Material Girls: A Reappraisal of Northwest Coast and Alaska Native Woven Works by Women

Introduction

Last sale season, a visiting collector-turned-friend gifted me a book that takes on the everyday inequities women face that are hidden in plain sight.  The author does not just tell us that the  world is biased against women; she shows you, in detail, so stark and precise that it feels impossible to unsee.

To those out there feeling defensive, poised to fire off an angry email or comment, rest assured—this book isn’t a tirade against men. Instead, the author manages to navigate the reader through these inequities with a voice that is both urgent and inviting, ending on a hopeful note that trusts in our collective ability to do better. 

This led me to reflect on how the art world often mirrors broader societal biases along gendered lines. Practices traditionally associated with women—like textiles or basketry—have long been undervalued, dismissed as “craft” rather than celebrated as “art,” a distinction that reveals how deeply gender bias shapes our perceptions of creativity and cultural significance. However, like the author of my gifted book, I am optimistic that this sampling of works will challenge these hierarchies and gain recognition as intentional, creative, and significant contributions to the artistic continuum of the Northwest Coast and Alaska Native traditions.

Craft to Cultural Legacy: Woven Works and Inuit Textiles

While much has been written on this topic, there remains an unmistakable clarity in how traditional Inuit culture laid a foundation for women to transition seamlessly into creating textiles or wall hangings. For Inuit women, sewing was not just a skill—it was a cornerstone of survival, a practice deeply intertwined with life itself. Stitch by stitch, garment by garment, the act of sewing became both a functional necessity and a form of creative expression, passed down through generations. It was from this crucial role that a distinct design instinct emerged, one that naturally translated into the bold, intricate imagery found in wall hangings and textiles. This foundational relationship between skill, survival, and creativity mirrors the trajectory of woven works, where traditional techniques evolved into highly intentional art forms that similarly blend utility with bold artistic expression.

Weaving a New Narrative

In this context, Northwest Coast and Alaska Native baskets stand on the cusp of a long-overdue reappraisal. Their current undervaluation can be traced to enduring biases rooted in cultural perceptions of value. Like Inuit textiles, basketry began as the creation of practical objects, essential for daily life. Yet, it didn’t take long for weavers to realize that their skills held more than just utilitarian value—they held economic and artistic potential. 

The precision, the meticulous artistry, and the thoughtful attention to design embedded in these woven works can easily rival, and often surpass, dare I say, works traditionally positioned within the male-dominated sphere of “fine art.” These qualities are exemplified by the work of some of the most renowned weavers on the Northwest Coast, including Primrose Adams, Cheryl Samuel, Teri Rofkar, and Isabel Rorick, whose names stand as a testament to the mastery within this tradition.

Contemporary weavers have proven that their work can command both recognition and financial success through direct sales and exhibitions. But in the secondary market, the story is still unfolding. While these contemporary artists receive growing acclaim for their work, those choosing to invest in these works are not simply acquiring beautiful works of art, they’re becoming part of a transformative shift in how we define significance in the art world. 

As you explore this collection, I hope these woven works reveal themselves not merely as impressive objects of craft, but as intentional expressions of creativity and skill, deserving of their rightful place in the narrative of art history.

Nadine Di Monte

First Arts sincerely thanks Isabel Rorick, Holly Churchill, and Diane Douglas Willard for their invaluable assistance in cataloguing several works.

We are likewise deeply grateful to Christopher W. Smith for his curatorial vision, writing, and other invaluable contributions to this exhibition.