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Zuni Pottery
By the 1950s, Zuni pottery was in a slump. Almost every artist was in the jewelry business. Based on the efforts of Zuni High teachers Daisy Hooee, Nampeyo's granddaughter and Jennie Laate, from Acoma, Zunis were again encouraged to revive their pottery making. Lack of pueblo support slowed this revival but a few students held on and prospered. Sucessful Zuni pottery families include the Nahohais, the Kalestewas and the Peynetsas. There are quality pieces coming out of Zuni now that no one has made for more than half a century. The new group of Zuni potters are building a new, strange and wonderful pottery tradition. Photo source:Saunders, Charles Francis -- The Indians of the Terraced Houses - - New York, London : G. P. Putnam's sons, 1912. |
Zuni is unique, highway 53 in New Mexico cuts through a town that shows no evidence of age or permanence. Zuni pottery also shares that uniqueness in subtle ways. Quality Zuni pottery resembles Acoma or Laguna while lesser-made just looks crude. However, to the sharp eye, differences become apparent. Much of the clay used at Zuni is pink whereas Acoma's is white. A white piece of Zuni work can show pink through a scratch while black paint most likely is brown. Zuni potters like to use sculpture, applique, and water and hunting symbols in their work. For example, frogs, tadpoles, heartline deer, and dragonfiles are all original Zuni designs. Fine pre-1930 Zuni pieces are rare, highly prized and highly priced. Zuni potters made a broad range of ollas, baskets, jars, and odd little ceremonial pieces at many levels of quality.