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Cultural Context

contemporary art

History Of Use

Northwest Coast serigraphs are a contemporary art form, deriving from early 20th century drawings of traditional crest and decorative designs, commissioned by anthropologists and undertaken by artists such as Charles Edenshaw. Residential schools reinforced the medium, while discouraging the use of traditional themes. An important series of traditional designs in coloured pencil and watercolour were done by Mungo Martin for UBC in 1949-50. The 1960's saw the rapid growth of prints, first in unlimited poster editions, and later with the establishment of the Gitanmaax School of Northwest Coast Indian Art at 'Ksan (1967), and of the Northwest Coast Indian Artists Guild (1977), limited edition art runs became the standard. Northwest Coast silkscreen prints are part of the mainstream art market, as well as, functioning within the native context as potlatch gifts, and commemorative prints. Although, there are distinctive regional styles, individual artists may work in several styles, or apply unique themes and variations to specific works.

Description

Two curved stylized profile whales in vertical alignment facing to the left side. The top whale is in red with black detail while the bottom whale is in black with red detail. Bottom whale is more curved with the head at the bottom. Has a black ovoid in inner ovoid eye, a segmented red tongue in a slightly open mouth, and a red split u at the snout. There is a emi-circle blow hole. Circle in circles at the pectoral fin. Two circles at the top of the dorsal fin to the left of a red u form above a red split u. Body has a central curved red band with red s-shapes or bands extending out in a rib-like pattern with negative areas between outlined in black. Tail flukes have central circle with a non-concentric circle at the centre. Top whale is less curved with similar details as bottom except in reverse red and black. Also upper teeth row, fins, and head details vary. Red 'rv' at right bottom corner. Pencil inscription across the bottom edge reads '44/195 11/24/77 MIRACLE Roy H. Vickers'. The print is on a vertically rectangular, light white-brown paper stock.