The Art of Northwest Coast tourist basketry, 1890-1910
Date
1994
Authors
Ross, Alison Stephanie
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Abstract
This thesis examines the changes in the art ofNorthwest Coast basketry from 1890 to 1910 and demonstrates how this was part of a complex interaction of cultures. After an introduction to traditional basketry by linguistic family, the response to the new market by the Wakashan (Northern and Southern Wakashan) and Northern (Tlingit, Haida and Tsimshian) groups are examined.
The primary source used in this study is Joan Megan Jones' s Northwest Coast Basketry and Culture Change, a statistical analysis of Northwest Coast museum baskets dated between 1880 and 1939. Jones's data was largely unanalyzed and, although there were some limitations, many trends were visible. Historic photographs from many sources support and supplement Jones's data. Historic brochures, pamphlets and magazines create context and help explain some trends. Primary and secondary art historical and anthropological texts and baskets were also used.
Traditional W akashan basketry was primarily plaited in cedar bark and did not appeal to standard Euro-North American aesthetics. In an attempt to meet new market demands, the Wakashan were great experimenters in shape, weave and decoration. However, the twined and frequently decorated basketry of the Northern group showed relatively little change from traditional traits because their basketry fit Western ideas concerning the craftsmanship of aboriginal art .
There were general basketry developments that occurred throughout most of the Northwest Coast. After 1900, shapes moved away from Victorian inspired forms towards an Arts and Crafts simplicity. Decreasing basket size served both the weaver and consumer and was accompanied by a finer weave gauge. As utilitarian basketry traits were superseded by aesthetic concerns, decoration became more prolific and less traditional.
The Arts and Crafts movement marked the first time significant inspiration flowed back into Western culture from aboriginal North America, while Euro-North American aesthetics and ideas about indigenous peoples were clearly reflected in the art of those peoples themselves.