THE UNKNOWN CREATOR: THE MYSTERY BEHIND INDIGENOUS CRAFT ARTISTS

Museum Mysteries | Jaime Meier

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Alongside art and cultural objects, museums preserve the names of those who created the items, except in the case of Indigenous peoples whose personhood often fails to appear in the official museum record. One of these reasons is due to the unfortunate binary created between craft and art. We typically think of art as paintings, sculptures, or drawings, while craft denotes pottery, textiles, or woodworking. This gap has been greatly contested over the past decade and my use of “craft” is of great respect for the practice that rivals or exceeds other art practices. Emerging craft artists are more readily recognized for their works, especially due to the growth of social media, but museums are still left with many brilliant craft items created by unknown Indigenous artists.

Coiled Tlingit basket made by Unknown (Artist). (Source)

Many Indigenous craft items, such as woven Tlingit baskets, are utilitarian and used by various family or community members. A special acknowledgement of the creator was not a necessity, as members of the community knew who the item was created by and it was created for public use rather than just visual appreciation. When these objects are brought into museums, the makers are listed as “Unknown.” Dolores Churchill, a Haida elder and basket weaver, has said, “As long as Native art remains in museums, it will be thought of in the past tense.” The use of the “Unknown" artist only reiterates the idea of a past culture by amplifying knowledge that was lost to time and does not continue into the present. The item was not created by a Tlingit artist, but a depersonalized and uniform Tlingit culture.

"Peace Treaty Belt" made by a Haudenosaunee Artist. Photo courtesy of Jaime Meier. 

As of now, the names of the artists involved in Indigenous craft are either irrecoverable or museums lack the resources or to solve the mystery. The National Gallery of Canada has made the decision to move past listing unnamed Indigenous artists as “Unknown” and have relabeled to acknowledge the artist in connection to their nation. For example, as an “Haudenosaunee Artist,” thus bridging the gap between artist and community. The artist is no longer an unidentified person, but rather an artist who carries the spirit of their community. The Royal Ontario Museum (ROM) has taken similar steps in their online collection, listing the maker based on the Indigenous community who created it rather than simply an affiliation.

"Lacrosse Stick" made by a Haudenosaunee Artist. (Source)

Museums are closely drifting away from the use of the “Unknown Artist" to the benefit of the public, the original artist, and the artist's community. Social media has made it difficult for Indigenous craft artists to remain unknown, as many have thriving social media accounts and online shops. Whether it's beadwork, tufting, or birch bark, Indigenous artists are reclaiming craft, identities, and their places in the art world.