A member of the Bitter Water Clan, she was raised in a community of traditional Navajo artists and religious practitioners. In the 1970s, encouraged by a burgeoning Native American art market and local traders, Black focused her creative work on basketweaving and introduced several innovations that proved critical to the tradition’s survival.
A descendent of the Gullah community of coastal South Carolina, Mary Jackson learned the art of making baskets at the age of four from her mother and grandmother.
Manigault’s baskets have attained widespread recognition because of the sculptural quality of the forms she created and the imaginative use of natural design and color. She often experimented with different forms, but never overdecorated, understanding the value of the plain, unadorned traditional designs.
Passamaquoddy basketmaker
The matriarch of four generations of Passamaquoddy basketweavers
Disabled Australian author Dorothy Cottrell was ‘the Liane Moriarty of the Jazz Age’ but is almost unheard of here
Marion Coleman quilts bear witness that the aesthetic is still a thriving tradition in the African-American community.
A scholar, anthropologist, and academic pace-setter, Johnnetta Betsch Cole’s pioneering work about the on-going contributions of Afro-Latin, Caribbean, and African communities have advanced American understanding of Black culture and the necessity and power of racial inclusion in the US.
The community of Boykin, Alabama, known to many as Gee’s Bend, is home to some of the most highly regarded quiltmakers in America, including Mary Lee Bendolph, Lucy Mingo, and Loretta Pettway, three of the chief quilters from the oldest generation of quilters who represent this profound cultural legacy.
The community of Boykin, Alabama, known to many as Gee’s Bend, is home to some of the most highly regarded quiltmakers in America, including Mary Lee Bendolph, Lucy Mingo, and Loretta Pettway, three of the chief quilters from the oldest generation of quilters who represent this profound cultural legacy.