Malcolm and Karen Whyte, Mill Valley, CA

This work comes from Malcolm Whyte, Cornell Class of 1955, and his wife Karen Whyte, whose collection of contemporary Native American art was featured in an exhibition at the Johnson Museum, Cornell University, with the accompanying catalogue by the same name, Walk in Beauty: Discovering American Indian Art. The Whyte collection, from which this work was selected, focuses primarily on contemporary artists from California and the larger Western region of the country.

Whyte, Malcolm. 2007. Walk in beauty: discovering American Indian art : American Indian paintings and sculpture from the collection of Malcolm and Karen Whyte. Ithaca, N.Y.: Herbert F. Johnson Museum of Art. Cat. #35.

GENERAL:
Bringhurst, Robert. The Black Canoe: Bill Reid and The Spirit of Haida Gwaii. Photos by Ulli Steltzer. Vancouver: Douglas & McIntyre, 1991.

Duffek, Karen. Bill Reid: Beyond the Essential Form. UBC Museum of Anthropology Note no. 19. Vancouver: University of British Columbia Press, 1986.

Reid, Bill. All the Gallant Beasts and Monsters. Vancouver: Buschlen-Mowatt, 1992.

Reid, Bill and Robert Bringhurst. The Raven Steals the Light. Vancouver: Douglas & McIntyre, 1984.

Reid, Bill and Bill Holm. Form and Freedom: A Dialogue on Northwest Coast Indian Art. Houston: Rice University Institute for the Arts, 1975.

Reid, Bill and Adelaide de Menil. Out of the Silence. New York: Harper & Row, 1971.

Reid, William, and Robert Bringhurst. 2000. Solitary raven: the selected writings of Bill Reid. Vancouver: Douglas & McIntyre.

Shadbolt, Doris. Bill Reid. Vancouver: Douglas & McIntyre, 1986.

Tippett, Maria. 2003. Bill Reid: the making of an Indian. Toronto: Random House Canada.

Blackman, Margaret B., and Edwin S. Hall. 1981. "Contemporary Northwest Coast art: tradition & innovation in serigraphy". American Indian Art Magazine. 6 (3).

Canada. 2007. L'art des peuples autochtones du Canada au sénat = Canadian Aboriginal art at the senate. Ottawa: Government of Canada.

Canadian Indian Marketing Services. 1979. Northwest Coast Indian artists: 1979 graphics collection. Toronto: Thompson Gallery Inc. in association with Executive Marketing Services.

Hall, Edwin S., Margaret B. Blackman, and Vincent Rickard. 1981. Northwest Coast Indian graphics: an introduction to silk screen prints. Seattle: University of Washington Press.

Megaw, J. V. S. 1982. Northwest Coast Indian graphics: [catalogue of an exhibition of imported screen prints from Canada. S. Aust: Flinders University of S. Aust.

Macnair, Peter L., Alan L. Hoover, and Kevin Neary (1984) The Legacy: Tradition and Innovation in Northwest Coast Indian Art. Vancouver, B.C.: Douglas & McIntyre.

National Museum of Man (Canada), Thunder Bay National Exhibition Centre, and Centre for Indian Art. 1980. The Eye of the dreamer: heroes and heroic transformation in Northwest Coast silkscreen prints from the collection of the National Museum of Man. Thunder Bay, Ont: Thunder Bay National Exhibition Centre.

Northwest Coast Indian Artists Guild. 1977. Northwest Coast Indian Artists Guild, 1977 graphics collection. Ottawa: Canadian Indian Marketing Services.

Northwest Coast Indian Artists Guild. 1978. Northwest Coast Indian Artists Guild, 1978 graphics collection. Ottawa: Canadian Indian Marketing Service.

Open Pacific Graphics (Firm). 1985. Northwest Coast Indian printmakers. Victoria, B.C.: Open Pacific Graphics.

Phillips, Ruth B., and Christopher Burghard Steiner. 1999. Unpacking culture art and commodity in colonial and postcolonial worlds. Berkeley: University of California Press.
Whyte, Malcolm. 2007. Walk in beauty: discovering American Indian art : American Indian paintings and sculpture from the collection of Malcolm and Karen Whyte. Ithaca, N.Y.: Herbert F. Johnson Museum of Art.

His work is also illustrated and discussed in Vancouver Art and Artists 1931 – 1983 (1983), by Luke Rombout and various contributors; in Great Work – An Overview of Contemporary British Columbia Artists (1996), by Melanie Gold; in Landmarks of Canadian Art (1978), by Peter Mellen; in Looking at Indian Art of the Northwest Coast (1979), by Hilary Stewart; in Haida – Their Art and Culture 1982), by Leslie Drew; in The Legacy (1980), by Peter Macnair, Alan Hoover, and Kevin Neary; and in The Black Canoe: Bill Reid and the Spirit of Haida Gwaii “(1996), by Terren Iiana Wein.  There are also the biographies Bill Reid (1986), by Doris Shadbolt; Bill Reid: Beyond the Essential Form (1986) by Karen Duffek; and Bill Reid – The Making of an Indian (2004) by Maria Tippett.
 
Books Illustrated, written, or coauthored by Reid include; Indian Art of the Northwest Coast - A Dialogue on Craftsmanship and Aesthetics (1975), by Bill Reid and Bill Holm; The Art - An Appreciation in Arts of the Raven (1967), published by the Vancouver Art Gallery;  Out of the Silence (1971), by Bill Reid and Adelaide de Menil; The Haida Legend of the Raven and the First Humans (1980), by Bill Reid; and The Raven Steals the Light (1984), by Bill Reid and Robert Bringhurst.
 
The  television specials about him include “Looking at Art”,  CBC July 27/54; “Carvers of the Totem Pole”, CBC Nov.1/57; “The Farewell Screen”, CBC July 19/68; “Globe Trotting: Reid in Paris”, CBC Oct 10/89; “Haida Gwaii in Washington”, CBC Nov.18/91; “The Private Bill Reid”, CBC Mar.1/94; “The Grand Old Man of Haida Art”, CBC Jan.14/96; “The Jade Canoe”, CBC Oct.25/97; “Bill Reid Remembered”, CBC Mar.13/98; ”Portrait of the Artist”, CBC Oct.12/99;”The Spirit of Haida Gwaii” (Concert), CBC Nov.14/02; and “Raven in the Sun: The Life and Times of Bill Reid", CBC Dec.2/03.