This documentary follows Haida artist Bill Reid, from British Columbia. A jeweller and wood carver, he works on a traditional Haida totem pole. We watch the gradual transformation of a bare cedar trunk into a richly carved pole to stand on the shores of the town of Skidegate, in the Queen Charlotte Islands of B.C.
This short documentary focuses on prairie sculptor Joe Fafard. If there's one thing Joe knows, it's cows. He knows the way they tuck in their forelegs to lie down to ruminate and the way a calf romps in the barnyard. He also knows his friends and neighbours in the farming community of Pense, Saskatchewan—and he sculpts them all in clay, as eloquent and quirky miniatures. Joe's work has been exhibited throughout Canada as well as in Paris and New York, and this film offers a glimpse into his process, his aesthetic, and the charming prairie community in which he lives.
This feature-length documentary traces the journey of the Haisla people to reclaim the G'psgolox totem pole that went missing from their British Columbia village in 1929. The fate of the 19th century traditional mortuary pole remained unknown for over 60 years until it was discovered in a Stockholm museum where it is considered state property by the Swedish government.Director Gil Cardinal combines interviews, striking imagery and rare footage of master carvers to raise questions about ownership and the meaning of Indigenous objects held in museums.
In this follow-up to his 2003 film, Totem: the Return of the G'psgolox Pole, filmmaker Gil Cardinal documents the events of the final journey of the G'psgolox Pole as it returns home to Kitamaat and the Haisla people, from where it went missing in 1929.
This short documentary from the Canadian Artists series presents the art of Emily Carr, the Canadian painter who found exciting subject matter on British Columbia's Pacific Coast, with its giant trees and its Indigenous villages, totems and carvings. When Carr visited the Ucluelet Indian Reserve on Vancouver Island in 1898, the Nuu-chah-nulth people gave her the name Klee Wyck, meaning “Laughing One.” Her canvases are shown here amidst the landscapes and places where they were painted. At the end of the film Tse-shaht painter George Clutesi is pictured as Carr left her paintbrushes and other materials to him.
This short film is part of a series entitled I Can Make Art and focuses on the work of Emily Carr. In this film, kids examine Carr's unusual world and the inspiration for her haunting landscapes. Drawing on this inspiration, they then attempt to create a giant forest mural on a window in their school. The series is comprised of six short films that take a kid's-eye view of a diverse group of Canadian visual artists.
In this short film from the I Can Make Art Like... series, a group of Grade 6 students are inspired by Maud Lewis, the celebrated Nova Scotian folk artist who painted scenes of country life. With the help of artist Kyle Jackson, they create a folk art painting of their own downtown neighbourhood. Informative, touching and filled with the magic of creation, this film shows both the power and simple pleasure of folk art.
In this short film, sculptor and textile artist Kai Chan shares his artistic philosophy of economy and repetition with young artists who build extraordinary, complex 3D structures using simple materials and basic techniques. Part of the I Can Make Art ...series.
This short documentary looks at the work of artist Arthur Lismer, a member of the Group of Seven, emphasizing his contribution to art education and to Canadian art. At the Montreal Art Centre we see how children learn the independence of creative self-expression in art.
The NFB's 33rd Oscar®-nominated film.
This short film studies the works of one of Canada's greatest contemporary etchers - Newfoundland-born David Blackwood. The artist himself guides viewers through a step-by-step explanation of the etching process. Scenes of his hometown, examples of his own work and vivid tales of an old mariner recall the tragic seal hunts and a way of life that has now vanished.
Set against a background of her paintings and the Yarmouth, Nova Scotia, landscapes they depict, this short documentary is a portrait of the life and work of one of Canada's foremost primitive painters, Maud Lewis. Emerging from her youth crippled with arthritis, Lewis escaped into her painting at the age of 30. She had never seen a work of art and had never attended an art class but her paintings captured the simple strength, beauty and happiness of the world she saw - a world without shadows.
This film profiles a number of Mi’kmaq and Maliseet artists from Nova Scotia and New Brunswick, showing their similarities and differences, samples of their work and the sources of their inspiration. It offers a remarkable look at Indigenous art and spirituality in Atlantic Canada.
Ages 12 to 17
Indigenous Studies - Identity/Society
Students could research a history of the Haida in British Columbia, especially the art of carving totem poles from the cedars. What do these poles represent for the Haida people? Consider the skills that are involved in making woodcarvings, especially something of this magnitude. Does the fact that the carver uses electrical tools diminish the authenticity of his work?