Gwaii Haanas: Land Sea People
October 28, 2015 to March 27, 2016
Dancing the Legacy Pole. Photo: Jason Shafto
Gwaii Haanas: Land Sea People
tells stories of the only place in Canada protected from mountaintop to seafloor. Thirty years after the Haida took a stand at Lyell Island, this unique place exists as an unprecedented example of cooperative management, between the Haida Nation and the Government of Canada.
The exhibition has been developed with the knowledge that “Gina Waadluxaan K'ud Ad Kwaagiidang
” or everything is connected. It is presented by the Bill Reid Gallery of Northwest Coast Art in the spirit of collaborative partnership with: Parks Canada, the Haida Nation, the Haida Gwaii Museum at K
ay Llnagaay, HaiCo, Vancouver International Airport (YVR), Simon Fraser University and the City of Vancouver.
In the words, of exhibition Curator, Kwiaahwah Jones, “the extraordinary energy of Gwaii Haanas feeds the creative spirit, inspiring humanity from time immemorial to create ceremony and art that express the profound connection to this remarkable place.”
This ground-breaking exhibition brings together Haida and Canadian artists who create expressions that reflect the timeless wonder of Gwaii Haanas, which means “Islands of Beauty”. The exhibition reaches deeply into ancient history to tell of the supernatural origins of Haida Gwaii, and the Haida ancestors emerging from the ocean. The ceremonial button robes of the Haida elders, who were the first to be arrested at Lyell Island, represent the stewardship spirit of the Haida people. Films bring forward brilliant images and stories that tell of those who have travelled to Gwaii Haanas, connecting mountain top to seafloor. Paintings and photographs capture the vitality and essence of the landscapes and ancient Haida villages. Altogether, these multiple expressions create a feeling in the Bill Reid Gallery that exists nowhere else but in Gwaii Haanas.
Opening Reception Photos
The Great Box and The Final Exam
October 28, 2015 to March 27, 2016
Right: The Great Box (detail). Photo: Laura Peers. Left: The Final Exam (detail). Photo: Kenji Nagai
The Great Box
and The Final Exam
are replicas of ancestral bentwood boxes that have mentored Haida artists in classical formline design. Bill Reid copied a box he called The Final Exam from the Museum of Natural History in New York and Gwaai and Jaalen Edenshaw copied The Great Box from the Pitt Rivers Museum in Oxford England. These replicas are now teaching tools that enable knowledge to be passed on to the next generation of Haida artists.
The Box of Treasures: Gifts from the Supernatural
March 4 to October 18, 2015
Opening Celebration. Photo: Marina Dodis
A collection of sacred masks and regalia revealing beings from the forest, sea, and supernatural realm. Created for Kwakwaka'wakw Potlatches by artist and traditional Chief Beau Dick, Gigame Walis Gyiyam
(Gray whale) and other master carvers.
The Potlatch, an integral part of the oral culture was declared illegal in 1884 by the Indian Act and was banned until 1951. Participants in Potlatches during this time period could be arrested, convicted, and imprisoned for two to six months.
The resilience of the Potlatch speaks to its enduring cultural power. Today the Kwakwaka'wakw celebrate and practice their culture openly without fear of arrest, celebrating their timeless knowledge of what it means to be part of humanity, and the gifts and responsibilities that awareness creates. This exhibition honours the skilled carvers that continue to contribute to the Kwakwaka'wakw Potlatches today.
Godanxee'wat: Stone Ribs
March 4 to October 18, 2015
Gwaai Edensahw: Godanxee'wat: Stone Ribs, 2014. Photo: David Ball
January 12 to July 5, 2015, the Bill Reid Gallery will feature Godanxee'wat: Stone Ribs, created by Haida artist, Gwaai Edenshaw. This eight and a half foot pole, originally carved in Yellow-cedar, is an edition of seven bronze totem poles that were made in a multi-stage, labour intensive process. The final colour of the patina was chosen to reflect the famous polished black argillite carvings, exclusive to the Haida.
Edenshaw combines his understanding of Haida culture, Haida oral history and sculpture to interpret Godanxee'wat: Stone Ribs, a celebrated supernatural being and ancestor to the Haida people.
Godanxee'wat: Stone Ribs also has a contemporary story that has been an inspiring component to the world renowned Haida Gwaii Rediscovery Youth Program, which started in 1977. The Rediscovery program brings youth together to learn cultural knowledge, and connect with the land and sea. They participate in two week long camps, where they leave the trappings of electricity, and modernity behind and learn cultural knowledge, survival skills, respect for one another and the world around them. At the end of each session, one youth participant is awarded and ceremonially honored the title, Stone Ribs. Those who have earned it, carry the name with pride. It has come represent self-discovery, courage and selflessness. Rediscovery has since been adapted around the world, to connect youth to their own power and to the natural world around them.
Edenshaw brings together his personal experience with Haida Gwaii Rediscovery, Haida Oral History, and classical Haida carving expression to present this beautiful continuum of story telling through Godanxee'wat: Stone Ribs.
Gwaai Edenshaw's first mentor at the age of 16, was Bill Reid. His artistic career spanning 20 years plus, he has grown, and works in a variety of different media and with other senior artists and collaborators.
AKOS: Corey Bulpitt
June 5, 2014 to February 15, 2015
Corey Bulpitt: Eagle Pole, 2013.
AKOS presents the monumental works of spray can art by Haida artist, Corey Bulpitt. This solo exhibition is a remarkable, natural fusion between Hip Hop and Haida cultures.
AKOS is Corey Bulpitt's graffiti tag. Taakeet Gaaya, his Haida name, translates to "Gifted Carver". Both names reveal two art forms that have successfully come together through this exhibition. For over 20 years, Bulpitt has been developing his skills as an artist beginning as a graffiti artist in the 90's. At the age of 15, he immersed himself in DJing, MCing, breaking and graffiti, key elements of Hip Hop culture. At age 20, he returned to Haida Gwaii for a four-year apprenticeship under Haida master carver Christian White. His mentorship included the study of Haida social structure, clan structure, oral history, 2D art and 3D carving, ancestral music and dance.
Graffiti and Haida formline design share many of the same artistic values; continuous flow that expands and compresses, balance in design, colour, positive and negative; narrative, reflective of society and of social status. Selected works pay homage to the artistic design and skills of Haida ancestors. Others fuse together expressions of Haida and Hip Hop cultures, and reveal a vivid connection to formline and the freedom of graffiti.
In the words of Curator, Kwiaahwah Jones, " An artist requires a special talent to be able to first learn the rules, and then break them in the proper way. AKOS provides a creative meeting point for the past, present and future."
AKOS was made possible by the generous support of: Shop Wrong, HaiCo and East Van Moving.
Ts'msyen Transforming: Morgan Green
April 30 to September 14, 2014
Morgan Green: Goomsm Xsgyiik (Winter Eagle Necklace), 2011.
Morgan Green introduces breathtaking examples of hollow-form jewelry in her solo exhibition Ts'msyen Transforming. The exhibition reveals sophisticated works of art and personal adornment, in which Green honours the values, classical art and design of the Ts'mysen people, while using classic European gold smithing, bronze casting and fashion design techniques.
Green's work is deeply rooted in her ancestral heritage. She takes her role as a Ts'msyen artist very seriously, and transforms various materials into works of art that respect and communicate family crests and oral histories. She transforms raw materials from nature, ancient metals, precious stones, eagle claws, dentalia, shell buttons and fine fabric into high art that both share historical knowledge, and act as a social indicator of the wearer's status in society.
Works in this exhibition were developed, designed and constructed over several months, and in some cases, years. Green has benefited from formal mentorships with her father, Henry Green, Ts'msyen master carver; Rick Adkins, Haida master engraver; and Gerold Muller, a German goldsmith and principal of Vancouver Metal Arts School.
For her inspiration, Green draws on her experience growing up close to nature, exploring the flora and fauna, and fishing on the Skeena River and ocean. Eagles, ravens, killer whales, and other beings appear in her work.
In the words of Curator, Kwiaahwah Jones, "Ts'msyen Transforming is an important evolutionary step in the development of personal adornment for Northwest Coast Art. Morgan Green has successfully brought together the best of both Indigenous and European cultures to evolve into beautiful contemporary examples of what can happen when ideas and cultural knowledge work together."
RezErect: Native Erotica
September 25, 2013 to
February 16, 2014 Extended until April 20, 2014
Preston Singletary: Geoduck, 2012.
Courtesy of Preseton Singletary Inc. Photo: Russell Johnson
The Bill Reid Gallery presents RezErect: Native Erotica, a fresh, playful, provocative insight into sensuality and sexuality. The exhibition features works by 27 mid-career and internationally recognized First Nations artists from the Northwest Coast and central Canada.
Co-curated by Haida Artist Gwaai Edenshaw and Curator/Programmer, Kwiaahwah Jones, this exhibition celebrates that essential force, the reason we all exist today. A few of the participating artists include: Nicholas Galanin, Shawn Hunt, Michael Nicoll Yahgulanaas, Dionne Paul, Preston Singletary, Sanford Williams and Alida Kinnie Starr.
In the words of Gwaai Edenshaw, "There have always been those in our community who have shared a very different story, a complex and nuanced narrative. Sex figures prominently in aboriginal stories across the continent, as sexual humour, playful irreverence, spiritual reverence, place names, morality tales or other meanings lost in time. In my world, its a safe bet that the laughter coming from that group of grandmothers over there drinking tea is partly triggered by sexual innuendo. We hope to carry on that tradition here - sexy, intelligent, fun and provocative."
RezErect: Native Erotica is a powerful platform. Artists draw their inspiration from diverse sources: the natural world, language, oral histories, creation stories, ancient songs of love and heartbreak, dance, ceremony, traditional foods, working with wood and natural fibres. Works offer vivid glimpses of the artists identities, but do not necessarily reflect the opinions of everyone in their Nation.
"Artists share a passion for their culture, and strive to transform public opinion on the collective understanding of First Nations people and cultures," said Co-Curator, Kwiaahwah Jones. "The works will challenge you to look at sexuality. They might make you laugh, blush, cry or even leave you hungry."
A variety of programming is planned including: storytelling, a brown paper book club, a panel on the pornification of society, nude drawing classes and burlesque.
The exhibition runs from September 25, 2013 through February 16, 2014.
RezErect was made possible by the generous support of: City of Vancouver, British Columbia Arts Council and First Peoples Cultural Council.
March 5, 2014 to April 6, 2014
Meghann O'Brien: Sky Blanket, 2014. Digital Design: Andy Everson
Sky Blanket features the work of Haida-Kwakwaka'wakw-Irish textile artist, Meghann O'Brien.
Meghann explores the emergence of the human spirit face in Raven's Tail textiles, evoking memory and the importance of objects in constructing the past, present, and future. Inspired by her ancestors' works, ideas about gifts from the spirit world and lineage, and the mountainous landscape of sky and snow, she reveals the intimate experience of her inner and outer worlds.
Sky Blanket is curated by Dr. Martine Reid and sponsored by the Scriba Art Society.
Paint: The Painted Works of Lyle Wilson
March 27 to September 15, 2013
Lyle Wilson: Octopus, 1993. Collection of the artist. Photo: Jenn Walton
The first major exhibition of paintings by Haisla artist, Lyle Wilson is currently featured at the Bill Reid Gallery.
The exhibition, Paint: The Painted Works of Lyle Wilson was conceptualized by Maple Ridge Art Gallery curator, Barbara Duncan and reveals the impressive range of traditional and contemporary elements of Wilsons evolving artistic vision, while celebrating his accomplishments as a painter. Created over a period of 20 years, this collection of 58 works was curated to be enjoyed in its entirety, as well as to show pieces with remarkable detail in execution, and reflect narrative themes and personal stories.
Lyle Wilson was born and raised in the Haisla community of Kitamaat, British Columbia, and went on to study fine arts and education at both the University of BC and the Emily Carr College of Art and Design. He also undertook an intensive exploration of ancestral paintings while working at the Museum of Anthropology at UBC (MOA). The artists 20year association with MOA enabled him to reinforce his understanding and conclusion about the style of painting popularly known as formline.
"While historical Pacific Northwest Coast paintings on boxes, screens, and house fronts arouse much interest among experts and the public, modern works in this medium are largely ignored. Because I also work in wood and metal, I know that painting is as challenging as these other media. Yet the inventiveness and skill involved in painting in Northwest Coast styles is not widely recognized."
Lyle Wilson cited in Paint: The Painted Works of Lyle Wilson, page vii.
The exhibition catalogue, Paint, offers not only a comprehensive visual record of the exhibition, but some 30 essays by the artist that help to explain his paintings, and reflect his keen interest in the Haisla language. It is available at the Bill Reid Gallery Gift Shop.
The presentation of Paint in this Gallery would not have been possible without the generous support of the Deux Mille Foundation, The Mary and Gordon Christopher Family Foundation, Museum of Anthropology at the University of British Columbia, and The Listel Hotel.
We also gratefully acknowledge the support of the following organizations for their respective contributions to the creation of this exhibition and accompanying catalogue:
Maple Ridge Pitt Meadows Arts Council Canada Council for the Arts
The Haisla Nation Council (HNC) Michael OBrian Family Foundation
Audain Foundation for the Visual Arts
Carrying on "Irregardless": Humour in Contemporary Northwest Coast Art
September 12, 2012 - March 17, 2013
Beau Dick: Laughter Mask, 1973. Collection of Steve Loretta. Photo: William Neville
Carrying on "Irregardless": Humour in Contemporary Northwest Coast Art marks a new beginning in appreciating Northwest Coast indigenous humour through a rich and provocative range of works of 28 accomplished Northwest Coast artists.
"Irregardless" is co–curated by Tahltan artist, stand–up comedian and curator, Peter Morin, in collaboration with the Gallery's Director of Content and Research, Dr. Martine J. Reid, who proposed the original concept of the exhibition. Most of the 60 pieces in the exhibition were produced during the last 15 years and many have not previously been exhibited. They include a rich and provocative range of works—paintings, sculptures, drawings, masks, etchings, photographs, textiles, jewelry and video installations. Works in "Irregardless" were selected for their aesthetic qualities and their sense of fun and playfulness, the two main ingredients of humour.
Works in "Irregardless" use humour, irony, parody and satire to challenge stereotypes and raise unexpected questions. "This exhibition continues the Bill Reid Gallery's growing tradition of exploring new themes in contemporary Northwest Coast art." said Mike Robinson, Executive Director, Bill Reid Gallery.
A 120-page richly illustrated companion book will be on sale in the Gallery Gift Shop, September 12th.
Click here for more information on book.
The exhibition will run from September 12, 2012 through March 17, 2013 at the Bill Reid Gallery in Vancouver.
Along with the exhibition, the Bill Reid Gallery will present Laughing "Irregardless": Multimedia Aboriginal Humour, a celebration of humour's power to heal and unify. Curated and moderated by Aboriginal filmmaker, Loretta Todd, the series is part of the SFU Public Square events, and will run through March 2013 (See public programs for more info).
"Irregardless" was one of Bill Reid's favourite intentional misuses of a word, always with a mischievous twinkle in his eye to see if his listener "got it".
Journeying Into Form: The Mountain Goat Wool Project
June 13, 2012 - September 2, 2012
Woman Shaman's Eagle Spirit Pendant 2012. Collection: Courtesy of artist, Meghann OBrien. Photo: Talon Gillis
Following the groundbreaking exhibition Time Warp: Contemporary Textiles of the Northwest Coast mounted by the Bill Reid Gallery in 2010-11, we are pleased to introduce Kwakwakawakw-Haida textile artist Meghann OBrien and her first solo international exhibition: Journeying Into Form: The Mountain Goat Wool Project. Curated by the artist under the guidance of Martine Reid, Bill Reid Gallerys Director of Content and Research, Journeying Into Form documents the transformation of raw, unshorn mountain goat pelts with guard hairs into pure white cloud-like balls of drafted wool, which are then thigh-spun into weft yarn. This was a journey that has transformed Meghann and her work. She discovered the world of the mountain goat and the qualities of the animal and its wool, in her words "the essence of what the robes are made of." The exhibition will tour to France, where Meghann will participate in the International Festival of Extraordinary Textiles (FITE) in Clermont-Ferrand (Sept 12-16, 2012).
Meghann OBrien wishes to thank the Bill Reid Gallery, Canada Council for the Arts, Mr. and Mrs. Gary Follman, Scriba International Art Society, and several anonymous donors for their support of this travelling exhibition.
The exhibition ran from June 13 through September 2, 2012 at the Bill Reid Gallery in Vancouver.
That which makes us Haida - the Haida Language
March 29, 2012 - September 2, 2012
Left: Ils gidee, Primrose Adams. Centre: "Nanaay" by Tyson Brown. Right: Gandaa.uu.ngaay, Herb Jones. Photos: Farah Nosh
That which makes us Haida - the Haida Language documents the last remaining fluent speakers of the Haida language and explores the three remaining dialects found in Alaska, Old Massett and Skidegate through portraits taken by Vancouver-based Farah Nosh over the last eight years and interviews with the last fluent speakers in these communities. These men and women (the youngest is now 65 years old), who grew up with active, fluent speakers in their homes, are working hard to save this linguistic isolate from extinction by teaching in schools, creating a written orthography and orally documenting all the words they know. The elders tell deeply compelling stories of how the language has influenced their relationships to the land and sea.
A full-colour exhibition catalogue, with a foreward by renowned anthropologist Wade Davis, and a CD accompanies the exhibition (Haida Gwaii Museum Press).
Originated and presented by the Haida Gwaii Museum at Kay Llnagaay and seven years in the making, the exhibition is curated by Haida speakers Jusquan, Amanda Bedard and Jisgang, Nika Collison in collaboration with the language programs of Alaska and Haida Gwaii. It aims to inspire critical thinking around what a language is, what it means to a people, and why Haida people must keep their language alive.
Monthly public programming highlights include talks by: co-curators Jisgang, Nika Collison and Jusquan Amanda Bedard, as well as Severn Cullis-Suzuki, Kwakwakawakw linguist and artist Marianne Nicolson, and others.
The exhibition ran from March 29 through September 2, 2012 at the Bill Reid Gallery in Vancouver.
Haida Language App
Download Haida Language App
April 17, 2012 (Radio-Canada TV, Yolaine Mottet)
De Haida, des visages qui parlent
April 5, 2012 (WE Vancouver, Curtis Woloschuk)
That Which Makes Us Haida gives voice to an almost-lost language
April 4, 2012 (The Globe and Mail)
A visual guide to Haida oral history
April 4, 2012 (Lina Sin, The Province)
Link to Haida culture preserved through photo, audio exhibit at Bill Reid Art Gallery
April 2012 (The Beat, Ann Cameron)
That Which Makes Us Haida
March 31, 2012 (CBC, North by Northwest with Sheryl MacKay)
Sheryl MacKay interviews co-curators Jisgang, Nika Collison and Jusquan, Amanda Bedard
March 28, 2012 (Shaw TV, Studio 4 with Fanny Kiefer)
Fanny Kiefer interviews Jisgang, Nika Collison on Studio 4 Shaw TV
Bill Reid and the Haida Canoe
June 22, 2011 - Held Over until March 24, 2012
Lootaas (Wave Eater), 1993. Ink Drawing by Bill Reid
Bill Reid and the Haida Canoe conveys the pivotal role of the canoe in Northwest Coast art, cultures and communities. Bill Reid was in awe of the elegant traditional Northern-style sea-going canoe and
what it represents visually, symbolically, and culturally. To him, the canoe was more than a means of transportation; it was art. Reid, who called himself "a maker of things", was convinced that the
canoe played a generic role in the evolution of Northwest Coast art. In his words, "Western art starts with the figure West Coast Indian art starts with the canoe." Through vivid works of
renowned photographers Phil Hersee and Robert Semeniuk brought together for the first time, we experience the revival of canoe building and paddling along the coast and beyond.
Program Development:Kwiaahwah Jones
View Public Programs for this exhibition here
View Photos of the Opening Reception for this exhibition here
Revisiting the Silence
March 3, 2011 -
June 5, 2011 Extended until June 12, 2011
Cumshewa, Haida, Haida Gwaii, 1968. Photo: Adelaide de Menil
Revisiting the Silence follows the tradition of travelling to see the totem poles along the Northwest Coast, as reflected in the powerful black and white photos taken by New York photographer, Adelaide de Menil in the 1960s. Guest curator Peter Morin has selected haunting images from de Menils photographic collection that take us to the original locations of the totem poles. We see the last standing place for many of the older poles before their removal by museums or their return to the earth. Revisiting the Silence addresses the dilemma of collecting poles, and for some, the parallel dilemma of allowing the poles to go back to the earth. Come to the Bill Reid Gallery to experience these thought-provoking images and reflect on their cultural implications.
Exhibition ran June 22, 2011 through March 24, 2012.
Revisiting the Silence was curated by:
Peter Morin - guest curator, artist and teacher
View Photos of the Opening Reception for this exhibition here
Contemporary Textiles of the Northwest Coast
July 16, 2010 -
January 16, 2011 Extended until February 27, 2011
Dress by Lisa Telford: Pocha Haida, 2009. Photo by Kenji Nagai.
Time Warp: Contemporary Textiles of the Northwest Coast celebrates the textile and fibre art of 20 emerging, mid-career and internationally recognized Aboriginal artists fromAlaska, Yukon, BC, and Washington State.
Time Warp challenges the stereotype of weaving as “women’s work”, implying “purely decorative” and “meaningless”, and conveys the pivotal role of textiles in contemporary Northwest Coast artistic practice. Co-curated by Dr. Martine Reid, consulting curator, Bill Reid Gallery and Haida Artist and Master Weaver, Evelyn Vanderhoop, the exhibition features works by: Tracy Auchter, Carrie Anne Vanderhoop Bellis, Delores Churchill, Janice Criswell, Sherri Dick, Lisa Hageman, Lani Hotch, Lily Hudson, Shelly Laws, Victoria Moody, Marie Oldfield, Susan Pavel, Clarissa Rizal, Isabel Rorick, Ann Smith, Debra Sparrow, Robyn Sparrow, Lisa Telford, Evelyn Vanderhoop, William White.
Northwest Coast textiles are fundamental to cultural exchange and ceremony. Therefore, the works are displayed on custom-made body forms to show how the pieces were designed to be worn and experienced. Highlights include: Coast Salish weaving, Raven's Tail and Naaxiin style (Chilkat) robes, tunics and capes, as well as cedar bark and spruce root clothing and accessories.
“The art of producing woven textiles and garments is as necessary to the Northwest Coast civilization as that of the wood carver or canoe maker,” explains co-curator Dr. Martine Reid, who originated the exhibition. “Drummers, dancers and leaders clothed in the products of the weavers’ hands boldly pronounce our stories,”said co-curator, Evelyn Vanderhoop. “Textiles are again taking their place in the ever-changing matrix of our evolving culture.”
View photos from the Opening Reception on July 15, 2010
View photos from the Closing Reception on February 26, 2011
Article by the US Consulate General
US Consulate brings Alaska artists to Vancouver for First Nations weaving revival exhibit
A 72 page colour catalogue accompanies the exhibition and can be purchased from the Gallery Gift Shop - SOLD OUT
Time Warp was made possible by the generous support of: Canada Council for the Arts, BC Arts Council, City of Vancouver, The Hamber Foundation, 2010 Legacies Now, The Vancouver Foundation, Face the World Foundation, US Consulate General, Vancouver and Scriba International Art Society.
A Tale of Two Artists
Prints by John Brent Bennett and Bill Reid
April 9, 2010 - July 11, 2010
John Brent Bennett and Bill Reid never met, yet their lives and experiences have some interesting parallels. This tale of an acknowledged master and a blossoming talent shows how new aesthetic forms develop when the past is seen through the lens of the present.
Shawn Hunt: Trickster, 2009. Photo by Kenji Nagai.
Continuum: Vision and Creativity on the Northwest Coast
June 20, 2009 -
January 31, 2010 Extended until March 28, 2010
Continuum: Vision and Creativity on the Northwest Coast is an exhibition of commissioned artwork from 23 emerging and mid-career artists from as far north as Sitka, Alaska, along the coast of British Columbia from Masset, Bella Bella, Sechelt, Victoria, and Vancouver, and south to Washington State.
The artists in the exhibition are: Sonny Assu, John Brent Bennett, Hollie Bartlett, Kelly Cannell, Mike Dangeli, Nicholas Galanin, Philip Gray, Dean Hunt, Shawn Hunt, Aaron Nelson-Moody, Marianne Nicolson, Corey Moraes, Shaun Peterson, Krista Point, Ian Reid, Teri Rofkar, Tanis S’eiltin, Moy Sutherland, Jay Simeon, Carrie Ann Vanderhoop, Dan Wallace, William Wasden Jr., and Michael Nicoll Yahgulanaas.
The artworks incorporate a wide range of mediums: printmaking, sculpture, painting, drawing, photography, jewelry, textiles, carving and an installation.
The exhibition sets out to reach new audiences, and to explore and shift current dialogue addressing Aboriginal art on the Northwest Coast by informing both connections and separations between traditional and contemporary practices, as defined through medium, style, design and market demand, among other areas.
The exhibition is accompanied by unique pre-exhibition programming that positions artists within each of their specific sense of place or community to further questions addressing traditional and contemporary elements of practice. Artist in residencies and forums are taking place with three dialogue partners: the 'Ksan Museum in Hazelton, the Haida Gwaii Museum in Skidegate, and the U'mista Cultural Centre in Alert Bay.
A fully illustrated colour catalogue will accompany the exhibition.
Continuum: Vision and Creativity on the Northwest Coast is generously supported by Arts Partners in Creative Development.
Bill Reid: Master of Haida Art
May 8, 2008 - May 31, 2009
Embark on a journey into the mystery of Haida art as experienced by the renowned artist Bill Reid, and be transported by his art, stories and film.