Kellie Riggs is an independent curator, writer, and jeweler, and the founder of the blog greater-than-or-equal-to.com. She’s the recipient of a Fulbright grant for her project entitled Past and Present: Italian Contemporary Jewelry as Art and curator of the exhibition Non-Stick Nostalgia, currently on view at the Museum of Arts and Design. Riggs lived for […]
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Within the international and condensed art jewelry field, roles overlap and paths entwine quite often. This interview will be no exception. Karen Pontoppidan, the renowned jewelry artist and professor in the jewelry and hollowware department at the Academy of Fine Arts in Munich, was invited by Die Neue Sammlung/The Design Museum to take yet another
The Jewelry Library (TJL) is a gathering place that is—like other libraries, which have evolved over the past few decades—about many different things. It focuses on jewelry literacy and contains books and catalogs for study and research, but also hosts jewelry exhibitions, artist talks, and jewelry-related events, and encourages visitors to handle the jewelry pieces
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Last month AJF went to Munich for the annual Schmuck exhibition known as Munich Jewellery Week. This is the time when international jewelry artists, collectors, galleries, and everyone interested in art jewelry gathers in one place. We presented AJF in Conversation—Curators & Collectors: How They Choose, with moderator Susan Cummins and panelists Deedie Rose, Toni
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From the start, AJF has always encouraged the appreciation of art jewelry by supporting artists, galleries, and curators through education, critical conversations, grants, and sponsorships. And since the beginning there’s been a special focus on the collector. AJF’s trips, lectures, and talks are designed to give collectors education and exposure to galleries, personal collections,
Brooklyn Metal Works (BKMW), in New York, and WALKA Jewelry School, in Chile, are hubs of sorts, bringing jewelers together to learn new skills, show work, and support one another. As such, they’re important members of our jewelry community. In this interview, the founders of both businesses—who are all friends—talk about how they came into
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The Metal Museum’s mission has shifted and expanded to accommodate jewelers and metalsmiths alike over the past three decades. Originally established by the National Ornamental and Miscellaneous Metals Association, the museum’s mission was “to display, show and teach the history and achievements made by ornamental metals (not including precious metals) manufacturers and artisans.” Art jewelry
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Meet Jane Bowden, the owner of the newest member gallery here at AJF. She helped found and is now sole owner of Zu design, a gallery for contemporary jewelry located in Adelaide that has been in business for almost 22 years. Along with representing some 130 artists and creating her own designs at the gallery,
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Sarah Thornton is an ethnographer and sociologist of art, known for her bestseller, Seven Days in the Art World, and its sequel, 33 Artists in 3 Acts. For this essay, she interviewed jewelers, gallerists, and collectors with whom she could meet face to face, so the research was confined to people who, like her, live
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Jewelry: The Body Transformed November 12, 2018–February 24, 2019 The Metropolitan Museum of Art, New York, New York The exhibition Jewelry: The Body Transformed, at The Metropolitan Museum of Art, is an ambitious and comprehensive exploration of the complex relationship between jewelry and bodies throughout recorded history. Featuring 230 works, largely from the Met’s collection, the
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Bench jeweler at work in the Alex Sepkus studio during the NYCJW tour in support of 47th Street, photo: Emilija Guobyte-Krzeminski JB Jones and Bella Neyman co-founded NYCJW, the first US-based week to celebrate all forms of jewelry through exhibitions, talks, workshops, and other innovative programs. Jones worked in Los Angeles as a design director
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Launched in 2017 and currently in its second season, Perceived Value is a biweekly podcast produced by contemporary jeweler Sarah Rachel Brown. Brown investigates the economics of surviving as a creative by asking honest questions about how creative people—predominantly craft artists—make their livings and support themselves. The thought of getting “on air” and sharing the
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