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Totem poles, a type of Northwest Coast art. Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
Lily Hope, Tlingit (born 1983) Ursala Hudson, Tlingit; Carla Hemlock, Mohawk (born 1961) Julia Marden, Aquinnah Wampanoag; Ardina Moore, Quapaw/Osage (1930–2022) Dora Old Elk, Apsáalooke/Sioux (born 1977) Jamie Okuma, Luiseño/Shoshone-Bannock (born 1977) Eric-Paul Riege, Navajo (born 1994) Clarissa Rizal, Tlingit (1956–2016) Marilou ...
The idea of copyright applied to Tlingit art is inappropriate, since copyright is generally restrictive to particular works or designs. In Tlingit culture, the ideas behind artistic designs are themselves property, and their representation in art by someone who cannot prove ownership is an infringement upon the property rights of the proprietor.
The three-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with copyright terms of life of the creator plus 70 years or less. The creation of photographic reproduction of this object , however, generates a new copyright and an additional statement should be provided to indicate ...
Detail of a Tlingit totem pole, Ketchikan, Alaska. Alaska Native cultures are rich and diverse, and their art forms are representations of their history, skills, tradition, adaptation, and nearly twenty thousand years of continuous life in some of the most remote places on earth.
The Tlingit or Lingít (English: / ˈ t l ɪ ŋ k ɪ t, ˈ k l ɪ ŋ k ɪ t / ⓘ TLING-kit, KLING-kit) are Indigenous peoples of the Pacific Northwest Coast of North America and constitute two of the 231 (As of 2022) [4] federally recognized Tribes of Alaska. [5] Most Tlingit are Alaska Natives; however, some are First Nations in Canada.
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Galanin's work shows that Tlingit art is not stagnant or dying, but continues to change and progress. [ 41 ] Also, in 2018, Galanin mounted a solo exhibit at Peter Blum Gallery, Carry a Song / Disrupt an Anthem , which featuring six major works, which explore how Indigenous identity is subverted by American culture .