Technology and Tradition: Shaping Indigenous Collections for the Future
Technology and Tradition:
In June 2018, representatives from the Central Council of the Tlingit and Haida Indian Tribes of Alaska (CCTHITA) came to the Hudson Museum for a consultation visit to review the Museum’s holdings as part of the Native American Graves Protection and Repatriation Act. Harold Jacobs, Sarah Dybdahl, Stephanie Masterman, Herman Davis Sr., Herman Davis Jr., and Neeka Cook reviewed holdings in collection storage and on exhibit. Subsequently, CCTHITA made formal requests for the repatriation of unassociated funerary objects and objects of cultural patrimony that are culturally affiliated with their communities. In preparation for the repatriation of one of these items, a Tlingit Frog Clan helmet (HM5040), the Hudson Museum sought to draw on the 3D printing expertise of the University of Maine Advanced Structures & Composites Center and Intermedia Program students to create a replica. The end product allows the Museum to continue educating learners of all ages about the cultural traditions of the Northwest Coast, while allowing the original object to be reintegrated into traditions, ceremonies, and cultural practices of the community from which it came.
How did the Frog Clan Helmet come to the Hudson Museum?
The Clan Helmet was part of a 1982 bequest to the University of Maine from the estate of William P. Palmer III, which included an extraordinary gift of Pre-Columbian objects that ranged from Olmec to Aztec and an assemblage of Northwest Coast masks, potlatch bowls, Chilkat textiles and tourist items. The Northwest Coast Collections include deaccessioned museum holdings and objects acquired from Native American Art dealers, and shops in Alaska like the Bear Totem Store and the Gold Nugget Shop. Collection documentation indicates that Palmer acquired the Frog Helmet from Proctor Stafford, a California collector. In 1985, the piece was exhibited at the Los Angeles Museum of Art in Symbols of Prestige: Native American Arts from the Northwest Coast from Los Angeles Collections.
Martin’s Old Curiosity Shop in Juneau, Alaska. European & American Views series #229a. Circa 1895. Furs, boxes, and robes line the porch.
“Interior of Chilkat Chief’s house – Alaska” Image by Winter & Pond c. 1895. House regalia, including masks, robes, and hats are showcased in this early photographic image of Whale House of Klukwan. Objects of cultural patrimony integral to community identity, ceremonies, and traditions. They were community owned and no one individual had the right to alienate them from the clan.
Nugget Shop, Juneau, Alaska. The Goldstein family settled in Juneau in 1885 and the patriarch of the family Reuben/ Robert was a furrier by trade. His daughter Belle (1885-1985), along with her husband Robert Simpson, ran the Nugget Shop which featured Northwest Coast contemporary and historic artforms gathered by members of the family.
The Bear Totem Shop in Wrangell, Alaska was operated by Walter Charles Waters (1874-1943) and featured Alaska native art. This was one of many emporiums that sold Northwest Coast objects to visitors in the region, as well as to museums and collectors. The Hudson Museum’s Palmer Collection includes objects that were acquired from W.C. Waters and through circuitous means became part of the Hudson’s holdings.
Installation photograph Symbols of Prestige: Native American Art of Northwest Coast from Los Angeles Collection at the Los Angeles County Museum of Art, March 21-October 20, 1985. Photo (c) Museum Associates/LACMA.
Tlingit consultation visit to the Hudson Museum, June 2018.
Alexander Cole, Research Engineer
Advanced Structures & Composites Center
There was a need for producing a digital representation of the Helmet’s unique shape. Using a Laser-line 3D scanner, Alex was able to capture millions of data points off the helmet without physically touching it. This data was used to create a digital model of the helmet, which can then be used to 3D print a replica.
Jonathan Roy, Research Engineer & Project Manager
Advanced Structures and Composites Center
This project draws on the Advanced Structures and Composites Center’s International reputation for interdisciplinary research and education, and technological expertise in 3D printing with thermoplastics. Roy selected ASA plastic to replicate the Tlingit Frog Clan Helmet which had specific qualities—resistance to moisture, UV light waves, and warping and was the best match for the accurately reproducing the physical properties of the original object. The printer, a Fortus F900, printed the object to aerospace-grade quality. This proof-of-concept project helps the ASCC to understand the key skill sets needed in the replication process of cultural heritage objects. It draws on technology while highlighting the artistic elements in engineering design and introduces new avenues for collaborations between the Center, UMaine students and staff, and museums.
My role in the production of the Tlingit Frog Helmet project was that of post production prior to finish painting. My main concern and consideration in this process was to minimize any surface anomalies that were the result of the technology used and which did not serve the aesthetic replication of the original.
Anna Martin, Interdisciplinary Ph.D. Candidate
University of Maine
A heavy body acrylic paint was used to prime the 3D print in order to lightly fill the areas of the surface with remaining marks of the printing process. In addition, this material was used in an additive method, building up the surface of the print in specific areas in order to, as accurately as possible, reflect the surface of the original. These areas include the shells and arches of the eyes and mouth.In order to render the woodgrain and patterns of ethnographic wear, premium matte acrylic paints as well as soft colored pencil were used. These materials were chosen in order to most accurately replicate the artistry and subsequent ethnographic wear as seen in the original helmet.
Defining fields of color.Painting final details on abalone.
Visual documentation of this project played a key role as every aspect of the process was captured and represents the complete scope of reproducing the Tlingit Frog Helmet. Duane captured still images, time-lapse and traditional video. Starting with the post 3D printed stage, the focus was on Reed Hayden, in his boat and sign building studio located in Surry, Maine, where he masterfully prepared the helmet for the painting and finishing process. Next was Anna Martin and her cart full of pencils, brushes, and paints. This labor of love would take many, many hours in the prep and staging room of the Hudson Museum. Watching the newly printed helmet come to life was a fascinating experience. With every brush stroke, the helmet took on character and personality. Much of the video, additional photos and time-lapse projects will be featured in an upcoming documentary that will be released in the fall. Stay tuned!
Presentation by Museum Director Gretchen Faulkner on the process of producing the replica:
