One of A Kind: American Art Jewelry Today
This volume, published as American Art Jewelry Today in the United Kingdom, provides an excellent entry into the field of art jewelry.
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Reviews
A Jewelry Pilgrimage: Talente 2010
Jacqui Chan As an emerging jeweler, being selected for Talente is a tremendous encouragement and endorsement. It suggests someone, somewhere thinks you might have an inkling of promise. So I was incredibly grateful for the funding from Creative New Zealand, the national arts council, which enabled me to attend the show in person and experience
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London in May: COLLECT 2010
Leslie Craze Gallery (Leslie Craze in black at center) Ruthin Craft Centre, Kevin Coates installation A few of the galleries displayed mini-exhibitions of a single artist such as Wendy Ramshaw at Lesley Craze Gallery, Kevin Coates at Ruthin Craft Centre and Iris Eichenberg’s wonderful pink pieces at Galerie Louise Smit. Rome-based Alternatives Gallery showed an
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Speaking Of Schmuck: Schmuck 2010
Munich street sign Schmuck 2010 Schmuck shared the back of the convention centre with Talente, which was abuzz with freshness, excitement and new approaches to making. Talente clearly succeeded in presenting the youthful exuberance of the best in their fields under the age of 30. The overall highlight of Talente for me was the work
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New York, New York! SOFA NY 2010
Ornamentum installation view Rock Hushka Staying put in the Tiffany Room, Hushka was ‘on’ again. Co-sponsored by AJF and SNAG, which brought in a broader audience, his second lecture was entitled ‘Holding Objects: What it Means to Wear Jewelry – The Psychoanalytic Mechanisms.’ Hushka explained that he came to the subject of art jewelry seeking
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The Gray Area Symposium: A Review
April 13, 2010: Day One At last, after a lot of planning, the Gray Area symposium opened at the Biblioteca de Mexico in Mexico City. For those of you who don’t know, the Gray Area is an ambitious project organized by the Amsterdam-based Otro Diseno Foundation for Cultural Cooperation and Development. As the program notes
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Fragments of Our Imagination
Uncharacteristically, I boarded a train at four in the morning on Friday, January 22, 2010 for an eight-hour trip to Richmond, Virginia. I had not ridden a northbound train from the South since I was a junior in high school. What could possibly be my motivation, you wonder? Why, a jewelry exhibition, of course. But
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What’s in a Name? SNAG 2010
Rachel Timmins, I Want To Be A Gold Lobster With Blue Puffs, 2009, found fabric, wool yarn, copper, thread, Poly-Fil stuffing, found gloves, 19 x 12 x 4 inches each Nick Mullins, Brooch 2, 2009, resin, wood, paint, 6 x 4 x 2 inches For me, the shift came when I began electroforming vessels rather
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Schmuck 2010: A Report
Schmuck 2010, held in Munich from March 3 –9, 2010, was the center of five fever-pitched days of jewelry and adornment. Over 30 exhibitions were presented citywide, representing a variety of countries, academic programs and individual studio jewelers. Installation detail, Schmuck 2010 Adam Grinovich, Necklace: Function & sense #1: Function 1, 2008, leather, polish, iron,
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Designers on Jewellery
Designers on Jewellery: Twelve Years of Jewellery Production by Chi ha paura…? opened last month at the San Francisco Craft + Design Museum and is on display until May 16, 2010. The show marks the jewelry design brand’s twelfth year in the making. Founded by Gijs Bakker, jewelry and product designer and co-founder of Droog Design,
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Finnish Jewellery 1600-2009
It’s clear from the title of this exhibition that it has large ambitions, stretching from the Renaissance to the present day. As the introductory wall text puts it, ‘Over the centuries, Finnish craftsmen were able to learn their trade and practice it in neighbouring countries. Innovations and impulses were first received from the west, and later from the east. After the Second World War, Finnish jewellery design discovered its own style, which has become recognized around the world.’
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Gerd Rothmann: Catalog Raisonné 1967-2008
It’s not often you see an art book whose text is more interesting than the photographs. But such is the case with this retrospective catalog of the work of Gerd Rothmann. The hefty 404-page book shows the artist’s entire oeuvre (or at least everything he documented) from 1967 to 2008. The 589 photographs give a good idea of Rothmann’s changing styles and there are occasional full-page illustrations of some of his most distinctive pieces. But the text is a must-read for every collector, whether or not they know or care about the work itself.
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