The organization of the questions asked in the interviews unfolded in a natural and comfortable order. For example, in the Navajo way, a person will first explain who they are, what their clans and relationships are, and then address the questions. I believe this approach to the interview process allowed for a true and valuable Navajo aesthetics. . . The conversations with each family covered many facets of how each weaver learned to weave, how they observe weaving traditions, how they fit into their communities and the importance of preserving the weaving customs and passing this knowledge on to the next generation. . .

above and below: Lillie Taylor cleaning wool with white clay (kaolin).

One of the most important things you can do in any project is stress that the people, the culture—whether it is Navajo, Hopi, Pima—is still alive today. These people are still alive today. They live in homes just like you. They travel just like anybody else in this world. That is very important. You have to try and bridge that gap. . .

Gloria Jean Begay, Dawn Meets Dusk, 48” x 59”, 2005, natural (undyed) and aniline-dyed commercial wool, black: natural (undyed), brown: natural (undyed),tan: aniline-dyed, grey: aniline-dyed. Edwin L. and Ruth E. Kennedy Southwest Native American Collection, Kennedy Museum of Art, Ohio University. KMA #2005.06.01

I know first hand that many Navajo weavers are very excited about the rugs in this collection. They are interested in learning the history of how these weavings came into the museum’s possession and the role Mr. Kennedy played in establishing this permanent loan. The weavers want to examine the individual pieces closely to determine weaving structure, content, and design. This close contact will allow for Navajo aesthetics and will provide additional valuable knowledge and stories about the rugs. . .

The exhibit will be on display at the Kennedy Museum of Art, Ohio University, through March, 2007

Tapestry in Maine

by Alana VanDerWerker

“Tapestry in Maine” is a small but intriguing exhibition in the rural town of Waldoboro, Maine. The jurying was done by Lissa Hunter , a well-respected, nationally known artist from Portland, Maine, who creates thoughtful low-relief collages using coiled basketry techniques. The show opened at the Old Point Comfort Gallery on June 16th and runs until the end of July, 2005. The gallery is part of the studio and home of Sara Hotchkiss, a master rug weaver. Hotchkiss uses the west end of her gabled, cape cod house as a gallery. This well-lit, long room with its relatively small white wall spaces creates a naturally intimate presentation but necessitates choosing small pieces for display.

The most satisfying combination of masterful technique and striking design in this show is a 12” x 18” silk, ramie, cotton, and red cedar piece, "Reflection." Maria Kovacs of Livermore, Maine, has used half a slice of convoluted red cedar trunk as her inspiration for a beautifully woven reflection of its image. . .

Maria Kovacs, Reflection, 12’ x 18”

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