Unsettling Encounters: First Nations Imagery in the Art of Emily Carr by Moray, GertaUnsettling Encounters: First Nations Imagery in the Art of Emily Carr by Moray, Gerta

Unsettling Encounters: First Nations Imagery in the Art of Emily Carr

byMoray, Gerta

Hardcover | June 1, 2006

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Unsettling Encounters radically re-examines EmilyCarr’s achievement in representing Native life on the NorthwestCoast in her painting and writing. By reconstructing a neglected bodyof Carr’s work that was central in shaping her vision and career,it makes possible a new assessment of her significance as a leadingfigure in early-twentieth-century North American modernism.

Gerta Moray vividly recreates the rapidly changing historical andsocial circumstances in which the artist painted and wrote. Carr livedand worked in British Columbia at a time when the growing settlerpopulation was rapidly taking over and developing the land and itsresources. Moray argues that Carr’s work takes on its fullsignificance only when it is seen as a conscious intervention inNative-settler relations. She examines the work in the context ofimages of Native peoples then being constructed by missionaries andanthropologists and exploited by promoters of world’s fairs andmuseums. Carr’s famous, highly expressive later paintings werebased to a great extent on her early experiences of travel to FirstNations communities. At the same time they were a response to the hopesand anxieties that attended the rapid modernization of North Americanculture in the 1920s and ’30s.

Moray explores Carr’s participation, with the Group of Seven,in an agenda of building a national culture and her sense of her ownposition as a woman artist in this masculine arena. UnsettlingEncounters is the definitive study of Carr’s‘Indian’ images, locating them within both the localcontext of Canadian history and the wider international currents ofvisual culture.

Gerta Moray is a professor of Art History at the University of Guelph. She has previously taught at the Universities of Sheffield, Edinburgh, Stirling, and Toronto.
Hundreds and Thousands: The Journals of Emily Carr
Hundreds and Thousands: The Journals of Emily Carr

by Emily Carr

$11.19$13.99

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Title:Unsettling Encounters: First Nations Imagery in the Art of Emily CarrFormat:HardcoverDimensions:400 pages, 12.27 × 8.98 × 1.49 inPublished:June 1, 2006Publisher:Ubc PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0774812826

ISBN - 13:9780774812825

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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 TotemPoles, 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’wakwVillages in 1912

10. The Largest Collection Yet Made: Carr’s 1913 Exhibition inVancouver 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; Bibliographic; Essay; Index

Editorial Reviews

Unsettling Encounters radically re-examines Emily Carr’sachievement in representing Native life on the Northwest Coast in herpainting and writing. By reconstructing a neglected body ofCarr’s work that was central in shaping her vision and career, itmakes possible a new assessment of her significance as a leading figurein early-twentieth-century North American modernism. Gerta Morayvividly recreates the rapidly changing historical and socialcircumstances in which the artist painted and wrote. Carr lived andworked in British Columbia at a time when the growing settlerpopulation was rapidly taking over and developing the land and itsresources. Moray argues that Carr’s work takes on its fullsignificance only when it is seen as a conscious intervention inNative-settler relations. She examines the work in the context ofimages of Native peoples then being constructed by missionaries andanthropologists and exploited by promoters of world’s fairs andmuseums.