10 Best Stand-Alone Pieces at Schmuck
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Articles
15 Best Things Not Happening in Munich
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Polly Wales and Jo Hayes Ward
Polly Wales, Rapunzel Stack, 2013, rings, crystals, gold, 2mm wide, photo: Polly Wales Missy Graff: Please tell me about your background. How did you become interested in making jewelry? Polly Wales: I initially studied sculpture, but I couldn’t really come to grips with the convoluted language of fine art. It felt so removed. After a
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Jewelry and Life: An Uncanny Connection
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 in-depth study. One review will be published every month. “One on One” is a form of testing area. We believe that the field of contemporary jewelry will benefit from developing
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ART JEWELRY FORUM PUBLISHES BEST OF INTERVIEWS
Myra Mimlistch-Gray spread, AJF Best of Interviews Dorothea Prühl spread, AJF Best of Interviews “We culled 18 provocative conversations with luminaries in the field from the more than 70 interviews we have had published with luminaries in this field since we began reporting more than 15 years ago,” said AJF Board board Chair chair
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Lauren Kalman: But If the Crime Is Beautiful …
Lauren Kalman, Composition with Ornament and Object 17, 2014, photograph, giclée, 50.8 x 40.64 cm Susan Cummins: Lauren, please tell the story of your background. Lauren Kalman: Both of my parents were visual artists, and I think that had a huge influence on my development as an artist. My father is an industrial designer who
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Marijke de Goey: Lines, Space, Illusion
Marijke de Goey’s exhibition Lines, Space, Illusion is on display at Fingers Gallery in Auckland, New Zealand, through February 28, 2014. In this interview, Marijke discusses the concept behind the body of work on display and some of her recent projects. Marijke de Goey, Dancing Square, 2002, brooch, anodized titanium, 60 x 45 x 5
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Louder Than Words
Davide Bigazzi, Parole, Parole, 2014, cuff, sterling silver, 18-karat gold, white diamonds, 38.1-mm wide, photo: artist Susan Cummins: What was your inspiration for this show? Karen Lorene: Facèré Jewelry Art Gallery has, for many years, combined the worlds of art jewelry and the written word. Often, the shows that combine a publication: Signs of Life,
These Were Trees: A Wood Jewelry Exhibition
Steel wall display case containing These were Trees (detail with glass door open), J. Cotter Gallery, Vail, Colorado, 2014 Susan Cummins: Theresa and Jim, I understand that you worked together to curate this show. Can you walk me through how that worked? Who thought of the idea for the show, and how were the artists
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Laissez-moi rever: Collection of Jocelyne Gobeil
Ramon Puig Cuyàs, La torcha de Cassandra, 1992, brooch, nickel silver, coral, copper, 90 x 90 x 13 mm, photo: Jean-François Tremblay and Wanderley Spinola Susan Cummins: Noel, please tell us about Jocelyne Gobeil and why you wanted to have a show about her. Noel Guyomarc’h: Jocelyne Gobeil ran the first gallery dedicated to contemporary
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Karen Pontoppidan: Context
Karen Pontoppidan, CONTEXT, 2013, brooches, canvas, silver, 45 x 35 x 30 mm to 60 x 35 x 33 mm, photo: artist Susan Cummins: Karen, can you fill us in on your background, and when it was that you decided to become a jeweler? Karen Pontoppidan: When I was 13-years-old, I decided to become a
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Katja Prins: Hybrids
Katja Prins, Hybrid 03, 2014, brooch, chromium-plated brass, resin, 75 x 50 x 65 mm, photo: Merlijn Snitker Susan Cummins: Can you tell the story of how you discovered that you wanted to be a jeweler? Katja Prins: I think that the need to express oneself by creating things and using visual language is something
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