Bøger i Native Art of the Pacific Northwest: A Bill Holm Center Series serien

Focuses on the art of Northwest Coast Indians that offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists. This book presents an analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet.

Photographer Edward CurtisΓÇÖs 1914 orchestrally scored melodrama In the Land of the Head Hunters was one of the first US films to feature an Indigenous cast. This landmark of early silent cinema was an intercultural product of CurtisΓÇÖs collaboration with the Kwakwa╠▒ka╠▒ΓÇÖwakw of British ColumbiaΓÇömeant, like CurtisΓÇÖs photographs, to document a supposedly vanishing race. But as this collection shows, the epic film is not simply an artifact of colonialist nostalgia.In recognition of the filmΓÇÖs centennial, and the release of a restored version, Return to the Land of the Head Hunters brings together leading anthropologists, Native American authorities, artists, musicians, literary scholars, and film historians to reassess the film and its legacy. The volume offers unique Kwakwa╠▒ka╠▒ΓÇÖwakw perspectives on the film, accounts of its production and subsequent circulation, and evaluations of its depictions of cultural practice. Resituated within film history and informed by a legacy of Kwakwa╠▒ka╠▒ΓÇÖwakw participation and response, the movie offers dynamic evidence of ongoing cultural survival and transformation under shared conditions of modernity.

Influential but often neglected in historical accounts, this spectacular melodrama was an intercultural product of Curtis' encounter and collaboration with the Kwakwaka'wakw of British Columbia. This book offers Kwakwaka'wakw perspectives on the film, and accounts of its production and subsequent circulation.

For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women¿s resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S¿eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks.Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women¿s artistic expressions on the Northwest Coast.