Collections Spotlight with G. Peter Jemison

During the 2020 COVID-19 lockdown and through the reopening afterward, the Coe Center partnered with First American Art Magazine to present an interactive Zoom series in which Native artists discussed artworks in the Coe Collections. Collections Spotlight brought deep dives into objects from the Coe collection to the public from the artist’s perspective. These events were free and open to the public.

G. Peter Jemison (Seneca, Heron Clan) is a painter, mixed-media artist, and filmmaker who exhibits nationally and internationally. Based in Victor, New York, he manages the Ganondagan State Historic Site. He served as the inaugural curator of the American Indian Community House Gallery from 1978-1985. He is an active advocate for Native rights and . Jemison’s artwork is held in major museums including the Metropolitan Museum of Art, and the British Museum.

Jemison talks about how beads came to be used by the Haudenosaunee through the fur trade. He talks about the red cloth used in this bag, and its origin from England. He also discusses that it is possible to date pieces through the specific types of beads used.

Jemison mentions that most of the bags were created by women for sale and trade and sold at places such as at Niagara Falls, Montreal, and along railroads. On the other side of the bag, Peter notes the different patterns with the same beads. No paper pattern was used, and the design was likely freehand from the maker’s mind.

Jemison notes that this bag is in good condition despite some damage. This bag has a silk lining, and bags like this were often lined. The top design stands out to him, as well as repeated heart patterns.

Jemison discusses that prior to commercial cotton string, plant grasses like dogbane and other natural fibers were used. Traditional beads used before the introduction of commercial glass beads would have been wampum.

Jemison calls this a change purse, and notes that it could also be a pouch that could carry small herbs. He discussed that the cut glass faceted beads reflect the light. Pater thinks the hexagon shape of this bag is an aesthetic choice and is not sure if there is a significance to the shape.

Beaded identity card case, Jemison describes the use of identity cards as being similar to business cards – they would have been used to share the contact information for the beader so that customers could get in touch with them for repairs or to buy more work.

Jemison highlights the figure-eight design, the dark borders, and color combination of the piece and shares that there are a few bead workers who have knowledge of beadwork designs and dating objects through these designs.

The title of this handmade paper bag is “As the Crow Flies.” Jemison, the artist who created this work, discusses the sources of the imagery on the bag. The birthstone imagery on the back is inspired by the imagery found in Seneca culture, and in designs from mound dwellings. Jemison was also looking at Caddo pottery and their swirling design. Jemison also mentions that bird stones may have been counterweights for atlatl spears.