The art of the Haida of the Queen Charlotte Islands and the Alaska ranks among the most sophisticated and spectacular art traditions of the world. While Haida art has long been recognized as central to the development of the highly formalized northern Northwest Coast style of design, it has often been viewed as somewhat static and anonymous. Robin K. Wright highlights for the first time the distinctive achievements of several of the most important Northern Haida artists and analyzes the art historical developments and stylistic changes in pole carving. 'Northern Haida Master Carvers' traces the making of the moumental poles from the days of first white contact to the present, illuminating the variations in style that resulted from historical, cultural, and individual circumstances. Wright examines the work of the earliest names Haida pole carver, Squiltcange, and separates the carvings that can be attributed to the legendary Albert Edward Edenshaw from the large body of work produced by his nephew, Charles Edenshaw. She identifies the work of the little-known artist, Duncan ginaawaan, Albert Edward Edenshaw's brother-in-law, and his clan-relative, Dwight Wallace, both from Klinkwan, Alaska. She discusses the legacy of the nineteenth-century artists carried on through the work of their twentieth and twenty-first century descendants and artistic heirs: Jim Hart, current holder of the name 7idansuu; Robert Davidson, Charles Edenshaw's great-grandson; Freda Diesing and Donald Yeomans, descendants of Simeon sdiihldaa, and John and Lee Wallace, descendants of Dwight Wallace.
Seattle: University of Washington Press, 2001; Vancouver: Douglas & McIntyre, 2001.