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Woven Wonders: Textile-based Coast Salish Art Unravels Local History

Indigenous weaving, past and present, on view at the Burke Museum.

A close-up of a knitted cream-colored garment with decorative patterned trim, fringes, and a button-and-loop closure.
Many Hands, overspun shawl, 2025. Haʔməkwitən Kelly Sullivan (Port Gamble S’Klallam). Mountain goat wool, alder cones, red cortinarius mushroom, deer bone, and antler.
Photo courtesy of Burke Museum

This article originally appeared in the March/April 2026 issue of Seattle magazine.

On display now at the University of Washington’s Burke Museum of Natural History and Culture, Woven in Wool: Resilience in Coast Salish Weaving examines the traditional art form and its importance to Coast Salish communities.

“This exhibition broadens the definition of American art by incorporating Indigenous voices and artistic practices historically marginalized due to biases against Native art and women’s work,” says Katie-Bunn Marcuse, Burke Museum’s curator of Northwest Native Art.

Working with artisans at the Coast Salish Wool Weaving Center, the Burke provides a platform for storytelling and cultural revival. The exhibition features both contemporary and historic items, including blankets, tunics, hoods, and skirts, and examines the seasonal cycle and intricate techniques behind the process.

Two traditional Coast Salish garments: one red and white with fringe on display; the other beige with fringe and a mask, resembling a human figure, featured in "Woven in Wool" at the Burke Museum against a black background.
LEFT: Chiefly Tunic, 2025, Skwetsimeltxw Willard “Buddy” Joseph (Squamish). RIGHT: Mountain Protector, 2025, SiSeeNaxAlt Gail White Eagle (Muckleshoot). Mask used at Dances, 2025, Tyson Simmons (Muckleshoot)
Photo by CHRIS SNYDER / BURKE MUSEUM

Woven in Wool: Resilience in Coast Salish Weaving runs through August 30. Tickets here. 

How Art Stays Afloat in Iceland

How Art Stays Afloat in Iceland

Public funding, creative freedom, and a landscape that refuses to stay in the background have made this Nordic nation an extraordinary place for crafting culture.

“If you don’t have art and theaters—and free speech—it’s no good to live there.” The man telling me this, Guðmundur Kristjánsson, isn’t a curator or painter. He’s the CEO of a seafood company, Brim, and our conversation occurred at Reykjavík’s harbor on Fisherman’s Day. I had just toured one of Brim’s vessels, where framed art…

Rearview Mirror: Flying in Style, A Caviar Martini, and Wine to Start the Week

Rearview Mirror: Flying in Style, A Caviar Martini, and Wine to Start the Week

Things I did, saw, ate, learned, or read in the past week (or so).

SWEET SUITES Last week, I went on a trip to Rome with my mom. I had been once before, about six year ago, but it was my mom’s first trip ever to Europe. I will be writing about the experience in the Travel section of the January/February 2027 issue of the magazine, so stay tuned…

New Murals Make Their Mark on Capitol Hill

New Murals Make Their Mark on Capitol Hill

Five works by local artists celebrate the neighborhood’s creative history.

More than 30 years after he first started painting graffiti in Capitol Hill, artist Sam Sneke is back, this time with a much bigger canvas. His work is among five new murals that have appeared across the neighborhood, bringing together generations of Seattle artists whose connections to the area stretch back decades. The murals are…

Creative Collections: Destination Museums Worth the Trip

Creative Collections: Destination Museums Worth the Trip

Seeing art in person isn’t just visual; it’s visceral.

Museums will always be destinations, but you don’t need to go to the Met or the Louvre to enjoy the ride. And the thrill isn’t limited to paintings—a fighter jet, a historic cipher machine, or a field full of vintage neon also delivers an emotional impact that can only be experienced with the intimacy of…