Hanging c. mid 19th century

Curator: Editor: Here we have a "Hanging," created around the mid-19th century by an anonymous artist. It’s a beautiful example of fibre art, using silk and cotton. I'm struck by the organic patterns and how they’re woven together. What strikes you about it? Curator: Looking at this piece, I'm immediately drawn to the materiality itself. Think about the labor involved in producing both the raw materials - silk and cotton – and then the intricate weaving process. Where did these materials come from? What was the social status of the weaver? Was this commissioned, or created for personal use? These are crucial questions. Editor: That's interesting, I was so focused on the aesthetic qualities that I hadn't really considered the social aspects of its creation. So, you're saying the value lies not just in the finished product, but in the production itself? Curator: Precisely! Consider the context: it falls under the umbrella of ‘Orientalism.’ So how do colonial power dynamics influence the sourcing of the materials, the artistic choices, and ultimately, our perception of this "Hanging" today? The Pattern and Decoration movement comes to mind, how it elevated craft by challenging what is considered art. It forces us to reconsider value systems that privilege painting and sculpture. Editor: I see, it’s a lot more complex than I initially thought. Thinking about it that way, I understand that focusing solely on aesthetics might overlook the historical and societal context of the artwork, the socio-economics of its existence. Curator: Exactly. Now, when you look at this Hanging, what story does the material itself tell you? Editor: I guess, thinking about it now, it speaks to cultural exchange, labor, and how objects like this exist as markers of both artistic expression and the material realities of their time. Thanks for opening my eyes!