Vancouver Gallery Presents Groundbreaking Exhibition of Coast Salish Art
The Bill Reid Gallery of Northwest Coast Art in Vancouver has launched a significant new exhibition titled Every River Has a Mouth, dedicated to highlighting the often-overlooked creative contributions of Coast and Interior Salish artists. This expansive showcase, which opened recently and will run through February 14, 2027, aims to correct historical narratives that have marginalized Salish artistic traditions.
Curator's Vision: Reclaiming Artistic Identity
The exhibition is curated by Snuneymuxw (Nanaimo) artist and author Eliot White-Hill, who holds the Coast Salish name Kwulasultun and the Nuu Chah Nulth name Kwaayas. White-Hill's primary objective with Every River Has a Mouth is to address and rectify the long-standing misrepresentation of Salish artistic practices, which have frequently been relegated to a secondary status compared to other Northwest Coast styles like Haida and Tlingit art.
"He classified Indigenous cultural practice as primitive and undeveloped and then established hierarchies of which styles were 'superior' to others," White-Hill explained, referencing the influential work of German-American anthropologist Frank Boaz. "By doing so, he both misrepresented and insulted Salish art as primitive and relegated it to second-class status. To this day, Salish art is under-represented on our lands, and this exhibition focuses on the output of peoples and cultures whose territory the Bill Reid Gallery is situated on."
Historical Context and Artistic Impact
Boaz's 1897 text, The Decorative Art of the Indians of the North West Coast, is largely credited with creating a monocultural impression of Pacific Northwest Coast art. In his work, Boaz emphasized monumental creations like totem poles while largely ignoring utilitarian art forms such as weaving, despite claiming to view Indigenous art through a non-European lens. Academic debate continues regarding the effectiveness of his methods, but his legacy has perpetuated biases that this exhibition seeks to challenge.
Diverse Artistic Showcase
The exhibition features a wide array of works that demonstrate the richness and variety of Salish artistic expression across multiple mediums. Highlights include:
- A massive seven-meter-long canoe crafted by father-daughter duo Luke and Ryza Maarston.
- Unique fashion pieces by renowned artist Susan Point.
- An installation by Sydney Pascal titled t̓iq i sts̓úqwaoz̓a | the Salmon Have Arrived, made from tanned fish skins to explore the cultural and nutritional significance of salmon.
Other participating artists in the exhibition are Angela George, Chase Gray, Danielle Morsette, Grace Edwards, James Harry, Manuel Axel Strain, Ocean Hyland, Paige Pettibon, and Taylor Baptiste. White-Hill's selections are intentionally diverse, spanning past, present, and future directions in Salish creative practices to provide a comprehensive overview.
Broader Cultural Significance
White-Hill's own artistic work, which includes magical realist fiction set in the region and applying traditional Coast Salish designs to everyday items like reusable shopping bags and hoodies, reflects the exhibition's theme of blending tradition with contemporary relevance. Every River Has a Mouth not only celebrates Salish artistry but also serves as an educational tool, inviting visitors to engage with and appreciate the depth of Indigenous cultural heritage that has been historically undervalued.
This exhibition represents a pivotal moment in the recognition of Coast Salish contributions to the artistic landscape, offering a platform for voices that have long been silenced or overlooked in mainstream cultural narratives.
