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he story of Zuni Pottery is replete with a life and almost death quality in which this art seemed to disappear for extended periods only to reappear in variable form and quality. Although fine pre-1930 Zuni pieces are rare and highly prized, many of the ollas, baskets, jars, and odd little ceremonial pieces were quick, rough, and poorly executed. This was the result of vessel walls made thicker and cooler firing periods which robbed the pots of their predecessors' strength. y 1940 production of pottery was greatly limited by the emergence of Zuni jewelers who were becoming world famous for their painstaking, finely crafted inlays, settings, and carvings. The opportunities in jewelry were obvious and the better artists quit making pottery with the exception of two families, the Bicas and Nahohais. t was two non-Zuni women who were essential in the resurgence of Zuni pottery in the 1970's. Daisy Nampeyo Hooee and Jennie Laate married Zuni men and brought their pottery-making skills to the pueblo as teachers in the Zuni High School art program. Their early efforts are still mentioned by such artists as Anderson Peynetsa, Gabriel Paloma, Marjorie Esalio, and Noreen Simplicio. lthough the creation of the Pueblo of Zuni Arts and Crafts is believed to have more recently energized pottery making by marketing Zuni pottery through galleries, museum exhibits, and catalogues, much credit is also due Daisy Hooee, Jennie Laate, and the bump up in the price of silver for the blossoming of the expressive and beautiful Zuni pottery. |
Item# 0123P Marcus Komer, Zuni.
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February 14, 2004