Museum Purchase: Funds from the Native American Art Council.

In the mid-1980s, self-taught artist James Lavadour determined to focus his attention on the landscape where he has spent most of his life: the Umatilla Indian Reservation outside Pendleton, Oregon. He learned the terrain by walking it, in an effort to internalize the structure that knits together the landforms of the Blue Mountains. In the paintings that resulted, Lavadour has distilled particulars of the land to a critical essence, creating a symbolic vocabulary of clouds, hills, rocks, and chasms. These works are both beautiful and haunting, alluding to the history, both geologic and human, that these sites contain. Lavadour has received numerous honors, including the Agnes Martin award and, recently, the Governor's Art Award. He is also the founder of Crow's Shadow Institute, whose mission is to provide educational and social opportunities to Native Americans through artistic development.

Gift of Theodora Wilbour

Ceremonial blouse, beige with "V" cut neckline and puffed sleeves. Collar has red and blue embroidery decorating the edges and has a bunched or gathered effect. The sleeves are volumous, and the back of the shoulders and sleeves are heavily embroidered with black flower and leaf motifs. The back of the sleeves also have a band of cut-out lace. The cuffs are gathered with elastic and flare out at the ends. The cuffs are trimmed with lace and there is a red tie on the inside. The back of the blouse has a beige tie attached to the bottom with five metal hooks. The bottom of the blouse is unhemmed.

Ceremonial blouse, beige with gathered, drawstring neckline and puffed sleeves. The shoulders are heavily embroidered with gold leaf motifs, accented with pink and red stitching. The sleeves are short and volumous, and the cuffs gather in a red drawstring. The ends of the cuffs are cut in triangles with light brown, brown and pink edging. The front of the blouse has a deep "V" cut with a red tie on the PR side. The drawstring in the neck is also red. The back of the blouse is cut shorter than the front, and there is a beige tie sewn across the bottom.

Museum Expedition 1941, Frank L. Babbott Fund

This traditional, coiled basket is created especially for the Museum for the tipi exhibition by the artist Carol Emarthle-Douglas. On a natural background, it depicts eleven different women, each wearing the traditional dress of her Tribe, or Nation. In her hands she extends out a three dimensional basket woven in the style of her people as if to present it to the entire world. This is reflected exactly the same on the inside where she extends her basket as if to her community of basket makers. Four different basket making techniques are represented and materials are as follows by Nation: Seminole-One-rod coiling- one coiled pine needle, wrapped with raffia Haida- Twining- Red and Yellow cedar bark, commercial dye Pomo-One rod coiling-Round reed wrapped with raffia, various colors Navajo- One rod coiling- Round reed wrapped with raffia, various colors Yakima-One rod coiling- Round reed wrapped with raffia, various colors Nez Perce-Twining-Waxed linen thread in brown, green and white Northern Arapaho-One rod coiling, Coiled cloth wrapped with wire core, wrapped silk thread Ojibwa-Bending bark, Cherry bark, artificial sinew, etched design Penobscot- Twining- Black ash, sweet grass Chitimacha-Twill- Black ash, yellow cedar Cherokee- Twill-Yellow cedar, dyed yellow cedar

Museum Expedition 1941, Frank L. Babbott Fund