No other contemporary Northwest Coast artist has received the critical acclaim accorded Bill Reid. Reid's reputation as an artist derives in part from the pivotal role he has played in the rebirth of northern art. In 1948, when Reid decided to emulate his grandfather, Charles Gladstone, and become a silversmith and goldsmith, he did so not only by training as a jeweler but by studying and analyzing old pieces stored in museums.As an expert jeweler he introduced complex traditional European jewelry techniques (e.g.repousse) to the manufacture to North west Coast metalwork. In fact, no other Northwest Coast Artist who works in precious metals has the range of techniques that Reid commands. In analyzing museum specimens, Reid along with Bill Holm, has been largely responsible for the modern understanding of the principles of Northern two-dimensional design.
Thus Reid was the first Northern artist born in the twentieth century to comprehend the formal rules of this complex intellectualized art tradition, the principles of which had been lost to the few remaining Haida artists who practiced their craft in argillite and silver. Another facet of Reid's role in the revitalization of Northern art has been that of a communicator , but a communicator with a difference, someone inside the art yet with skills honed by ten years in the broadcasting industry, Bill 's abilities as a wordsmith have provided us with a passionate inside look at this art, a counterpoint to Bill Holm's formal analysis. Not only has Reid shared his understanding of Haida art with the public through the written word,film ,and his work in wood, silver, gold and other more or less exotic materials, he has also passed on his skills to younger artist. While it can be argued that Reid's stature as an artist must await a critical judgment of his work, something that has not yet been done, without question he is the bridge between the likes of Charles Edensaw and Robert Davidson . In this role, as connector, link, an active intelligence that has revived and carried on a remarkable art tradition, Bill Reid's greatness is secure.
Bill Reid was widely honored in his life and, as has been suggested by the Canadian press, will certainly retain his renown not only because he was a significant artist but also because of his personal charisma and star-power as an individual. Testimony of this came on the evening of his memorial, held March 24th in the vast halls and corridors of Arthur Erickson's striking Museum of Anthropology at the University of British Columbia in Vancouver. In effect a State funeral, it began when a silent crowd of many hundreds parted to make way for a Haida canoe, borne by fourteen of Reid's closest associates in life, as it was carried to the Great Hall's 60-foot northern wall of glass. Here it was set down amidst a host of overlooking totems, beneath a landscape of sea and mountains, below the setting sun. In the canoe stood an antique carved Haida chest containing Reid's cremation ashes. A crimson and cobalt-blue button blanket emblazoned with the artist's hereditary crest of Raven-Wolf lay over the chest. Speechmaking, encomiums, remembrances, tributes, stories of the artist's life -- ribald, comical and poignant -- began; live music, dances, songs -- recordings of Reid's rich and distinguished voice in eloquent essays of his own making -- began.
As memorable as its setting, was the assemblage of Canada's pre-eminent in the arts, government and society, both Native and non, which Reid's passing brought together. Speakers included Ian Waddell, B.C.'s Minister of Culture; Philip Owen, the Mayor of Vancouver; Miles Richardson II (the hereditary Haida Chief of Reid's native clan); Dr. George MacDonald, President of the Canadian Museum of Civilization in Quebec; broadcaster David Suzuki; Alfie Scow, retired Native judge of B.C.'s Provincial Court; architect Arthur Erickson; artists and writers, George Rammell, Robert Bringhurst, Don Yeomans, Doris Shadbolt (Reid's biographer), and Bill Holm. Appreciative letters were read from Canadian Prime Minister, Jean Chretien, and from French anthropologist Claude Levi-Strauss.
Many offered highly anecdotal glimpses of Reid's protean character. George Rammell told of the artist's reaction upon discovering that he had covertly sculpted Reid's own face on one of the figures for the bronze "Black Canoe": Reid angrily hacked it off.
Carver Don Yeomans described how, after an upset with Reid, the artist inveigled Yeomans to visit him at his home, where he spontaneously offered an extra thousand dollars beyond its normal selling price for one of Yeoman's masks in order that the young artist might extend his visit a while. With feeling, veteran CBC broadcaster, David Suzuki, announced before all that Reid's bright, and no doubt ironically amused, spirit was in the great hall that night with everyone. Thus the stories and commentary continued for eight hours, from four in the afternoon to midnight, ultimately combining the impression of a great, shambling potlatch with the pleasure of an intimate party of old friends in the creation of a notable and very human historic event.
As voices spoke, night came on, and beneath the lights of Canadian film crews, the great glass-sheathed and totem-filled museum hall glowed with the amber lambency of one of Reid's own golden creations. Tributes came to a conclusion, the great canoe with its honored remains was carried away, and assembled guests retired to a fine late-night feast outside the museum proper in a Haida-style house. As if to underscore the entire event, the great totemic figure of the house which looked down on the crowd, so classically Haida in their restraint and aura of wonderment, had been carved by Reid himself at the outset of his career more than thirty years before.