Necklace c. 1940s

Editor: This striking silver necklace, a Pueblo piece from the 1940s, uses simple forms—beads and feathers—to create a sophisticated, almost regal effect. What histories and ideas do you see reflected in this piece? Curator: That’s a perceptive reading. These necklaces, particularly those incorporating feathers, aren't merely decorative. We need to examine their place in the intricate history of Indigenous representation and self-representation. Silverworking was both an art form and a form of resistance in the face of colonial pressures. What do you notice about the depiction of the feathers? Editor: They're stylized, symmetrical. It makes me think about the careful balance of tradition and innovation within Indigenous art. Curator: Precisely. And consider what feathers signify—connection to spirit, flight, freedom. Placing these within the context of a culture actively fighting for autonomy adds layers of meaning. What socio-political tensions do you think might have been present in the 1940s for the Pueblo people? Editor: I imagine the pressures of assimilation were strong then. Wearing something like this necklace would have been a powerful statement. Curator: Absolutely. These objects were never created in a vacuum. Understanding the history informs our understanding of the artistry. It’s more than just decorative art; it is a declaration. Editor: Thinking about it that way, it transforms the necklace. It goes from being a pretty object to a really important cultural artifact. Curator: It encourages us to question how identities are expressed, negotiated, and sometimes, reclaimed. I'm glad this has broadened your perspective.