James Schoppert

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James "Jim" Schoppert
Born May 28, 1947 (1947-05-28)
Juneau, Alaska
Died September 2, 1992 (1992-09-03)
Nationality Tlingit, German-American
Known for Woodcarving, Sculpture, Painting, Poetry
Movement Northwest Coast art, Contemporary Native art

Robert James "Jim" Schoppert (May 28, 1947 – September 2, 1992), was a Tlingit (/ˈklɪŋkɨt/ or /ˈtlɪŋɡɨt/) Alaska Native born in Juneau, Alaska. His father was of German descent and his mother Tlingit. During his life, Schoppert became one of the most prodigious and influential Alaska Native artists of the twentieth century.[1] His work includes carving, painting, poetry and essays. He has been described as an innovator, that made traditional and contemporary Alaska Native works often pushing the boundaries of what was considered "traditional" Northwest Coast art. Throughout his career he was a spokesman for Alaska Native artists and artists in general. Having taught at the University of Alaska Fairbanks[1][2] (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington, his positive influence was spread through his work and words over the course of his career.

Career[edit]

James Schoppert Clam Shell 1992 Wood, Pigment, Glue Rattle

In 1973 Jim came to Anchorage for a construction job which, it turned out, was no longer available.[3] On February 26, 1973, using the last of his money, he bought a piece of soapstone and carved an owl.[4] He put it up for sale at the urging of his sister and was able to sell it quickly. This was the beginning of his career as an artist.[4] Understanding that knowledge was important he went on to receive a BFA from the University of Alaska Anchorage and a MFA from the University of Washington. But "his apprenticeship was with himself,"[1] writes Steven Brown, associate curator at the Seattle Art Museum.[3] Continuing to produce work while in school he won first place in the statewide Earth, Fire and Fiber juried show in 1976 while still an undergraduate.[3] This sculpture should have been an indication of things to come as it was a separation from his traditional work which would define him as an artist and create controversy and curiosity in later years. Although Jim created art using the traditional formline he chose a different approach for a great deal of his work that did not neatly fit into either contemporary or Northwest Coast art. He was quoted as saying "There is tremendous pressure for conformity from collectors and scholars, who want work that fits into the classic definition of Northwest Indian art. When things don't fit their expectations there's a raised eyebrow, and a sort of suggestion of "What do we do with it now?".[1] This mindset is what allowed Jim to create his most recognizable pieces which are large carved panels made of multiple planks, painted in non traditional colors and the planks rearranged to create an entirely new look and a break from traditional methods and form line. Examples of this style are seen in his works Teasing Eagle and Raven Opens Box of Stars.

During his career as an artist he also served on the state arts councils for both Alaska and Washington.[3] He created the North Coast Indian flat design that is on the entrance to the west end of the I-90 tunnel in Seattle Washington. There are several of his works throughout Alaska and Washington, including one of the last pieces he made which was a large carving for the Port of Seattle to be installed at the Seattle Tacoma International airport.[2]

Artwork[edit]

Blueberries by James Schoppert 1986

Jim's artwork covered a wide range of techniques such as traditional carving, abstract paintings, drawings, mask making and most notably his large carved panel pieces that are his most recognized. The wood panel pieces are also what created some controversy over whether his art was contemporary or Northwest Coastal. Jim learned that the Tlingit formline that was considered the traditional method was only a relatively recent development among the Northwest Indian. It was his opinion that enforcing the practices of 1850's or 1950's as the rule for all time amounted to artistic tyranny.[3] He has been quoted as saying "Learn the rules, then break them".[3] When talking about his panels, his intention was to further the art by following what he considered its natural progression. "If Art has a Master, Imagination cracks the whip".(1987)[1] It is clear that he was true to his beliefs when examining his work. He went beyond the boundaries of traditional Northwest Coastal art and was a contributor to the evolution of contemporary native art.[5]

Although Jim is best known for his panels he also produced several pieces that followed traditional methods and formline design. This is most evident in his mask making, an example of Jim using this style can be found in his mask Forehead Mask (1977) and Mussel Shell Rattle (1992). In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline, again pushing the boundaries of what was considered "traditional" Northwest Coast art.

Exhibitions[edit]

Jim's final exhibition was hosted by the Anchorage Museum at Rasmuson Center seven years after he died, putting together a traveling exhibit that contained 50 pieces of art, and selected essays and poems as a tribute to a great Alaska Native artist and recognized him as transformational "whose unique artistic expression contributed to the evolution of contemporary native art".[1] Sponsored by the National Museum of the American Indian, this exhibit was displayed in the Smithsonian Institution from October 3, 1999 to February 6, 2000 at the museum's George Gustav Heye Center.

  • 1992 "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian] New York
  • 1992 "Visions of Alaska", Denise Wallace Gallery, Santa Fe
  • 1992 "Salmon:Ritual and Resource." Stonington Gallery, Seattle
  • 1991 "A Northern Perspectives", The Legacy Ltd., Seattle
  • 1991 "Raw Materials", Sacred Circle Gallery, Seattle
  • 1991 "Eleventh Anniversary Show", Stoningham Gallery, Seattle
  • 1990 "Eleven Stories", Sacred Circle Gallery, Seattle
  • 1990 "Northern Lights", SunRunner, Ojai
  • 1989 "Native American Expressions of Surrealism", Sacred Circle Gallery, Seattle
  • 1986 "What is Native American Art?'"
  • 1985 Second Biennial Invitational, Heard Museum, Phoenix
  • 1985 "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco
  • 1985 North Central Washington Museum, Juneau
  • 1985 "New Ideas from Old Traditions", Yellowstone Arts Center
  • 1984 C.N. Gorman Museum, University of California, Davis
  • 1984 "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe

External links[edit]

References[edit]

  1. ^ a b c d e f Jim Schoppert: Instrument of Change: Retrospective Exhibition. Anchorage Museum of History and Art, Anchorage, 1997.
  2. ^ a b Deloris Tarzan Ament, Robert James Schoppert,45,Used Tlingit Heritage in his Artwork, The Seattle Times, September 19, 1992.
  3. ^ a b c d e f Dunham, Mike. "A Bridge Unfinished: Late Tlingit Artist's Quest for Unity in Diversity Celebrated in New Show." Anchorage Daily News. March 16, 1997.
  4. ^ a b Julie Decker. Icebreakers: Alaska's Most Innovative Artists. Anchorage Museum, Anchorage, 1999.
  5. ^ National Museum on the American Indian of Change : Retrospective Exhibition 1947-1992" http://www.tfaoi.com/aa/2aa/2aa242.htm