Because of the utilitarian nature of her quilting, Rankin never thought of herself as an artist. That began to change in 1981 when she was invited to be a resident artist at the junior high school in her hometown of Lorman, Mississippi.
Grace Henderson Nez lived her entire life in a hogan at the base of Ganado Mesa on the Navajo Reservation in Arizona. For more than seven decades, she raised and sheared sheep, carded and dyed the wool, and wove intricate and distinctive Navajo rugs.
Like other quilters in the region, Wells and Williams tended to emphasize design, bright colors, and vivid contrasts in their quilts. They played endlessly with the form of the square and the straightforward strip, disguising and exploding these essential design elements in myriad ways.
Feryal Abbasi-Ghnaim is an embroiderer whose journey as an artist started in her birthplace of Safad.
Graves excelled at embroidering colchas with birds, animals, flowers, and other whimsical images. Her favorite subjects, however, were Catholic saints borrowed from religious paintings called retablos and three-dimensional sculptures called bultos.
In 1978, Fang Nhu and her husband were forced to leave Laos, their livelihood threatened by the Communist regime. In Providence, Fang Nhu became active in the immigrant Hmong community and was eager to teach her weaving skills to her daughter-in-law Ia-Moua Yang. For Fang Nhu, weaving was not just making cloth, but was representative of a social fabric.
A basket maker and porcupine quillworker, Yvonne Walker Keshick creates birchbark masterpieces realistically decorated with quills that depict natural images as well as cultural symbols of the Odawa tribe. Also a devoted teacher, she has developed resources and provided instruction to ensure this art form is passed down to others as it was to her.
Lebanese-American lace maker
Robinson and her two sisters, Genevieve Tomey and Louise Red Corn, began to produce the old design of Osage ribbonwork, a form of needlework that they had learned from tribal elders. Soon they were researching additional designs, digging into neighbors’ trunks, and traveling to distant museums. In time, their trademark, “Ribbonwork a Specialty,” attracted customers nationwide.
Em Bun was born January 1, 1916, in a small village in southern Cambodia. Her maternal ancestors had always been considered the village weavers. As a child, she watched her grandmother and mother weaving. Em Bun learned to weave from her mother when she was about 10 years old. She also learned to process the silk from cocoons raised on the family’s farmland.
In 1979, Em Bun, along with her four daughters and two sons, fled Cambodia because of the communist takeover. They escaped to refugee camps in Thailand, and finally arrived in the United States on June 4, 1981. They settled in Harrisburg, Pennsylvania, because one of her sons was already living there.
In the United States, it was difficult for Em Bun to continue her prestigious work as weaver, farmer, and merchant. The language barrier inhibited her ability to make new friends, and she lapsed into isolation and depression. Then a group of Pennsylvania women provided her with a loom and weaving materials. Em Bun was truly happy for the first time in nine years, according to her children.
Subsequently, Em Bun was recognized as a master weaver by the Pennsylvania Council on the Arts. Grants from the council encouraged her daughters to study their mother’s art. All her family members now wear Em Bun’s bright pure silk hand-woven sarong skirts to Cambodian weddings and celebrations. Cambodians up and down the East Coast have placed their own orders for the two-meter lengths of silk. Em Bun uses leftover silk from a tie factory in central Pennsylvania, anointing the materials as she weaves with tapioca and coconut oil to provide the unparalleled luster and sheen of true Cambodian silk.
The subtlety of a master Cambodian weaver is expressed in the basic decisions of which colors enhance others. Although Em Bun’s work appears to be mostly solid colors, close examination reveals that the warp threads differ from the weft threads that cross, producing unusual and shimmering hues. Em Bun’s exquisite and sensitive work has helped her continue to serve as the village weaver, though her village is now nationwide. In addition to her children, she has taught others her art. She has given demonstrations at the Textile Museum in Washington, D.C., and in her own community. She has helped fellow Cambodian immigrants maintain contact with their heritage and has been a catalyst for the preservation of Cambodian traditional arts in the United States.