Northwest Coast of North America, Art as Reflected in Wet Sites (original) (raw)
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Native art of the Northwest Coast: a history of changing ideas
Choice Reviews Online, 2014
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Art of the Northwest Coast (Jonaitis)
Museum Anthropology Review, 2008
Art of the Northwest Coast provides a much-needed compendium on the Native art traditions of this area and fills a long-standing lacuna in the literature. Aldona Jonaitis, a distinguished scholar of Northwest Coast art, takes on the challenge of summarizing the breadth and significance of this well-known and valued art style, while grounding her conclusions in rich historical and ethnographic detail. Teachers of Native American art will be pleased to assign this engaging and portable textbook, which cogently organizes the extensive history of this complicated topic into digestible portions that are both descriptive and critical. The book is enriched by 63 black and white and 89 full color illustrations with lengthy captions that provide informed contextualization. For the student, a useful bibliographic essay reviews and categorizes the pertinent literature. The text is divided into nine chapters that trace: 1) the prehistoric archaeological record, 2) the effects of European and American explorers and maritime and land fur-traders on Native art production, 3-5) 19th century art traditions in the south, central, and north regions of the coast, 6) the history of colonization, missionization, and Euro-Canadian and American settlement, 7) non-Native awareness of Northwest Coast art through tourism, photography, film, museum collecting and world's fairs, 8) the persistence of art traditions from 1900-1960, and 9) contemporary postcanonic art and identity politics including repatriation, collaboration with museums, and reflective changes in Native Northwest Coast art scholarship.
Northwest Coast Native American Art: The Relationship between Museums, Native Americans and Artists
2016
OF THESIS Northwest Coast Native American Art: The Relationship between Museums, Native Americans and Artists Museums today have many responsibilities, including protecting and understanding objects in their care. Many also have relationships with groups of people whose items or artworks are housed within their institutions. This paper explores the relationship between museums and Northwest Coast Native Americans and their artists. Participating museums include those in and out of the Northwest Coast region, such as the Museum of Anthropology at the University of British Columbia, the Burke Museum, the Royal British Columbia Museum, the American Museum of Natural History and the Smithsonian Museum. Museum professionals who conducted research for some of these museums included Franz Boas, James Swan, and Frederick Ward Putnum, and they worked with Natives and artists like Charles Edenshaw who influenced later artists including Bill Holm, Bill Reid, Mungo Martin, Willie Seaweed, Rober...
Wet Sites in the Pacific Northwest By Richard Daugherty and Dale Croes
Pacific Northwest Wet Site Wood Conservation Conference, Sept. 19-22, 1976, Neah Bay, WA, 1976
I'm going to talk to you about archaeology and the wet sites in the Northwest, in part as a familiarization lecture, but also to indicate the state of the art in this area. It would be very pleasing to be able to tell you that all the things that have transpired out at Ozette were planned that way from the beginning. Actually, nothing could be further from the truth. We began the Ozette excavation not understanding that there were buried houses at the site. You have to realize, those of you who are here from other countries, that we haven't been as fortunate as has been the situation in Europe where you have bog sites and wet sites of one type or another, and years of experience behind you. We hadn't found anything like this before. When we began our excavation at Ozette in 1966 and 167, we began to pick up, particularly in 1967, some basket fragments and wooden wedges in a very moist area of the site. It was in the summer of 1967 that the first of the buried houses was discovered and, I might add, quite by accident. At a depth of about three meters we encountered the first of these houses but we weren't able to do anything about it at the time. While we were working at Ozette in 1967, another site was brought to our attention by the manager of the local Crown Zellerbach division. This site is located on the Hoko River. He reported that he was finding baskets and other objects washing out from an area of very firm blue clay that was now being exposed at low tide. I'm sure many of you have excavated in this difficult material. If you use shovels, you can't get it off the shovel. The manager of Crown Zellerbach provided us with fire pumps and we began washing away at these deposits. Not only did we expose some very interesting material but also we learned something about the use of water. When the buried house at Ozette was discovered later, as Ed mentioned, the problem was how were we going to remove the covering of sterile slide material. We thought of dismantling heavy equipment, having it flown in and reassembling it on the beach. The problem then was where were we going to pile the sterile overburden. This and concern for the preservation of the very fragile artifacts caused us to decide, based on our experience at Hoko River, to import pumps and to see how successful it would be to simply wash away the covering deposits. In the process of using this technique, we have learned not only that this is a very successful technique for the preservation of artifacts, but also that it is a very excellent technique for doing general excavation. In a shell midden site, the buried surfaces that you're looking for, layer upon layer of them, are almost impossible to define using trowels and shovels. Use of these tools obscures the delicate stratigraphic boundaries that water, a very sensitive tool, can expose for you. Now we not only use water for reasons of preservation but also because it is the best way to excavate a midden site. Now I'm going to show you some slides of Ozette; in part as a preparation for your trip to the site; in part to show you some of the excavation problems we encountered; and in part to illustrate the relationship that has developed between conservators and archaeologists. I'm going to show you a few slides also of some other sites in the Northwest. Unfortunately, I do not have slides of all the other sites. There are several other vary interesting sites, but this will give you an idea of the kinds of materials that are being recovered on the Northwest coast. If I could have the lights, we will proceed. (Slide show begins).
RACAR : Revue d'art canadienne, 2014
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The Oxford Handook of Wetland Archaeology, edited by Francesco Menotti and Aidan O'Sullivan, 2013
Waterlogged archaeological sites (wet sites) have proven to be both numerous and from the earliest time periods on the Northwest Coast of North America. Only since the mid-1900s have they been explored and reported, and early in that process Native Peoples have taken the role of supporting and co-managing fieldwork at these well-preserved wetland sites. Wood and fibre artefacts provide up to 90 per cent of the recovered materials, representing the rich heritage reported from earliest ethnographic contacts along the coast. The recovered woodworking, basketry, fishing/hunting equipment and plant foods are important to ongoing Native traditions, and Native communities have often taken the initiative to make sure wet sites materials are properly recovered, preserved, documented, exhibited and protected for the future. This history and the case studies are presented for Alaska, Washington and Oregon States, United States of America (U.S.A.) and British Columbia, Canada.