Strange Pleasures workshop, 2014, Edgbaston Community Centre, Birmingham, UK, photo: Toni Mayner Every once in a while, I receive an essay or a post that provides some insight into how people not “native” to contemporary jewelry might see it: what use that have for it, and what it can do to them. Siân Hindle, a […]
That Weird Attraction/Revulsion Thing: On Performing Art Jewelry Read More »
Marina Abramović (left) performing The Artist Is Present, 2010, The Museum of Modern Art, New York, photo: Andrew Russeth Here’s a little guideline for art world success: If you’re an artist staging a performance in a gallery, do as little as humanly possible. For her exhibition The Artist Is Present, Marina Abramović famously held court
Demo Job: Craft, Art, and the Politics of Demonstration Read More »
Alexander Blank, Bunny, 2006, gold, stag horn, 95 x 60 x 12 mm, photo: Stefan Heuser, modeled by Stefan Heuser Alexander Blank’s jewelry frequently riffs on the notion of pop-cultural-icons-as-cameo-portraits: bashed yellow “smiley-face” brooches, “skull” pendants seemingly made of the fossilized remains of Daffy Duck and the Tasmanian Devil and, in this piece, a roughly
Blank Versus Anonymous Faun: Contemporary Jewelry and Male Eroticism Read More »
Mill Valley, California, USA—Art Jewelry Forum (AJF) is pleased to announce a new international grant opportunity for mid-career artists established by San Francisco-based jewelry collector Susan Beech. The objective of this grant is to recognize a mid-career artist who has made a substantial contribution to the field and to provide resources for the artist to
AJF ANNOUNCES THE $20K SUSAN BEECH MID-CAREER GRANT Read More »
VALIE EXPORT, Tapp und Tastkino (Touch Cinema), 1968–1971, performance, photo: mumok, Vienna The late 1960s were turbulent times. Liberation, emancipation, and democratization were the truths of the day. Social codes were exceeded, and people enjoyed the freedom of the sexual revolution. Taking off one’s clothes publicly, for instance at festivals like Woodstock, was a sign
Boxed Nakedness: EXPORT Versus Bakker Read More »
Rirkrit Tiravanija, Soup/No Soup, 2012, Grand Palais, Paris, during which the artist transformed part of the Grand Palais into a huge, twelve-hour banquet serving only Tom Kha soup, photo: Marc Sanchez “In reaction against commodification in the art world, the relational paradigm read art in terms of its audience relations. The artist was no longer
Why and how do people and institutions collect contemporary objects, whether design, art, ceramics, textiles, wood, or jewelry? The answers to these questions are of course manifold, but one thing is for sure: There is big difference between private and public collecting in the US and Europe, and the art and design fairs are playing
AJF Hangouts takes the pulse of the rapidly expanding world of global art jewelry. We hear from voices in emerging jewelry scenes, featuring those with the responsibility of representing their country as AJF Ambassadors. Despite the varying quality of video feeds, it’s quite amazing that we can now use this platform to connect people together
AJF Hangouts-China Read More »
AJF Hangouts takes the pulse of the rapidly expanding world of global art jewelry. We hear from voices in emerging jewelry scenes, featuring those with the responsibility of representing their country as AJF Ambassadors. Despite the varying quality of video feeds, it’s quite amazing that we can now use this platform to connect people together
AJF Hangouts-East Asia Read More »
Norwegian Crafts’ annual crafts seminar is an important and popular date in the Baltic craft calendar: It has proved a fertile ground, in the past, for speakers to wrestle with specific themes, and a great means for Norwegian Crafts to participate in craft discussions at an international level. (The annual conferences tend to engage with
The Desire to Get Down and Dirty Read More »
In October 2015, acclaimed Norwegian craft theorist and historian Jorunn Veiteberg delivered a 40-minute lecture at the Danish Design Museum, in Copenhagen. Her lecture used Susan Cohn’s Unexpected Pleasures exhibition (Design Museum London, 2012–2013) as a point of departure to recontextualize the New Jewelry movement in contemporary terms and signal how current practice has “liberated”
The Widespread Liberation of Jewelry Read More »
What the hell is “reporting on contemporary practice” about? Who’s reporting on contemporary craft or contemporary jewelry, and what, exactly, is their goal? It turns out that there are a number of online and print platforms that promote, discuss, and critically report on the field of contemporary jewelry, and that we had a chance to
The Content Providers Meeting Read More »
