created, amid his best known sculptures, The Spirit of Haida Gwaii at the Canadian Embassy in Washington, D.C. (The Black Canoe, 1991) and at the Vancouver International Aerodrome (The Jade Canoe, 1996). Building upon the broad range of his expression, Neb Reid translated his original designs of animate being crests into limited edition silk screen or woodcut prints. Copper - Among the Northwest Coast Showtime Nations, the ultimate symbol of wealth, power and prestige was (and nevertheless is) the copper. a keystone-shaped shield made of beaten copper sheets and decorated with a crest design. They were nore, had names and their symbolic equally well as their material values were very loftier. Its colour, like that of the salmon, connotes wealth. Calvin Hunt Carl Stromquist Charles Joseph Charles August Cicero August Chet Adkins Principal Seattle A hereditary leader of the Suquamish Tribe, was built-in around 1786, passed away on June vii, 1866, and is cached in the tribal cemetery at Suquamish, Washington. The speech Principal Seattle recited during treaty negotiations in 1854 is regarded equally 1 of the greatest statements ever fabricated concerning the human relationship between a people and the world - that speech, published in the Seattle Lord's day Star, Seattle, Washington Territory, October 29, 1887, is reproduced here for you. Clarence Nelson Craig Voisin Danny Dennis A self-taught artist born in Port Essington, B.C., Danny Dennis is one of the rare Northwest Coast artists who produces original paintings. A TSIMSHIAN Native creative person of the Frog / Raven Association, Danny is from the Gitksan Village of Kitwanga, British Columbia, Canada. Danny'southward fine art reflects the dazzler of his homeland combining his by with his present-day experience. Danny's contribution to the renaissance of Northwest Coast Native art began with international distribution in 1979. His fine art is exhibited in various museums and galleries in Europe, Canada, the Usa and Asia. This self-taught artist cites master artists Francis Williams and Robert Davidson as inspirational since pursuing his professional person creative career in 1978. Danny carves indigenous materials from West Declension ivory and mastodon. His pattern work is enjoyed by collectors of finely-carved golden and silverish jeweler. Unique to Danny's art are the free-flowing lines capturing the expression of freedom and the infinite possibilities of where a person's journeys may lead Darcy Joseph David Boxley David Louis David Louis Sr. David Mungo Knox Delmar Joseph Denny Dixon Douglas (Kevin) Chilton (Yaa nak.ch) This is an old proper noun derived from the Raven House of Angoon. As is the instance for many of our people'due south Tlingit names, the significant or English expression does not exist. Doug, Yaa nak.ch, is a Tlingit Indian. He is of Raven moiety, Yéil, and a member of the Deisheetaan Clan, Beaver Association, and is from the Raven Firm, Yéil Striking of Angoon, Alaska. Doug was built-in and raised in Juneau, Alaska and carves primarily in silver, gold, wood, ivory, os, and soapstone. Doug's designs are Tlingit style and are traditional in form. In 1979 Doug began his woods carving apprenticeship under Ray Peck, a member of the Deisheetaan clan of Angoon, Alaska and an established carver of totemic and panel carvings. Later Doug began working under the direction of Walter Bennett, alsoa local well-known carver. In 1990, Doug began to work with silvery and gold engravings under the watchful eye of his blood brother, Factor Chilton, Sgunax yaa. Doug has since begun developing his skills independently. All of his works of fine art are original. Each blueprint, totem, mask, and plaque is a unique treasure. Doug takes great pride in continuing his Tlingit ancestral art. Dora Edwards Eddie Lee Emily Nelson Eugene Alfred Glen Harper Glen Harper was built-in June 23rd, 1964 in Prince George, British Columbia, Canada. He is a member of the Carrier Nation, a tribe located in the interior of the province. It was formed by a group of women who carried remains of their deceased spouses at all times for luck and protection. Glen takes the Wolf, revered for its skill equally a powerful hunter and the Frog, representing luck, prosperity and stability, as his main family unit crests. Glen lists such prominent Northwest Coast Native artists as Charles Harper, Doug Harper and Lloyd Wadhams, as his teachers. He reveals that both Charles' and Doug's etching fashion greatly influenced his own. Glen carves cedar forest besides as gold and silvery jewellry. He is one of many Northwest Declension Native artists who rely on carving for his livelihood. George Matilpi Artis George Matilpi was born in Aleut Bay, B.C., and is a member of the Carrier Nation. At age 45, he has been carving for nigh twenty years. Taught by Amos Dawson, Primary of the Carrier Nation, George Matilpi carves exceptional and traditional Kwakiult wood plaques. He employs the traditional blackness, cherry, and turquoise color scheme on unstained cedar wood. Within this traditional framework, Matilpi creates innovative and charismatic animate being plaques with personality. In improver to practicing his art, Matilpi is helping to insure its continuation by teaching immature carvers in Vancouver, B.C. and Seattle. Harold Baker Heber Reece Herman Peter Jack Stogan Jacob B. Lewis James H. Michels Joe Campbell Joe Wilson Born in 1967, Joe Wilson is a talented immature Coast Salish artist born in Koksilah, near Duncan on Vancouver Island. He'south a fellow member of the Cowichan Ring. His interest in art began in elementary school. Joe start caved at seventeen and is basically self-taught, although he worked under the guidance and was influenced by such talented artists as Simon Charlie, Tim Paul and Jim Gilbert. He has studied Salish fine art extensively through literature and museum collections. Joe is actively involved in the winter dance ceremonies of his people. A soft-spoken immature man, his work speaks of confidence and strength, and he has developed a unique and original style with bold and unconventional colors that are rich and appealing. His work is authentic by Native tradition and too an artistic communication link between cultures. He currently resides on the Tsartlip reserve almost Victoria where he continues to paint and cleave cedar. Jeff Touchie Jim Charlie Joseph Mandur Jr Kevin Cranmer Israel Shortridge Isael Shortridge, an achievement Tlingit caver, born and raised in Ketchikan, Alaska, now resides in Washington State where he creates his fine art. Israel is most well known in his monumental totem poles located throughout the totem parks in S.E Alaska. His commissioned works of art are in private, corporative and public art collections including museums throughout the United State, England, German language and Scotland. Every bit a member of the Conduct clan of the Tongass tribe of Ketchikan, Alaska, Israel strives to perpetuate his cultural and art. Israel sign his deign in Tlingit. Kinstaadaal, Israel'south Tlingit name means, "The Bear That's Standing Up". Larry James Les Harper Matthew Baker Nathan Lewis Odin Lonning Odin Lonning (Tlingit name SH NOW TAAN) was born in Juneau, Alaka in 1953.  He is Woosh Ke Taan (Eagle and Shark) clan through his Tlingit mother.  He is named after his Norwegian begetter.  At historic period 10, Odin saw is first traditional trip the light fantastic toe performance.  This motivated him to explore Tlingit art.  Local native attics such equally Lincoln, Amos Wallace, Johnny Avatok and Nathan Jackson inpried him, along with the civilisation centers and museums in Ketchikan, Haines and Sitka.  When he was twenty, the Juneau school district, Juneau Centennial Committee, Goldbelt Corporation, and Sealaska Corporation commissioned several of his pieces for permanent display. In 1989 Odin attended the Establish of American Indian Art in Sante Iron, New Mexico.  While in Santa Iron, he collaborated with another artist to form Wolfsong Arts.  They exhibited in larger powwows, juried invitationals, and museum shows throughout the Due west and Midwest. Seeking a deeper understanding of the culture essential to his artwork, Odin started dancing and learning traditional songs.  He first danced with the Juneau Tlingit Dancers in 1992 and later with Seattle-based Ku-Tee-Ya Dancers.  He currently dances with Xudzidaa Kwaan trip the light fantastic toe group of Angoon, Alaska. Odin now lives on Vashon Isle nearly Seattle, where he works on Multiple projects and private commisions.  He does cultural presentations with his fiancee for nonprofit groups, museums, schools, gallaries, and treatment centers.  He as well works with Northwest Native Designs, a custom leather piece of furniture visitor employing the talents of many native artists.  Native Peoples magazine featured Odin's furniture pattern. Odin's current works in both traditional and contemporary media include carved wooden boxes, bowls, wall panels, masks, paddles and totems; painted originals, drums and ceramics; etched glass and copper; applique and leather trip the light fantastic toe regalia; and graphic blueprint for jewelry, material and leather furniture.  He creates custom painted or carved designs for boats, cars, kayaks, planes, forepart doors, and garage doors. Patrick Amos In 1957 Patrick Amos was born on Nootka Isle located on the west coast of Vancouver Island into the Mowachaht Band, one of the fourteen fellow member tribes of the Nuu-chah-nulth Nation. Since 1976 Patrick has been designing limited edition prints. In 1979 he began carving wood, apprenticing with Tony Hunt Sr. at the Art of the Raven Gallery, in Victoria, BC.. Later, he apprenticed with Tim Paul at the Royal British Columbia Museum carving shed in Victoria, where he assisted in totem pole projects. In 1990 Patrick Amos and Tim Paul carved a 36' Hesquiaht totem pole for the Mauri people of New Zealand. Patrick Amos began selling his work through the Royal British Columbia Museum shop in Victoria, B.C., as early on as 1976. Patrick had his first solo exhibition in 1991 at the Gallery Indigena in Stratford, Ontario. In 1992 Patrick was invited to show his work at an exhibit at the Native Heritage Middle in Duncan, BC.. Patrick's piece of work has been steadily shown at Images for a Canadian Heritage in Vancouver, B.C. ; the Douglas Reynolds Gallery in Vancouver, BC. ; and the Gallery of Tribal Arts in Vancouver,BC. The Royal British Columbia Museum in Victoria, BC. has several paintings and prints of Patrick's in their permanent collection. Increasingly Patrick Amos is being commissioned for larger works and he at present takes on apprentices to assist with these projects. His commissions include a 10' 10 30' mural for the Mountain Klitsa Junior Secondary School, in Port Alberni, BC.(1995) ; a 14' totem pole for the Alberni District Secondary Scholl in Port Alberni, BC.(1997) ; an eight' 10 20' painted mural for the HA-HO Payuk Elementary School on the Tsahahe reserve in Port Alberni,BC. ; and a 7' totem pole for the Gallery Indigena in Stratfort, Ontario. Patrick is agile in his community, giving etching demonstrations at various schools throughtout the Port Alberni, BC. School District each year. Since 1991 Patrick has taught a native fine art form at the Duquaht Art Schoolhouse in Uclulet, BC. Paul Joseph Principal Peter Knox Martin Chief Peter Knox Martin was born and raise from Fort Rupert Kwakiutl. He is the son of renowned Main Mungo Martin. The art of hereditary Kwagiulth Chief and master carver, Peter Knox, is a contemporary expression of an ancient and unbroken blueprint tradition of the native people of the Northwest Coast. Peter'southward futurity every bit a primary carver and designer was established at nascency. As a young boy, Peter apprenticed equally a carver and painter and learned traditional ceremonial dances and songs in the big house of his father. He learned the basic skills of the traditional Northwest Coast fashion, and applied information technology to his noesis of designing, carving, and painting. He began doing traditional fine art in early childhood with his cousins Tony Hunt Sr. and Tom Hunt. He also received the training from Chief Mongo Martin until his begetter died in 1962. His work ranges from masks carved from ruby-red or yellow cedar to drums, prints, and walking sticks. The success that Mungo and the other family unit members have had in preserving the Kwakiult civilisation, influences Peter profoundly. To his own worlds "When I cleave a formalism mask, I select a prissy piece of tight grain, red cedar. I have in listen what I want to make, and then I start to remove woods with an elbo adz until I get it into the shape I desire information technology. Side by side, I use a straight pocketknife, curved knife and a slightly curved knife to cut the lines and curves out the deep spots to sink in the eye orbits. It is a wonderful feeling to accomplish a mask that will be worn in many potlatches and feasts for many years to come up. He continues..."It is of import to know the proper elements for designing, knowing all of the shapes that are used and using them correctly and making them flow together. Designing a mask is not the same as doing it on newspaper, a mask is three-dimensional and paper is two-dimensional". Northwest Tribal Art proudly presents the work of this artist. Randy Stiglitz Rich Thomas Richard Baker Richard Hunt Richard Shorty Ryan Morin Sean Whonnock Son of Lydia Whonnock, Sean Whonnock was built-in and raised in Warning Bay, B.C. His grandfather, Gideon Whonnock and godfather, Karl Svanvik have been the guiding forces in Sean Whonnock'due south life. At the historic period of 7, Sean offset met his cousin Joe Peters Jr. Sean has a strong retention of Joe Peters Jr. carving at this time and credits him with being his first and strongest influence. At the age of 12, Sean enrolled in a carving programme taught by George Hunt Jr. In his early on 20s, Sean studied and carved with Simon Dick, and later, with Beau Dick and Wayne Alfred in Alert Bay. Other artists who have inspired Sean Whonnock are Fine art Thompson, Joe David, Russell Smith, Susan Point and Robert Davidson. In 1994, Sean moved to Victoria and continued to pursue his carving. Since 1997, when the artist first joined the carving plan at Thunderbird Park,. He has been engaged in a number of commissions both as an private artist and as a fellow member of grouping projects. During this time Sean worked with a number of other artists including Shawn Karpes, Johnathan Henderson and Luke Marston. Sean is committed to the well being of his community and is taking an active role in its cultural events. In 1999, Sean was given the Chief's trip the light fantastic toe and a new name from his family at the Whonnock-Henderson pole raising in Victoria. At the present fourth dimension Sean is involved in a number of community based cultural projects and adding to his cognition of dances and songs. Stan Greene Steve Smith Sue Coleman Susan Point Coast Salish artist Susan Indicate was built-in in Alert Bay, British Columbia, on Apr 5, 1952. Since birth Susan has lived on the Musqueam Starting time Nation Reservation in Vancouver, B.C. Susan began her art career in 1981 with engravings on bracelets, rings, pendants, earrings and barrens. Although many of her contemporaries were producing designs which were representative of more than northern native groups, she chose to concentrate on the designs of her own people. Consulting with her uncle, Professor Michael Kew, an anthropologist at the Academy of British Columbia, Susan began to investigate traditional Coast Salish art forms. One of the forms that intrigued her was the spindle whorl, a wooden deejay, elaborately carved, which was used in the spinning of wool. Using silk-screen prints, Betoken began experimenting with traditional 2-dimensional designs. Her start print was Salmon. This blueprint is of 4 salmon in a round format, recalling the spindle whorls Susan had studied in the museums and collections. She went on to produce more than 100 prints during this menses, revealing a mastery of the traditional Coast Salish manner. During the side by side ten years, Susan worked to define her interpretation of traditional art forms. In 1983, she began blending colours, prompting some critics to refuse her colour schemes as nontraditional. Although Point was concerned about this negative reaction, her creative bulldoze prevailed, and shortly she was exploring other techniques, such as foil embossing, paper casting, linocut press and lithography. In the 1990'southward, Susan Bespeak began creating three-dimensional art in materials such as glass, bronze, woods, concrete, polymer, stainless steel, and cast atomic number 26. Due to her willingness to explore new mediums and work on a big scale, Point has been awarded numerous public art commissions, including building facades and big sculptures. Susan Point has been acclaimed as one of the most innovative artists of our fourth dimension, adapting traditional Declension Salish art forms to modern designs and materials. Tim Alfred Tim Alfred was born in 1967 in Warning Bay, British Columbia and moved to the village of Fort Rupert, B.C., Canada, in 1985. His family unit tree includes the banks of Kwakiutl (Fort Rupert), Namgis (Alert Bay), Mumtagila (Etsekin and area), Mamaleleqala (Hamlet Island) and Tlowitsis (Turnour Island). At a memorial potlatch for his brother in 1989, his mother'due south family unit placed him in the family's Chief position at the Big House in Warning Bay, B.C. where he received the proper noun "Mus-cum-tsi", which symbolizes the 4 clans of the Kwakwaka'wakw Nation. Tim start started carving in the globe-renowned Kwakiutl fashion at the age of 20 and was mainly taught past Stanley Chase. Wayne Alfred, Beau Dick and Calvin Hunt were besides influences in his carving career. As a immature creative person he was able to learn techniques in making bentwood boxes, planking from cedar trees, carve masks, paddles, model canoes and making regalia for traditional utilize in the Big House. Some of his other projects include two drums and twenty paddles he fabricated for the Fort Rupert Uncomplicated School in 1998. He has besides done charity work for memorial trophies and made donations to various fund-raising events in his community, including the reconstruction auction to benefit work for the Big House in Alert Bay. His piece of work sells to many galleries including sales to museums in Alert Bay and the Royal British Museum in Victoria. Recently, he has had he opportunity to work on totem poles with Calvin Hunt, Mervin Child and David Knox for the Kwakiutl Band day care project in Fort Rupert. Tom Hunt Tony Hunt The art of hereditary Kwagiulth Principal and master carver, Tony Hunt, is a contemporary expression of an aboriginal and unbroken design tradition of the native people of the West Declension of Canada. Tony'due south future every bit a master carver and designer was established at birth. His grandad, Mungo Martin, tied baby eyelashes to a paint brush to spiritually confirm the child's future equally an artist. Every bit a immature boy, Tony apprenticed as a carver and painter and learned traditional ceremonial dances and songs in the big house of his granddad. Principal Tony Hunt'south two and tree dimensional works are represented in public and private collections throughout the globe. His monumental sculptured works are found along coastal British Columbia, in the Museum of Human being every bit well every bit being exhibited in the Usa, Mexico, Argentina, England, Germany, New Zealand, China and Japan. Tony says of his designs: "To my people clan and family identities were proudly displayed everywhere and on every item of daily life. I continue to create designs that speak of the greatness of the Kwagiulth traditions." Tony Gulbrandsen Troy Bellerose Born in 1970 in Motion-picture show Bute, Alberta, Troy Bellerose is a member of the Cree nation. Afterwards moving to British Columbia, Troy became intrigued with the traditional art of the northwest coast and studied etching under Nisga'a creative person Andrew Morrison. Using the local red and xanthous cedar, Troy creates cute wall panels and paddles in the west coast style. Although Troy has worked primarily in wood, he looks forwards to learning to piece of work in a greater variety of mediums. Troy's work in individual collections effectually the world. The paddle that Troy carved has both the Wolf design and the Raven design. These are two of the near popular and respected animal crests in northwest coast art. The Wolf is revered for its hunting skill and ability. Through this hunting ability the Wolf is known as the protector of the animal kingdom. It is also known for its strong family unit kinship. They mate for life and travel with their families in a pack and are a very social animal. The Wolf is also the land manifestation of the Killer Whale as they are both fierce protectors of their immature, choosing to never go out their families. The Raven is the transformer, trickster and creator. Known in legends as the one who released the Sun, Moon, and stars, discovered man is a clamshell, brought Salmon and water, and finally taught human being how to fish and chase. The Raven is famous for being somewhat mischievous and ever does things to amend himself, which in the end better mankind. Wayne Young William Hilamas Edward Wasden Jr William Hilamas Edward Wasden Jr. (Wak'analagalis) "The River Runs Through Him Forever" is a fellow member of the 'Namgis tribe of the Kwakwaka'wakw. He is a descendant of the Cook, Hunt, Alfred, Harris and Inis families. He tin also trace his ancestry to the Tlingit of Alaska and the Mowachat of the W Coast. He has been initiated into the Hamat'sa Secret Society, the highest-ranking dance club of the Kwakwaka'wakw. His artistic abilities have been developed through teachings from Chief Douglas Cranmer; and working with Simon and Francis Dick. In later years William's style was profoundly influences by Haida Creative person Don Yeomans. William's inspirational influences of sometime are the belatedly Chiefs and Artists, Bob Harris, Herbert Johnson, Mungo Martin, Willie Seaweed, Henry Speck, and Charlie G. Walkus. William works mostly in apartment design but also creates pieces in a diversity of mediums. About of his pieces take been commissions from families needing Potlatch paraphernalia, and they remain in the cultural globe. He has a groovy interest in singing and preserving the ancient songs of his people. Nether the mentoring of the final song keeper composer, the late Chief Tom Willie and married woman Elsie. William has been groomed as a song keeper and composer for Kwakwaka'wakw ceremony and everyday enjoyment. William has taught many of the young, up and coming singers and continues to contribute to cultural preservation by learning the songs of onetime. He continues to compose and bring forth songs when occasions call for new songs. He has trained other singers to record 3 CD'south to assist his tribe in their efforts to fundraise for various events needing funding. The CD titles are "Ane Nation One Vocalisation", "Rising From The Ashes" and "Laxwe'gila". William Watts Yukie Adams ©All rights reserved, Northwest Tribal Fine art

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