Bracelet c. 1940

Curator: Isn't this bracelet simply captivating? Crafted around 1940 by a Navajo artist, or Diné as they call themselves, it resides here at the Minneapolis Institute of Art. Editor: Oh, wow. It's a very solid-looking thing. Makes me think of trade and silverwork—and turquoise! Such striking color. I want to touch it to see how heavy it is. Curator: I find that each turquoise stone has such personality. It seems that the silver serves to elevate them. Look closely at the twisted silver wire detail... almost like rope bordering the turquoise cabochons. Editor: The wire wrapping really draws my attention to the handwork. Considering the period, I wonder about the availability of materials then and what other things those metals were needed for, perhaps industrial applications of silver and where the raw materials were mined. Curator: Indeed, these materials carry stories of resource extraction, labor, and cultural exchange. Think about the silversmithing techniques passed down through generations and what each individual added of themselves! I can imagine the artisan imbuing a little piece of themselves with every curve. Editor: The Indigenous Americas art movement encompassed much more than visual beauty. There is an important narrative of self-representation and the negotiation of identity through commodities. These were and are powerful items! Curator: Absolutely. There is history within this. Wearing it feels like connecting with an unbroken lineage, wearing a piece of the earth and heritage made wearable. Editor: Makes you rethink adornment, doesn't it? Not just a bauble, but a tangible echo of the maker's hands. Curator: Yes. We started looking at a shiny bracelet, and ended in questions that keep rippling, I am reminded of the stories each crafted piece whispers about humanity, history, and artistry itself. Editor: Exactly—materials shaped by labor that carries immense meaning, from earth to wrist.