82
FIG. 12 (left):
Totem pole.
Tsimshian artist(s), Prince
Rupert, British Columbia,
Canada. C. 1880.
Red cedar, pigment. H: 495.3 cm.
Fine Arts Museums of San Francisco,
gift of Captain Gustave Niebaum
through the Alaska Commercial
Company, inv. 8947.
Image courtesy of the Fine Arts
Museums of San Francisco.
FIG. 13 (below):
Bear fi gure.
Haida artist, Haida Gwaii,
Canada. C. 1870.
Yellow cedar, pigment. L: 113 cm.
Gift of the Thomas W. Weisel Family
to the Fine Arts Museums of San
Francisco, inv. 2013.76.126.
Image courtesy of the Fine Arts
Museums of San Francisco.
that was tall and straight, with even grain and
minimal knots, which grew close enough to a
body of water in order to transport it back to the
carver.19 This bear was an expression of identity
and status and is a testament to the knowledge
and skill of its makers.
In Native Artists of Western North America,
ancient and historic pieces are displayed
with works by contemporary artists. Though
dependence on natural resources has changed
for some Native artists, many choose to continue
the practices of their ancestors, learning the
cultural protocols and responsibilities associated
with their art. The new display facilitates an
exploration of traditions and innovations, inspirations,
and aesthetics. Encompassing multiple
generations and representing diverse cultural
practices, the works on view celebrate the vision
of indigenous artists past and present.
This article includes information adapted from didactic
materials prepared with the assistance of our curatorial
consultants: Deana Dartt, Bruce Bernstein, Karen Kramer,
Chuna McIntire, Roslyn Tunis, and our FAMSF colleague, Jill
D’Alessandro, curator of Costumes and Textile Arts.
FIG. 14 (right):
Installation view of Native
Artists of Western North
America showing Northwest
Coast and Arctic displays.
Image courtesy of the Fine Arts
Museums of San Francisco.