CiNii Books - Unsettling encounters : First Nations imagery in the art of Emily Carr

Unsettling Encounters radically re-examines Emily Carr's achievement in representing Native life on the Northwest Coast, and her goals and achievements in representing Native villages and totem poles in her paintings and writings. Reconstructing a neglected body of Carr's works that was central in shaping her vision and career makes possible a new assessment of her significance as a leading figure in the history of early twentieth-century Modernism. Unsettling Encounters includes a vivid recreation of the rapidly changing historical and social circumstances in which Carr painted and wrote. She lived and worked in British Columbia at a time when the growing settler population was rapidly taking over and developing the land and its resources. Gerta Moray argues that Carr's work takes on its full significance only when it is seen as a conscious intervention in settler-Native relations. She examines the work in relation to the images of Native peoples that were then being constructed by missionaries and anthropologists and exploited by the promoters of world's fairs and museums. Carr's famous, highly expressive later paintings were based to a great extent on the results of her early experience. At the same time they were a response to new currents in North American culture in the 1920s and 1930s. Moray explores Carr's participation in the Group of Seven's agenda to build a national culture and her sense of her own position as a woman artist in this masculine arena. Unsettling Encounters is the definitive study of Carr's "Indian" images, locating them both within the local context of Canadian history and the wider international currents of visual culture.

Volume: : cn ISBN 9780774812825

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Unsettling Encounters radically re-examines Emily Carr's achievement in representing Native life on the Northwest Coast in her painting and writing. By reconstructing a neglected body of Carr's work that was central in shaping her vision and career, it makes possible a new assessment of her significance as a leading figure in early-twentieth-century North American modernism. Gerta Moray vividly recreates the rapidly changing historical and social circumstances in which the artist painted and wrote. Carr lived and worked in British Columbia at a time when the growing settler population was rapidly taking over and developing the land and its resources. Moray argues that Carr's work takes on its full significance only when it is seen as a conscious intervention in Native-settler relations. She examines the work in the context of images of Native peoples then being constructed by missionaries and anthropologists and exploited by promoters of world's fairs and museums.

Table of Contents

Foreword / Marcia Crosby Places Painted by Emily Carr Part 1: Contexts for a Colonial Artist 1 The Legendary Emily Carr 2 Drawing and Insubordination 3 Missionary in Reverse 4 Among Ethnographers and Indian Agents Part 2: A Pictorial Record of Native Villages and Totem Poles, 1899-1913 5 They Named Me Klee Wyck 6 The Despised and Joyous Way of Painting 7 Old Mythological Legends: Gitxsan Villages in 1912 8 A Great Dignity: Haida Gwaii in 1912 9 Unchanged by Fashion and Civilization: Kwakwaka'wakw Villages in 1912 10 The Largest Collection Yet Made: Carr's 1913 Exhibition in Vancouver and Its Aftermath Part 3: Homesick for Indian 11 Out of the Wilderness and into the National Gallery 12 What They Are Trying to Forget: Sketching Trips from 1928 13 The Big Thing That Means Canada Herself 14 Retrospect Notes
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Unsettling encounters : First Nations imagery in the art of Emily Carr

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