Tag: Pottery

A:Shiwi (Zuni) Clay Pitcher

A:Shiwi (Zuni) Clay Pitcher

Artist: We’wha (it is likely We’wha’s signature on the handle)
Media: Clay and pigment
Date & Location: 1884, made on A:Shiwi (Zuni) territory in what is colonially known as ‘New Mexico.’ Currently at the Smithsonian in their Anthropology Department under Accession Number: 021664.
Image Source: Smithsonian, National Museum of Natural History, Anthropology Department, Accession Number: 021664

❤️Please note: I use both she/her and they/them pronouns since these seem to be the English pronouns most respectfully used to describe We’wha, but I want to acknowledge the failing of language here since these pronouns stem from colonial binaries.

❤️TW: Mentions of colonial violence and arrest

Significance to Queer Art History

This pitcher was most likely made by the A:Shiwi (Zuni) artist We’wha who was born in 1849. We’wha was lhamana. In A:Shiwi culture, lhamana is a term used by people assigned-male-at-birth who present themselves in feminine ways and train primarily (though not exclusively) in cultural roles associated with women. Lhamana figures from history are often reclaimed today using the contemporary term ‘two-spirit.’ For example, the contemporary two-spirit photographer Shawn Johnston commissioned and photographed a beaded medallion by fellow artist Donna Noah with an image of We’wha. I also include a photograph of We’wha below that looks like it may have been the inspiration for this medallion.

A beaded medallion with a light blue background against which We'wha stands in regalia with her black hair in two buns on either side of her head. She carries a basket in her left hand and has a belt and bracelet that match the blue background. The figure does not have facial features. The border alternates light blue, dark blue, black, white, and red bands of colour.
Beaded medallion of We’wha by Donna Noah. Photographed by Shawn Johnston. Image source: CBC News.
Portrait of We’wha Holding a Clay Ceremonial Prayer-Meal Basket, c. 1849-1896. Smithsonian, National Anthropological Archives, Photo Lot 24 SPC Sw Zuni NM No # People 02440800.

During their lifetime, We’wha worked across media and has been recognized for being extremely skilled at both weaving and pottery. The media in which she worked also reflected her lhamana identity since weaving was seen as a more masculine practice and pottery as a more feminine practice.

They also played a significant role as a promoter of A:Shiwi arts and defended their community against colonial violence. We’wah was one of the first A:Shiwi artists to sell her works to settler-consumers and during a 1886 trip to Washington, D.C she met with President Grover Cleveland. That being said, such recognition by the colonial government did not extend to protecting her or respecting A:Shiwi sovereignty. In 1877, We’wah and other lhamana were imprisoned when Christian missionaries came to A:Shiwi territory. We’wah was also arrested for defending the A:Shiwi governor in 1892 from a colonial soldier who was trying to arrest the governor.*

This colonial violence did not stop We’wha, though. As described by contemporary two-spirit journalist Samuel White Swan-Perkins, “after getting out of prison, We’wha walked 40 miles back to the reservation and returned to their former life: leading ceremonies, making pottery, weaving with the women and hunting with the men.”

*I take the term ‘governor’ from Will Roscoe’s work, but would be interested if anyone had further information about which term is most appropriate for an A:Shiwi leader.

Relevant Sources:

Hannah McElhinney. Rainbow History Class: Your Guide Through Queer and Trans History. Unceded lands of the Wurundjeri and Boonwurrung peoples of the Kulin Nation: Hardie Grant Books, 2023.

Levi C. R. Hord. “Between Naming and Knowing Someone: Language, Gender, and Colonial History.” Modern Art Oxford. 17 February 2021. https://www.modernartoxford.org.uk/blog/between-naming-and-knowing-someone-language-gender-and-colonial-history-by-levi-c-r-hord.

Samuel White Swan-Perkins. “5 Two-Spirit Heroes Who Paved the Way for Today’s Native LGBTQ+ Community.” KQED. Nov. 20, 2018. Accessed May 25, 2021. https://www.kqed.org/arts/13845330/5-two-spirit-heroes-who-paved-the-way-for-todays-native-lgbtq-community.

Will Roscoe. “Sexual and Gender Diversity in Native America and the Pacific Islands” in LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History. Edited by Megan E. Springate. National Park Foundation, 2016. https://www.nps.gov/subjects/lgbtqheritage/upload/lgbtqtheme-nativeamerica.pdf.*

*I have not read this source in its entirety, but based on the section on We’wah I want to flag that some of the framing and language needs revising to avoid perpetuating colonial harms and binaries. I include it here as a place to start, though, as it does have lots to offer to those seeking to do further research.

Achilles Binding Patroclus’ Wounds (500 BCE)

Achilles Binding Patroclus’ Wounds (500 BCE)

Achilles Binding Patroclus’ Wounds

Artist: Sosias Painter

Date & Location: 500 BCE in Greece

Media: Painted Pottery (Kylix Vase)

Where can I see this artwork?: Antikensammlung in Berlin, Germany

Significance to Queer Art History:

Achilles and Patroclus, are one of the most celebrated male warrior pairs in Greek literature after the Trojan War. Achilles is a young Greek warrior in Homer’s Iliad who possesses superhuman strength and ability as he was born from a nymph and a mortal. He is known for his only weakness being in his heel as his mother dipped him in the river Styx as an infant and held him by his heel. Patroclus is a warrior who grew up as a role model and companion to Achilles as appointed by Achilles’ father.

Homer, the poet writes the pair as two friends with a tender relationship later deemed as pederastic by the Greeks, where in which an older male figure mentors and cares for the younger as a “rite of passage” that could include sexual relations. After the death Patroclus, Achilles’ aim for fighting in the war became Patroclus. Achilles’ grief causes him insomnia and a great drive to fight and avenge Patroclus’ death at the hands of Hector, a Trojan prince and fighter for Troy. After Homer’s Iliad, the two can be found in art and literature demonstrating their bond and companionship.

Resources and Further Reading:

Gabriel Laguna-Mariscal, and Manuel Sanz-Morales. “Was the Relationship between Achilles and Patroclus Homoerotic? The View of Apollonius Rhodius.” Hermes 133, no. 1 (2005): 120-23. http://www.jstor.org.proxy.library.cpp.edu/stable/4477639.

Morales, Manuel Sanz, and Gabriel Laguna Mariscal. “The Relationship between Achilles and Patroclus According to Chariton of Aphrodisias.” The Classical Quarterly 53, no. 1 (2003): 292-95.

Winters, Riley. “Achilles and Patroclus: Brothers from Other Mothers or Passionate Paramours?” Ancient Origins. 2017. https://www.ancient-origins.net/myths-legends-europe/achilles-and-patroclus-brothers-other-mothers-or-passionate-paramours-008265.

 

 

Peithinos Painter- Peithinos Cup

Peithinos Painter- Peithinos Cup

Featured Artwork: Peithinos Cup

Date and Location: (525-475 BCE) Athens, Greece

Significance to Queer Art History: This cup is a kylix vessel, used for male centered social drinking of wine. Most kylix vessels had sexual or humorous depictions of individuals on the inside (a surprise for finishing the drink, if you will) and outsides. This kylix vessel, signed by the painter, Peithinos, shows heterosexual and homosexual courtship on the exterior.

Where can I see this artwork?: Currently in the Antikenmuseen’s Collection in Berlin, Germany.

Resources & Further Reading:

“200977, Berlin, Antikensammlung, Berlin, Schloss Charlottenburg, F2279.” Provenance – The Classical Art Research Centre. Accessed August 08, 2017. http://www.beazley.ox.ac.uk/XDB/ASP/recordDetails.asp?id=5C03CFDF-D841-432A-8B2C-FAAD6697E456&noResults=&recordCount=&databaseID=&search=.

Saslow, James M. Pictures and Passions: A History of Homosexuality in the Visual Arts. New York, NY: Viking, 2000. 21-27.