Kristin Beeler, promotional image, Archive of Rag and Bone, photo: artist Kristin Beeler, an illustrious American artist in the contemporary jewelry field, was one of the finalists for the Susan Beech Mid-Career Artist Grant. Currently a professor and program head at Long Beach City College, Kristin examines the weight of beauty and memory through contrasting […]
Bethony Vernon, The Boudoir Box (closed), 1999–2000, case with erotic accessories, silver, leather, feathers, 690 x 330 x 190 mm, collection of the artist, photo: © Betony Vernon As the curator at the Musée d’Art Moderne de la Ville de Paris (MAMVP) since 2002, Anne Dressen is responsible for the big jewelry exhibition Medusa: Jewelry
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Renate Slavik with Galerie Slavik’s disk sign, 2016, photo: Julia Wesely While visiting Vienna in 2004, I came upon a graceful storefront with a large overhead bronze disk sign and a window display that was so inviting from the street: Galerie Slavik. The appealing architecture attracted my companions and me in, and we were rewarded
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Karin Seufert, Untitled, 2016, necklace, PVC, thread, 90 x 110 x 27 mm (without the thread), photo: artist Karin Seufert is a German artist who received her training in the Netherlands and currently lives in Berlin. Her work has been featured in numerous exhibitions worldwide and has also included curatorial projects and lectures around the
Ombré Gallery, front of gallery, photo: Ombré Gallery It’s always exciting to see a new gallery emerge in the art jewelry field. Ombré Gallery opened this past fall and already has an exciting roster of artists. Jenna Shaifer, the gallery’s founder and director, introduces us to her gallery and discusses what excites her about the
Jayne Wallace, Cloudwatcher (from Personhood in Dementia Research Project), 2011, necklace, rubber, velvet, stainless steel, 90 x 60 mm, photo: artist The Journal of Jewellery Research (JJR) is a collaborative online publication recently founded by three jewelers who also juggle the roles of art jewelry historian, critic, postgraduate research lead, and educator. Roberta Bernabei, Jayne
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Marjan Unger has been involved with the Dutch jewelry scene for a very long time, performing as a thinker, a curator, a professor, a historian, and a collector. Many of these roles are coming together as she prepares for the opening exhibition of the collection she has given to the Rijksmuseum. Along with the exhibition
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Carina Shoshtary, In the Beginning there Was Red, 2017, headpiece, spruce bark, almond shells, graffiti, glass, paint, photo: Laurens Grigoleit I had the pleasure of interviewing Carina Shoshtary a year ago as one of the finalists for the AJF Artist Award. Fast forward a year and here we are again, this time with her as
Katrin Eitner at the gallery during the exhibition Ulo Florack Smashed Investment on the Wall, Berlin, 2015, photo: Galerie Katrin Eitner Galerie Katrin Eitner is located in Berlin, Germany and experiments with new ways to be a contemporary jewelry gallery in these times of great change. Her model is not focused on a brick-and-mortar location,
Renate Heintze, Vogel und Stein, 1987, brooch, aluminum, cast, citrine quartz, stainless steel, 85 mm wide; and Mann und Kissen, 1987, aluminum, cast, turquoise, stainless steel, 70 mm wide, photos: Janos Stekovics This year at the International Handwerkskammer during Munich Jewelry Week, Renate Heintze was honored both as the Klassiker der Modern 2017 and with
In Conversation with Renate Luckner-Bien about Renate Heintze Read More »
Lori Talcott, Escapulario1, 2016, neckpiece, oxidized silver, lead, wool, steel, ribbon, mirror, 380 x 160 x 35 mm, photo: Teresa McCann Tracy Steepy and Lori Talcott have been working and teaching together since they met serendipitously in 2008. This is their first exhibition together at Platina. Sandra Wilson caught up with them to find out
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Sergey Jivetin, Spectacle. Chart Dividers, 2016, sculptural utensil, antique optical device, vintage navigational instrument, brass, 200 x 100 x 120 mm, food by John N. Novi, photo: artist Sergey Jivetin is recognized for masterfully manipulating unlikely materials—such as watch hands, eggshells, needles, and steel jeweler’s saw blades—into poetically articulated forms exhibiting a softness contradictory to
