Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr
There is an inherent duality in Emily Cair’s artistic project of recording and commemorating Northwest Coast Native villages and totem poles. Her images fell within a racist paradigm that grounded a modern Canadian national art in the assimilation of the style and motifs of aboriginal art. They were...
Published in: | Journal of Canadian Studies |
---|---|
Main Author: | |
Format: | Article in Journal/Newspaper |
Language: | English |
Published: |
University of Toronto Press Inc. (UTPress)
1998
|
Subjects: | |
Online Access: | http://dx.doi.org/10.3138/jcs.33.2.43 https://utpjournals.press/doi/pdf/10.3138/jcs.33.2.43 |
id |
crunivtoronpr:10.3138/jcs.33.2.43 |
---|---|
record_format |
openpolar |
spelling |
crunivtoronpr:10.3138/jcs.33.2.43 2023-12-31T10:06:56+01:00 Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr Moray, Gerta 1998 http://dx.doi.org/10.3138/jcs.33.2.43 https://utpjournals.press/doi/pdf/10.3138/jcs.33.2.43 en eng University of Toronto Press Inc. (UTPress) Journal of Canadian Studies volume 33, issue 2, page 43-65 ISSN 0021-9495 1911-0251 History Cultural Studies journal-article 1998 crunivtoronpr https://doi.org/10.3138/jcs.33.2.43 2023-12-01T08:17:58Z There is an inherent duality in Emily Cair’s artistic project of recording and commemorating Northwest Coast Native villages and totem poles. Her images fell within a racist paradigm that grounded a modern Canadian national art in the assimilation of the style and motifs of aboriginal art. They were seen as a complement to the Group of Seven’s “wilderness” images, which erased the living aboriginal presence from the landscape. On the other hand, Carr’s writings and paintings show her strong and persistent sympathy and admiration for Native peoples and their culture, and her attempts to counteract the negative racial stereotypes and to criticize the injustices of her day. The article focusses on Carr’s confrontations of Native cultural change, for example in her images of Skidegate and Haida Gwaii, and argues that her work has continuing relevance as a statement of respect for First Nations’ traditions and endurance. Article in Journal/Newspaper First Nations University of Toronto Press (U Toronto Press - via Crossref) Journal of Canadian Studies 33 2 43 65 |
institution |
Open Polar |
collection |
University of Toronto Press (U Toronto Press - via Crossref) |
op_collection_id |
crunivtoronpr |
language |
English |
topic |
History Cultural Studies |
spellingShingle |
History Cultural Studies Moray, Gerta Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
topic_facet |
History Cultural Studies |
description |
There is an inherent duality in Emily Cair’s artistic project of recording and commemorating Northwest Coast Native villages and totem poles. Her images fell within a racist paradigm that grounded a modern Canadian national art in the assimilation of the style and motifs of aboriginal art. They were seen as a complement to the Group of Seven’s “wilderness” images, which erased the living aboriginal presence from the landscape. On the other hand, Carr’s writings and paintings show her strong and persistent sympathy and admiration for Native peoples and their culture, and her attempts to counteract the negative racial stereotypes and to criticize the injustices of her day. The article focusses on Carr’s confrontations of Native cultural change, for example in her images of Skidegate and Haida Gwaii, and argues that her work has continuing relevance as a statement of respect for First Nations’ traditions and endurance. |
format |
Article in Journal/Newspaper |
author |
Moray, Gerta |
author_facet |
Moray, Gerta |
author_sort |
Moray, Gerta |
title |
Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
title_short |
Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
title_full |
Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
title_fullStr |
Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
title_full_unstemmed |
Wilderness, Modernity and Aboriginality in the Paintings of Emily Carr |
title_sort |
wilderness, modernity and aboriginality in the paintings of emily carr |
publisher |
University of Toronto Press Inc. (UTPress) |
publishDate |
1998 |
url |
http://dx.doi.org/10.3138/jcs.33.2.43 https://utpjournals.press/doi/pdf/10.3138/jcs.33.2.43 |
genre |
First Nations |
genre_facet |
First Nations |
op_source |
Journal of Canadian Studies volume 33, issue 2, page 43-65 ISSN 0021-9495 1911-0251 |
op_doi |
https://doi.org/10.3138/jcs.33.2.43 |
container_title |
Journal of Canadian Studies |
container_volume |
33 |
container_issue |
2 |
container_start_page |
43 |
op_container_end_page |
65 |
_version_ |
1786839136871645184 |