Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-Ḳe-in, eds., Native Art of the Northwest Coast: A History of Changing Ideas, Vancouver and Toronto, UBC Press, 2013, 1120 pp., 19 colour illustrations, hardcover, $195, ISBN: 978-0774820493; 2014 paperback, $75, ISBN: 978-0774820509

2014 ◽  
Vol 39 (1) ◽  
pp. 90
Author(s):  
Megan A. Smetzer
Keyword(s):  
Northwest Coast ◽  
Native Art ◽  
History Of

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

scholarly journals The “Idiot Sticks”: Kwakwaka'wakw Carving and Cultural Resistance in Commercial Art Production on the Northwest Coast

2018 ◽  
Vol 42 (3) ◽  
pp. 27-46
Author(s):  
Jack Davy
Keyword(s):  
Twentieth Century ◽  
British Columbia ◽  
Settler Colonialism ◽  
Northwest Coast ◽  
Cultural Resistance ◽  
Early Twentieth Century ◽  
Commercial Art ◽  
History Of ◽  
Art Production ◽  
Historical Accounts

“Idiot sticks” was a derogatory term used to describe miniature totem poles made as souvenirs for white tourists by the artists of the Kwakwaka'wakw people of British Columbia in the early twentieth century. Tracking the post-contact history of the Kwakwaka'wakw using a combination of historical accounts and interviews with contemporary Kwakwaka'wakw artists, this article explores the obscured subversive and satirical nature of these objects as a form of resistance to settler colonialism, and in doing so reconsiders who really could be considered the “idiot” in this exchange.

scholarly journals Book of Play! With Northwest Coast Native Art

2012 ◽  
Vol 2 (3) ◽  
Author(s):  
Lisa Vanness
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Primary Students ◽  
Northwest Coast ◽  
Facial Features ◽  
Text Book ◽  
Colour Palette ◽  
Native Art ◽  
Tap Dance ◽  
Early Primary

LaFortune, Doug et al. (2012). Book of Play! With Northwest Coast Native Art. Vancouver: Native Northwest. Print board book. This attractive children’s board book from publisher Native Northwest features the work of nine Northwest Coast Native artists. Bright colours appear throughout and a matte finish compels the reader’s eye to look, and look again. While a traditional Northwest Coastal art colour palette would include two to four colours, this board book incorporates more than fourteen colours for its attractive design. Natural animal forms such as ravens, turtles, fish, and more are illustrated using form lines and the characteristic U forms, S forms, and ovoids that distinguish Northwest Coastal art. The fantastic art is reason enough to purchase this book, but the fun activities are engaging as well. Each page turn is interesting as every page uses a different layout for text and images, and many of the pages ask the reader to interact in some way with the book. Readers are encouraged to count numbered toes on a foot, point to various coloured hummingbirds, find facial features on a totem, categorize animals based on how they travel, match stylized fish, and navigate a simple graphic maze. Due to the very simplistic text, Book of Play! is most appropriate for toddlers, pre-K, and early primary students. It stands out as a board book for having high-interest pictures, introducing young learners to Northwest Coastal art, and emphasizing the natural world. Highly recommended: 4 out of 4 stars Reviewer: Lisa Vanness Lisa Vanness is an elementary Fine Arts teacher in British Columbia and a Teacher-Librarian in training. She can tap dance, play the piano, and eat pickles - all at the same time.

Seeing Cannibals

2019 ◽  
Vol 88 (3) ◽  
pp. 345-377
Author(s):  
Carol L. Higham
Keyword(s):  
Pacific Northwest ◽  
Northwest Coast ◽  
National Interests ◽  
Native Peoples ◽  
The Pacific ◽  
History Of

Between 1790 and 1794, Spanish and English expeditions to Nootka Bay reported two very different accounts of cannibalistic activities among the Nuu-cha-nulth. The British vividly described cannibalistic practices, whereas the Spanish observers claimed that the Nootka no longer practiced cannibalism. Many historians and anthropologists use these reports to debate the existence or absence of cannibalism among native peoples in the Pacific Northwest. This article argues that the differences reveal more about European concepts of race, culture, and society than whether cannibalism existed on the Northwest Coast. These differences capture the transition from past interpretations to Enlightenment ideals juxtaposed with national interests, highlighting how Spain and England saw their role in shaping the history of humanity.

scholarly journals University of Wyoming Outdoor Studio Art Class

2013 ◽  
Vol 36 ◽  
pp. 185-186
Author(s):  
Patrick Kikut
Keyword(s):  
National Parks ◽  
University Of Wyoming ◽  
Studio Art ◽  
Research Station ◽  
Creative Work ◽  
Art Students ◽  
Native Art ◽  
History Of ◽  
Student Researchers ◽  
Intensive Course

Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive course. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to Grand Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Last year we scheduled a docent tour of the Wildlife museum and attended an informative lecture on Native Art in the National Parks at the Coulter Bay Visitors Center. Art students appreciate the interaction with student researchers from different science disciplines. Often those conversations have direct impact on the creative work students produce during their stay. The AMK staff and, in particular, Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlow’s knowledge of the geology, biology, and history of Grand Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.

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