Collected and highly valued all over the world, Navajo weaving has
been the subject of many aesthetic and historic studies. Grounded
in archival research and cultural and economic approaches, this new
book situates Navajo weavers within the economic history of the
Southwest and debunks the romantic stereotypes of weavers and
traders that have dominated the literature.
Beginning with an analysis of trader archives revealing that
nearly all Navajo textiles were wholesaled by weight until the
1960s, M'Closkey scrutinizes the complex interactions among
artists, dealers, collectors, and museum curators that have
facilitated the explosion in value of those old weavings. She also
examines the production of Mexican copies of Navajo-style rugs,
which in recent years has combined with the market for pre-1950
textiles to diminish the demand for contemporary Navajo weavings.
Navajo patterns, she points out, remain unprotected by copyright
because traditional designs have been in the public domain for
decades.
Much of the exploitation M'Closkey delineates has been justified
by the ethnographic classification of functional textiles as
nonsacred crafts. But the author's conversations with Navajo
weavers suggest that their motivations for weaving go far beyond
economics. Weavers' feelings for "hozho," the Navajo concept of
harmonious beauty, encompass far more than any western concept of
aesthetics. M'Closkey shows that the weavers' views of their work
are marginalized when the work is treated as a collectible craft
and culture is split from commodity.
No one who studies, collects, sells, or enjoys Navajo textiles
(either genuine or knock-offs) can ignore this book. Sure to be
controversial, itwill be important reading for anyone concerned
with the merchandising of Indian art.
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