The papers of fiber artist and educator Adela Akers measure 2.6 linear feet and date from 1960 to 2009. Her career as an artist and her tenure at the Tyler School of Art, Temple University, are documented through scattered biographical material; correspondence; subject files on galleries, projects, weaving technique, research, workshops, and fiber arts organizations; writings; exhibition announcements, clippings, and other printed material; photographs; and artwork, including one sketchbook.
Photographs depicting Mary Peters (Interior Salish) weaving a tapestry with a two-bar loom and Mrs. William Kelley (Coast Salish) spinning yarn with a spinning wheel. Photographs made in Sardis, Chilliwack, British Columbia.
Includes images of Zuni Indian We'wha spinning wool, setting up a loom, and weaving a blanket at the Smithsonian Institution in Washington, D.C. The photographs were probably made as part of a demonstration commissioned by Matilda Coxe Stevenson or the Bureau of American Ethnology.
Includes the catalog that has a catalog number, place of manufacture, name of the piece, description, symbols, date, condition, use, and technique. Some of the cards have illustrations. Also included are a few pieces of graph paper with weaving patterns and a photograph of Morris with some people of Chiapas.
George Hubbard Pepper specialized in the study of cultures of the American Southwest and Ecuador. Tribes which he studied are Acoma, Aztec, Blackfeet, Cochiti, Hopi, Isleta, Jemez, Laguna, Nambe, Navajo, Picuris, Pojuaque, Puye, San Carlos Apache, San Felipe, San Ildefonso, San Juan, Sandia, Santa Ana, Santa Clara, Taos, Tarascan, Tesuque, Ute, Zia, and Zuni. Photographs in the collection are of an excavation in Tottenville, New York, 1895; Pueblo Bonito in Chaco Cañon, New Mexico: Hyde Expedition, 1896-1900; and expeditions to the occupied Pueblos of the Southwest, 1904; Mexico, 1904, 1906; Guatemala; and Ecuador, 1907. There are also photos which complement a study Pepper did of the technique of Navajo weaving, and miscellaneous scenic and personal photos.
The California Indian Basketweavers Association (CIBA) is a nonprofit organization formed in 1992 in Woodland, California. CIBA's goal is "to preseve, promote, and perpetuate California Indian basket weaving traditions while providing a healthy physical, social, spiritual, and economic environment for basketweavers." CIBA holds an annual gathering for weavers to show their work, share techniques and stories and provide support to one another. This collection consists of 13 posters from the CIBA annual gatherings from 1992, 1993, 1996, 1997, 2002, 2003 and 2005 through 2010. There is also one poster from the California Statewide Traditional Gathering Policy. Several of these posters are signed by Deborah McConnell (Yurok/Quinault/Hoopa) who is the Northwestern California Field Director for CIBA.
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.
The Elayne Zorn Collection measures 11 linear feet and contains thousands of photographic objects including negatives, slides and prints. The collection material spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from around 1975 until 2010. The material in this collection reflects Zorn's long association with the community in Taquile, Peru which led up to the publication of her book, Weaving a Future, in 2004. Zorn also spent a significant amount of time conducting field research in Andean communities in Bolivia examining the relationships between tourism and textiles. Zorn's additional professional activities included serving as a textile collector and expert advisor for museum collections and exhibitions as well as performing academic duties at the University of Central Florida.
The papers of fiber artist Claire Zeisler measure 3.5 linear feet and date from 1941 to 1992. Zeisler's career is documented through project files, printed materials, and scrapbooks. The bulk of the collection consists of twenty-two scrapbooks containing resumes and chronologies; an honorary degree; business correspondence with libraries, museums, and other institutions concerning exhibitions of Zeisler's work and the loan of her personal art collection; exhibition lists and condition reports; loan records; printed materials for exhibitons; and scattered sketches and hanging instructions. Project files contain documents relating to titled weavings and general works, and may include fabric samples, hanging instructions, plans, and material costs. Also found are three exhibition catalogs.
For the most part, this record unit documents curatorial and staff activities of the Division of Textiles after the creation of the Museum of History and Technology in 1957; however, some records also date from the time the Division was a Section of the Division of Crafts and Industries in the United States National Museum. These records cons...