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Tales of Ghosts

First Nations Art in British Columbia, 1922-61

Par (auteur) Ronald W. Hawker
Catégories: Histoire de l’art, Techniques et sujets des Beaux-Arts, Arts, Les Amériques, Qualificateurs de lieux, Relating to indigenous peoples, Relatif à des groupes ethniques et aux peuples autochtones, Relatif à des groupes et cultures particuliers ou à des intérêts sociaux et culturels, Qualificateurs d’intérêt
Éditeur: UBC Press
Hardcover : 9780774809542, 248 pages, Novembre 2002
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Table des matières

Illustrations

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

An 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.

La description

The years between 1922 and 1961, often referred to as the “Dark Ages of Northwest Coast art,” have largely been ignored by art historians, and dismissed as a period of artistic decline. Tales of Ghosts compellingly reclaims this era, arguing that it was instead a critical period during which the art played an important role in public discourses on the status of First Nations people in Canadian society. Those with an interest in First Nations and Canadian history and art history, anthropology, museology, and post-colonial studies will be delighted by the publication of this major contribution to their fields.

Reviews

Ronald 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