Exhibitions: Weaving Arts of the Americas

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Armchair (Egyptian Revival style)

The form of this easy chair, or bergère in French, was introduced in France in about 1725 and has remained popular. To preserve the chair a...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Pendant in the Form of a Sawfish

    In Ghana and the Ivory Coast, regions that acquired great wealth from the mining and trading of gold, rulers displayed their status by weari...


    Weaving Arts of the Americas

    • Dates: August 1, 2007 through November 25, 2007
    • Collections: American Art
    Exhibition Didactics ?
    • Andean Textiles
      The Andes has a weaving tradition of great longevity, spanning more than five millennia, that encompasses nearly every known technique. The textiles displayed here were created by weavers from a succession of independent cultures over a period of more than 1,500 years. Pre-Columbian examples of intact garments are fairly rare, but many fragments have been recovered from tombs located in the arid coastal regions of Peru. The imagery depicted on these textiles is expressive of the highly ceremonial nature of Andean textile art, with references to the plants, animals, and supernatural beings on which life depended. This vibrant and complex iconography is possible because alpaca and vicuña fibers readily accept dye and also permit the weaver to work in intricate detail.

      The woven cotton textile with a painted, fanged deity is in the style of the earliest widespread religious cult of the Chavin people. This fragment, which dates from about 400 b.c., may have been found at the coastal site of Karwa, almost 500 miles from the highland center of Chavin de Huantar. Highly portable textiles were an ideal medium for spreading religious beliefs and iconography. About 200–600 a.d., the Paracas people of the South Coast created embroidered textiles that permitted an even broader range of designs. The fragments on display here may have come from the borders of large ceremonial garments such as mantles (see Threads of Time installation on the first floor). Textile designs from the highland Wari people are more abstract, perhaps signifying a language as yet to be deciphered. The Chancay doll, made just prior to the Spanish Conquest in 1532, is the most recent Andean textile in this display, but the idealized portraits of Inca kings included on the wall show garments that reflect the convergence of pre-Columbian and Spanish colonial artistic styles. Weaving continues to be an important art form throughout the Andes, with the widespread use of natural dyes, camelid fibers, and traditional techniques and tools such as the backstrap loom.

    • Southwestern Textiles
      A weaving tradition has flourished for nearly two millennia in the Pueblo Indian territory of the southwestern United States, primarily in the present-day states of Arizona and New Mexico. The Hohokam people in southern Arizona cultivated and traded cotton by about 700 a.d. and developed looms about 1000 a.d. Beginning in 1540, Spanish colonization introduced new raw materials and weaving methods, and the advent of the railroad in 1880 led to increased tourism and new demand for textile arts.

      Early examples of ancient woven Pueblo textiles dating from about 1100 and discovered in Canyon de Chelly in Arizona were made from plant fibers such as yucca and mesquite. The Anasazi carrying band displayed here dates from a slightly later period when cotton was combined with plant fibers. It would have been worn across the shoulders or forehead to transport a basket or water pot. The zigzag design relates to similar patterns used in basketry and on pottery and may represent lightning, clouds, and other weather phenomena.

      Loom weaving facilitated the production of additional garment types, especially ceremonial dance kilts and sashes. Sheep wool and indigo dye, innovations introduced by the Spanish, can be seen in the Hopi man’s dance kilt. These traditional kilts are still made and worn today by men during kachina ceremonial dances. The warp-patterned belt, woven in a technique that the Spanish taught to native weavers in the seventeenth century, was made by a Navajo artist. The fringe, ribbon, and coral bead would have been tucked in to secure the belt.

    advanced 109,093 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."

    Recently Tagged Exhibitions

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.

    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.