What you’ll learn in this episode:   Why we often have more information about gold than any other decorative object The difference between material culture and material studies, and how these fields shaped the study of art and jewelry What John wants visitors to take away from “Gold in America: Artistry, Memory and Power” Why history is much more global than we may think What it really means to curate, and why it’s an essential job   About John Stuart Gordon   John Stuart Gordon is the Benjamin Attmore Hewitt Curator of American Decorative Arts at the Yale University Art Gallery. He grew up among the redwoods of Northern California before venturing East and receiving a B.A. from Vassar College, an M.A. from the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, and a PH.D. from Boston University. He works on all aspects of American design and has written on glass, American modernism, studio ceramics, and postmodernism. His exhibition projects have explored postwar American architecture, turned wood, and industrial design. In addition, he supervises the Furniture Study, the Gallery’s expansive study collection of American furniture and wooden objects. Additional Resources: Yale University Art Gallery Website Yale University Art Gallery Instagram John Stuart Gordon Instagram Photos available on TheJewelryJourney.com   Transcript:   Perhaps more than any other metal or gem, gold brings out strong reactions in people (and has for all of recorded history). That’s what curator John Stuart Gordon wanted to explore with “Gold in America: Artistry, Memory, Power,” a featured exhibition now on view at the Yale University Art Gallery. He joined the Jewelry Journey Podcast to talk about why people have always been enchanted by gold; what he discovered while creating the exhibit; and why curation is more that just selecting a group of objects. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is John Stuart Gordon, the Benjamin Attmore Hewitt Curator of American Decorative Arts at the Yale University Art Gallery. Welcome back.    I’m curious; I know you recently had a group from Christie’s studying jewelry that came to visit your exhibit. I’m curious if they asked different questions, or if there’s something that stood out in what they were asking that might have been different from a group studying something else.    John: Every group is different. I love them all, and I learn so much from taking groups of visitors through because you start looking at objects through their lens. Recently a group of makers came through and, wow, that was a wonderful experience, because I could make a reference to, “Oh, look at the decoration on this,” and then, “Is it chaste or is it gadroon?” “What kind of anvil are they working with?” We have to answer these questions. There are some things I can’t answer but a maker can identify easily, so I’m learning things.    Maybe someone who’s a collector or an appraiser is thinking about objects in a very different way, wanting to know how rare it is, if there are only a handful, where they are, how many are still in private collections, what’s in the museum collection. One of my favorite tours was with a small group of young children who had a completely different set of preconceived notions. I had to explain what an 18th century whistle and bells would have been used for because they’d never seen one before. I had to talk about what kinds of child’s toys they remembered from when they were kids, trying to relate. Every group has a slightly different lens, and you can never anticipate the questions they’re going to ask.   Sharon: Yes, they’re coming at you from the weirdest angles. In putting this together, what surprised you most about gold in America? What surprised you most about putting this exhibit together? What made you say, “Gosh, I never knew that,” or “I never