Robert Davidson, a Canadian native American of Haida ancestry, is one of North America's most important contemporary artists. Davidson is descended from Charles Edenshaw and studied under Bill Reid - the two great figures in Haida art. He has produced an internationally acclaimed body of art, epitomized by a series of large totem poles featured in collections around the world. Davidson began his career carving in wood and argillite (the soft shale found only in British Columbia), and has since expanded his repertoire to include sculpture in stone, bronze, wood and plaster; paintings on both paper and deerskin drums; drawings, sketches and prints; and jewellery in silver and gold. In 1969 he erected a totem pole at Masset, Canada - the first new one raised in living memory. He went on to carve poles for Montreal (1970), Dublin (1973), and others in Japan, the U.S.A. and Germany. This book appears in conjunction with a retrospective exhibition at the Vancouver Art Gallery, Canada. Essays describe Davidson's career and his place in the Haida tradition, and the artist himself provides extensive comments on the symbolic content of every piece. A comprehensive overview of his oeuvre in all media includes many reproductions of work seen from different angles to emphasize their sculptural qualities.
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Contemporary Native American artists are both blessed and burdened by their proud artistic heritage. On the one hand, a profound connection to the past inspires a respect for traditional art and a desire to emulate it. On the other, like all creative individuals, modern Indian artists are driven to express their own unique visions. Davidson, a Haida born in Alaska and raised on Haida Gwaii (the Queen Charlotte Islands off the coast of northern British Columbia) and Vancouver, has succeeded in achieving a balance between these needs. In both his life and his art, he has strived for both the preservation of his culture and the evolution of his own artistic statements. Many of Davidson's pieces are carved masks and totem poles that reflect the influence of past Haida artists but also possess a decidedly fresh fluidity and distinctive personality. By mastering traditional techniques, Davidson has grounded, and therefore legitimized, his innovations. This articulate and well-designed volume combines illuminating biographical essays with excerpts from interviews with Davidson and presents some 110 of his powerful sculptures, paintings, and prints. This book will greatly enrich any American art collection. Donna Seaman
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