Indian art/Aboriginal title ...
In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven: Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The following thesis discusses the way in which the curators of the Arts of the Raven exhibit constructed the Northwest Coast “Indian-Mas...
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ftdatacite:10.14288/1.0087525 2024-04-28T08:19:07+00:00 Indian art/Aboriginal title ... Crosby, Marcia Violet 2009 https://dx.doi.org/10.14288/1.0087525 https://doi.library.ubc.ca/10.14288/1.0087525 en eng University of British Columbia article-journal Text ScholarlyArticle 2009 ftdatacite https://doi.org/10.14288/1.0087525 2024-04-02T09:40:05Z In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven: Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The following thesis discusses the way in which the curators of the Arts of the Raven exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that figured into a larger, shifting cultural field. The intention of the exhibit organizers was to contribute to the shift from ethnology to art. While this shift can be dated to the turn of the century, this thesis deals primarily with the period from 1958-1967, a decade described by the preeminent First Nations’ political leader, George Manuel, as the time of “the rediscovery of the Indian”. How the formation of an Indian-master artist (and his masterworks) intervened in art historical practice, and dovetailed with the meaning that the affix “Indian” carried in the public sphere, is considered. In the 1960s, this meaning was fostered, in part, through a reassessment of Canada’s history ... Text First Nations DataCite Metadata Store (German National Library of Science and Technology) |
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DataCite Metadata Store (German National Library of Science and Technology) |
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English |
description |
In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven: Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The following thesis discusses the way in which the curators of the Arts of the Raven exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that figured into a larger, shifting cultural field. The intention of the exhibit organizers was to contribute to the shift from ethnology to art. While this shift can be dated to the turn of the century, this thesis deals primarily with the period from 1958-1967, a decade described by the preeminent First Nations’ political leader, George Manuel, as the time of “the rediscovery of the Indian”. How the formation of an Indian-master artist (and his masterworks) intervened in art historical practice, and dovetailed with the meaning that the affix “Indian” carried in the public sphere, is considered. In the 1960s, this meaning was fostered, in part, through a reassessment of Canada’s history ... |
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Text |
author |
Crosby, Marcia Violet |
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Crosby, Marcia Violet Indian art/Aboriginal title ... |
author_facet |
Crosby, Marcia Violet |
author_sort |
Crosby, Marcia Violet |
title |
Indian art/Aboriginal title ... |
title_short |
Indian art/Aboriginal title ... |
title_full |
Indian art/Aboriginal title ... |
title_fullStr |
Indian art/Aboriginal title ... |
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Indian art/Aboriginal title ... |
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indian art/aboriginal title ... |
publisher |
University of British Columbia |
publishDate |
2009 |
url |
https://dx.doi.org/10.14288/1.0087525 https://doi.library.ubc.ca/10.14288/1.0087525 |
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First Nations |
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First Nations |
op_doi |
https://doi.org/10.14288/1.0087525 |
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