Tankard 1750 - 1775

Editor: This gleaming silver Tankard, dating back to sometime between 1750 and 1775 and attributed to Samuel Casey, feels imposing. I notice its heft through its appearance. It is like power rendered into sculptural form. What statements about society do you see in a piece like this? Curator: I see a potent reflection of early American society's entrenched inequalities. Silver objects like this weren't merely decorative; they were potent symbols of wealth and social standing. Ownership like this reinforced hierarchies. Note the detail on the handle, but also how it serves a functional purpose: this tells me the wealthy during this period want art that reflects practicality and prosperity. What happens when that level of material excess meets political tensions bubbling below the surface? Editor: So, beyond its beautiful Baroque curves and its creator, this object might give the owners more privilege or influence than others? Curator: Precisely. Objects like this become flashpoints in revolutionary discourse. Think about it – resources and craft skills go into making these status symbols for the wealthy, at the cost of equitable resource allocation, for other communities and artistic contributions. How does displaying your wealth through functional art intersect with ethical considerations about consumption and luxury? Editor: It is a bit jarring to consider the labor and societal cost that produced an object meant for personal enjoyment. Curator: That's exactly where we must start! Seeing it this way allows us to consider the historical factors but also opens dialogues on cultural values, today. It's also a powerful indictment of how those systems often continue. Editor: I'm starting to understand art as a tool to confront systemic inequality and injustice. Curator: It’s a looking glass that enables conversations with people who were here, a call to interrogate present-day privilege.