Object of the Week: Canoe Breaker

I draw on the lessons of our ancestors. Our ancestors left an incredible legacy of art and, in order to honor them, it’s our responsibility to relearn that legacy, whether it’s through the art, whether it’s through the song, or through the dance. When people would travel to the mainland, there’s this incredible body of water that’s very treacherous, and a storm can come up and without warning. And so, before the people crossed the water, they prepared themselves on three levels…. They prepared themselves physically; they would actually practice paddling the canoe. And they would mentally prepare themselves, they would visualize their destination. And creativity is exactly the same thing, you visualize, you get an idea like that. And so, our challenge is to hold the idea and bring it to fruition. 

Robert Davidson

Robert Davidson is arguably one of the most versatile, creative, and visionary artists of our time. Born in 1946 in Masset village, Haida Gwaii, Davidson—countering the effects of colonialism—was able to tap the memories of his elders and help revive ancient Haida art styles, revitalizing the visual heritage of his people.

His story is nothing short of remarkable and has unfolded over 40 years through numerous artworks ranging from wood and metal to paper and canvas; original songs and dances of his Rainbow Creek Dancers; and in public exhibitions, publications, and awards. His masterful feel for cedar, from monumental totem poles to expressive masks, links him to generations of some of the most accomplished artists of all time, including his maternal relative, Charles Edenshaw (ca. 1839-1920).[1] The trajectory of his carving places him among the masters who pushed Haida art to a breathtaking sophistication and refinement.

As his engagement with Haida culture and art has grown and his artistic practice has matured, Davidson has crafted an individual and distinctive approach to abstraction that is grounded in tradition yet expressive of the experiences, intellect, and creativity of an artist in his own time. In the early 1980s, he began to paint largescale paintings in gouache, experimenting with color, composition, and figural abstraction. A decade later, while still engaged with carving projects, he incorporated acrylic painting into his practice, adopting a hard-edge technique that has precision and crispness but retains elasticity and movement. The subjects (he gives us clues in the titles) might refer to personal experiences, musings on Haida art, or legends drawn from the corpus of Haida oral traditions.

Haida Gwaii (formerly Queen Charlotte Islands) is an archipelago of two large and more than 150 small islands that lie sixty miles off the British Columbia mainland. Formed by glacial erosion, floods, tsunamis, and changing sea levels, this cluster of islands sits at the juncture of the Pacific and North American tectonic plates. Here the ocean drops precipitously from three hundred to three thousand feet, creating an environment rich in marine resources and marked by dramatic climatic events, including gale-force winds. In Canoe Breaker, Davidson introduces his audience to a powerful force and its ancient origins: Southeast Wind.

Southeast Wind has ten brothers or, in some accounts, nephews, who are manifestations of his powerful force. John Swanton, an ethnologist with the Bureau of American Ethnology from 1900-1944, recorded a story told to him by a Haida man named Abraham in the winter of 1900 about Master-Carpenter who went to war with Southeast Wind because he was sending too much rainy, stormy weather to the people. After four failed attempts to make a seaworthy canoe, Master-Carpenter succeeds and sets out on his mission. He seizes the matted hair (kelp) of Southeast Wind and pulls him into the canoe. The Wind sends the first of his nephews, Red Storm Cloud, who turns the sky red, followed by Taker off the Tree Tops who blows so hard that tree branches come down around Master-Carpenter in his canoe. Next, Pebble Rattler brings rolling waves that violently toss the rocks and Tidal Wave covers the canoe with water. Other brothers bring mist and melted ice. During all this wind activity, Master-Carpenter is putting medicine on himself that he has brought with him for the task, as Haida travelers and fisherman (since the beginning of time) are keenly observant of the weather—perhaps a metaphor for preparing for the unknown, as in performing a new song or creating an art work.

Southeast Wind is represented in this painting by an image of the killer whale, which becomes human when on land. A human-like nose and eye signal this transformative nature. The large ovoid is its head, and a black three-pointed shape defines the lower jaw. Black U-shapes with red ovals indicate the pectoral and dorsal fins, and the tail is shown at the very top. The entire image is dematerialized without being wholly abstract and shows how Davidson’s art practice moves effortlessly from figuration to abstraction.

– Barbara Brotherton, Curator of Native American Art


[1] See Charles Edenshaw work in SAM’s Collection: Platter, argillite carving: 91.1.127
Image: Canoe Breaker: Southeast Wind’s Brother, 2010, Robert Davidson, acrylic on canvas, 60 × 40 in., Gift of The MacRae Foundation, the Native Arts of the Americas and Oceania Council, and Ancient and Native American Art Acquisition Fund, 2013.35 © Robert Davidson

Flow with Keet Shagoon

Hear artist Preston Singletary talk about the imagery in his work and how he uses the medium of glass to reconnect and reinterpret traditional Tlingit art and culture.

In addition to being a visual artist, Preston Singletary is a musician and member of Khu.éex’, an Indigenous band. The band focuses on bringing awareness to social issues affecting Indigenous communities and keeping tribal culture and endangered ancient languages alive through music, storytelling, and art.

Listen to a Khu.éex’ song. As you listen, think about the story being told through the song and how this might be visually represented in Keet Shagoon.

Excerpt from”Khu.éex’: the Magic of Noise” by Heartstone Studios.

Watch this clip of Singletary describing how his glass art flows like music.

Singletary was inspired by YéilX’eenh (RavenScreen), which hangs in SAM’s galleries across from Keet Shagoon. YéilX’eenh (Raven Screen) is an interior house screen like those that can be found in the clan houses of the Tlingit tribal community. These screens separate the chief’s quarters from the rest of the clan house. The small hole in the middle of the screen acts as a portal that is used by the chief to make dramatic entrances when entertaining guests or at potlatches. The imagery on the screen depicts a family crest—in this case, it depicts Raven.

How are these artworks similar? How are they different?
How are the materials the artists use different?
What could these continuities and departures tell us?

Formline by Steve Brown, courtesy of Sealaska Heritage.

Both Keet Shagoon and YéilX’eenh use formline design, a stylistic approach that serves as the foundation for designs by artists from central British Columbia to southeast Alaska. Objects like animals or people are depicted with one continuous outline, called a form line, and then filled with different shapes that represent anatomical details like eyes, wings and fins, thus creating positive and negative space within the delineated object.

Formline designs are typically made up of four basic shapes. See how many you can identify in both the contemporary artwork and the traditional artwork the next time you visit SAM.

Images: Keet Shagoon (Killer Whale), 2003, Preston Singletary. Fused and sand carved glass, 72 x 92 x 3/8 in., Purchased in honor of John H. Hauberg with funds from the Mark Tobey Estate Fund, John and Joyce Price, the Native American Art Support Fund, Don W. Axworthy, Jeffrey and Susan Brotman, Marshall Hatch, C. Calvert Knudsen, Christine and Assen Nicolov, Charles and Gayle Pancerzewski, Sam and Gladys Rubinstein, SAM Docents, SAMS Supporters, Frederick and Susan Titcomb, and Virginia and Bagley Wright, 2003.12. © Preston Singletary. Yéil X’eenh (Raven Screen), ca. 1810, Native American, Kadyisdu.axch’, Tlingit, Kiks.adi clan. Spruce, paint, 105 3/4 x 129 in. Gift of John H. Hauberg, 79.98.

Object of the Week: Dream of the Language Wheel

Freedom of worship is one of the founding principles of American democracy. After all, the First Amendment forms our constitutional religious rights: it protects the free exercise and establishment of religion. In President Franklin D. Roosevelt’s 1940 State of the Union, delivered before the United States’ entry into World War II, he reminded the American people that the United States was committed to securing a future in which four essential human freedoms are upheld, the second of which is, in his words, the “freedom of every person to worship God in his own way—everywhere in the world.”

This is a powerful and important message, especially today. And while there are many works in SAM’s collection that give visual form to the freedom of worship, there are also a number of works that represent the opposite narrative: religious freedoms being taken away. For example, there are a number of objects in our Native American galleries whose value and function during potlatches tell a different story of persecution, as such ceremonies were banned by in 1885. Unfortunately, there are too many stories like this told through our material and visual culture. So, when thinking about freedom of worship, we must also ask who is free to worship.

In the piece pictured here, Dream of the Language Wheel, Guy Anderson offers up a unifying religious message. A member of the Northwest School, Anderson was a peer of Mark Tobey and Morris Graves and known for his abstract “mystic” paintings that incorporated motifs ranging from Zen Buddhism to Hinduism to Native American cosmologies, among others. Formally, the painting exhibits a degree of visual tension due to its divided canvas with dark and light elements. Embedded within the upper half are symbols from Northwest Coast groups—such as a fish and raven, whose treatments reference the iconic formline style of the Tlingit, Haida, and Tsimshian peoples. In the lower half, we see early Christian symbols similarly contained within an abstract field.

While this work could be interpreted through a lens of cultural appropriation, Anderson’s blending of spiritual practices and cultures other than his own evinces the artist’s freedom of worship, developing a unique brand of spirituality which manifested itself artistically. It is also no accident that Anderson brings together Native American and early Christian iconography, given the long and fraught history between Native communities and Christian colonizers; however, the title of the work—Dream of the Language Wheel—holds, I think, an important key to the work’s meaning. A tool used to help find and translate words among different languages, a language wheel is meant to make things synonymous—that is, forge similarities. Perhaps Anderson believed that art was that thing, like a language wheel, that could unite us rather than divide us, showing us how we are more similar in our religious beliefs than we are different.

– Elisabeth Smith, Collections Coordinator

Image: Dream of the Language Wheel, 1962, Guy Anderson, oil on canvas, 81 x 48 in., Gift of the Marshall and Helen Hatch Collection, in honor of the 75th Anniversary of the Seattle Art Museum, 2012.15.3 © Guy Anderson and Deryl Walls
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