#Navajo textiles

[uwmspeccoll]

Winter Solstice 2024

It is cold and it is dark, but the Winter Solstice brings the promise of light's return and the warming of our world. To celebrate this most important day, we feature a naturally-dyed wool weaving entitled Náhookǫsji Hai (Winter in the North) / Biboon Giiwedinong (It is Winter in the North) held at the Minneapolis Institute of Art (MIA) and produced by Navajo artist D. Y. Begay in 2018. This image, which is only a portion of the slightly larger work, is from our copy of the exhibition catalog Hearts of Our People: Native Women Artists edited by Jill Ahlberg Yohe and Teri Greeves (Kiowa) and published by the MIA in association with the University of Washington Press in 2019.

D.Y. Begay (b. 1953), a Navajo born to the Totsohni’ (Big Water) Clan and born for the Tachinii’ (Red Running into Earth) Clan, is a fourth-generation weaver. Begay’s tapestries encompass her interpretation of the natural beauty and descriptive colors of the Navajo reservation, reflecting on her Navajo identity and her family’s weaving tradition. This spiritual connection to the plants yields the natural colors that are transformed into evocative land formations on her loom. Of the weaving shown here, Jennifer McLerran, curator at the Museum of Northern Arizona and a retired assistant professor of art history at Northern Arizona University, writes:

Most of D. Y. Begay's textiles respond to the Southwest landscape in which she was raised and resides today. For this work, a textile produced with all-natural dyes and handspun wool, Begay traveled to Minnesota in the depths of winter to observe the land surrounding the Grand Portage Indian Reservation of the Ojibwe people. Over an extended period she observed changing light conditions as the sun and clouds moved across the sky, altering the hues of snow and water.

D. Y. Begay with her weaving Confluence of Lavender by Arizona videographer Kelso Meyer, 2016. From the University of Virginia Mellon Indigenous Arts Program.

We wish you a most serene Winter Solstice.

View posts from Winter Solstices past.

View other posts from our Native American Literature Collection.

[old-powwow-days]

The first major solo museum presentation of fourth-generation Navajo weaver Melissa Cody (b. 1983, No Water Mesa, Arizona) spans the last decade of her practice, showcasing over 30 weavings and a major new work produced for the exhibition. Using long-established weaving techniques and incorporating new digital technologies, Cody assembles and reimagines popular patterns into sophisticated geometric overlays, incorporating atypical dyes and fibers. Her tapestries carry forward the methods of Navajo Germantown weaving, which developed out of the wool and blankets that were made in Germantown, Pennsylvania and supplied by the US government to the Navajo people during the forced expulsion from their territories in the mid-1800s. During this period, the rationed blankets were taken apart and the yarn was used to make new textiles, a practice of reclamation which became the source of the movement. While acknowledging this history and working on a traditional Navajo loom, Cody’s masterful works exercise experimental palettes and patterns that animate through reinvention, reframing traditions as cycles of evolution. Melissa Cody is a Navajo/Diné textile artist and enrolled member of the Navajo/Diné nation. Cody grew up on a Navajo Reservation in Leupp, Arizona and received a Bachelor’s degree in Studio Arts and Museum Studies from Institute of American Indian Arts, Santa Fe. Her work has been featured in The Barnes Foundation, Philadelphia (2022); Crystal Bridges Museum of American Art, Bentonville, AR (2021); National Gallery of Canada, Ottawa (2019–2020); Museum of Northern Arizona, Flagstaff (2019); SITE Santa Fe (2018–19); Ingham Chapman Gallery, University of New Mexico, Albuquerque (2018); Navajo Nation Museum, Window Rock (2018); and the Museum of Contemporary Native Arts, Institute of American Indian Arts, Santa Fe (2017–18). Cody’s works are in the collections of the Stark Museum of Art, Orange, Texas; the Minneapolis Institute of Arts; and The Autry National Center, Los Angeles. In 2020, she earned the Brandford/Elliott Award for Excellence in Fiber Art.

Melissa Cody: Webbed Skies currently on exhibition at MoMA PS1 through September 9nth, 2024

IDs Under the cut

Top to Bottom, Left to Right: White Out. 2012. 3-ply aniline dyed wool. 17 × 24″ (43.2 × 61 cm)

Deep Brain Stimulation. 2011. Wool warp, weft, selvedge cords, and aniline dyes. 40 x 30 3/4 in. (101.6 x 78.1 cm)

World Traveler. 2014. Wool warp, weft, selvedge cords, and aniline dyes. 90 x 48 7/8 in. (228.6 x 124.1 cm)

Into the Depths, She Rappels. 2023. Wool warp, weft, selvedge cords, and aniline dyes. 87 x 51 9/16 in. (221 x 131 cm)

Lightning Storm. 2012. 3-ply aniline dyed wool. 14 × 20″ (35.6 × 50.8 cm)

Pocketful of Rainbows. 2019. Wool warp, weft, selvedge cords, and aniline dyes. 19 x 10 3/4 in. (48.3 x 27.3 cm)

Path of the Snake. 2013. 3-ply aniline dyed wool. 36 × 24″ (91.4 × 61 cm)

[sorrysomethingwentwrong]

Darby Raymond-Overstreet (Diné),

“Woven Landscape: Monument Valley” (2023),

Mixed media: Digital collage of scanned Navajo textiles and photography,

32 x 24 inches (81.28 x 60.96 cm) 

[jadeseadragon]

Melissa Cody, “Navajo Whirling Log” (2019), aniline-dyed threads and hand-died variegated wool (photo Sháńdíín Brown/Hyperallergic)

Why Native Artists Are Reclaiming the Whirling Log

"The Diné symbol was suppressed for decades by a settler-dominated art market that conflated it with the Nazi insignia."

[harvestheart]

ARTIST WEAVER - LUCY BEGAY

NAVAHO NATION

[de-mykel]

Marilou Schultz. Replica of a Chip, 1994.

wool mounted on wood

[importantwomensbirthdays]

TahNibaa Naataanii

Textile artist TahNibaa Naataanii was born in 1967 in Shiprock, New Mexico. Naataanii is a traditional Navajo weaver with deep knowledge of her culture's weaving process. Her art has been displayed in US embassies throughout the world, and in 2022, she was honored with a Heritage Fellowship from the National Endowment for the Arts.

[introspect-la]

WHITE OUT BY MELISSA CODY (2012)

[amartworks]

Ralph Lauren Presents First Artist in Residence Collaboration

Company partners with Diné (Navajo) textile artist Naiomi Glasses to create special-edition product collections for Polo Ralph Lauren

NEW YORK — December 5, 2023 — Ralph Lauren (NYSE:RL) today launched Polo Ralph Lauren x Naiomi Glasses, the inaugural collection of the Company’s Artist in Residence program, which invites artisans working with a variety of skillsets and mediums to participate in an immersive collaboration with Ralph Lauren’s creative teams. Intentionally focused on the celebration and preservation of heritage craft, the Artist in Residence program is part of the Company’s broader efforts to shift from inspiration to collaboration with communities that have inspired Ralph Lauren. The collaboration with Glasses, a seventh-generation Diné (Navajo) textile artist and weaver, is the first of more to come.

[optikes]

Navajo textiles

collection: Vatican Museums

[isaacsapphire]

Article is Very worth reading, don’t let the long section at the beginning about a rug put you off.

[dippedanddripped]

RALPH LAUREN | Artist in Residence: Polo Ralph Lauren x Naiomi Glasses

[old-powwow-days]

Inherited Legacies by Darby Raymond-Overstreet

Currently showing as part of the Nizhónígo Hadadít’eh, They are Beautifully Dressed exhibition through September 29nth 2024

[abwwia]

Florence Riggs creates stunning pictorial Navajo weavings. Her charming masterpieces feature scenes from Navajo life on the reservation. Source

[rrlexchange]

Loving this gorgeous capsule collection by designer and seventh generation #Dine (#Navajo) textile artist Naiomi Glasses. Naiomi's designs celebrate Navajo pattern work and centuries-old weaving traditions. Traditional motifs, like directional crosses, dragonflies, spider woman crosses, and others are found across this gorgeous collection. #RalphLauren #RRL #PoloWestern#Dinetah #NavajoNation #NaoimiGlasses #RRLwestern#RRLnavajo #RRLstyle

[whencyclopedia]

Canyon de Chelly

Canyon de Chelly or Canyon de Chelly National Monument is a protected site that contains the remains of 5,000 years of Native American inhabitation. Canyon de Chelly is located in the northeastern portion of the US state of Arizona within the Navajo Nation and not too far from the border with neighboring New Mexico. It is located 472 km (293 miles) northwest of Phoenix, Arizona. Canyon de Chelly is unique in the United States as it preserves the ruins and rock art of indigenous peoples that lived in the region for centuries - the Ancestral Puebloans and the Navajo. Canyon de Chelly has been recognized as a US National Monument since 1931 CE, and it is one of the most visited National Monuments in the United States today.

Geography & Prehistory

The etymology of Canyon de Chelly's name is unusual in the U.S. Southwest as it initially appears to resemble French rather than the more ubiquitous Spanish. "Chelly" is actually derived from the Navajo word tseg, which means "rock canyon" or "in a canyon." Spanish explorers and government officials began to utilize a "Chelly,” “Chegui,” and even "Chelle" in order to try to replicate the Navajo word in the early 1800s CE, which eventually was standardized to “de Chelly” by the middle of the 19th century CE.

Canyon de Chelly lies very close to Chinle, Arizona, and it is located between the Ancestral Puebloan ruins of Betakin and Kiet Siel in the west and the grand structures of Chaco Canyon in New Mexico in the east. Canyon de Chelly, as a National Monument, covers 83,840 acres (339.3 km2; 131.0 sq miles) of land that is currently owned by the Navajo tribe. Spectacularly situated on the Colorado Plateau near the Four Corner's Region, Canyon de Chelly sits at an elevation of over 1829 m (6,000 ft) and bisects the Defiance Plateau in eastern Arizona. The tributaries of the Chinle Creek, which runs through Canyon de Chelly and originates in the Chuska Mountains, have carved the rock and landscape for thousands of years, creating red cliffs that rise up an additional 305 m (1000 ft). The National Monument extends into the canyons of de Chelly, del Muerto, and Monument.

Canyon de Chelly is one of the longest continuously inhabited places anywhere in North America, and archaeologists believe that human settlement in the canyon dates back some 5,000 years. Ancient prehistoric tribes and peoples utilized the canyon while hunting and migrating seasonally, but they did not construct permanent settlements within the canyon. Nonetheless, these prehistoric peoples did leave etchings on stones and on canyon walls throughout what is now Canyon de Chelly. Around c. 200-100 BCE, peoples following a semi-agricultural and sedentary way of life began to inhabit the canyon. (Archaeologists refer to these peoples as "Basketmakers." They are considered the ancestors to the Ancestral Puebloan Peoples.) While they still hunted and gathered like their prehistoric forebears, they also farmed the land where fertile, growing corn, beans, squash, and other small crops. It is also known that they grew cotton for textile production. Yucca and grama grass have grown in the canyon for several millennia, and indigenous people utilized these plants when making baskets, sandals, and various types of mats. Prickly pear cactus (Opuntia cactaceae) and pinyon are also found throughout Canyon de Chelly, the latter of which provided an important source of food for indigenous peoples in autumn and winter. Fish are found in Canyon de Chelly's tributaries, and large and small game frequent the canyon.

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