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Meghan Frisch, Jahan Hashemi, Annika Knapp, Dana Reid Professor Tim Billo Honors 392 A 5 June 2017 Coast Salish Art: an Analysis of Misrepresentation

The Coast Salish people extend from approximately the northern tip of Vancouver Island to where the Columbia River meets the ocean. The title “Coast Salish” references commonality in language, but does not necessarily identify the people being referenced as they would identify themselves. There are many distinct tribes, and therefore, traditions, of the people under this title. In the Seattle area, appropriation of Alaskan tribal art has caused misconception of the distinct identity of local indigenous people. In this project, we address this issue by examining traditional Coast Salish and Alaskan Art, investigating histories of misrepresentation, and considering contemporary Coast Salish art. We believe that Coast Salish art has been widely misrepresented historically and continues to be misrepresented today.

Traditional Coast Salish Art The Coast Salish people believe that everything coming from the earth has a spirit. The cedar trees surrounding them, the shells on the beach, the food they eat — everything is a living, breathing element that makes up the world: a living entity for all. Traditional Coast Salish art places an additional spirit within the object to help its functionality. Traditional carvings and paintings can be found on tools, canoes, baskets and house posts. These artistic methods also play an integral part in the creation of objects used in spiritual ceremonies. Much of the artwork

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that is open to public viewing alludes to either tribal or family stories, or creates spiritual statements for the user to draw from (Fernandes). Although only a brief overview, the following pages will serve to help individuals understand the style, mediums, and traditional purposes of Coast Salish art. Native artwork along the Northern Pacific Coast — excluding Coast Salish regions — traditionally fit shapes into a given surface area, similar to fitting puzzle pieces together. This form of artwork has commonly been misinterpreted as Coast Salish. Coast Salish art does the opposite: it starts with a shape, and removes pieces to “...reveal the positive form of the animal, human, or supernatural beings on the flat surface of the material” (Wright, “Coast Salish Art Style & Meaning.”); it focuses on the negative space. The shapes used to create these negativespace forms are circles, crescents, and trigons.

ABOVE: From left to right: crescent, trigon, crescent, circle. Source: Burke Museum BELOW: “Animal head the Coast Salish design drawings by Shawn Peterson.” (Blanchard 13)

“The negative or carved-out design elements in Coast Salish style can be used to define

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various physical parts of creatures, such as eyes, nostrils, etc. [see above]. Crescents and trigons in particular are employed to define the connections or boundaries between parts, what could be called the ‘points of transition.’ Examples of such use include the placement of a trigon at the base of an ear [see above] or at the wrist joint at the base of a hand or foot [see spindle whorl below]. A crescent or trigon also commonly appears at the back of a mouth slit, demarcating the line between a bird’s beak and the edge of its feathered skin, or to imitate the fold of skin where a human’s or animal’s mouth meets the bulge of its cheek [see spindle whorl below]. Crescents and trigons are also used to build lines or rows of rhythmic, repeating elements that are used to create patterns of movement, lending a sense of detail and dynamic flow to the interior of a composition [see spindle whorl below]” (Blanchard 13).

The majority of Coast Salish art is created through the medium of cedar wood. Cedar wood is especially spiritual among the Coast Salish people, as it provides life to the people through material for houses, canoes, baskets, etc. After the use of cedar wood objects, its spirit would be returned to earth to continue its life. The act of returning a spirit to earth is especially significant with Spirit Art. Carved in cedar wood, Spirit Art is used in spiritual ceremonies by the Coast Salish people. Small in stature, the carvings represent significant spiritual power (Fernandes). After these ceremonies, the carvings would be destroyed through their return to earth. These carvings are not meant for the ABOVE: “Shaman’s Board, artist unknown. Courtesy of American Museum of Natural History Library 16.6946. Photograph by Chesekl Beckett.” (Blanchard 26)

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public eye, and are extremely important to the Coast Salish culture, highlighting the difficulty and insincerity of acquiring such objects. For similar reasons, there is not much information on such spirit figures. The image above is of a house post, but depicts a spirit figure which is a commonly portrayed on spirit figures used for spiritual ceremonies (Fernandes). ❖ A common theme within Coast Salish art is the mirroring of shapes across the artistic surface. One form, where this theme is most recognizable when implemented, is the spindle whorl. The spindle whorl is a tool which spins wool into yarn. The carvings on the whorl insert a spirit into the object, as well as make a statement to the user. In turn, the whorl delivers power to the user, as well as those who wear the garments made with the tool ("Historical Coast Salish Art.").

“Spindle whorl with human and flanking birds, nineteenth century, Halkomelem. 9 inches diameter. Courtesy Burke Museum. © A. de Menil, New York. Photograph by Bill Holm.” (Blanchard 15).

In the spindle whorl above, two thunderbirds are depicted bending over and blending with the human figure in the center. The human’s stomach contains a salmon or possible spirit helper from within, while each thunderbird contains a human face. Human hands surround the

5 hole which the spindle shaft enters.“It’s at this point, say Coast Salish shamans, that spirit power enters and leaves the body” (Blanchard 15). Spindle whorls and spindle shafts are traditionally combined and used to spin wool. The wool which the Coast Salish traditionally spun was sourced from Mountain goats and “wooly” dogs. In present day, these wool sources are cherished by the Coast Salish, and are an important ritual material used in religious ceremonies ("Historical Coast Salish Art."). Some traditional objects did not include carvings, such as basketry. Baskets have been found to date back as far as 5,500 years ago (Blanchard 8). In Coast Salish culture, baskets were traditionally utilized as pots, storage containers, harvesting containers,

“Squamish weaver named Selisya spinning wool, photographed at Musqueam by C. F. Newcombe in 1915. Courtesy of the Canadian Museum of Civilization.” ("Coast Salish Weaving Tools & Technologies.")

and baby carriages, among other uses. Basket making is one of the oldest art forms, and utilizes cedar roots as well as cherry bark, bear grass, dyed cedar bark, or horsetail root for decorative components. Among the Coast Salish people, there are three main methods for basketry: coiling, twining, and plaiting. With the coiling method, the resulting baskets could be used for boiling stews and soups. Traditionally with this method, natives weave peeled and split cedar roots tightly together with decorative components weaved over the outer surface to form geometric patterns, a method known as imbrication ("Coast Salish Weaving Tools & Technologies.").

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“Coiling and imbrication diagram, Drawing by Kenneth Greg Watson, 2008 (Brotherton 2008: Fig. 9.4, p. 200). Photo: Burke Museum” ("Coast Salish Weaving Tools & Technologies.")

A coiled cedar root basket “made by Mrs. Siagut and collected by Judge Wickersham in 1899. (Burke Museum cat. no. 200521/1). Photo: Burke Museum” ("Coast Salish Weaving Tools & Technologies.")

The twining method uses two horizontal weaving elements “that cross in front and behind the vertical warps that form the foundation of the basket” ("Coast Salish Weaving Tools & Technologies."). Traditional materials used for this method include cedar bark, spruce roots, and cattail leaves. To create designs, the weft, or the vertical structure of the basket which horizontal components cross, may be dyed or the basket may use wefts of multiple colors. In comparison to coiled baskets, twined baskets “are softer and more pliable” ("Coast Salish Weaving Tools & Technologies."). Twined baskets traditionally had multiple uses, and differ depending on the intended use. Open- work baskets would be filled with clams which, due to the colander-like structure, could be rinsed and allowed the sandy water to escape. Most of the baskets made for this type of work were made of split cedar twined with peeled cedar root.

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“Diagram of twining and overlay techniques. Illustration: Kenneth Greg Watson, 2008.” ("Coast Salish Weaving Tools & Technologies."

A Coast Salish Clam basket, “collected by the Young Naturalists Society, 1904, Burke Museum cat. no. 415. Photo: Burke Museum” ("Coast Salish Weaving Tools & Technologies.")

The plaiting method can be described as the “checkerboard” method of weaving, with two pieces woven over and under each other at 90 degrees. The basket below was created with a combination of plaiting and twining weaving methods. Created for the purpose of storage, the basket uses split cedar bark, overlaid with grass ("Coast Salish Weaving Tools & Technologies.").

“Twill plaited and twined cedar bark and grass basket made by Mary Josh, Sauk-Siuattle, Burke Museum cat. no. 1-308. Photo: Burke Museum” ("Coast Salish Weaving Tools & Technologies.")

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Within Coast Salish homes, cedar posts would stand to support the framework. These posts “were carved with a curved notch at the top where the beams would rest” (Blanchard 26). Sometimes these house posts would have paintings or carvings of familial stories and histories. The placement of family spirits into the home benefitted the owner, and the meaning of these house posts was sometimes only known by the owner themselves (Seattle Art Museum). A common misconception both today and historically is that Coast Salish people traditionally carve totem poles like northern natives in Alaska; house posts contain a different intent than totem poles, and represent very different ideas. This misrepresentation, among others, stem from the fundamental differences between Alaskan and Coast Salish culture and art.

Setting the Boundaries It is important that we take time to define just what is meant by “Alaskan” and “Coast Salish” art. Both groups fall under the same blanket category of the Northwest Coast, a region whose exact boundaries can vary greatly depending on context and one’s definition. When it comes to art, the category of Northwest Coast accurately defines the art style of the Alaskan panhandle and the northern coast of British Columbia. The art of the Coast Salish region, however, is a separate entity, whose unique style and design elements are often unfairly lumped in with the art of its more northern counterparts. Differences between Coast Salish and more northern styles can often be subtle; however, when compared reveal vastly different art forms. Map of the native tribes of the Northwest Coast.

Just what, then, sets apart an Alaskan design from a Coast Salish design, and what can we gain from recognizing this difference?

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In most books one could find on the art of the Northwest Coast, it is common to discover that the contents describe only a small region of the southern Alaskan panhandle and northern British Columbia coast. Most likely, such a book would only go into detail about the art of three tribes: the Tlingit, Haida, and Tsimshian—three of the northernmost and most well known tribes in the Northwest Coast region. These tribes are famous for their bold and dramatic designs, as well as being the original creators of the concept of large, public totem poles. Art along the Northwest Coast has traditionally followed a gradient, with neighboring tribes borrowing design elements from and influencing each other (Holm). Consequently, the design elements from these northern tribes can also be seen in some of the smaller, more southern tribes of the Northwest Coast region. Although distinctive “tribal” styles did not exist due to this cross-tribal artistic gradient, individual artists would add their own unique, stylistic elements to their pieces, leading to great variety in the art of the Northwest Coast (Holm). Despite this individuality, the art of the Northwest Coast region all follows a set of strict design rules that make it easily recognizable. The most well known book on the art of this region is entitled Northwest Coast Indian Art: an Analysis of Form by Bill Holm. This book established and defined much of the terminology with which we discuss Northwest Coast art today. LEFT: An example of a salmon head design modified to fit different shapes. Haida. RIGHT: A beaver design from a woven spruce hat. Haida.

The most important terminology this book defined—not to mention the most recognizable characteristic of this art style—is the concept of

10 “formline design.” Formlines are curvilinear lines that swell and diminish in width, giving outline to the artwork’s main design. Formlines create “a continuous flowing grid over the whole decorated area,” connecting all main shapes together and completely filling all available space with positive and negative shapes (Holm). Within the formline pattern, secondary shapes are then added. These shapes are mainly ovoids and U-shaped forms, often used to create the eyes and facial features of human, animal, and spirit figures. Such designs were used to decorate everything from dishes and spoons to canoes and houses. Paints were used to decorate baskets and woven garments, while wooden objects were decorated with both paint and shallow relief carvings. Two-dimensional designs could also easily be adapted to three-dimensional objects such as hats, bowls, and totem poles; the flat design would simply “wrap” around the curved surface (Holm).

An example of formline design on a bentwood box. Haida. Canadian Museum of History.

Colors in Northwest Coast art are extremely limited, consisting of only black, red, and blue or green. The main formline design is almost always painted in black using thick, graceful strokes that have been likened to the appearance of calligraphy. Red secondary elements and sometimes blue or green tertiary elements are then added to the design (Holm). An important

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feature of Northwest Coast art is the use of heavily stylized designs and lack of proportion. Since the same figural design can be modified to fit a variety of shapes, it is rather the combination of different inner design elements and not the outline or overall shape that defines a particular figure in Northwest Coast art. Overall, Northwest Coast art is known for its bold and stylized formline design, commonly displayed publically on large, eye-catching objects such as totem poles. Coast Salish art, by comparison, is a far more subtle style with its own unique set of design elements. This art was typically imbued with a deep personal or spiritual significance and therefore was rarely made to be eye-catching in the same way as the more public designs of the Northwest Coast. Traditional Coast Salish art involves more proportional and less stylized depictions of human, animal, and spiritual figures. Designs are also not limited to three colors— as they are in the north—but include shades of yellow, blue, green, black, red, and white (Hillaire). Painting and shallow relief carvings were used to decorate a variety of objects just as they were in the north; unfortunately, only a handful of historical Coast Salish decorated objects exist today. Although the Coast Salish did not make totem poles, deep relief carvings were still commonly used to decorate house posts and shorter figural monuments. Coast Salish relief carving styles differ greatly from the tribes of An example of the traditional Coast Salish carving style in a modern sculpture by Susan Point.

the Northwest Coast. Though carved from the same medium, cedar, Coast Salish designs do not “wrap” around the surface but instead

protrude three-dimensionally on one side, as if the carvings are resting on a flat board (Hillaire). This keeps the depicted figures proportional regardless of the size and shape of the cedar log,

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giving Salish carving its distinctive and more realistic appearance. Two-dimensional Coast Salish art uses bold delineating lines and inner shapes that, at first glance, appear to share many similarities with formline design. However, rather than outlining a main design and then filling in blank space with secondary elements, the Coast Salish artistic process creates the positive outlines through the addition of negative secondary elements (Fernandes). The shape of these secondary elements are distinctive to the Coast Salish region and consist mainly of circles, crescents, and trigons, whereas Northwest Coast art relies upon ovals and U-shapes to create its secondary forms (Hillaire). Overall, Coast Salish art is distinguished by its subtle appearance, proportionality, broader color scheme, and the uniqueness of its negative secondary shapes.

Comparison of Coast Salish house post and Northwest Coast (Haida) totem pole carving styles in White Rock, BC.

Although traditional Coast Salish design is very different from the formline style of its northern neighbors, many modern Coast Salish artists use both formline and hybrid styles

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today—a point of confusion for modern observers trying to distinguish between the two. Nevertheless, it is imperative to differentiate between these two art styles and recognize the distinctiveness of traditional Coast Salish work. This is not only due to the deep connection between the art and the local landscape that inspired it, but also the significance this art holds for the native communities that create it. Art is an important part of Coast Salish identity, with symbolism and forms that are only recognizable and significant to the community of origin. Most importantly, it is a way for community members to express and represent a culture that was nearly obliterated and that to this day remains largely forgotten by mainstream society. As modern Lummi carver Felix Solomon describes:

“We didn’t write books; we did art. And back then, it wasn’t art. Our boxes were used for a purpose, our bowls had purpose, our spoons had purpose, our gaff hooks, our canoes, everything had purpose, and they were all carved on, but they were carved on for identity. They were not “art” until the white man came and took our belongings; then they were in museums, and they turned into art. But when we had them, they were our tools, our utensils, our vehicles, our homes, our identities; that’s who we were… There’s a way that Coast Salish people look at our own work; our work is our identity.” —A Totem Pole History

To deny the distinctiveness of Coast Salish art is, by extension, to deny the uniqueness and identity of the Coast Salish people who create it.

Misrepresentation of Coast Salish Art Art of the Coast Salish people is “largely underrepresented and misunderstood” because the totem poles and masks commonly seen as symbols of Coast Salish regions do not belong to

14 the Coast Salish people (“Coast Salish Art”). We now have more knowledge about how this happened, but a great deal remains unknown. A story can be pieced together by investigating some of the original totem poles erected in the Seattle area, and considering elements of Coast Salish and Alaskan art. This leads to the question: what are the effects on Coast Salish populations and their claiming of identity?

The origin of the misrepresentation of Coast Salish Art lies in the mingled vision of Seattle and Alaska. At the time of the Klondike Gold Rush, Seattle was thought of by most of the country as part of Alaska, functioning as a “gateway” (Fernandes). Many Seattleites were interested in further cultivating this image for economic reasons (Wright). This is how the totem pole became a symbol of the connection between Seattle and Alaska. The appropriation by the white man of Northern clans’ totem poles began in the late 1800’s, at the height of the Gold Rush. “Entrepreneurial civic leaders” of Seattle placed

“Kininnook’s pole in Pioneer Square, Seattle” Burke Museum

an Alaskan totem pole downtown in Pioneer Square. The pole was stolen by Seattle businessmen from a Tlingit village in Alaska while its residents were away. Eventually this would be commonly known as the “Seattle Totem” (though it was originally named to honor a woman

15 named “Chief-of-all-Women”). The totem transcended its location and became an icon for tourism and business—photographs appearing in tourist information pamphlets and models in local curio shops (Wright). Tacoma contributed to this appropriation of Alaskan totems in 1903, likely feeling a desire to measure up to Seattle. If this was the case, they succeeded, as theirs was larger than Seattle’s. This totem was commissioned rather than stolen; however, nobody is certain who actually carved it. It is said to be carved by “two Alaska or British Columbia Indians” or by “Tlingit Kagwantan carvers from Sitka.” It is more likely that the carvers were not natives at all; rather they were non-natives who carved based on photographs of Northern clans’ totem poles (Wright). In 1909, the Alaska-Pacific-Yukon Exposition in Seattle encouraged the continual appropriation of totem poles because one of its major goals was to publicize the Pacific Northwest (“AlaskaPacific-Yukon Exposition”). The totem pole was everywhere, serving as a symbol of Seattle. It appeared on posters and programs for the Exposition, in the form of models at the Ye Old Curiosity Shop, and carved into the Japanese Torii Gate as well as light posts “Vintage 1909 Seattle Exposition Washington State

at the Pay Streak Gate (Wright). By this point, the original meaning of the totem poles to the Alaskan tribes was absent from the public’s mind. It seems that the people with a vision for Seattle

were motivated by the prospect of profit. It was not until later that it would be understood as appropriation, let alone misrepresentation of indigenous Seattle people.

16 While the totem poles’ establishment as a symbol for Seattle directly misrepresented the Coast Salish people, other factors regarding the nature of the Coast Salish and Alaskan tribes’ respective traditions exacerbated misrepresentation. First of all, it is likely that Western culture’s tendency to prefer size and spectacle did not help the Coast Salish. Coast Salish art is small. Carvings are typically three to four feet tall. The artwork is small because it is mostly used for spiritual ceremonies and meant to be destroyed after it serves its spiritual purpose. House posts are meant to live in houses and mainly be seen by the family. Many non-Salish people are unfamiliar with these types of native art, as it is intimate to their culture and not meant for the public eye. In contrast, Northern art is large and public. Totem poles are meant to represent large clans and be seen by all to tell the stories of the clan (Fernandes). Totem poles are meant to show power--an intimidation factor that many Westerners were and still are drawn to. Another strike against the Coast Salish is the superior ability for Northern peoples to preserve their ancient knowledge regarding their art. Their societies are structured so that each clan has specific stories, songs, and protocols. On the other hand, Coast Salish tribes do not contain the same cultural structure; many stories are family-specific. Coast Salish tribes are also much smaller than the clans of the North, so there are only a few who know the stories of the tribes and can preserve them. Furthermore, more people in Northern clans survived the diseases that killed about 80% of native people along the Northwest Coast. This too enlarges their capacity for preservation of culture (Fernandes). Considering these factors, it is easy for Coast Salish culture to become lost in the shadow of Alaskan clans’ culture—especially to a Western eye who is not looking for cultural subtleties.

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Misrepresentation and misunderstanding of Coast Salish art has aggravated a sense of confusion of identity in Coast Salish people. Some evidence reveals an enduring struggle to maintain identity, specifically through their art, despite the labels being imposed upon them. Many Coast Salish individuals are “indoctrinated,” as Coast Salish Roger Fernandes says, to identify Northern art as their own. This results from the grouping of Coast Salish peoples under the broader category of “Northwest Coast Indians.” In fact, “Coast Salish” is an external label, and does not account for distinctions among the tribes said to fall under that category (Fernandes). As a result, many Coast Salish are unable to connect with their traditional art, let alone defend its distinct identity. Coast Salish artists struggle to claim their identity through their art because of the Alaskan identity imposed on them. The stereotypical art of “Northwest Coast Indians” often is Alaskan art. Though Coast Salish are considered Northwest Coast Indians, their art is not represented as part of the cultures of Northwest Coast Indians. Neither is their art recognized as distinct. Roger Fernandes says that his people of the coast are still struggling to fit into this label, and their art is struggling with them (Fernandes). There are a number of other issues faced by Coast Salish people who make art. One is that many have already learned Northern art styles, which are very different from Coast Salish styles, and very difficult to unlearn. Another is that artists practicing Coast Salish designs via technologically advanced mediums preserve certain elements of Coast Salish style, but fail to preserve the authenticity of their traditions, which most often use wood and bone. Finally, some artists blend Coast Salish and Northern art, often because they first learned Northern art. This method also fails to fully preserve the authenticity of the Coast Salish (Fernandes). Moving

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forward, the question that prevails is how Coast Salish peoples should best preserve their cultures through their art, and how non Coast Salish individuals might support this goal.

Contemporary Art A New Definition of Art The 20th century brought an expansion of Coast Salish Art from its traditional form and spirit with the rise of commercial artists and alternative mediums. With many contemporary Coast Salish artists making art to be displayed in galleries, a series of questions arise regarding the remaining spiritual value. Is this new art still Coast Salish, or does it lie somewhere between? Is it a hybrid of Western Art and Traditional Coast Salish forms? Perhaps something else? Navigating this question is difficult, especially because the question of authenticity can be a matter of framing. What does “Coast Salish art” mean? As mentioned earlier in this paper, Coast Salish art traditionally encompassed the everyday objects that Coast Salish people used. Before the transition to commercial gallery spaces, everything was made of wood, something still of the utmost importance to some Coast Salish artists, plant fiber (as a living material) being crucial to the spiritual quality of the art. On this topic, Artist Roger Fernandes shares his view: “So that’s almost the same design done by modern artists… doesn’t to me have the same power because, just too clean and nice, and it was done for a gallery, it wasn’t done for a spiritual ceremony… So I guess, in saying that, now the spiritual act of it may or may not be lost. It’s like all these artists are commercial gallery artists and they sell their art for big money in galleries, and

19 I’m not begrudging that at all, but that’s only one part of our art that you see. You just see the art in galleries. So, for me then, I don’t work in galleries, I don’t work in alternative mediums like glass and metal. I don’t do silk screens. I don’t do giclees, you know, prints out of a computer. I just do everything by hand, because I want to be as true as I can to the way my ancestors do their art. So when you look at this art you can see the elements of Coast Salish design, and some of them are very clearly Coast Salish.” Roger continued to talk specifically about Contemporary Coast Salish art and the ongoing move to new mediums. Building upon this this quote, he referenced Rebecca Blanchard & Nancy Davenport’s book published through UW press titled, Contemporary Coast Salish Art. Flipping through the pages, he discussed the reasons behind why he still “pushes” for mastering the old art rather than using new mediums, saying, “So many of the young artists I’m seeing are just jumping into computers and metals.” In some ways, Roger is clearly right. Several Coast Salish artists have been “jumping” into new mediums, but when did these explorations begin, and why?

Printed Work The introduction of silk screening as a medium of Coast Salish art began in the 20th century, with the first known example of a silk screening by Northwest Coast artists believed to have occurred in 1949. The artist, Ellen Neel, was a Kwakwaka'wakw artists, and “had her designs screened onto cloth scarves”. These scarves would quickly gain popularity and become a commercial success (“The Graphic Works of Susan Point”).

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Serigraphs, or printed designs created via silkscreen, are still being produced from some Coast Salish artists like Susan Point (Musqueam). An example of one of her prints can be seen in her 1988 piece, Fishing.

Fishing (1988) by- Susan Point. 9 x 14 inch Serigraph. As seen above, modern Coast Salish serigraphs have adopted traditional forms and designs. The prints take varied liberties with color and form, some prints modern renewals of older pieces, as seen below. On the left, a 19th century Coast Salish spindle whorl (DeMenil private collection). On the right, a 1979 serigraph print by Stan Green titled Human with Thunderbirds (Margaret Blackman and Edwin S. Hall, Jr. collection, Burke Museum cat. no. 1998-90/317).

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Sculpture Similar to Coast Salish silk screened works, contemporary Coast Salish sculpture includes both traditional and non-traditional works. As noted earlier, traditional Coast Salish art is made of wood, and does not include glass or metal. While some artists like Roger Fernandes stray away from non-wood materials, some Coast Salish artists, like Marvin Oliver (of Quinault and Isleta Pueblo descent) have made great efforts toward innovating Coast Salish art. The example on the right shows a Coast Salish shaman board that Marvin Oliver and numerous contemporary Coast Salish artists have drawn inspiration from (Blanchard 27). In Marvin Oliver’s Transporter series (2004), Oliver appears to reference this piece. The series contains the two panels seen below. Talking about the creation of these two works, Oliver says, “Traditionally, Quinault power figures are carved in wood. I chose to create a transition between solid wood and transparent glass, a reflection of my curiosity and my intuitive instincts

for innovation through art.” (Blanchard 47).

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Additionally, Oliver has made glass sculptures as a reference to Coast Salish woven wood baskets, making different baskets inspired by the three different weaving patterns used within traditional Coast Salish art. Two of these are seen below, the most obvious reference to this weaving in Oliver’s Salish Clam Basket, as seen on the right. As suggested earlier, Oliver is one of many Coast Salish artists experimenting with traditional designs and motifs in this manner.

Salish Glass Basket, Petroglyph Series 2006 Blown, water-cut fused glass 17"h x 15" d

Salish Clam Basket, Bear Grass Series 2006 Blown, water-cut fused glass 18"h x 18"

An Expanding Tradition There are too many Coast Salish artists to cover in this limited space, but the artists featured here represent some of the breadth and curiosity in contemporary Coast Salish art. Since the dawn of Coast Salish serigraphs in 1949 and the growth of glass works in the 1980s, Coast Salish artists have been both recalling past traditions and creating new ones, with typical Coast Salish designs and art pieces frequently referenced in newer works. Additionally, there are still several new artists and older masters that execute more traditional wood carvings, refining their craft. Roger Fernandes, one of these elders, notes how he believes Coast Salish artists still

23 haven’t mastered their old ways. Regardless, whether traditional or non-traditional work, Coast Salish artists have been making great efforts to hone their craft. Below is Northwind, Southwind, Stormwind (2004) by Roger Fernandes. The medium is cut Mexican bark paper, and the size is 13 by 16 inches.

Modern Western Art vs. Traditional Art One noticeable trend in contemporary Coast Salish art is the rise of commercial gallerists. The artists featured in Contemporary Coast Salish Art all sell their work either via gallery space or independently. Roger, when talking about this trend, said that modern art has been created more for “hanging on walls” than for use within ceremonial practices, at least “the new ones”. When talking with Roger, he referenced Joseph Campbell talking about modern western art vs traditional art and the way modern western art is fascinated with larger objects, whereas traditional art does not possess this same interest. One can find some evidence of this by looking

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at commissioned works of Northwest artists versus their gallery or independent artwork, where large wood carvings, totem poles, and the like are make more frequent appearances. As seen in some of the contemporary work of Coast Salish artists, the mixing of influences and mediums between traditional and Western art has been on the rise for decades, even if some elders like Roger still believe that the traditional art forms have yet to be mastered. Additionally, while much of the art currently created by Coast Salish artists is not for ceremonial practices, there are still artists young and old making ceremonial work.

Conclusion The Coast Salish have a long and rich history of artistry. Historically, this art was very personal and spiritual, meant for private use by individuals and families, and was not meant to be shared publically with outsiders. In the past, the making of art simply meant the creation and decoration of tools and objects—such as spindle whorls—which imbued these objects with spiritual power. Art, therefore, has both a very important cultural and spiritual significance to the Coast Salish people. Unfortunately, the art of the Coast Salish region is often ignored or lumped together with the art styles of the more northern Alaskan tribes. While these northern tribes receive great recognition, the uniqueness of Coast Salish art is rarely distinguished from the rest of the Northwest Coast. In fact, Coast Salish art is commonly misrepresented by Alaskan art, mainly due to Seattle’s long association with totem poles. In the 1890s, Seattle began advertising itself as the “gateway to Alaska,” stealing Alaskan totem poles to decorate the city in order to solidify this image. Non-native people quickly began to associate the totem pole with the native tribes of the Seattle area, despite the fact that the Coast Salish did not traditionally carve totem poles or

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even use formline design. However, it is important to distinguish Coast Salish art in order to fully appreciate the uniqueness of the Coast Salish people who create it. In the 20th century, Coast Salish artists began expanding their art into new and modern mediums. However, this modern art is made for galleries and, debatably, does not hold the same spiritual significance as traditional wooden art. Coast Salish art styles have adapted and changed over time, pulling from past traditions as well as modern techniques; bringing the art of the Coast Salish region into the spotlight. Whether modern or traditional, Coast Salish artists are working hard to represent their culture in spite of the misrepresentations and lack of recognition of the region that continues into the modern day.

Works Cited “Alaska-Yukon-Pacific Exposition.” Wikepedia. Wikepedia.org. 1 June 2017. 27 May 2017. Blanchard, Rebecca, and Nancy Davenport. Contemporary Coast Salish Art. Seattle: University of Washington, 2005. Print. “Coast Salish Art.” Burke Museum. Burkemuseum.org. 2017. 27 May 2017. "Coast Salish Weaving Tools & Technologies." Burke Museum. Burke Museum, 08 Apr. 2016. Web. 04 June 2017. Fernandes, Roger. Personal Interview. 31 May 2017. Hillaire, P. & Fields, G. P..A Totem Pole History: The Work of Lummi Carver Joe Hillaire. Lincoln: University of Nebraska Press, 2013. Project MUSE. Web. 29 May 2017.

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