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- Keyword
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- Northwest Coast (2)
- Alaska Native (1)
- Art (1)
- Art print (1)
- Heiltsuk (1)
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- Indigenous (1)
- Mask (1)
- Masks (1)
- Museum Culture (1)
- Native (1)
- Native American (1)
- Native American Art (1)
- Native American Display (1)
- Prints (1)
- Reproduction (1)
- Shawn Hunt (1)
- Shonibare; Empire; nationhood; institutional critiques; installation (1)
- Sonya Kelliher-Combs (1)
- Transformation mask (1)
Articles 1 - 4 of 4
Full-Text Articles in History of Art, Architecture, and Archaeology
Contemporary Alaska Native Identities: Creation And Curation By Sonya Kelliher-Combs, Tess Mccoy
Contemporary Alaska Native Identities: Creation And Curation By Sonya Kelliher-Combs, Tess Mccoy
Art & Art History ETDs
I focus on contemporary Alaska Native artist, Sonya Kelliher-Combs (Iñupiaq, Athbaskan, Irish, German), her works of art, exhibitions, and her curatorial practices to explain the presentation history of Native American people and how this affects present-day exhibitions. Through her work, I explore the importance of agency of Native people through identity, depictions of themselves, and their people in museum spaces. I examine the history of museum culture as the way in which indigenous agency is removed and reconstructed to fit the needs of interest groups. In contrast, Kelliher-Combs and other advocates attempt to intervene and interrogate the persistence of archaic …
Shawn Hunt's Transformation Mask: The Intersection Of Contemporary And Traditional Heiltsuk Art, Terese R. Lukey
Shawn Hunt's Transformation Mask: The Intersection Of Contemporary And Traditional Heiltsuk Art, Terese R. Lukey
Art & Art History ETDs
Shawn Hunt is an artist of Heiltsuk (Bella Bella), French, and Scottish Canadian ancestry who is at the forefront of contemporary Northwest Coast art in the Vancouver area. Historic artworks of his community have been often overlooked in scholarly literature due to the seeming willingness of the people to adapt to colonization. Viewed as a “tainted” culture, the Heiltsuk have been noticeably ignored in the art historical realm. However, their masks are some of the best examples of traditional regalia that are found in museums across Canada and the United States. Contemporary native artists of the Northwest Coast continue to …
Cultural Imprint: A History Of Northwest Coast Native And First Nations Prints, India Rael Young
Cultural Imprint: A History Of Northwest Coast Native And First Nations Prints, India Rael Young
Art & Art History ETDs
Cultural imPRINT provides the first substantive art historical investigation into Northwest Coast Indigenous prints. Since the 1960s, Northwest Coast artists have employed the print medium to share their histories, heritage, and culture amongst each other and with the larger world. Because print artists number in the hundreds, and print editions in the thousands, this dissertation takes a socio-cultural approach to understanding the purposes for the medium’s production and circulation. First, it analyzes the deep histories of reproduction in the North American art world and in Northwest Coast Indigenous communities, asserting that reproduction within coastal communities serves to perpetuate history from …
Yinka Shonibare Mbe's Critiques Of Empire And His Reception In Four Transnational Case Studies, Johanna Wild
Yinka Shonibare Mbe's Critiques Of Empire And His Reception In Four Transnational Case Studies, Johanna Wild
Art & Art History ETDs
In the wake of art history’s “global turn”, the installation art of Yinka Shonibare MBE has obtained vast visibility in the established centers of contemporary cultural practice in Europe and beyond. Shonibare is best known for his installations of mannequins that reenact canonized paintings and historical events culled from European modernity. Dressed in deceptively “African” Dutch Wax fabrics, Shonibare’s phenotypically ambiguous and headless mannequins ensnare audiences with a semblance of “exotic” difference, but ultimately resist the fixity of national, cultural, racial and, in some cases, gendered categorization through an incessant semiotic slippage. In his book, The Culture Game (2001), Olu …