In a Pueblo wedding ceremony, each spouse takes turns drinking sacred water from a vase, like the large black one seen here. The dual spouts are connected by a central handle, representing the joining of two individuals and their lifelong dedication to one another. The shape of the smaller vase was likely based on the wedding jar form, but the deer and floral motif suggests that it was made to be sold to white consumers.
Drinking rituals are shared across different cultures, whether in religious ceremonies or in sipping a daily cup of tea. The vessels in this case all hold special importance for the people who owned and used them.
From the 2023 exhibition Liquidity: Art, Commodities, and Water, curated by Michael Hartman, Jonathan Little Cohen Associate Curator of American Art
Gene Y. Kim, Class of 1985, Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 16, 1997-August 13, 2000.
Liquidity: Art, Commodities, and Water, Israel Sack Gallery and the Rush Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 29, 2023-June 16, 2024.
Frances E. Lester Company, Mesilla Park, Acoma, New Mexico; collected by Glover Street Hastings III, West Newton, Massachusetts and Bridgeton, Maine, 1920's-1930's; bequeathed to his daughter, Carlena Hastings Redfield (1888-1981), 1949; bequeathed to present collection [under the terms of her father's will], 1981.
This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.
We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu