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McQueen in Manhattan

Rebecca Annand reports for AJF: Alexander McQueen: Savage Beauty, The Metropolitan Museum of Art Enter New York’s Metropolitan Museum through the Great Hall. Pass by the entrances to Greek and Roman Sculpture and Egyptian Galleries to a narrow side escalator. Go up to the second floor along the balcony, through Buddhist sculptures and past cases […]

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2011 SOFA Speaker

In 2011, Jeannine Falino gave a lecture at SOFA NY titled “For People Who Are Slightly Mad”: American Modernist Jewelry. In her lecture, Falino talked about her upcoming Museum of Arts and Design exhibition called Crafting Modernism, presenting the work of some of the modernist jewelers whose work is featured in the show. This lecture was sponsored

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Loaded

I’ve been trying to understand a trend, not just in art jewelry, but pop culture in general. The sharp, angular shapes of handguns and semi-automatic rifles as graphic black silhouettes or cheeky, bubblegum pink outlines are everywhere. T-shirts, decals, pendants and even cufflinks – guns, apparently, are ‘in.’ Karl Lagerfeld, Gunshoe Now I will be

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Art Jewelry 2.0

Since its inception in the mid-twentieth century, art jewelry has been defined by limited hand production in an artistic studio-practice paradigm. However, in the 1980s, advances in computer-aided design and manufacturing technologies led to the expansion of this definition, rendering the studio and hand manufacturing useful characterizations rather than steadfast criteria for defining art jewelry.

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To Market, To Market

When artists hear the word ‘marketing’ our toes tend to curl up.  Savvy self-promoters are usually castigated within the creative community as sellouts, cynics and punchlines. Within the rarefied air of the ‘fine art’ world there’s big money to be had, but for the niche world of art jewelry it’s more like sink or swim.

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2010 SNAG Speaker

In 2010, Cindi Strauss gave a lecture at the SNAG conference in Houston titled ‘At the Crossroads of Trends and Traditions: Emerging American Jewelry Artists Today.’ In her lecture, Strauss presented a series of findings about the state of contemporary jewelry practice in the United States, as well as the relationship that these makers have

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