Necklace Date Unknown

Editor: So this piece is simply titled “Necklace,” its date is unknown, it's mixed media, and it resides here at Mia. I'm struck by how organic it feels, despite being deliberately arranged. It makes me wonder about the history of adornment, of objects that we keep close to the body... How do you interpret this work? Curator: Well, it makes me think about adornment, identity and agency, specifically in Indigenous cultures. These are often intrinsically linked to cultural expression, resistance, and sovereignty. When we look at this necklace, we might ask, how does it function as a form of embodied knowledge? Editor: Embodied knowledge? Could you elaborate? Curator: Certainly. Jewelry making, especially among Native American artisans, often involves specific techniques passed down through generations. Each stone, its cut, its placement, might carry symbolic weight related to ancestral stories, tribal affiliations, or spiritual beliefs. The wearing of such an object becomes an assertion of cultural identity. And what’s more, it serves as a rejection of imposed colonial norms. Editor: That’s fascinating. I hadn’t considered it as an act of resistance. The artist, although unknown, is making a statement of cultural defiance. Curator: Precisely. This necklace prompts us to rethink what we perceive as "decorative art" and understand it as a powerful form of cultural preservation and political expression. Every facet may echo an act of perseverance and resilience, subtly undermining the dominant narrative. It reclaims power through beauty and tradition. Editor: So by wearing this, the wearer and the artist connect with the ancestors, culture and power. I see the stones differently now! Thanks for pointing that out. Curator: My pleasure. It goes to show the multifaceted layers embedded within even seemingly simple objects, and how a critical eye can unearth histories of struggle, resistance and profound cultural meaning.