One on One

Kerianne Quick’s Fob

In the past week, I witnessed Che Guevara’s face on a hand-painted locker at my son’s middle school, stenciled on a derelict building, printed on a wine bottle label, and silkscreened on organic cotton onesies. Unmoored from its original context, Alberto Korda’s original black-and-white photograph of Che Guevara is obscured in a morass of commercialism:

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Getulio Alviani, Monorecchio

How useful are ideas of discipline in interpreting jewelry? In our increasingly post-disciplinary climate, differentiating between the realms that create and critique jewelry could seem no longer valid. Yet, some jewelry suggests that considering disciplines discretely can still be useful, particularly when authors engage with different disciplines to create objects unusual or overlooked in jewelry

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I Wouldn’t Let Him Go To Jared

Left to right: Lisa Cimino, Ring, circa 2005, sterling silver, resin; Patrizia Locino, Ring, 2011, sterling silver, rubber bands, epoxy resin; Amy Faust, Ring, circa 2007, sterling silver, Coke bottle beach glass; Lisa Crowder, Ring, 2013, sterling silver, thread, enamel; Christine Simpson Forni, Ring, 2013, sterling silver, gold leaf, enamel; Unknown craftsperson, Ring, platinum, diamond

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The Stereo Leg

Sophie de Oliveira Barata, Stereo Leg, 2012, silicone, cast resin, studs, rhinestones chains, two old speakers; Viktoria Modesta wearing Stereo Leg, the Alternative Limb Project, 2012, photo: Rosemary Williams A new article format was launched in January 2014. This series, called “One on One,” consists of 500-word analyses of specific works that lend themselves to

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Lisa Walker: Necklace

The contemporary jewelry scene sometimes acts like it doesn’t matter where you come from. The nationality of makers—and viewers—is acknowledged and then denied, an accident of birth but not something that needs to be factored into the interpretation of the work.  So, what happens if you try and locate Lisa Walker as a New Zealand

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