130:, a book documenting the pair's discussions about more than one hundred Northwest Coast art objects. The renewal of Haida art is part of a wider cultural and political awakening among First Nations. It also saw an increasing demand for the return of art objects (known as Repatriation) that were illegally or immorally taken from First Nations communities. This demand continues to the present day. Today, numerous art schools teach formal Northwest Coast art of various styles, and there is a growing market for new art in this style.
20:
65:, the "formline is the primary design element on which Northwest Coast art depends, and by the turn of the 20th century, its use spread to the southern regions as well. It is the positive delineating force of the painting, relief and engraving. Formlines are continuous, flowing, curvilinear lines that turn, swell and diminish in a prescribed manner. They are used for figure outlines, internal design elements, and abstract compositions."
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126:, a grandson of Charles Gladstone, and others. Reid developed his understanding of Haida formline by studying ethnographic museum collections, and by making sculptures and serigraphs. In 1975, American anthropologist Edmund “Ted” Carpenter invited Reid and Holm to co-author
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objects from the region to museums and private collectors globally. Some of this export was accompanied by financial compensation to people who had a right to sell the art, and some was not.
92:, Canadian colonial cultural suppression, and the confiscation or destruction of traditional art and artifacts of ritual and governance. The production of their art dropped drastically.
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In the early 20th century few First
Nations artists in the Northwest Coast region produced art. A tenuous link to older traditions remained in artists such as Charles Gladstone (
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After
European contact in the late 18th century, the peoples who produced Northwest Coast art suffered huge population losses due to diseases such as
339:
McLennan, Bill and Karen Duffek. "The
Transforming Image: Painted Arts of Northwest Coast First Nations." University of British Columbia. 2000.
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160:""Haida Art - Mapping an Ancient Language", musee-mccord.qc.ca. Retrieved Nov. 22, 2011"
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of North
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Professional Native Indian
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Form and
Freedom: A Dialogue on Northwest Coast Indian Art
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26:(Raven Screen) (detail). Attributed to Ḵaajisdu.áx̱ch,
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Bill Holm Center for the Study of
Northwest Coast Art
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Shadow House: Interpretations of
Northwest Coast Art
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329:. University of Washington Press: Seattle, 1965.
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322:Vancouver: University of British Columbia, 1967.
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274:. Toronto: Art Canada Institute.
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57:. Coined by
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35:Formline art
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547:Regina Five
485:Collectives
24:Yéil X̱ʼéen
747:Categories
573:Plasticien
451:Intermedia
226:August 19,
195:2011-11-22
170:2011-11-22
146:References
656:Parachute
556:Movements
124:Bill Reid
59:Bill Holm
663:Vanguard
134:See also
112:Heiltsuk
86:smallpox
673:Related
359:at the
69:History
55:S forms
51:U forms
41:of the
28:Tlingit
587:Styles
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114:) and
47:ovoids
613:Media
476:Vtape
108:Haida
649:Fuse
341:ISBN
331:ISBN
300:ISBN
276:ISBN
249:ISBN
228:2019
53:and
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118:(
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