Color riot! : how color changed Navajo textiles.
Navajo weavers? individualism and flair for experimentation is vividly expressed in textiles from the last quarter of the 19th century. The textiles are rooted in ideas and events the weavers experienced between 1863 and 1868, the hard years of their imprisonment in the Bosque Redondo, and their sub...
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| Online Access: |
Heard Museum website (viewed February 28, 2020) |
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| Corporate Author: | |
| Other Authors: | , , , , , , , , |
| Other title: | How color changed Navajo textiles |
| Format: | Book |
| Language: | English Navajo |
| Published: |
[Phoenix, AZ] :
Heard Museum,
[2020]
©2020 |
| Subjects: |
| Summary: | Navajo weavers? individualism and flair for experimentation is vividly expressed in textiles from the last quarter of the 19th century. The textiles are rooted in ideas and events the weavers experienced between 1863 and 1868, the hard years of their imprisonment in the Bosque Redondo, and their subsequent return to a reservation. During this time, weavers saw examples of the design system of Hispanic textiles and acquired new materials such as aniline dyes and Germantown yarns that touched off their experiments with color and design. Commercial products at trading posts sparked additional design ideas for weavers. This was a time when outside market influences were at a low point. The old indigenous trading networks had been disrupted, woven garments were being replaced with commercial cloth and traders had not yet developed design constraints of the rug market that developed in the early 1900s. During this time of great change, as the Navajo rebuilt their flocks and repaired the devastation of Bosque Redondo, weavers had an unprecedented freedom to experiment.0Change has always been a hallmark of Navajo textile design, with the weavers? individualism to a greater or lesser degree a continuing theme. Today, Navajo textiles are viewed as art with the singular vision of the weaver appreciated and applauded just as the vision of an artist working in the Euro-American artistic tradition has always been recognized.00Exhibition: Heard Museum, Phoenix, USA (05.04-29.09.2019) / Museum of Fine Arts, St. Petersburg, USA (04.09-22.11.2020) / Birmingham Museum of Art, Birmingham, USA (10.04-08.08.2021) / Montclair Art Museum, Montclair, USA (11.09.2021-02.01.2022). |
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| Item Description: | Title from cover; on verso of back cover: Nidaashch̕ąą̕ deesdǫǫh = The colors exploded. Publications contributors: David M. Roche, Dickey Family Director & CEO; Velma Kee Craig, co-curator; Carol Ann Mackay, co-curator; Ann Marshall, co-curator; Natalia Miles, co-curator; Ninabah Winton, co-curator; Sarah D. Moore, design production manager; Craig Smith, photographer; Deborah Paddison, editor; and Tobi Lopez Taylor, editor. Catalog of an exhibition organized and held at the Heard Museum, Phoenix, Arizona, April 5, 2019-September 29, 2019; and traveling to the following venues: Museum of Fine Arts, St. Petersburg, Florida, September 4, 2020-November 22, 2020; Birmingham Museum of Art, Birmingham, Alabama, April 10, 2021-August 8, 2021; and Montclair Art Museum, Montclair, New Jersey, September 11, 2021-January 2, 2022. Commentary on some Navajo textiles by co-curators and Andrew W. Mellon Foundation fellows Velma Kee Craig, Natalia Miles, and Ninabah Winton. Based on the permanent collection of the Heard Museum, Phoenix, Arizona, and loans from Tony Berlant, Sam Crissman, Steve and Gail Getzwiller of Nizhoni Ranch Gallery, Carol Ann Mackay, and Dr. Arthur L. Pelberg. |
| Physical Description: | 111 pages : color illustrations ; 31 cm |
| Bibliography: | Includes bibliographical references (page 110). |
| ISBN: | 9780934351959 0934351953 |
| Citation/References Note: | Indexed in the Native American Artists Resource Collection Online, Billie Jane Baguley Library and Archives, Heard Museum, Phoenix, Arizona, at the artist name level (February 28, 2020) |