Andy Lowrie, Leaf Demon, 2016, brooch, paint, copper, sterling silver, stainless steel pin, 100 x 105 x 30 mm, photo: Michelle Bowden The co-founders of Brooklyn Metal Works, Erin Daily and Brian Weissman, teamed up with jewelry artist Steven Holman to curate an exhibition that explores humankind’s oscillation between autonomy and spiritual influence. From rabbit […]
Erin S. Daily, Steven Gordon Holman, and Brian Weissman Read More »
Interior of Tinsel Gallery The concept of portraiture is an intriguing one in art jewelry. From allusions to historical references to the modern “selfie,” the range of interpretations it lends itself to is boundless. Tinsel Gallery, in Johannesburg, South Africa, is currently showing the group show Portrait. In this interview, I talk with one of
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Rebecca Hannon, Wave Necklace, 2016, laminate, 960 x 60 x 60 mm, photo: Andrea Wagner The brightly colored, interlocking, laminate shapes that form the perplexingly composed necklaces and brooches in Rebecca Hannon’s recent exhibition Contemporary Camouflage are the result of investigations into the effects color has on form, and the complex configurations made possible through laser
Rebecca Hannon: Contemporary Camouflage Read More »
Exhibition view, COLLECT, 2015, the Saatchi Gallery, London, photo: Juno Snowdon The last of 17 filled-out questionnaires has just landed in my inbox, and once again, I marvel at the availability and professionalism of the organizers of jewelry events (which will be abbreviated as “JEs” in the rest of this article) around the world: All
Surging and Hopeful: Jewelry Weeks around the Globe Read More »
Outdoor view, Carolina Apolonia’s studio, Middelburg, Netherlands, photo: Galerie Beyond Carolina Apolonia is a jeweler based in Middelburg, Netherlands, whose work has been shown in a number of exhibitions in Europe as well as Asia. She trained at the Royal Academy of Art in Antwerp, Belgium, and was the owner of gallery io for contemporary
Carolina Apolonia: Of Things Unknown but Longed for Still Read More »
(left) Helen Williams Drutt wearing earrings, necklace, brooch, cuff, and ring, all from her collection, photo: Andrea Baldeck; (right) Gijs Bakker, Waterman Brooch, 1990, PVC, photograph, diamonds, 152 x 67 x 6 mm, Museum of Fine Arts, Houston, Drutt Collection, photo: artist/ARS NY Throughout history, jewelry has been social marker and amulet, used to enhance
Contemporary Jewelry Takes a Stand Read More »
(left) The Shibumi Gallery doors and meeting area, 2016, photo: Mark Tucsman; (right) April Higashi in her gallery, 2015, photo: Maren Caruso I have known April Higashi for many years and—full disclosure—she worked for me when I owned a gallery for a number of years. I think April is the ideal model for the new
HS project organizers Peter Deckers and Hilda Gascard during their visit to Tanel Veenre’s The Will / Tahe exhibition, Tallinn, September 2016, photo: Sarah Walker-Holt In July 2012, Dutch-born jeweler and educator Peter Deckers sent me an email. He had launched a mentoring program a year before, independent of his teaching work at Whitireia (Wellington).
Maiko Takeda, Atmospheric Reentry, 2013, headwear, plastic film, acrylic, silver, dimensions variable, photo: Bryan Huynh Looking at the work of artists from a wide range of practices—artists like Yuka Oyama, Rachel Timmins, Lucy McRae, or Nick Cave—there seems to be a surge of interest for deploying ornamentation, or body art, over the whole body of
Maria Rosa Franzin, September 2016, photo: Luciano Tomasin I have been interviewing jewelry makers since 2001, and this has included several exponents of the School of Padua, together with professor Mario Pinton. It is therefore a pleasure to now hear about further developments at the school through the thoughts of one of the key teachers
Maria Rosa Franzin: Past Present Read More »
Exhibition view, Moniek Schrijer, Double Happiness, 2016, The National, Christchurch, New Zealand, photo: The National Moniek Schrijer is a jeweler based in New Zealand. Having first trained in jewelry design and manufacturing, she then spent several years working in a metal arts foundry before obtaining her graduate diploma in jewelry and print making from Whitirea.
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Roseanne Bartley wearing Necklace 1978, Melbourne, September 2016, photo: Roseanne Bartley A note on bibliographical references: The typographical complexity of this publication requires that we bend some of the rules of AJF’s style guide. Bibliographical references are given in the body of text as “(Author, page)” rather than in footnotes. —Benjamin Lignel, editor INTRODUCTION This
An Encounter with Necklace 1978 Read More »
