Michael Nicoli Yahgulanaas’ Bone Box struck me as a particularly unique artwork at the Museum of Anthropology partly because of its aesthetic, and partly because of what it represents. Located in a hallway adjacent to the museum’s Great Hall, Bone Box consists of twelve wooden panels, which comprise one unified image, that are mounted on a metal frame. The brightly coloured imagery of the painting depicts various structures, nature, and mythical creatures. On the right is a handle that, when pulled, rotates the panels to reveal a message written across the top of the panels. It reads, “A stack of plywood trays built to contain fragments of everyone’s culture.”
Interestingly, despite the image being broken up across the panels, there are no neat borders. Instead, the imagery often occupies multiple panels. I realize that this may simply be a consequence of dividing a painting into 12 equal squares, however the result contributes to its themes. The picture as a whole has a very symmetrical composition, with the broad lines and large shapes being mirrored in the right and left halves of the painting. However, the details within these shapes are distinct from one another. If Bone Box is an act of figurative repatriation, it seems that Yahgulanaas’ redefinition of Indigenous identity would be as a unified community with space to include many distinct cultures and communities.
Furthermore, the artwork is an invitation to participate. It does not rely on extensive prior knowledge about Indigenous peoples, but rather is an approachable piece that can be easily appreciated and interpreted. Bone Box’s participatory nature can be seen in a literal sense in the interactive element of the handle, which encourages viewers to physically engage with the artwork. Metaphorically, it is an invitation to participate and “get involved” in Indigenous culture. It seems that to Yahgulanaas, Bone Box represents not only the culture and tradition of Indigenous peoples, but “everyone’s culture” as the artwork’s message states. For this reason, I would argue that Yahgulanaas does not aim to achieve Kramer’s idea of figurative repatriation. Although it does include the artist’s understanding of Indigenous culture and is displayed for the viewing of a western demographic, Bone Box goes beyond merely representing Indigenous culture to inviting others to come and see and take part in it.
Works Cited:
Yahgulanaas, Michael Nicoli. Bone Box. 2007, Museum of Anthropology, Vancouver.
Kramer, Jennifer. Figurative Repatriation: First Nations ‘Artist-Warriors’ Recover, Reclaim, and Return Cultural Property through Self-Definition. Journal of Material Culture, 2004, pp. 161-182