#randecook

           Indigenous Northwest coast art traditions have a long history. In the late 18th century explorers began to come to the Northwest coast in search of land and the Northwest Passage to India. Upon their arrival, they tried to learn the culture of the people through trade. In many cases indigenous groups like the Coast Salish people traded their most prized possessions, possessions they were proud of, and these were of course their artworks. Once Europeans began to settle on the Northwest coast, indigenous art traditions were repressed. Art historians of the time began to collect “authentic” works (works created before contact) in an attempt to document these “pre-literate” societies and study them scientifically to see the various stages of evolution within the society (capitalist societies being the pinnacle of achievement). First Nations land was stolen, and eventually residential schools were created in hopes to repress Indigenous traditions to the extent that they would be non-existent. This had drastic affects on generations of First Nations people and their relationship with their culture and art traditions.

             As an Arts of Canada student, I have studied a lot of Indigenous Northwest Coast art, especially traditional. Upon hearing about the Urban Thunderbirds/ Ravens In a Material World Exhibition at the Art Gallery of Greater Victoria (AGGV), I was ecstatic to have the opportunity to see it. This exhibition shows the reality of the Northwest Coast First Nations living in urban centres and what that experience is like with their cultural background coming through in their artwork. The exhibit contrasts between the traditional and modern art techniques as well, as the dual cultural existence of modern day native artists and the ways in which their art assists them to navigate both traditional responsibility and contemporary tradition. The works also touch on the harsh histories of First Nation people and follows the Truth and Reconciliation Commission of Canada's public recognition and reconciliation of the prejudice bestowed by Residential Schools. Preserving their history and tradition, as well as adding their own artistic style, this exhibition shows the world the power of art to make a statement; our culture is alive and well!

Urban Thunderbirds

            When entering the exhibition beautiful large canvas works welcomed me. Coast Salish artists lessLIE, originally from Duncan, and Dylan Thomas, from Victoria use their work to transmit themes and symbols of intimate personal narratives and mainstream issues. One of the first works is lesLIE’s “Idle No More” which directly correlates with the Idle No More movement that began earlier this year to fight for the rights of Indigenous peoples. It was interesting to learn that lesLIE has also started an initiative with AGGV where this particular work will be reproduced and place in bus shelters around Victoria to get his message across even further. One piece I was surprised to see in the exhibit was the Starbucks logo, but upon closer examination lesLIE’s “conunDRUM” creates this icon using Coast Salish style salmon heads, trigons, and crescents. I really like how these artists incorporate the tradition of the spindle whorl (which was originally a wooden carving used to spin wool for weaving and knitting) using new media i.e. acrylic on canvas. Like traditional whorls, lesLIE’s and Thomas’ whorls have sophisticated and powerful designs. They both use captivating colours, usually bright, but other times more subtle. These works definitely incorporate the theme of mixing traditional with contemporary, and somewhat blur the boundary between the two.

Ravens in a Material World 

            Walking from the room designated for Urban Thunderbirds, the tone definitely shifted entering Ravens in a Material World. Filled with the amazing works of Kwakwaka’wakw artists Rande Cook and Francis Dick, the theme of traditional and contemporary is continued, but the subject matter seems to be much more deliberate at narrating personal experience and mainstream issues in comparison with the more subtle abstract pieces from Urban Thunderbirds. These works question the urban consumerist and commercial societies of today. In Rande Cook’s work “Ravenous” he uses traditional symbols and devices, such as the raven and the use of presences within presences. He seems to contrast between the wealthy and the poor as we see a traditional wolf head placed on a businessman’s body, staring at a homeless and alcohol consuming Mickey Mouse. The model-esque woman in the middle again shows the tradition of using humanoid figures and animals together as she is both wearing and holding raven images. Cook pokes fun at the modern day consumer as we again see the Starbucks icon ironically in place, with other advertisements to support this idea (poster, model, Disney symbols). Like lesLIE Cook also has a work titled “Idle No More” where traditional animal symbols are again connected to the human. Four figures weigh out the options in front of a small Prime Minister Harper looking man. Cook shows the use of new and mixed media as he also exhibits photography and woodcarving. Francis Dick also had very elaborate paintings using acrylic on canvas. Many of her works focus on personal experiences and historical narratives. For three of her works, headphones were available where either music or radio interviews were being played which added a lot to each individual work as a whole.

Conclusion

            This exhibit was very well done. It was able to convey a strong message through the works, and the presentation only added to that. The Art Gallery of Greater Victoria was very accommodating, especially for someone on a student budget.

            One thing I found interesting was the placement of another exhibit directly beside Urban Thunderbirds/Ravens in a Material World, called Crossing Channels. This exhibit is this seasons LAB gallery program focusing on media art from across the Province. They feature a different artist every month, and when I went Chris Bose’s “Savage/Heathen” was playing. This ten minute short film contrasts life of First Nations people before, during and after Residential Schools. The film definitely added to the messages and context of the Urban Thunderbirds/Raven in a Material World exhibit.

            Although the exhibit was very well done, there were a few things that could have been changed. In the Urban Thunderbirds portion each work was lit with a spotlight. At times this really made some of the subtleties noticeable, but other times the light was too low to notice some details of the works.

            On a few of Dylan Thomas’ works I noticed thick pencil lines he had tried to paint between. He unsuccessfully covered or erased these lines, which for me, took away from the works.

            One other thing to note is the interactive portion of the exhibit where you are invited to create spindle whorl like designs using various blocks and patterns. I really enjoyed this portion as it helped me better understand the complexity of the works.

            Overall I thoroughly enjoyed this exhibit and encourage others to see it!

-Emma