Necklace c. 1960

Curator: Looking at this piece, I’m struck by its quiet simplicity. It's a textile work titled "Necklace," dating from around 1960. It’s part of the decorative art collection here at the Minneapolis Institute of Art. What are your first thoughts? Editor: It's intriguing, almost ethereal. The pale colour palette and the delicate threads evoke a sense of fragility. But there’s also something repetitive and rhythmic in the geometry that suggests a strength in unity. Curator: Indeed. It sits within a lineage of fiber art that increasingly sought recognition as "high art" during the mid-20th century. How do you think its function as adornment intersects with artistic intention? Editor: Well, historically, jewellery is loaded with socio-economic and political symbolism – declarations of wealth, markers of status. A piece like this, created during the cultural shifts of the 1960s, might suggest a move toward something more minimalist, even democratic. Is it a rejection of more ostentatious displays? Curator: It certainly moves away from overt displays of luxury, which speaks to a wider move by artists and makers towards accessible artforms. The materials, being largely fiber, suggest a connection to the handmade, and possibly a subtle nod to crafts historically gendered as feminine. The light, beaded part seems to call out from an ocean vibe. Editor: Precisely. We also see this around this period within the decorative-arts movement – and wider societal anxieties around consumerism. The simplicity then, might not just be aesthetic, but a statement about sustainable practices and values. The materials possess certain truth and transparency. Curator: Do you believe this reflects a broader understanding of how art reflects identity? How one chooses to represent themselves in the world as an act of self-determination and, potentially, resistance? Editor: Absolutely. Adornment is inherently performative, and in a period defined by rapid change and growing awareness of diverse identities, the deliberate choice of such a piece would have undoubtedly signaled something intentional. The choice of art like this has many different layers and interpretations for the viewer and the wearer, past and present. Curator: It seems as if we have two layers exposed through its historical significance and its role in shifting narratives. The beauty that resides beneath that we should take a closer look. Editor: Well said. And perhaps it's in the dialogue between history, the wearer and theory that the piece ultimately comes alive.