September 2014

Carin Reinders

Portrait of Carin Reinders, photo: Medea Huisman Susan Cummins: Could you describe CODA and its mission in the Netherlands for me? Carin Reinders: CODA Museum is an amalgamation of the Historisch Museum Apeldoorn and the Van Reekum Museum. It comprises a library, an archive, and a museum. CODA’s contemporary art collection is based on the

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Keeping the Faith with Contemporary Jewelry

Contemporary jewelry is expanding. This year’s program at the annual German jewelry think-fest Schmucksymposium is titled Exceeded Borders. It profiles conceptual moves in contemporary jewelry that take the field into the territory of visual art. Elsewhere, contemporary jewelry crosses geographical borders. Art Jewelry Forum has recently featured profiles of emerging scenes beyond the West, including

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on the horizon: Curated by {x} collaborations

Alexandra Hopp{x} collaborations’ exhibition on the horizon includes work from 11 emerging contemporary art jewelers. The show is on display at Brooklyn Metal Works through October 25th, 2014. In this interview, Mariah Tuttle discusses the development of {x} collaborations and the concept behind on the horizon

Missy Graff: Please describe your background. How did you become interested in jewelry? 

Mariah Tuttle: How is someone not interested in jewelry? If they aren’t, maybe they’re not paying attention! 

I actually began college with a dual focus in literature and furniture design. To complete my degree in applied design at San Diego State University, I needed to take introductory coursework in a variety of craft subjects including textiles, ceramics, and jewelry. When I took my first jewelry class, I realized I was ultimately interested in intimate spaces. Since then, I have earned my MFA in Jewelry + Metalsmithing from Rhode Island School of Design, reestablished my core relationship to writing and dialogue through my role as a contributing writer for Current Obsession magazine, continued to have an active studio, and pursued a relationship to the subject of jewelry that encompasses more of my broad interests and strengths.


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Ike Jünger: Jewelry

Ike JüngerIke Jünger, the well-known German jeweler from Munich, is currently having an exhibition at Galerie Rosemarie Jäger, where she is showcasing pieces from the past five years. She is known for her subtle enamel work. Her technique conveys both color and texture with beauty and unusual sensitivity. We took this opportunity to talk to Ike about her work, influences, and family legacy. 

Bonnie Levine: Can you tell us about the work you’re currently presenting at Galerie Rosemarie Jäger? How does it develop your work from the past?

Ike Jünger: In this exhibition I show pieces mainly from the last five years. During this period I developed my work from different starting points. On the one hand I made pieces inspired by nature, and on the other, pieces with strict geometrical shapes and clear colors. Some people may not understand these two different approaches. In my presentation at Rosemarie Jäger, I want to show the connection I see between these two. For example, you can take the geometrical pieces as a reaction to the organic ones. There was a point when I felt there was no progress in my work. It was no longer a challenge to produce these organic brooches. So you might say that one form of expression is a response to the other.


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Marzee Graduate Show 2014

For the past 27 years, Galerie Marzee has held an annual show of graduate work from jewelry departments around the world. This year, 33 schools are represented. The amount of work Marie-José van den Hout, owner of the gallery, puts into assembling the show—year after year—is astonishing. She sees all the work in person and, when she can, actually visits each school to make her choices. This translates very little in the way of sales. Now, that is either very foolish, or an extremely passionate conviction about the need to show young jewelers’ work. She obviously believes that she is providing an important service to the whole field by assembling this show. Thank you, Marie-José, for your tireless efforts.

Susan Cummins: How long have you been doing the graduate show at your gallery?

Marie-José van den Hout: I began organizing the graduate show in 1987, when the gallery was still in the building on Ganzenheuvel. I started by showing graduate work from the departments of silversmithing, 3D design, and jewelry from only a few Dutch academies: Gerrit Rietveld Academy in Amsterdam, Academie voor Beeldende Kunsten in Arnhem, and Maastricht’s Stadsacademie voor Toegepaste Kunsten. The exhibition has now grown into a major event and this year we are showing jewelry and some vessels by 74 students from 33 schools in 18 countries around the world.

Who received your Marzee prize this year? Where are they from? 

Marie-José van den Hout: This year six graduates were awarded the Marzee Graduate Prize 2014. Their work really stood out to all of us here at Galerie Marzee, and we look forward to seeing how their work continues to develop as they begin their careers in the field of contemporary jewelry. As Marzee Graduate Prize winners, they will each be invited to participate in a workshop, Atelier Ravary, at the Ravary Estate in Belgium. 


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Jewellery Conversations

In 2011, Fran Allison, with the aid of research funding from Manukau Institute of Technology, began conducting a series of videoed conversations with players from the contemporary jewelry scene. Makers, writers, and gallery owners in Europe, the UK, and New Zealand share with her their views on their own and current jewelry practices, with the

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25 years of Ted Noten

Atelier Ted NotenTed Noten … well, what can you say? He is a phenomenon in this small world of art jewelry. He has become an atelier, not a lone maker; he has developed see-through purses and bags, not just jewelry; he has made videos; he designed the AJF pin in 2012; he cut up a luxury car and made the pieces into brooches; he has written a manifesto; and so much more. This show at Putti Gallery is a retrospective of 25 years of his work. We had to take the opportunity to interview him.

Susan Cummins: You said, “Your story can only get through to people if you rob them of their prejudices about jewellery.” How do you do that?

Ted Noten: I play with greed and seduce by aesthetics, using archetypes that people can recognize and loads of humor. These elements make my work possible to enter and then there are more layers of comments, criticisms, condensations of meanings. All this without being moralistic! But through absurdist mirroring.



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Daniel Kruger: Angle of Incidence

Daniel Kruger: Between Nature and Artifice, Jewellery 1974–2014Daniel Kruger, who is a professor at the University for Art and Design in Halle, Germany, is currently having an exhibition at Sienna Patti, among many other things. For one, he has just produced a beautiful monograph published by Arnoldsche, and for another he has accompanying shows at the Grassi Museum für Angewandte Kunst in Leipzig, Schmuckmuseum Pforzheim, Deutsches Goldschmiedehaus in Hanau, and the Stedelijk Museum ’s-Hertogenbosch. This series of exhibitions and the book took many years of planning and are a huge accomplishment. Daniel Kruger is everywhere.

Susan Cummins: Daniel, you are having quite a moment right now, with a new book, Daniel Kruger: Between Nature and Artifice, Jewellery 1974–2014, and a series of four museum shows, plus of course this exhibition with Sienna Gallery. How long have you been planning these events and how did the plans develop?

Daniel Kruger: The planning started a long time ago because the exhibitions and book were originally scheduled for 2010. I had approached Cornelie Holzach of the Schmuckmuseum in Pforzheim about doing an exhibition there. She agreed, and this was a particular honor as I had already had an exhibition there in 1984 and this would be my second show at this museum. After that I asked Yvonne Joris of the Stedelijk Museum s’-Hertogenbosch in the Netherlands (she died last year) if she would give the exhibition a second venue. There too I had had solo exhibitions in the past initiated by Yvonne in the two municipal museums preceding the present Stedelijk Museum in s’Hertogenbosch: 1981 at the Dienst Beeldende Kunst, De Moriaan and 1994 at the Museum het Kruithuis “Five Stones and a Small Feint”. The project grew with the Goldschmiedehaus in Hanau to where my exhibition of 1984 in Pforzheim had followed from Pforzheim and the Grassi Museum in Leipzig that now will be the initiator of this series of exhibitions. Between one thing and another, the shows were postponed and the order of the exhibitions changed around. This gave me a lot of time and leisure to do the planning.


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De show van Gijs+Emmy/The Gijs+Emmy Spectacle

The Gijs+Emmy Spectacle February 22–August 24, 2014 Stedelijk Museum Amsterdam, Amsterdam, The Netherlands Curated by Marjan Boot View of the original Stedelijk Museum (A.W. Weissman, 1895) and the new building designed by Benthem Crouwel Architects, from the museum’s website, photo: John Lewis Marshall Five years.  In 2012, after a shutdown, renovation, and enlargement that lasted

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