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Louisa Keyser, or Dat So La Lee (c. 1829 - December 6, 1925) was a celebrated Native American basket weaver. A member of the Washoe people in northwestern Nevada , her basketry came to national prominence during the Arts and Crafts movement and the "basket craze" of the early 20th century.
Doering exhibited her baskets widely, including at such venues as the Southern Plains Indian Museum, Coulter Bay Indian Art Museum, Wheelwright Museum of the American Indian, Fred Jones Jr. Museum of Art, Oklahoma Historical Society, the Kennedy Center in Washington DC, and the Smithsonian Institution Folklife Festival. In 1982 and 1983, she ...
One particular basket made by Annie Dick Boone (1889-1960) of the Upper Lake Rancheria incorporated 233, one-quarter inch feathers. [16] These baskets were typically much smaller than burden baskets, measuring less than a few inches across, about the size of an adult hand. [17] [18] [19] Some are small enough to be classified by curators as ...
Textile arts and fiber arts include fabric that is flexible woven material, as well as felt, bark cloth, knitting, embroidery, [1] featherwork, skin-sewing, beadwork, and similar media. Textile arts are one of the earliest known industries. [1] Basketry is associated with textile arts. [2]
Michael Dart was born on February 1, 1977, in Siloam Springs, Arkansas.He is based in Adair County, Oklahoma. [1] Growing up, he watched his grandmother Pauline Dart weave baskets and build woven furniture from willow, hickory and other materials native to the land around her home.
In the past, Western art historians have considered use of Western art media or exhibiting in international art arena as criteria for "modern" Native American art history. [47] Native American art history is a new and highly contested academic discipline, and these Eurocentric benchmarks are followed less and less today.
However, a market for genuine, traditional baskets opened the 1880s and lasted until the 1930s. [9] William and Mary Benson took advantage of this commercial opportunity. While Pomo men did not traditionally make the kind of fine baskets demanded by the market, William adapted his skill to the fine work done by women. [9]
This piece is on display in the Native American art collection of the Casino Arizona. The curator there, Aleta Rinlero says of Antone's work: "She doesn't weave baskets, she weaves concepts." [4] Ancient Hohokam pottery designs also provide Antone with inspiration for basket designs, as have the flora and fauna of the Sonoran Desert. To achieve ...