Each Wednesday during the academic year, students and instructors from the PALS program visit the Peabody to learn about the history of their communities. To kick off their program I shared the rich and important Native American history of the area. Using real archaeological material from the Peabody’s collections, I asked the group to analyze animal bones, shells, rocks, and pottery fragments to tell me what Native Americans living in Andover 500 years ago were doing. After working in small groups, students used the evidence of pottery making, stone tool production, and the post molds of a wetu to surmise that native people were living in Andover for a significant period of time. This assertion by the students matches the scientific assessment by professional archaeologists and historians that Andover was a major trading village in the region. As a reward for their amazing detective skills, the students received postcards depicting what the site looked like at the time.
The Peabody Museum houses an impressive collection of Pueblo pottery, including iconic black-on-white painted pieces from Chaco Canyon and vessels made around the first part of the 20th century.
In October, students in art instructor Emily Trespas’s Art 225A Visual Studies Studio class visited the Peabody to examine some of our graphic painted pottery as they prepared for a lesson in printmaking. Emily wanted her students to look at an array of ancient and contemporary pottery, primarily from the American Southwest. The ceramic traditions of the Anasazi, Casas Grandes, Hohokam, and modern Pueblos emphasize bold, graphic designs that often play with negative and positive space—perfect inspiration for printmaking.
The students were invited to spend the first few minutes of their visit moving around the room and examining each piece closely. We asked them to look at the designs and issued a challenge: could they find the one piece that was not from the Southwest? The students used deductive reasoning to rule out the Anasazi vessels, which are clearly unified by their bold black-on-white geometric designs; the black-on-black vessels of Maria Martinez; and some of the historic pieces from the San Ildefonso and Santa Clara pueblos. Many students settled on a bottle form with a distinctive cross-in-circle sunburst motif rendered in ghostly black pigment. Remarkably, one student offered that the piece is from the Southeast, possibly Georgia. She was right—the bottle is a negative-painted vessel from the Etowah site, just outside Atlanta.
We talked a little about where these pieces are from, how old they are, how they were made and decorated, and the lives of those who made them. I shared the story of Maria Martinez and how she and her husband, Julian, created a sensation in the 1920s by combining traditional forms and designs with their innovative black-on-black technique. Their glimmering black pieces with matte geometric designs appealed to collectors interested in the streamlined and precise aesthetic of Art Deco, and the pieces became highly collectible as Maria demonstrated her technique and marketed her pottery.
At the end of their visit, the students had an opportunity to tell us about their favorite pieces and capture some photos for later inspiration. Some liked the polychrome Casas Grandes vessel, which harbored abstract animal or human forms, while others were captivated by the subtle asymmetry of a beautiful water jar from Zia Pueblo. We look forward to seeing the prints the students create!