From Library Journal
The collecting of textiles for the Southwest Museum (Los Angeles) began in the 1880s with Charles Lummis's anthropological research and resulted in a comprehensive and unique collection of Navaho and Pueblo weavings. This generously produced catalog of that collection, reproducing more than 250 examples of the work in full color, as well as 49 historical photographs, is written by the former curator at the Southwest Museum, now director of the Indian Arts Research Center in Santa Fe. Its approach is both accessible and scholarly, containing photographs and comprehensive catalog notes on each piece (from rugs and blankets to serapes and mantas), with textile analysis by Susie Hart. The supplementary CD-ROM provides a complete inventory of the 2,123-piece collection and includes detailed textile analysis charts for over 300 of the items. This dye and fiber analysis with ethnohistorical notes contributes immensely to the utility of the reference for scholars. Important for all academic collections and larger public libraries.
Nancy Turner, Syracuse Univ. Lib., NY Copyright 2002 Reed Business Information, Inc.
For the Navajo and Pueblo, weaving is far more than a craft or even an art form, it's a spiritual endeavor. Anthropologist Whitaker, director of the Indian Arts Research Center in Santa Fe, New Mexico, presents brief but thoroughly grounding histories of their weaving traditions, explicating their cosmic implications and demanding techniques. She also gratefully records the 1907 founding of the Southwest Museum by Charles Fletcher Lummis, the repository for an extraordinary and unparalleled collection of southwestern American Indian textile arts dating from 1800 and moving forward in time, the source of the magnificent pieces displayed so vibrantly here in more than 300 thread-sharp, deeply hued color photographs, many of which fill entire pages in this handsome, large-format volume. Ponchos, serapes, shoulder blankets, dresses, all are identified by date, place of creation (if known), patterns, and dye and thread sources, technical elements bolstered by photographs circa 1900 of weavers at work. Certain design motifs are called eyedazzlers, a designation appropriate, metaphorically, for every work of art exhibited here, spellbinding weavings that vibrate with nothing less than the power of prayer.
Donna SeamanCopyright © American Library Association. All rights reserved