A knowledge of Native American art must encompass the great diversity of Native American cultures. It is impossible to formulate a single concept of the "average" Native American. At the time of the first contact between whites and native peoples, there was far more cultural and linguistic variety in North America than in Europe, and much of that diversity continues today. (Approximately 30 languages are still in use, classified into 6 major groups.) It is believed that as many as 600 distinct native cultures may have existed at one time or another on the North American continent.
That Native American art reflects this great variety is immediately evident from a study of this collection. The hunting and gathering peoples of California produced a basketry art unparalleled for its range and sophisticated technique. Basketry not only demands patience, but a precise knowledge of the seasonal availability of plant resources. The Native Americans of California were experts at utilizing the environment and drawing from it an astounding variety of food sources and basketry materials. The Northwest Coast is characterized by a bounteous sea and forest. Perhaps in response to this abundance, its Native American cultures emphasized material wealth and class. The Intermontane region, also called the Great Basin and the Plateau, was greatly influenced by such surrounding areas as California, the Southwest, the Plains, and the Northwest Coast. Its unique basketry and, to a lesser extent, its beadwork, are represented in the Pomona College collection. The greatest variety is found in the art forms developed by the sedentary agricultural cultures of the arid Southwest, which draw upon an artistic tradition that dates from before the beginning of the Christian era. The Pre-Columbian cultures of the Southwest---the Anasazi, the Hohokam, and the Mogollon—fashioned ceramics that were not surpassed by any comparable neolithic culture in the world. This collection includes examples of Southwestern pottery and basketry. Plains art was heavily influenced by the arrival of the horse in the early 17th century, through the subsequent development of a nomadic hunting culture centered around the bison. Much of Plains art involved the use of animal hides in quillwork, beadwork, and painting. The Native American cultures who inhabited the forested areas of the Great Lakes combined hunting, gathering, and agriculture. They were among the first to feel the effects of the fur trade and trade goods. Their development of quillwork and beadwork was early, and their art also consisted of weaving and appliqué, wood carving, and basketry. In this collection, the Plains and Great Lakes are most comprehensively represented by objects intended for personal adornment, including quillwork and beadwork.
Just as they adapted their lives to their available resources, Native Americans employed these resources to create their art. Through this link, artifacts become mirrors that reflect the activities and environments of the native peoples who made them. But Native American art is far from static; many cultures continue to thrive. Today's artists pull from their rich history of tribal art, as well as the events and ideas of contemporary society, to produce vibrant and relevant art. An examination of Pomona's collection offers insight to the lives and creative processes of these artists, while it reveals the masterful craftsmanship of their superb works of art.