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During the Arts and Crafts period, from about 1880 to 1930, popular perceptions of Native Americans and their basketry emphasized pristine cultures prior to the effects of contact with Europeans. Pasadena basketry collector and dealer Grace Nicholson used an ethnographic approach, along with mass-marketing, when selling Native Northwestern California baskets in order to cater to Arts and Crafts period collectors' expectations of traditional Indian baskets. In addition, Nicholson expanded her collecting methods to include documenting individual weavers in the field, though she rarely used this documentation as a sales strategy. Before Nicholson began traveling and collecting baskets directly from Native American weavers in Northwestern California, basketry from this region was almost always collected or sold as the work of an anonymous weaver. This approach—what I refer to as the ethnographic paradigm in the dissertation—featured the traditional, pre-contact context of the basketry, but not the documentation of individual innovation. Grace Nicholson started a new paradigm or model for collecting Native Northwestern California basketry through her select documentation of individual artists. Nicholson's documentation of Elizabeth Hickox, master weaver of Northwestern California baskets during the Arts and Crafts period, has been thoroughly addressed in Art Historical scholarship. I argue that Nicholson also recorded information about other Northwestern California weavers from Hickox's generation, such as Yurok weaver Nellie Cooper. In this dissertation, I demonstrate that the Nicholson archival collection, along with other important archival sources, can be used by researchers to help identify lesser-known Northwestern California weavers from the turn of the 20th century today. / Graduate

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Thesis advisor: Julia E. Grigsby / We use the Birman-Ko-Lee presentation of the braid group to show that all closures of strongly quasipositive braids whose normal form contains a positive power of the dual Garside element δ are fibered. We classify links which admit such a braid representative in geometric terms as boundaries of plumbings of positive Hopf bands to a disk. Rudolph constructed fibered strongly quasipositive links as closures of positive words on certain generating sets of Bₙ and we prove that Rudolph’s condition is equivalent to ours. We compute the sutured Khovanov homology groups of positive braid closures in homological degrees i = 0,1 as sl₂(ℂ)-modules. Given a condition on the sutured Khovanov homology of strongly quasipositive braids, we show that the sutured Khovanov homology of the closure of strongly quasipositive braids whose normal form contains a positive power of the dual Garside element agrees with that of positive braid closures in homological degrees i ≤ 1 and show this holds for the class of such braids on three strands. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Mathematics.

Coast Salish coiled basketry has been a much-neglected area of research. Previous investigations into this topic have been primarily concerned with geo-cultural distributions, and discussions pertaining to stylistic attributes. In recent years several scholars have turned their attention to the topic of Salish weavings, but they have focused their efforts quite narrowly on textiles made from wool and other similar fibres to the exclusion of weaving techniques such as basketry which utilise local roots and barks. This thesis will focus exclusively on one type of Salish basketry - coiled basketry. In this thesis I explore different ways of identifying, or "knowing", Coast Salish coiled cedar root basketry. I specifically focus on Sto:lo basketry and identify three ways in which Sto:lo basket makers "know" these objects. First I discuss the Halkomelem terminology and what insights it provides to indigenous classification systems. Secondly, I situate coiled basketry in a broader Coast Salish weaving complex in order to discuss how basketry is influenced by other textile arts. This also enables me to explore how Sto:lo weavers identify a well-made object. In the final section I discuss ownership of designs by individuals and their families. This research draws primarily from interviews conducted with Sto:lo basket makers between May and September 2000 in their communities and at the Museum of Anthropology at UBC. It is supplemented by interviews with basket makers from other Salish communities and by the ethnographic literature on this topic.

Thesis (M.A.)--Brigham Young University. Dept. of Visual Arts, 2007. / Includes bibliographical references (p. 111-119).

Coast Salish coiled basketry has been a much-neglected area of research. Previous investigations into this topic have been primarily concerned with geo-cultural distributions, and discussions pertaining to stylistic attributes. In recent years several scholars have turned their attention to the topic of Salish weavings, but they have focused their efforts quite narrowly on textiles made from wool and other similar fibres to the exclusion of weaving techniques such as basketry which utilise local roots and barks. This thesis will focus exclusively on one type of Salish basketry - coiled basketry. In this thesis I explore different ways of identifying, or "knowing", Coast Salish coiled cedar root basketry. I specifically focus on Sto:lo basketry and identify three ways in which Sto:lo basket makers "know" these objects. First I discuss the Halkomelem terminology and what insights it provides to indigenous classification systems. Secondly, I situate coiled basketry in a broader Coast Salish weaving complex in order to discuss how basketry is influenced by other textile arts. This also enables me to explore how Sto:lo weavers identify a well-made object. In the final section I discuss ownership of designs by individuals and their families. This research draws primarily from interviews conducted with Sto:lo basket makers between May and September 2000 in their communities and at the Museum of Anthropology at UBC. It is supplemented by interviews with basket makers from other Salish communities and by the ethnographic literature on this topic. / Arts, Faculty of / Anthropology, Department of / Graduate