Tulalip artist James Madison remains true to his heritage

Dan Bates / The HeraldArtist James Madison carves amazing artwork, depicting his ancestral tribal culture, and stories passed down through the ages.
Dan Bates / The Herald
Artist James Madison carves amazing artwork, depicting his ancestral tribal culture, and stories passed down through the ages.

By Gale Fiege, The Herald

Computers, scanners and other bits of high tech play a part in what is produced at the studio of famed Tulalip Tribes artist James Madison.

At the heart of his carvings, paintings, glass and metal sculptures, however, is what Madison learned as a boy sitting at his grandfather’s kitchen table — the way to hold an adze, respect for Coast Salish and Tlingit cultural traditions, a good work ethic and an appreciation for beauty.

“Everything my grandpa knew, he taught me and my cousin, Steven. He was grooming us to carry on,” said Madison, now 40. “He taught us the stories and their messages, and how to carve. It was like learning to walk. It was just something that happened naturally.”

Madison’s artwork is displayed locally and throughout the state and country. It even has been featured on the TV show “Grey’s Anatomy.”

Named Snohomish County’s 2013 Artist of the Year by the Schack Arts Center, Madison is busy this week putting up a show at the Russell Day Gallery at Everett Community College.

“Generations 2,” which includes work by Madison, his grandfather, father, uncle, cousin and young sons, opens Feb. 10, with a reception set for 6 p.m. Feb. 13 at the college gallery. It will be exhibited through March 14. A previous show, “Generations,” also included artwork by family members.

 

“The show pays respect to the people who taught me and gave me the tools I use today,” Madison said.

Madison’s sculptural work can be seen on Colby Avenue in downtown Everett, on the community college campus, on the Tulalip reservation and in the form of a bronze husky in front of the University of Washington football stadium.

“That sculpture was important to me because football has always been a part of my life, too,” he said.

One of Madison’s major works is the 24-foot story pole in the hotel lobby at the Tulalip Resort and Casino. His sculptures also can be seen at the Hibulb Cultural Center, in Cabela’s at the Tulalip shopping mall, at Lighthouse Park in Mukilteo, Kayak Point County Park, Providence hospital, the Burke Museum and in the cities of Stanwood, Marysville, Shoreline, Whistler and New York.

Along with learning traditional arts, Madison was still a child when his father was attending art school and learning about abstract painting.

“Dad gave me the fine arts side,” Madison said. “It gave me the means to take what I do and give it a modern twist.”

After graduating from Everett High School and Everett Community College, Madison earned a degree in fine arts from the University of Washington.

“I am in a position now to publicly express our history to non-Indians, so they can know who we are,” Madison said. “I am trying to do my best to keep our culture alive. I bring my sons with me as much as I can, so they can learn in the same manner I did.”

Among other things, Madison currently is working on another story pole. It is being carved from the same 998-year-old, 135-foot cedar log — a blow-down from the Mount Baker-Snoqualmie National Forest — that was used for the story pole at the Tulalip Resort.

Looking around his warehouse-sized studio, Madison said sometimes his success feels “surreal.”

“This is a dream come true for all of us,” he said, motioning to friends and relatives working nearby.

“Being named artist of the year last February, at age 39, made me proud of all of our hard work. It was an accolade that gave me satisfaction and made me feel that it is possible to do anything.

“I push myself because that is how I was raised. And the more I do, the more I can acknowledge my people and my family.”

“Generations 2” also will include the work of the late Frank Madison Sr., Steve Madison, Frank Madison, Steven Madison and James Madison’s sons, Jayden, 8, and Jevin, 6.

The Russell Day Gallery, 2000 Tower St., is open from 10 a.m. to 5:30 p.m. Mondays and Wednesdays, noon to 4 p.m. Tuesdays and Thursdays and 10 a.m. to 2 p.m. Fridays.

Tlingit Master Carver creates totem pole for Carnegie Museum of Natural History

Darrell Sapp/Post-GazetteTommy Joseph, a member of the Tlingit people of southeast Alaska, uses a reverse bent knife to carve a 16-foot totem pole that will be permanently installed at the Carnegie Museum of Natural History.
Darrell Sapp/Post-Gazette
Tommy Joseph, a member of the Tlingit people of southeast Alaska, uses a reverse bent knife to carve a 16-foot totem pole that will be permanently installed at the Carnegie Museum of Natural History.

December 10, 2013

By Mary Thomas / Pittsburgh Post-Gazette

The story of a raven, two fishermen and a salmon was emerging from the trunk of a Washington red cedar last week under the skilled hands of master carver Tommy Joseph. Today, he will complete the carving and on Saturday a public “Celebration of the Raising of the Totem Pole” will be held as it’s installed permanently in the Carnegie Museum of Natural History.

Mr. Joseph, a member of the Tlingit people of southeast Alaska, was born in Ketchikan and lives in Sitka. He began carving the totem pole, which was commissioned by the museum, on Nov. 26 in the R. P. Simmons Gallery, where he will be until 5 p.m. today.

Darrell Sapp/Post-GazetteTommy Joseph, a member of the Tlingit people of southeast Alaska, talks about his totem pole sculpture.
Darrell Sapp/Post-Gazette
Tommy Joseph, a member of the Tlingit people of southeast Alaska, talks about his totem pole sculpture.

The totem will be unveiled this weekend at the entrance of Polar World: Wyckoff Hall of Arctic Life and the Alcoa Foundation Hall of American Indians. The all-ages event will begin at 10:30 a.m. with Tlingit song and drumming by musician Morgan Redmon Fawcett. Following the celebration, Mr. Fawcett will play Native American flute, and guided tours of Alcoa Hall and other activities will be offered (included in museum admission).

The 16-foot tall totem pole is a blend of traditional and contemporary practices. The formal qualities of the bold stylized components, and the fact that they memorialize a story told by a Tlingit elder, are timeless. Mr. Joseph carves with hand tools that would have been recognizable generations ago, including an adz, gouges and knives, some of which he made. However, the vivid paints are latex.

When the museum commissioned the totem pole, it requested a story that included a raven but was otherwise unrestricted. That gave Mr. Joseph, 49, an opportunity to fulfill a project that had been on his mind for three decades.

“They told me I could pick any story. This story has never been told before. When I first heard it, I wanted to tell it,” Mr. Joseph said last week.

The description he gave the museum was of two young men on a hunting trip:

“While out on the open ocean with a storm approaching, a young man spotted a large seal and fired at it. He was happy to see that his aim was true, and he piloted his boat over to haul in his catch. The young man grabbed the seal by its tail, but it began to thrash about. So as not to lose it to the ocean waves and the approaching storm, he bit down on the tail, gripping hard between his teeth while grabbing the seal’s flippers with his strong hands and arms.

“In a boat not far away, the young man’s hunting partner and Clan brother was watching this entire scene unfold. He fired a shot into the seal, saving the catch. The hunt was a big success, and both men were able to bring food home to their families, along with an adventure story that would live on for generations to come.”

But there’s more, a personal connection. The men in the boats were Mr. Joseph’s father and the elder who related the story in the mid-1980s. Mr. Joseph’s father was lost at sea when he was 6.

“The museum wanted a traditional raven story,” Mr. Joseph said. “But what is a traditional raven story? It’s a story an elder told. Raven is my Dad’s moiety [descent group].” Mr. Joseph is of the Eagle Moiety.

The raven, at the bottom of the totem pole, appears in Tlingit legends, myths and creation stories. The middle figures are the hunters in dugout canoes. The top figure, a dog-salmon, completes the circle of life, the seal eating the salmon and the people, the seal.

Darrell Sapp/Post-GazetteOne of the painted "trappings" on the Raven portion of the totem pole Tommy Joseph has been commissioned to carve for the Carnegie Museum of Natural History.
Darrell Sapp/Post-Gazette
One of the painted “trappings” on the Raven portion of the totem pole Tommy Joseph has been commissioned to carve for the Carnegie Museum of Natural History.

“Alaskan natives still eat seals today,” Mr. Joseph said. “They’re part of our subsistence lifestyle.

“A totem pole is a visual tool for telling a story,” he explained. “The whole purpose is to be a reminder of the story. [Subjects include] migration, individuals, groups of people, events, history, clan history; grave markers, mortuary poles that memorialize people.”

Mr. Joseph first became infatuated with wood when he made a halibut hook out of yellow cedar in a third-grade woodcarving class. His art includes Tlingit armor, masks and bowls in addition to totem poles. He sells them at his Raindance Gallery in Sitka along with work by other Alaskan native artists.

Funded by a Smithsonian visual artist grant and a USA Artist Fellows award, he traveled to 20 museums and collections in the U.S. and abroad in 2009 to study Tlingit armor. The Alaska State Museum, Juneau, presented the first exhibition of Mr. Joseph’s armor this year. In July, he gave a TED (Technology, Entertainment, Design) talk on constructing Tlingit armor.

At his gallery, he teaches carving in affiliation with the University of Alaska Southeast, Sitka Campus. “I always hope there’s going to be some of our young people who will be interested. But to keep [the tradition] going, I’ll teach anybody of any age who wants to know, as long as they’re old enough to work safely.”

TotemPoleMag07-1
Darrell Sapp/Post-Gazette
Tommy Joseph works on the details of his totem pole.

For 21 years he ran the wood studio of the Sitka National Historical Park’s Southeast Alaska Indian Cultural Center. While there he observed leading wood conservators from the National Park Service and now he conserves, restores and replicates totem poles for the Park Service and other institutions and individuals.

“It’s a huge honor for me that [this totem pole] will be in the Carnegie Museum forever,” Mr. Joseph said. “I have the coolest job around. I get to go to work every day and make stuff, and share it with everybody.”

Tlingit artifacts including baskets, halibut hooks and objects relating to the totem pole creation process may be seen in the Simmons Gallery today through Friday. Information: 412-622-3131 or www.carnegiemnh.org.

Post-Gazette art critic Mary Thomas: mthomas@post-gazette.com or 412-263-1925.

After nearly 80 years, Native American story pole is coming home

The 37-foot story pole was originally carved by Tulalip Tribe leader and artist William Shelton. It stood in a park in Illinois for more than 70 years until weather and bugs forced it to be taken down. Now the Burke Museum is working to bring it home. (Photo courtesy Freeport Park District)
The 37-foot story pole was originally carved by Tulalip Tribe leader and artist William Shelton. It stood in a park in Illinois for more than 70 years until weather and bugs forced it to be taken down. Now the Burke Museum is working to bring it home. (Photo courtesy Freeport Park District)

By Kiersten Throndsem, kimatv.com

SEATTLE – For more than 70 years a pole stood watch over a Boy Scout park in Freeport, Ill. This pole shared a story, carved in wood, of a Native American culture to those who visited the park until it was removed.

And, now the Burke Museum wants to bring this story pole – created by in the Northwest by Snohomish Tribe leader William Shelton — home.

“It’s an important pole for us because we don’t have a pole from that period,” said Robin Wright, with the Burke Museum. “William Shelton really initiated the totem pole carving for the Coast Salish.”

After being carved by Shelton, the 37-foot pole was sent to Illinois in 1935. There it stood in Krape Park until 2008 while weather and bugs led to its decay. The story pole was taken down five years ago and has remained in a warehouse ever since.

“The bottom of it where it went into the ground is completely rotten, and other portions of the pole need some loving care,” Wright said “It’s in pretty poor condition.”

Not sure what to do with the pole, the Freeport Park District contacted the Burke Museum to see if it might be interested in taking it. The museum is home to a large Northwest Coast collection and very familiar with works of Shelton and the Coast Salish culture.

However, getting the pole here is tricky and will cost thousands of dollars. To help offset some of those moving expenses, the museum turned online, to a crowd sourcing fundraiser in hopes of raising $7,500. The money will help pay for a truck and flatbed trailer to haul the pole across the country.

Shelton is recognized for carving a number of poles between 1910 and the 1930s, and this particular pole, Wright said, tells the same kind of story found on all his poles.

“The whale at the bottom and the eagle at the top” Wright said.  “Whales are very important for the original story of the Tulalip Tribe. It goes back to a time when people were starving and whales would help herd the salmon up the stream so people could get food.”

The Burke Museum plans to work with representatives from the Tulalip Tribe, as well as Shelton’s family, who happen to live in Snohomish County, to interpret the pole once it arrives. It’s unknown how much it will cost to actually restore the pole, and it will need to be fumigated. The hope is to hire Tulalip carvers trained in story pole restoration.

Shelton’s pole will be tallest pole in the museum’s collection and will be mounted inside.

More information about the museum’s fundraising efforts can be found online.