Category: Education

Craft in America & Preston Singletary

See the latest PBS Episode of Craft in America featuring Preston Singletary. 

The air date has been announced for the latest “Craft in America” episode, featuring Preston Singletary. Make sure to check your local listings for “Craft in America: Nature” airing Friday April 21st, 2017 to see an interview with Preston about his art.

In May 2016 the award-winning PBS show “Craft in America” filmed at the Preston Singletary Glass Studio in Seattle, WA. The team filmed a unique behind-the-scenes glimpse at the different phases of creating pieces in blown glass, interviewed Curator Miranda Belarde-Lewis about Tlingit culture and received greater insight directly from Preston Singletary on his art.

Visit the “Craft in America” website to explore past episodes, featured artists and to learn more about this award-winning series.

See Singletary’s Artist Page


Craft in America’s mission includes:

“…To document and advance original handcrafted work through programs in all media, accessible to all. We are dedicated to the exploration, preservation and celebration of craft, the work of the hand, and their impact on our nation’s cultural heritage.”


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The Exhibition at Château Musée Boulogne-sur-Mer in France

An innovative exhibition of contemporary Alaskan art has arrived at the Château Musée Boulogne-sur-Mer in France. 

An innovative exhibition of contemporary Alaskan art has arrived at the Château Musée Boulogne-sur-Mer in France. Organized by Alutiiq artist Perry Eaton, a large selection of works by twenty-nine contemporary Alaskan Native artists will enter the collection of the museum, one of the first collections of this type in Europe.  The exhibition, titled "D'une culture a l'autre" — "From One Culture to Another", brought Preston Singletary to France as an artist included in the exhibit.

In Preston Singletary’s words:

“It was an amazing experience meeting scholars from around the world specializing in Alaskan Native "Artifacts". There were Anthropologists from France, Switzerland, Germany, UK, Finland, Russia, Denmark and other regions who are familiar with our Alaskan objects.

The group of artists showed them that we are still here and we created a dialogue about the collections and our ability to access them. We explained that we have critical knowledge, which can enhance their book knowledge of the objects. We gifted a collection of objects to show our good will, in order for them to see the contemporary perspectives we have, to view the new materials we work with and so they can come to understand us even better as contemporary Indigenous people.

It was a unique experience with an audience from around world who were interested in this continuum of our cultural art. If nothing else we turned a few heads. Thank you Perry Eaton for bringing us together and making this happen. I hope that this is just the beginning of the dialogue.”

In France, a New Exhibit Marks First Collection of Contemporary Alaska Native Art in Europe - Alaska Dispatch News.

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Preston Singletary’s Coppers

The artwork of Preston Singletary is rich with cultural symbolism. Here, we will help explain some of the artistic, spiritual, historical, and anthropological meanings behind some of Preston’s most recognizable works. This week is the copper shield form.

The artwork of Preston Singletary is rich with cultural symbolism.  He is often asked about the different forms and symbols used in the pieces he makes, so we are starting a blog series that will help explain some of the artistic, spiritual, historical, and anthropological meanings behind some of Preston’s most recognizable works.


Symbolic Wealth, 2009


For our first post, we will look at the Tináa, or Copper Shield form.  Preston has used it several times in various works throughout the years.   He references it as an item of clan treasure and symbolic wealth.

Family Story Totem (detail), 2013 and Family Story Totem, 2004

According to anthropologists, the copper shield form, or tináa, is ancient and possibly Asiatic in origin (dating from before the peoples now known as Native Americans crossed the land bridge more than 12,000 years ago).  They symbolized the wealth of the clan, both due to the monetary value of the copper and other supernatural meanings attributed to copper as it occurs in nature.  In many myths, the discovery of copper was tantamount to an encounter with a supernatural being.  Although copper was historically used only by a chief, myths sometimes portray the discoverer of copper as low in status, with their status rising when they find it.  The discovery of copper not only gives the finder tangible evidence of contact with the supernatural, but also manifests the element of luck, which has its own magical connotations.  The discovery of copper in its natural state ensured wealth.  Wealth was considered the outward manifestation of power, which was believed to be supernaturally endowed or acquired. 

Copper Totem, 2009

From Northwest Tribal Arts:

The "Copper" was used by the First Nations people as a form of money and wealth. It was made out of "Native" copper which was found in the land where they lived, and superficially resembled a shield. Considered very rare and hard to obtain, raw copper was traded from the Athabaskan Indians in the Interior Plains, or from the white man in later times.

Coppers were beaten into shape and usually painted or engraved with traditional designs. Most Coppers were fairly large, often 2 to 3 feet tall and a foot across.

One of the most interesting aspects of the Copper is that they were given names so that their worth and heritage could be passed on. A Copper was only worth what it was last traded for, and it could only be traded for a larger amount the next time around. Consequently, some Copper values became highly valuable - worth the total of 1,500 to 2,000 blankets, a couple of war canoes and hundreds of boxes and bowls.

No matter what the original value was the next person who wanted it had to trade more in exchange for it. Only the richest and most powerful could afford the price of an old Copper. Many Coppers were in rather shabby condition as a result of having been used in quarrels between Chiefs.

To the Kwakiutl, the ownership and display of a Copper became an essential for the proper conduct of a marriage or important dance ritual.


A man whose family's honour had been injured by the actions of remarks of another would publicly have a piece cut from a valuable Copper and give the piece to the offender. That person was obligated to cut or "break" a Copper in return. The broken pieces could be brought up and joined into a new Copper or used to replace pieces missing from a "broken" one.

The most valuable Kwakiutl Coppers tend to be rough and patched since they have the longest history and have been broken the most often. Coppers that have been broken have a certain prestige value that is quite independent from their monetary value.

Tináa, 2001

More information and discussion on Coppers can be found in this book, available online:
Coppers of the Northwest Coast Indians: Their Origin, Development and Possible Antecedents by Carol F. Jopling. 

Historical Image via the Canadian Museum of Civilization:

For nearly two years after his death, the body of Chief Skowl lay in state inside his house at Kasaan, Alaska. The burial chest, draped with a button blanket, is surrounded by storage chests filled with his regalia; beside the burial chest are his eight copper shields. The people in the photo are his slaves, who were displayed as part of his wealth.

Photograph by Albert P. Niblack, 1883

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Partners in Mythology: Preston Singletary and Walter Porter

Walter Porter is an Alaska Native Mythologist that has collaborated and acted as a mentor for Preston for many years. Learn more about him and his relationship with Preston's work in this post and at his website.

For many years, Preston has worked closely with Alaska Native mythologist Walter Porter to give greater culutral meaning to his pieces.   Walter speaks about the wisdom and knowledge that has been protected for us by our ancient Elders and how they cleverly disguised this information in mythology so it would come down safely to us through the ages. With rising crime, social problems, environmental impacts on commuities and illnesses at the forefront of our concerns today, he points out how mythology holds many answers for us to regain control of our communities and lives by understanding them.


Via Walter Porter:

Walter Porter is a Tlingit Indian from Yakutat Alaska. He was born in Yakutat in 1944 and moved to Haines, Alaska in 1956. He graduated in 1962 and traveled for 10 years and moved back to Yakutat. He spent a good deal of his boyhood years listening to his grand mother and other elders tell mythologies and legends that were handed down to them by their elders.

When he moved to Haines, he joined the Chilkat Dancers performing dances that were Tlingit Mythologies put into dance. In the mid 80’s he was invited to be the host on the “Box of Daylight” video put together by Sealaska Foundation, Alaska State Museum, Klukwaan Heritage, Alaska Humanities Forum and others.

He discovered at that time similarities with the Box of Daylight and other spiritual information he had been studying over the years. He has since then put together presentations showing how elders understood these stories and how they successfully used them to develop leadership, social, economic and healing skills to build strong and stable communities.

When lecturing or holding workshops, Walter invites his audience to look closely at the symbols in the story he is working with and gives them alternative meanings to choose from.  By allowing the audience or students to participate, the experience becomes more meaningful as they begin to understand and see the wisdom and knowledge of our elders unfolding from ancient times to present.


Preston and Walter at the Alaska Native Cultural Conference in 2007.

Preston and Walter worked together to create a lecture called "Spokesmen For Culture" at the Museum of Glass in connection to his exhibiton Preston Singletary: Echoes, Fire, and Shadows.  Walter was even one of the guest essayists in the catalog, writing about the cultural significance of the Raven Steals the Light myth.  They will be collaborating again soon for a major project surrounding the Raven myth, which we'll tell you about as details are finalized.

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Glassblowing Demonstration in Czech Republic

This photo set gives us a look at the glassblowing demonstration that Preston and Dante performed at the Ajeto Glassworks Museum in Nový Bor, Czech Republic.

In February, Preston traveled to the Czech Republic with Totem project manager Charlie Parriott, his long-time friend and fellow glassblower Dante Marioni, and photographer Russell Johnson.  Russell's photographs captured the trip in documentary form, which we'll continue to share with you in the coming weeks.

Dante takes a photo of a castle on the way to the glass museum in Nový Bor, Czech Republic.

The Ajeto Glassworks and Museum, Nový Bor.

This photo set gives us a look at the glassblowing demonstration that Preston and Dante performed at the Ajeto Glassworks Museum in Nový Bor, a town about 60 miles north of Prague.  The museum's hot shop provided several different viewing areas, including their restaurant!


Preston and Dante hope to return to Ajeto for a longer residency, where they will make a collaborative body of work that may tour museums throughout the Czech Republic and Eastern Europe.

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