Alaska Art History

Alaska Art History

with an emphasis on representational art

Introduction

This section of our catalogue Topics in American Art is devoted to the topic "Alaska Art History." Articles and essays specific to this topic published in our Resource Library are listed at the beginning of the section. Clicking on titles takes readers directly to the articles and essays.

Following the links to Resource Library articles and essays are a listing of museums in the state which have provided materials to Resource Library for this or any other topic.

Listed after Resource Library articles, essays and museums are links to online resources outside our website. Following these resources is information about offline resources including DVDs, paper-printed books, journals and articles.

(above: Sydney Lawrence, The Streams Are Full of Them, c. 1915-1923, oil on canvas, 30 x 234 inches, Dallas Museum of Art, 1932.3. Public domain, via Wikimedia Commons*)

.(above: Eustace Paul Ziegler: Cordova Native, 1918, watercolor, 9 1/4 x 8 inches. From Spirit of the North: The Art of Eustace Paul Ziegler)

The history of Alaskan art is deeply rooted in the cultural traditions and natural environment of the region. It begins with the Indigenous peoples of Alaska, including the Tlingit, Haida, Tsimshian, Yup'ik, Iñupiat, and many others. For thousands of years, these communities created art that was deeply intertwined with their daily lives, spiritual beliefs, and relationships with the land and sea. They carved intricate totem poles, masks, and ceremonial objects from wood, ivory, and bone, often depicting animals, spirits, and ancestral stories. These works were not merely decorative but carried profound symbolic meanings, serving as visual narratives of identity, clan lineage, and mythology.

As Russian explorers and settlers arrived in Alaska in the 18th century, a new chapter in the region's artistic history began. The Russians introduced their Orthodox Christian iconography, blending with Native Alaskan traditions in unique ways. For example, the Aleut and Alutiiq peoples incorporated elements of Russian art into their own, creating religious artifacts such as crosses and icons that merged European and Indigenous styles.

The American purchase of Alaska in 1867 marked another shift, bringing new influences from the continental United States. During the late 19th and early 20th centuries, Alaskan art was shaped by gold rush settlers, missionaries, and tourists. Indigenous art forms were sometimes commodified, with Native artists creating pieces specifically for sale to outsiders. This period also saw the emergence of art schools and studios aimed at preserving traditional crafts, albeit often through a lens shaped by Western values.

In the mid-20th century, Alaskan art began to evolve alongside the state's growing recognition of its unique identity. Native artists reclaimed their cultural heritage, revitalizing traditional practices while also exploring contemporary mediums and themes. Artists such as George Ahgupuk, with his detailed pen-and-ink depictions of Iñupiat life, and Nathan Jackson, a renowned Tlingit carver and totem pole artist, exemplified this blend of tradition and innovation.

The establishment of statehood in 1959 further bolstered the arts in Alaska, with museums, galleries, and cultural institutions fostering a greater appreciation for both Native and non-Native art. In recent decades, Alaskan artists have drawn inspiration from the dramatic landscapes of the state, capturing its glaciers, mountains, and wildlife in painting, photography, and sculpture. At the same time, contemporary Native artists like Sonya Kelliher-Combs and Nicholas Galanin have gained international recognition for their works that challenge stereotypes and address issues of identity, history, and social justice.

Today, Alaskan art is a vibrant tapestry that reflects the state's diverse cultures and histories. It bridges the past and the present, from ancient ivory carvings to modern multimedia installations, embodying the resilience and creativity of its people.

-- From Chat GPT inquiry

Go to Eleven Resource Library articles and essays honoring the American experience through its art

(above: Marianne Appel, Ebb-Tide, Juneau, 1939, 15 x 20 inches, Smithsonian American Art Museum, 1974.28.280. Public domain, via Wikimedia Commons)

.(above: James Everett Stuart (1852-1941, Treadwell Mine, 1892, oil on canvas, Alaska State Museum. Public domain, via Wikimedia Commons*)

Museums and other non-profit sources of Resource Library articles and essays;

Alaska State Museum

Anchorage Museum of History and Art

Go to other online information

Go to online video

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*Tag for expired US copyright of object image:

Links to sources of information outside of our web site are provided only as referrals for your further consideration. Please use due diligence in judging the quality of information contained in these and all other web sites. Information from linked sources may be inaccurate or out of date. TFAO neither recommends or endorses these referenced organizations. Although TFAO includes links to other web sites, it takes no responsibility for the content or information contained on those other sites, nor exerts any editorial or other control over them. For more information on evaluating web pages see TFAO's General Resources section in Online Resources for Collectors and Students of Art History.

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