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Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum

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Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-07-18 Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum Laura Paulsen Howe Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Howe, Laura Paulsen, "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum" (2007). Theses and Dissertations. 988. https://scholarsarchive.byu.edu/etd/988 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. by Brigham Young University in partial fulfillment of the requirements for the degree of Brigham Young University All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL committee and by majority vote has been found to be satisfactory. ________________________ ______________________________________ Date ________________________ ______________________________________ Date ________________________ ______________________________________ Date BRIGHAM YOUNG UNIVERSITY As chair of the candidate’s graduate committee, I have read the format, citations and bibliographical style are consistent and acceptable and fulfill university and department style requirements; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the graduate committee and is ready for submission to the university library. ________________________ _______________________________________ Date Chair, Graduate Committee Accepted for the Department ________________________ _______________________________________ Date Graduate Coordinator Accepted for the College ________________________ _______________________________________ Date ABSTRACT ACKNOWLEDGMENTS also grateful to Marian Wardle, Curator of American Art at the BYU Museum of Art, who allowed me to serve as a museum liaison to Dr. Michael Call’s comparative studies graduate seminar which helped me think precisely about curatorial theses and display. I am most grateful to Marian Wardle for serving as my thesis advisor—for brainstorming sessions as early as three years ago that always left me feeling confident, for reading and rereading many drafts, and for always realigning me in the correct direction. Thank you to Campbell Gray and Martha Peacock for serving on my committee. Thanks as well to Steve Simpson and Travis Anderson for their invaluable knowledge. I am grateful to my family for the huge role they played in completing this project. My mom, Deirdre Paulsen, read this thesis perhaps more than I did and was an invaluable aid as an educated reader without art historical experience, helping me to explain “gobbledy-gook” with clarity. My sister-in-law Maquel Evans adopted my boy several days so I could work. Without my husband Tyler who became a stay-at-home dad during the summer and three nights a week during his busy school year, this thesis wouldn’t have been possible. And Talmage, my son who was born during this process, gave me hope that my education will enrich more than my own life. Thank you. TABLE OF CONTENTS I. List of Figures..........................................................................................................x II. Introduction: Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum ........................................................................................1 III. Chapter One: A Visual History of Continuity and Change ...................................14 IV. Chapter Two: Navajo Baskets in the Trading Post: The “Western” Environment that Conceals a Changing Native American Identity.............................................40 V. Chapter Three: Navajo Baskets in the Natural History Museum: The Educational Environment that Suppresses Modern American Indian Meaning ......................................................................................................61 VI. Chapter Four: Navajo Baskets in the Fine Arts Museum: A Meaning-Making Environment that Can Reveal the Contemporary American Indian ......................79 VII. Conclusion ...........................................................................................................109 VIII. Bibliography ........................................................................................................111 IX. Figures..................................................................................................................120 ix LIST OF FIGURES 1. Anasazi Basket, Twin House Cave, Northern Arizona from the collection of the Utah Museum of Natural History, on display in Brigham Young University's Museum of Art exhibition “American Dreams.” Photo taken by the author, January 2007. .......................................................................................................120 2. Lorraine Black, Code Talkers, c. 2002. Diameter, 81.28 cm. Twin Rocks Trading Post collection. Photo taken by the author, January 2007. ..................................121 3. Lorraine Black, Coiled Tray, 1997. Height, 6 cm; diameter, 40 cm. School of American Research. .............................................................................................122 4. Three-rod stacked coiling technique. From Susan Brown McGreevy, “The Story Tellers: Contemporary Navajo Basket Makers,” in Willow Stories: Utah Navajo Baskets, ed. Carol A. Edison (Salt Lake City: Utah Arts Council, 1996), 24. ....123 5. Herring bone rim braiding. From Susan Brown McGreevy, “The Story Tellers: Contemporary Navajo Basket Makers,” in Willow Stories: Utah Navajo Baskets, ed. Carol A. Edison (Salt Lake City: Utah Arts Council, 1996), 25....................124 6. Ancestral Pueblo/Pueblo II-III, basket, c. A.D. 900-1300. San Juan County, Utah. Height, 19 cm; diameter, 22.5 cm. Edge of Cedars State Park............................125 7. Early Navajo carrying basket. U.S. Forest Service..............................................126 8. Navajo girls of early 1900s carrying water jugs. National Anthropological Archives, Smithsonian Institution, photo by George Wharton James.................127 9. Navajo, Coiled tray with spider-woman motif, date unknown. Height, 10.8 cm; diameter, 34.9 cm. Collected by H. P. Mera, 1941..............................................128 10. Herring bone rim braiding and juniper sprig. From Georgiana Kennedy Simpson, Navajo Ceremonial Baskets: Sacred Symbols Sacred Space (Summertown, TN: Native Voices, 2003), 17. ....................................................................................129 11. Computer and ceremonial wedding basket at the Twin Rocks Trading Post. Photo taken by Alonzo Howe, August 2005..................................................................130 x 12. The front of J.B. Moore's Crystal Trading Post published in Moore's 1911 catalogue. J. B. Moore, “The Navajo,” in J. B. Moore United States Licensed Indian Trader: A Collection of Catalogs Published at Crystal Trading Post, ed. Alexander E. Anthony, Jr. and J. Brent Ricks (Albuquerque: Avanyu Publishing Inc., 1987), 27. .....................................................................................................131 13. The inside of J. B. Moore's Crystal Trading Post, published in his 1911 catalogue. J. B. Moore, “The Navajo,” in J. B. Moore United States Licensed Indian Trader: A Collection of Catalogs Published at Crystal Trading Post, ed. Alexander E. Anthony, Jr. and J. Brent Ricks (Albuquerque: Avanyu Publishing Inc., 1987), 27..........................................................................................................................132 14. The bullpen at Hubbell Trading Post National Historic Site. Photo taken by Alonzo Howe, August 2005.................................................................................133 15. Baskets hovering above items for sale at Hubbell Trading Post. Photo taken by Alonzo Howe, August 2005.................................................................................134 16. Southwest American Indian baskets hanging on the ceiling of Hubbell Trading Post National Historic Site. Photo taken by Alonzo Howe, August 2005...........135 17. Mary Holiday Black with one of the largest ceremonial baskets created, 90.27 cm diameter (32.5 inches), c. late 1970s. Woven by Mary and her daughter Sally Black. Simpson Family Collection. From Georgiana Kennedy Simpson, Navajo Ceremonial Baskets: Sacred Symbols Sacred Space (Summertown, TN: Native Voices, 2003), 129. ..............................................................................................136 18. The "About Us" page at twinrocks.com, showing the continuing trader relations between the Simpson and Black families at Twin Rocks Trading Post, Bluff, Utah......................................................................................................................137 19. Gallery at Twin Rocks Trading Post, Bluff, Utah. Photo taken by Alonzo Howe, August 2005.........................................................................................................138
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