Ssanctified ssites stand ssteadily above ssacred ssocieties, circling within sstone ssculptures and elementss of deitiess and ritess...
Corrosion of stories and the demystification of truth has allowed it to shed many many layers of skin, like the smiling snakes peering from beneath this Aztec bronze snake vessel. And yet, here it still stands before us all, as a token reminder of the past and the power it once represented.
This vessel, even though corroded, exemplifies a finely tuned repository, with its sharp edges, smooth lines, and elegantly styled trivet-like stand. What were the characteristics of the hands who held this vessel?
The making of this vessel also had its unique origins. At the time, Aztec artisans who specialized in metalwork lived and worked in their own quarters of the city, had a very special place at the emperor's palace, and were highly ranked in the Aztec status stratification. Furthermore, such metalworks were made exclusively for emperors, the elite, and masters—the nobility. Hence, this vessel may have been an enigmatic source of beauty, power, and wealth and perhaps held the key to wisdom and riches. Very little is seen today of Aztec metalworks, due to the obsession of the Spanish to melt them back down upon conquest and turn them into coins.
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Artist Unknown (Aztec), Snake Vessel, c.1325–1500. Bronze, 1.25 x 2 in. (3.18 x 5 cm). PC0003
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Notes from
a summer internship
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This past August, I was at the Coe Center doing an internship for two weeks, during which I was tasked to think of and complete a project after spending time in the wonderful art collection the Coe has to offer. Going into the internship I had no idea what topic or theme I wanted to pursue for this project, but I did know that I wanted to create a series of watercolor paintings.
I decided to give myself some time to see and explore the Coe collection and Santa Fe in hopes that it would help me come up with a theme. I ended up becoming interested in the architecture of Northern New Mexico and how it has evolved from the pre-contact period to the present day. I set out to create five watercolor drawings illustrating this theme.
Learn more about her journey HERE.
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Abigail E. Wixom (High School student, NY State). Coe Project, 2021. Watercolor on paper. Photos courtesy of the artist.
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Collection Spotlight
with Lisa Rutherford
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Experience artist Lisa Rutherford (Cherokee Nation) as she hosts COLLECTIONS SPOTLIGHT. Lisa Rutherford, textile, beadwork, and ceramic artist will discuss via Zoom Eastern Woodlands beadwork and ceramics within the Coe Collection.
WHEN:
Tuesday, September 21, 2021, 3:00 pm Mountain / 4:00 pm Central
COLLECTIONS SPOTLIGHT a program developed in partnership with First American Art Magazine is an interactive, online monthly experience that brings together diverse scholars and Native artists who select artworks from the Coe’s collection to interpret and discuss. The virtual Zoom format also brings together attendees from diverse regions. Attendee questions are accepted throughout the experience via chat, and at the end opened to audio.
These events are free and open to the general public. Watch past Collection Spotlight events, on the Coe Center YouTube channel HERE.
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On the first Friday of each month, 1-4 pm, the Coe Center invites you to experience behind-the-scenes access to over 2,300 works of global Indigenous art. Meet the works of art, staff, and volunteers!
Due to COVID, space is limited.
Please call ahead to register (505) 983-6372, or email info@coeartscenter.org.
We, at the Coe, care about your health, and all of us together can protect our community by everyone wearing their mask. Masks and proof of vaccination are required to participate.
Let's make it fun—and wear your fanciest most stylish mask!
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To view past The Virtual Coe issues, please click HERE.
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