Hoogeboom’s jewelry often operates cross-culturally: Through its title and the appearance of the repeated ceramic elements, Show Your Teeth makes reference to the teeth necklaces that are found throughout the Pacific. A quick scan through Roger Neich and Fuli Pereira’s book Pacific Jewellery and Adornment (David Bateman, 2004) reveals necklaces using teeth from whales, sharks, […]
Peter Hoogeboom, Show Your Teeth Read More »
Galerie Marzee, Rijmegen, Netherlands Mill Valley, CA, September 1, 2014—In addition to the cash award of $7500 for the winner of the Art Jewelry Forum Artist Award (AJF AA), we have just arranged for the five finalists (including the winner) to show at the fabulous annual Schmuck event in Munich, Gemany. Work will be displayed
ART JEWELRY FORUM NEWS RELEASE Read More »
These podcasts are provided to you through the joint efforts of SNAG and AJF. There are eight lectures in all, recorded during the 2014 SNAG Conference in Minneapolis, Minnesota, USA. At this time, you can listen to Tanya Herrod give the keynote address, followed by Sofia Björkman of Platina Galerie, art historian Jenni Sorkin, and
SNAG 2014 Lectures Read More »
As part of AJF’s new partnership with Klimt02, this article has been publicized on their website under the label “the AJF feed.” Four more articles on the subject of criticality are being published this summer under this collaborative umbrella. (Please have a look at the first three, penned by Moyra Elliott, Clare Finin, and Damian
Yes, I Am Biased as a Critic. Read More »
Criticism is a kind of art history done about new or recent objects. It involves judgment, but without the benefit of hindsight. Criticism is different to art history, which isn’t so concerned with judgment. Instead, art history explores the relationship of objects with each other, with history and with various aspects of society. Art history
Throwing Stones in Glass Houses: On Criticism, Art History and Critical Discourse Read More »
As part of a new partnership with KLIMT02, this article has been publicized on their website under the label ‘the AJF feed’. Three more articles on the subject of criticality are being published this summer under this collaborative umbrella (the first one, by Moyra Elliott, is already out). —Benjamin Lignel In What Is a Good
On Being Young, or Criticality and 21st Century Academia Read More »
Cartier, Juste un Clou, bracelet, 2012, yellow gold, outside diameter approx. 65mm, photo: Vincent Wulveryck, copyright: Cartier 2012 The camera makes sure that we see this piece of jewelry, and at the end of the scene, when luckily Alba decides not to jump, we meet her again on the street, where she is being arrested
Juste un Clou: Cartier’s Nail, or The Domestication of Revolt Read More »
This keynote address was delivered on July 5, 2014, at the Auckland Museum, during the Talkfest organized by Objectspace with the support of Creative New Zealand. The program began the day before, with a PechaKucha evening, and continued throughout the day with contributions by makers Pauline Bern, Warwick Freeman, Richard Orjis, and Lauren Winston; curators
Difference and Repetition Read More »
In 2012, Kiff Slemmons presented a lecture at Sculpture Objects, Functional Art & Design (SOFA) Chicago titled, More Than One to Make One. While AJF was not able to record a video of this lecture, Kiff presented it again at the University of Illinois at Urbana-Champaign at Krannert Art Museum in April 2014. That was
2012 SOFA Chicago Speaker: Kiff Slemmons Read More »
Teng Fei, In That Summer, 2007, necklace, silver, lacquer, 100 mm diameter, photo: Yao Lu Art and Jewelry, A Journey from Beijing to Berlin Teng Fei received a BA degree from CAFA in 1987, majoring in woodcuts, and afterward worked at the Beijing Institute of Fashion Technology. In 1990, she went to Germany and completed
China: Contemporary Jewelry on the Rise, Part 2 Read More »
The term “art jewelry” can mean a lot of different things to different people. How would you define it? What does art jewelry mean to you?
What is Art Jewelry? Read More »
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:
Kerianne Quick’s Fob Read More »
