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...
    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.

  • Art or Craft? Artist or Artisan? This delay in appreciation is telling, revealing a broader hesitation to recognize textiles and...
    Art or Craft? Artist or Artisan?

    This delay in appreciation is telling, revealing a broader hesitation to recognize textiles and other works historically classified as “craft” as significant art forms in their own right. This rise in market value coincided with the time when art historians and critics began grappling with a long-standing and deeply entrenched divide between what was deemed "art" and what was relegated to "craft." 


    This differentiation was not merely a matter of semantics or terminological distinction; it was a reflection of how society valued creative work based on who was doing it. In this divide lay an implicit narrative that quietly followed the well-worn, gendered paths that seem to trace through so many corners of the world. 


    So-called “fine art,” with its historical associations to practices like painting, sculpture, and printmaking—domains traditionally dominated by men—was positioned as the pinnacle of artistic achievement. It was celebrated for its purportedly intellectual and aesthetic contributions to culture, its superiority assumed and rarely questioned. 


    In contrast, the domain of “crafts,” encompassing practices such as weaving, ceramics, and textile work—fields where women’s contributions predominated—was often perceived as domestic, utilitarian, and, therefore, of lesser cultural value. 


    This distinction was not merely a social oversight; it was a deliberate framework that both reflected and reinforced broader systems of power and gender. It dictated not just what was considered worthy of exhibition, but also what was deemed worthy of intellectual discourse, historical recognition, and, of course, financial investment. 

  • Weaving a New Narrative In this context, Northwest Coast and Alaska Native baskets stand on the cusp of a long-overdue...
    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.

     

     

  • Works are on view at Feheley Fine Arts at 65 George Street in Toronto.
    To obtain condition reports and additional images, please contact info@firstarts.ca or 647-286-5012.  

    On View;

    Saturday 7 December  - Saturday 21 December 2024
    from 11:00 AM ET - 5:00 PM ET Tuesdays through Saturdays
    LOCATION

    Feheley Fine Arts

    65 George Street

    Toronto, Ontario

     

     The works of art presented here are subject to prior sale.
  • Beyond Borders

    This collection spans from the rainforests of the Olympic Peninsula in Washington State to the lowland rivers of the Yukon-Kuskokwim Delta in Alaska, covering an immense geographic and ecological range. Within this vast expanse, the weaving traditions reflect a remarkable continuity of knowledge and creativity, connecting regions that may seem distant but share deep cultural ties.

     

    At the same time, this selection of woven works from the Price Collection  reflects a pivotal moment in the art world of the 1980s and 1990s, when Seattle galleries frequently displayed Alaska Native and Northwest Coast works side by side. By presenting these traditions together, they shaped collectors' tastes and encouraged an appreciation for the shared artistry that transcended cultural and geographic boundaries.

     

    In contrast, today’s approaches to collecting often feel either splintered into hyper-specialized categories or indiscriminately mushed together. This offering, I hope, serves as a reminder of the fluidity of artistic and cultural exchange. It challenges us to reconsider these distinctions and to see the strength and continuity that emerge when we look beyond imposed borders.

     
  • Weaving and the Land

    Weaving has long been understood as a practice deeply rooted in the land, with its processes—gathering, preparing, and working with materials—intimately tied to the knowledge of specific ecosystems. This connection speaks to a profound relationship between place, heritage, and the act of creation. The works in this collection reflect this relationship, capturing a dynamic interplay between tradition and adaptation, resilience and innovation.

     

    Notably, many of the weavers represented here employ traditional techniques and designs while incorporating modern materials such as raffia or waxed linen. This blending of old and new not only highlights their artistic ingenuity but also underscores the ongoing evolution of weaving as both a cultural and creative practice.

     
  • Pictorial Narratives and the Natural World

    The baskets in this collection reveal the profound relationship between artistry and the natural world, often through intricate pictorial imagery. Makah and Nuu-chah-nulth works depict hunting and whaling scenes, while Isabel Rorick’s killer whale motifs embody the deep cultural connections the Haida have with  marine life. Aleut works, such as the dimunitive lidded basket by Patsy Rudolph, feature floral designs that highlight native plant species like chunsix (wild geraniums), grounding the work in the specific ecology of the Aleutian Islands. The woven crests on Makah hats and the visual storytelling on the two painted hats in this collection demonstrate how weaving merges artistry with cultural significance. Similarly, the Jack Hudson basket exemplifies the interplay between design and storytelling, offering a vivid testament to the way these works convey identity, place, and tradition through their form and imagery.

  • First Arts extends our deepest gratitude to Sarah Raven for her invaluable contributions and expertise to this exhibition. Her thoughtful insights and dedication have enriched the presentation and understanding of these works, ensuring that they are showcased with the care and respect they deserve.