Editing Bill Reid (section)

==Biography==

===Early years===
William Ronald Reid Jr., was born 12 January 1920 in [[Victoria, British Columbia]]. His father was William Ronald Reid Sr., an American of Scottish-German descent.<ref>[http://www.civilization.ca/cmc/exhibitions/aborig/reid/reid02e.shtml Bill Reid], Can. Museum of Civilization</ref> His mother, Sophie Gladstone, was Haida, from the Raven/Wolf [[Clan]] of [[Tanu, Canada|T'anuu]] ({{Langx|hai|Kaadaas gaah Kiiguwaay}}).<ref>{{cite web |url=http://theravenscall.ca/en/who/life_story |title=Who was Bill Reid? |author=Bill Reid Foundation |year=2010 |work=The Raven's Call |publisher=virtualmuseum.ca |access-date=14 January 2012 |archive-date=27 October 2017 |archive-url=https://web.archive.org/web/20171027035534/http://theravenscall.ca/en/who/life_story |url-status=dead }}</ref> Gladstone, born in the Haida village of [[Skidegate]], attended [[Canadian Indian residential school system|residential school]] in [[Sardis, Chilliwack|Sardis]], British Columbia, and consequently did not pass on her Haida heritage to her son.<ref name=":2">{{Cite book |last=McMaster |first=Gerald |title=Iljuwas Bill Reid: Life & Work |publisher=Art Canada Institute |year=2020 |location=Toronto |pages=74}}</ref> Reconnecting with his Haida heritage became a driving force behind Reid's life and art.<ref>{{Cite web |title=Bill Reid: Life & Work |url=https://www.aci-iac.ca/art-books/iljuwas-bill-reid/ |access-date=2024-12-13 |website=Art Canada Institute - Institut de l’art canadien |language=en}}</ref>

When Reid was in his early twenties, he visited his ancestral home of Skidegate for the first time since he was an infant. He desired to connect with his relatives and his Indigenous identity, later commenting that "in turning to his ancestors, in reclaiming his heritage for himself, he was . . . looking for an identity which he had not found in modern western society."<ref name=":0" /><ref>{{Cite book |last=Shadbolt |first=Doris |url=https://archive.org/details/billreid0000shad |title=Bill Reid |publisher=Douglas & McIntyre |year=1986 |isbn=9780295964270 |location=Vancouver |pages=13 |access-date=2024-12-16 |url-access=registration}}</ref> In Skidegate Reid spent time with his maternal grandfather, Charles Gladstone, a traditional Haida silversmith.<ref name=":0" /> Gladstone first taught Reid about Haida art, and through him, Bill inherited his tools from his great-great-uncle [[Charles Edenshaw]], a renowned chief and artist who died the year Reid was born.<ref>{{cite book|last1=Harris|first1=Christie|url=https://archive.org/details/ravenscry0000harr|title=Raven's Cry|date=1966|publisher=McClelland and Stewart|location=Toronto|page=[https://archive.org/details/ravenscry0000harr/page/189 189]|isbn=9780771040337 |url-access=registration}}</ref><ref>{{cite book|last1=Wright|first1=Robin K.|title=Charles Edenshaw|last2=Ginson|first2=Mandy|date=2013|publisher=Black Dog Publishing|isbn=9781908966209|editor1-last=Wright|editor1-first=Robin K.|location=London|page=228|editor2-last=Augaitis|editor2-first=Daina}}</ref>

In 1944, Reid married his first wife, Mabel van Boyen. In 1948, the couple moved to Toronto, where Reid further developed his keen interest in Haida art while working as a radio announcer for [[CBC Radio]] and studying jewelry making at the [[Toronto Metropolitan University|Ryerson Institute of Technology]]. During his spare time, he made regular trips to the [[Royal Ontario Museum]] and admired the carved Haida pole installed in the main stairwell, which originated from his grandmother's village of T'aanuu.<ref name=":0" /> Upon completing his studies, Reid made his first Haida-inspired piece of jewelry, a bracelet resembling the ones he saw his maternal aunt wear when he was a child.<ref name=":0" />

In 1951, Reid returned to [[Vancouver]], where he eventually established a studio on [[Granville Island]]. He became greatly interested in the works of his great-great uncle Edenshaw, working to understand the [[Symbolism (arts)|symbolism]] of his work, much of which had been lost along with many Haida traditions. During this time Reid also worked on salvaging artifacts, including many intricately carved [[totem pole]]s, which were then moldering in abandoned village sites. He assisted in the partial reconstruction of a Haida village in the [[Museum of Anthropology at UBC|University of British Columbia Museum of Anthropology]] (MOA). In 1986, Reid's work was featured in an exhibit at the MOA, "Beyond the Essential Form" curated by William McClennan.<ref>{{Cite web |title=Bill Reid: Beyond the essential form - Audrey and Harry Hawthorn Library and Archives |url=https://atom.moa.ubc.ca/index.php/bill-reid-beyond-essential-form |access-date=2024-12-17 |website=atom.moa.ubc.ca}}</ref> The exhibit catalog was later published by the University of British Columbia Press as ''Bill Reid: Beyond the Essential Form'' by Karen Duffek, Curator: Contemporary Visual Arts & Pacific Northwest.<ref>{{Cite book |last=Duffek |first=Karen |url=https://archive.org/details/billreidbeyondes0000duff |title=Bill Reid : beyond the essential form |publisher=[[University of British Columbia Press]] |year=1986 |isbn=9780774802635 |location=Vancouver |language=en |oclc=243614105 |access-date=2024-12-16 |url-access=registration |via=[[Internet Archive]]}}</ref>

Working in the traditional forms and modern media (usually [[gold]], [[silver]] and [[Haida argillite carvings|argillite]]), Reid began by making jewellery. He gradually explored larger sculptures in [[bronze]], [[Western red cedar|red cedar]] and [[Callitropsis nootkatensis|Nootka Cypress]] (yellow cedar), usually portraying figures, animals, and scenes from [[Haida mythology]]. He intended to express his ancestors' visual traditions into a contemporary form.<ref>{{cite web|url=http://www.moa.ubc.ca/exhibits/online_sourcebooks.php |title=Online Sourcebooks &#124; Museum of Anthropology at UBC |access-date=2012-02-12 |url-status=dead |archive-url=https://web.archive.org/web/20120127134833/http://moa.ubc.ca/exhibits/online_sourcebooks.php |archive-date=2012-01-27 }}, Museum of Anthropology</ref>

===Major works and awards===
Reid's most popular works are three large bronze sculptures. Two depict a [[canoe]] filled with human and animal figures: one black, ''The [[Spirit of Haida Gwaii]]'', is at the [[Canadian Embassy, Washington, D.C.]], in the United States; and one green, ''The Jade Canoe'', is at [[Vancouver International Airport]], in [[British Columbia]].<ref name=":1">{{Cite book |last=Tepper |first=Leslie |title=The Grand Hall: First Peoples of Canada's Northwest Coast |publisher=Library and Archives Canada |year=2014 |isbn=9780660202792 |pages=36}}</ref> The third sculpture, ''Chief of the Undersea World'', depicts a breaching [[orca]] and is installed at the [[Vancouver Aquarium]]. [[Plaster cast]]s of these sculptures are held by the [[Canadian Museum of History]] in [[Gatineau]], Canada.<ref name=":1" />

His 1965 painting ''Smallpox'' is exhibited at the ''[[Canadian Museum of History]].<ref name=":13">{{Cite book |last=Tepper |first=Leslie |title=The Grand Hall: First Peoples of Canada's Northwest Coast |publisher=Library and Archives Canada |year=2014 |isbn=9780660202792 |pages=98}}</ref>'' Reid's ''[[The Raven and the First Men|Raven and the First Men]]'' carving based on the Haida legend was unveiled<ref>{{Cite web |last=Cross |first=Anne |date=1990 |title=The Raven and the First Men: From Conception to Completion |url=https://moa.ubc.ca/wp-content/uploads/2014/08/Sourcebooks-Raven_and_the_First_Men.pdf |website=UBC Museum of Anthropology}}</ref> at the [[Museum of Anthropology at UBC|University of British Columbia Museum of Anthropology]] (MOA) in April 1986.

In 1975, a dialog between Reid and art historian, [[Bill Holm (art historian)|Bill Holm]] in conjunction with a Northwest Coast Indian art exhibition, organized by the Institute for the Arts, Rice University, Houston was published as ''Form and Freedom: A Dialogue on Northwest Coast Indian Art''<ref>{{Cite book |last1=Holm |first1=Bill |title=Form and freedom : a dialogue on Northwest Coast Indian art |last2=Reid |first2=Bill |publisher=Rice University Institute for the Arts |year=1975}}</ref>''.''