Articles Archives - Page 52 of 94

Beyond Unwearable—The Changing Site of Body

“Once formed into images and representations, surfaces become keys and corridors of perception, signaling immediate reactions, eliciting habitual responses, exciting associations, and awakening and establishing memory.”[1] Amelia Toelke, Dragonfruit, 2014, mirrored acrylic, 2.7 x 2.7 m, photo: Tinnakorn Nugul Looking at two very different makers, this article explores adornment in installation works and the ways […]

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Sergey Zhernov, Kiev, Ukraine

Articles / Art Jewelry Forum

I inherited my workspace from my father, a talented Ukrainian icon crafter. He made it personally under the roof of the block of flats we lived in. Now I use this space to make my jewels. Some tools came from my grandfather, who was an artisan, too. This space is for sawing and hammering, soldering

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Beyond Unwearable—The Changing Site of Body

Articles / Courtney Kemp

Within our field, which is at its core diverse, there is often a certain set of assumptions on what makers in the field “make”: the wearable object, the handheld object, the adornment object, the commodity object. In this text, and another two short essays, I will investigate emerging makers whose practices conjoin the methodologies of

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Fun and Games

Articles / Jillian Moore

“I’m very worried about my body.” —Ted Pikul This is not a movie review. This is sort of about the objects in David Cronenberg’s movie eXistenZ. This is definitely about my weird relationship to creepy facets of biology, and how that somehow relates to a lot more of contemporary jewelry making than you might imagine.

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Lessons from Peter Rockwell

Articles / Kellie Riggs

Sculptor Peter Rockwell in his studio in Monteverde, Rome, with a photo of jewelry he had made in the 1960s. Sculptor Peter Rockwell in his studio in Monteverde, Rome, with a photo of jewelry he had made in the 1960s. The first piece by Peter Rockwell that I had seen in person was a necklace.

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2Roses, Anaheim, California, USA

Articles / Art Jewelry Forum

2Roses studio encompasses 3,800 square feet and has separate areas for jewelry fabrication, lapidary, machine shop, wood working, and design. The two views presented here are of John and Corliss’s individual workbenches. The organization or seeming lack thereof is a direct reflection of the overall approach to creating that each artist takes. Where Corliss is very methodical

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Lessons from Maurizio Nannucci

Articles / Kellie Riggs

Museum staff and guests discuss items in display cases at the preview of Maurizio Nannucci’s retrospective exhibition, Where to Start From, at the Museo MAXXI, Rome Museum staff and guests discuss items in display cases at the preview of Maurizio Nannucci’s retrospective exhibition, Where to Start From, at the Museo MAXXI, Rome Does an all-too-familiar

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Strato-Sfera: MARGOLIS vs GANCH

Articles / Nichka Marobin

Art history is a long road where precocities and delays often collide; it’s made of screams and terrible silences. As Henri Focillon wrote once, “[a work of art] is both completely absorbed in the dynamism of time and, at the same time, a universal witness”[1]: forms live through time and space, and history of the

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Lessons from Adam Grinovich

Articles / Kellie Riggs

Jeweler Adam Grinovich trying on someone’s Rolex at Schmucksymposium Zimmerhof, Bad Rappenau, Germany Jeweler Adam Grinovich trying on someone’s Rolex at Schmucksymposium Zimmerhof, Bad Rappenau, Germany Toward the end of the Q&A portion of the talk he gave during Zimmerhof 2015, Adam confessed that he had recently acquired a crazy obsession with getting a Rolex.

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Marta Mattsson, Stockholm, Sweden

Articles / Art Jewelry Forum

My studio is in my home. I live upstairs and I work downstairs. I share my home with more than 500 dead, dried insects as well as my dog, Pumba. I am very happy that I have a cuddly happy living animal amongst all my dead ones. Sometimes I have spiders crawling in my workspace,

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Savage Vanities: Leane versus Kalman

Articles / Liesbeth den Besten

The Jaw Bone mouthpiece is modeled after the jaw of jeweler Shaun Leane, and was created for Alexander McQueen’s untitled spring/summer collection of 1998 (originally called The Golden Shower until a sponsor found out its pornographic meaning and threatened to back out). Hooks around the ears and inside the mouth are used to fasten

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To Find a Name

Articles / Areta Wilkinson, Benjamin Lignel, and Nigel Borell

In 2014, Benjamin Lignel visited Māori jewelry artist Areta Wilkinson in her home, a few weeks before she presented her doctoral research in front of her peers and her kin. This introduction to Areta’s work—and Ben’s growing interest in the customary Māori greenstone figure known as hei tiki—led to the purchase, a few months later,

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Articles

Beyond Unwearable—The Changing Site of Body

Sergey Zhernov, Kiev, Ukraine

Beyond Unwearable—The Changing Site of Body

Fun and Games

Lessons from Peter Rockwell

2Roses, Anaheim, California, USA

Lessons from Maurizio Nannucci

Strato-Sfera: MARGOLIS vs GANCH

Lessons from Adam Grinovich

Marta Mattsson, Stockholm, Sweden

Savage Vanities: Leane versus Kalman

To Find a Name

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