James Johnson, an enrolled member of the Tlingit and Haida Tribes of Alaska, is an exceptional artist who works in a variety of media, including wood carving, leatherwork, and painting.  He is a member of the Tlingit Ch’áak’ Dakl’aweidi Clan (Eagle Killerwhale).  With a focus on traditional Tlingit wood carving, his work continues the long artistic traditions of his people.  Born and raised in Juneau, Alaska, Mr. Johnson currently resides with his family in Phoenix, Arizona.

Encouraged to begin carving by his father, Franklin Johnson, Mr. Johnson is a self-taught artist who has been practicing his craft for fourteen years.  He has dedicated his life to reviving the traditional arts of his ancestors.  Although there is no word for “artist” in the Tlingit language, those that create carvings were known as at kach aak’u (carvers).  Carving is an integral part of the preservation of Tlingit history and culture.  In the words of Mr. Johnson, “it [carving] is a visual language that represents who the Tlingit people are, and how we live in balance with all things.”

His carvings are made from red and yellow cedar, materials used by Tlingit people for millennia.  Utilizing tools such as adzes and crooked knives, he carves his pieces entirely by hand.  In addition to creating three dimensional carvings of masks, helmets, and bowls, Mr. Johnson also paints works on canvas inspired by Tlingit designs and motifs.  A unique area that he has expanded into is the painting of live edge slabs of mesquite wood with Tlingit designs. 

Mr. Johnson has won numerous awards for his work including: 1st Place Wood Sculpture, 2019 SWAIA Santa Fe Juried Art Show, Santa Fe, New Mexico; 1st Place Wood Sculpture, 2020 Sealaska Heritage Celebration Juried Art Show, Juneau, Alaska; and Honorable Mention, Sculpture, 2021 Heard Museum Guild Juried Art Show, Phoenix, Arizona.  His work is included in the collections of multiple museums including: the Art Institute of Chicago, the Denver Museum of Nature and Science, the Sioux Indian Museum, and the Interior Museum.

To purchase artwork after the exhibit closes, please contact James Johnson through his website at www.jamesjohnsonnativeart.com.

Raven is one of our top clan crests in our culture.  He was a trickster, but also a teacher. Headdresses were worn and danced in during our Ku.eex' (potlach ceremony). 

-- James Johnson

Our Ku.eex' (potlatch) means "to give" in Tlingit.  The Ku.eex' was our central notary public event, their attendance meant they were in agreement of that event.  The naming of a new chief, the death of a chief, the raising of a totem pole, etc. a Ku.eex' solidified that event in our society.  It would take years of planning, you would have to gather enough food to feed everyone.  The food was served in beautifully carved dishes like this.  

-- James Johnson

Fog Woman - Raven was traveling and became lost in the fog.  A beautiful woman appeared, and took off Raven's spruce root hat, and all the fog went in, so he could find his way.  Raven married her, and as gift she gave him salmon, something he had never had before.  When Fog Woman would comb her long black hair, salmon would come out.  Raven became obsessed with his salmon, and began to mistreat Fog Woman.  So she left.  As she was leaving, she took back all the salmon she gave Raven, he tried to grab her and she turned to fog.  Fog woman also had 2 beautiful daughters that lived in the streams.  Salmon would return to the streams to see their beauty one last time before they died.  

-- James Johnson

From age 7, all Tlingit boys left their mother and father, and were raised by their uncles to become warriors.  Their training was very strict, if the boy messed up, they would often punish the uncle for his mistake, saying he was not raising him right.  The environment in Alaska was harsh, you had to be strong physically and mentally to survive.  Every morning, a yell would ring out in the Kwaan (village), all the young men and boys had to go down to the ocean and sit in the cold water.  It was a competition as to who can sit in the longest, when they would get out, they would be whipped with branches to deaden the nerves.  My grandfather's were all Dakl'aweidi Clan chiefs, who practiced this into their elder years to lead by example.  Inter clan warfare was common.  The young men all competed as to who would receive the honor of wearing Tlingit armor like this sea lion helmet.  

-- James Johnson

Bentwood boxes are constructed from a single board of cedar, you cut 3 kerf cuts, and steam the wood to bend the corners.  Bentwood boxes were highly prized objects within our culture.  The boxes that were painted and carved were typically owned by high ranking chiefs, and were a symbol of wealth.  We used the boxes for cooking, food storage, and for storing our sacred ceremonial items called our At.oow.  

-- James Johnson

During colonization of Alaska, our Ku.eex' was banned.  It was illegal to host our traditional ceremonies, and large amounts of our At.oow' (sacred ceremonial objects) were confiscated and taken.  The Smithsonian held a Killerwhale Clan hat from my grandfather's Kwaan for close to 100 years.  It was repatriated in 2006.  This Killerwhale Clan hat I carved honors that piece.  

-- James Johnson

Our Ku.eex' (potlatch ceremony), a dance staff would be used.  This depicts one of our main clan crests, Raven.  

-- James Johnson

I belong to the Ch'aak' Dakl'aweidi Clan (Eagle Killerwhale).  A headdress like this would be worn and danced in during our Ku.eex' (potlatch ceremony).  

-- James Johnson