Exhibit Introduction
Tlingit peoples and the cultural heritage emanated through their customs, practices, and beings is rich and robust. The Tlingit, "People of the Tides", have inhabited Southeast Alaska for tens of thousands of years, forming tribal and trade relationships with nearby Haida and Tsimshian peoples. With access to abundant natural resources from the land and particularly the sea, the distinctive art of the Tlingit was able to be formed, appropriately named "formline". Formline, a stylistic Native art form, is associated with the indigenous groups residing on the Northwest Coast, including the Tlingit. It is a representative of their histories, stories, family lineage and crests, and individual experiences. It is a visual language preserved across generations, outliving the literature of anthropologists. Traditional shapes implemented in formline designs include four distinct parts: the ovoid, U-shape, S-shape, and relief shapes (ie trigon, quadron, quinton, crescent, circle). Though formline is guided through the principles reflected in the continued use of these shapes, variation can and does occur, which I aimed to emphasize in this exhibit.
The art within this exhibit, whether created through carving, weaving & beadwork, leatherwork, metalwork, or painting, all integrate formline designs while still remaining individual to the artist themselves. By splitting the works into five distinct categories, which I listed above, my intention was to emphasize that Native culture and Native people are not stagnant. They are not a community only existing in the past. Formline remains formline, no matter if the medium is traditional or contemporary. Each Tlingit artist integrates aspects of their community and self-identity within their works. Artists such as James Johnson and Gene Chilton specialize primarily in one medium, woodcarving and metalwork respectively. Alison Bremner and Ursula "Kadusné" Hudson utilize several techniques to create their desired product, such as painting, woodcarving, leatherwork, and weaving. Authenticity and evolution can occur in the same instance without being conflicting. As one moves through each section and observes all twelve works, hold this sentiment on the forefront of one's mind.
In regard to Native art, formline is a well-recognized and appreciated art form, being highly regarded by the Western eye. Though I myself enjoy the style of formline, it is crucial to note that the Western gaze tends to prioritize Northwest Coast art, inferring that it is someway superior to other forms of Native art. Doing so ignores the emphasis of the process of artmaking holding significance, typically over the finished product. One can appreciate the intricacy of formline without disparaging that of other nations. This "superiority" is identified through a Western framework when instead the focus should be on the distinctive manners in which Native peoples use art to represent their heritage. This distinctness highlights the sovereignty of Indigenous nations, that each nation has the inherent right of self-governance, thus establishing their individuality and recognition as the original peoples of that land. Tlingit formline can be diverse while remaining representative of its people, accentuated by each artist's unique approach. As Ursula "Kadusné" Hudson's painting perfectly depicts, Indigenous nations are interconnected with one another through the Earth and the spirituality embedded within it. Even with this relationship, individual nations are individual and culturally distinct. US colonialism forced Indigenous groups into a defining term of "Native American" without acknowledging their rich and unique histories. My intention is to highlight the distinctiveness of Tlingit formline apparent within each of the pieces selected, instilling that this is not only Native art, but specifically Tlingit art, reproduced within Southeast Alaska and this particular nation of peoples.
Growing up in Juneau, Alaska, I was constantly surrounded and immersed within Tlingit culture throughout my entire life. My experiences and the memories I have made in my hometown cannot be disassociated from the Tlingit people, nor would I want it to be. From ceremonial dances performed at school assemblies, the retelling of Tlingit stories by elders, their language integrated in lesson plans, learning about iconic Tlingit figures like Elizabeth Peratrovich, and classes teaching traditional art techniques I was able to participate in, the presence of their customs, practices, histories, and heritage was tremendous, something I am eternally grateful for. Though I believe I have a fuller understanding of the lifestyle of the Tlingit peoples due to its assimilation in most aspects of my life, this does not mean I do not have more to learn. Thus, this exhibit is both curated to demonstrate my immense appreciation for the Tlingit people and the impact they made on my life, as well as to facilitate a deeper knowledge of the complexities of their culture and how this is subsequently translated within formline artistic pieces. My goal is to create a space of reflection, to analyze previous inclinations and expand or replace such with the words and art that Native peoples formed themselves. For myself, for the viewer, and for the artists. We are all involved in the process of empathetic understanding, which this exhibit aspires to facilitate and uplift, exemplifying its significance.
Sources
Clark, Karin. "Northwest Coast: Basic Formline Elements and Shapes," 1 Feb. 2022. Raven Publishing Inc.
Olson, Wallace M. "The Tlingit: An Introduction to Their Culture and History," 1997. Haines Sheldon Museum.
Background Image
James Johnson, Tlingit, "Raven Traveling", print on gloss paper with formline Raven design, n.d.