Bracelet before 1920

Editor: Here we have a silver bracelet, attributed to the Navajo or Diné people, and dated before 1920. Its simplicity is quite striking; there's something powerful in its restraint. What catches your eye about it? Curator: Immediately, I’m drawn to the raw materiality. Look at the silver itself – its likely source, how it was extracted, traded, and then worked. These early Navajo bracelets reveal a complex negotiation: a repurposing of readily available materials such as silver coins into adornment. Editor: So, the bracelet becomes almost a record of resource exchange? Curator: Exactly. The hand-tooling, too, speaks volumes. The designs pressed into the metal. Who were the workers? Where did they learn their techniques? We often separate "art" from "craft," but objects like this challenge those artificial boundaries. It asks us to reconsider the role of indigenous labor in shaping Southwestern aesthetics. And even consider trade. Were there any requested modifications from consumers of different background than the Navajo/Diné people? Editor: That’s fascinating. It transforms what seems like a simple piece of jewelry into something that represents a much broader story. So the consumption shapes it! Curator: Absolutely. This isn't just adornment; it is material history. Understanding the hands and the economies involved, is crucial. Editor: I see the piece in a completely new light now, thinking about it in terms of material sourcing and labor, rather than just design elements. Thanks. Curator: It shows the intricate connections between making, trading, and the everyday lives of people, shifting our perceptions of value and artmaking itself.