Georgetown Trailer Park Mall, Seattle, Washington, 2015 Georgetown Trailer Park Mall, Seattle, Washington, 2015 My head is routinely turned by overstuffed second-hand stores when I’m material shopping. I appreciate that not everyone wants their material bearing the kind of message that recycled objects convey, but if you’re after rare threads, specialist tools, or recycled metals, […]
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Lyndsay Rice, False Plumage, 2015, installation, paper, adhesive, 243.8 x 259.1 x 27.9 cm, photo: Elena Dahl 1. For this final installment of the three-part series Beyond Unwearable, I would like to take a moment to reflect on the makers from my prior articles to give a richer view of the content of this third
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[video:https://youtu.be/KrJYpActs7g width:750 height:422 autoplay:0] In her recent piece for The Atlantic, Victoria Clayton refers to the “problem” of needlessly complex writing in academia. But this complexity is only a problem for those who don’t see a need for it. And nobody needs complexity more than academics. Big ideas need big words to express them. Concepts must
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My studio is in a small industrial pocket of Chicago called Kingsbury. Nestled in between a concrete manufacturer, a leather tannery and a metal refinery, with access to two train lines and Chicago’s elevated bike and walking path, my studio reminds me of all the reasons that I love living in a big city with
Sarah Holden, Chicago, Illinois, USA Read More »
Image Source: Studio Roosegaarde Dutch designer Daan Roosegaarde, in a stunning show of disregard for everything capitalist society has to offer, has taken it upon himself to remove carbon particles out of our air. The carbon particles we’ve worked so hard to put into the air. After everything we’ve done to move society forward! Well,
“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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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
Sergey Zhernov, Kiev, Ukraine Read More »
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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“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.
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 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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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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