[left] Gallery Lulo, exterior, [right] Gallery Lulo, interior Artist Karen Gilbert and gallerista Anne-Kathrine Schjerbeck teamed up in 2009 to open Gallery Lulo in Healdsburg, a small but sophisticated country town. In this interview, I talk to the duo about the origin of Gallery Lulo, balancing life and work, and the challenges of running a […]
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Madeline Courtney, artist and curator, recently brought together nine artists who explore, dissect, and transform disparate materials for the exhibition Matter of Material. Madeline talks about how meaning—ranging from ethics to functionality—is created through material. This interview also includes some material-specific questions answered by a few of the exhibiting artists. Olivia Shih: Please tell us
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Galerie Spektrum has been representing contemporary art jewelry since 1981. In this interview, gallery owner Jürgen Eickhoff provides us with some insight about his selection process and take on the field. Missy Graff: Can you provide us with a little history about the origins of Galerie Spektrum? Why did you decide to represent jewelers? Jürgen
Exterior photograph, Velvet da Vinci, San Francisco, California, photo: Mike Holmes Missy Graff: What is your background with contemporary art jewelry? What led you to be a dealer? Elizabeth Shypertt: I studied jewelry making starting in high school and continued with night classes when I returned to San Francisco after college. Mike and I met
Reinstein|Ross Gallery and the i-i team up to align the worlds of art jewelry and street art in a novel exhibition, Placement. In this interview, Bella Neyman of Reinstein|Ross Gallery and Will Atkinson and JB Jones of the i-i talk about the origin of the crossover exhibition and the similarities between the two fields. Olivia
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Avid Gallery is a recent addition to our list of galleries representing studio jewelers. It’s new to us, but has been around for many years. The new owner, Judith Carswell, gives us a bit of its history and her thoughts on the gallery and contemporary jewelry. New Zealand is emerging as a strong presence and
Thierry Vendome is a jeweler who shows his own work in a gallery connected to his studio in Paris. For this AJF interview, he was gracious enough to answer some questions about his work and how he approaches making his unique designs. Susan Cummins: What is the story of your early connection to jewelry? Thierry
In this interview, curator Madeline Courtney discusses her concept for the exhibition Outer Limits, which was recently presented at Facèré Jewelry Art Gallery in Seattle, Washington. Outer Limits showcased work by Jana Brevick, David Choi, Rebecca Hannon, Arthur Hash, Shayna Illingworth, Tia Kramer, emiko oye, Rachelle Thiewes, and Myung Urso. Missy Graff: Outer Limits usually
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Platina, Stockholm, photo: Rikard Westman Kellie Riggs: I’ve recently listened to your lecture at the 2014 SNAG Conference in Minneapolis. One of my favorite things you said was something so simple: “Jewelry gives us satisfaction, it enables another way of being, seeing…” Can you talk more about this satisfaction? Does your gallery function as a
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For the past 27 years, Galerie Marzee has held an annual show of graduate work from jewelry departments around the world. This year, 33 schools are represented. The amount of work Marie-José van den Hout, owner of the gallery, puts into assembling the show—year after year—is astonishing. She sees all the work in person and, when she can, actually visits each school to make her choices. This translates very little in the way of sales. Now, that is either very foolish, or an extremely passionate conviction about the need to show young jewelers’ work. She obviously believes that she is providing an important service to the whole field by assembling this show. Thank you, Marie-José, for your tireless efforts.
Susan Cummins: How long have you been doing the graduate show at your gallery?
Marie-José van den Hout: I began organizing the graduate show in 1987, when the gallery was still in the building on Ganzenheuvel. I started by showing graduate work from the departments of silversmithing, 3D design, and jewelry from only a few Dutch academies: Gerrit Rietveld Academy in Amsterdam, Academie voor Beeldende Kunsten in Arnhem, and Maastricht’s Stadsacademie voor Toegepaste Kunsten. The exhibition has now grown into a major event and this year we are showing jewelry and some vessels by 74 students from 33 schools in 18 countries around the world.
Who received your Marzee prize this year? Where are they from?
Marie-José van den Hout: This year six graduates were awarded the Marzee Graduate Prize 2014. Their work really stood out to all of us here at Galerie Marzee, and we look forward to seeing how their work continues to develop as they begin their careers in the field of contemporary jewelry. As Marzee Graduate Prize winners, they will each be invited to participate in a workshop, Atelier Ravary, at the Ravary Estate in Belgium.
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Gallery Funaki recently launched the inaugural Mari Funaki Award for Contemporary Jewelry to honor and recognize Mari Funaki, a unique and passionate advocate for contemporary jewelry in Australia. This award aims to celebrate Mari’s legacy by recognizing the skills and talent of jewelers, both local and overseas, and by providing a platform for outstanding new work to be shown in Australia. Artists worldwide, at any stage of their practice, were invited to apply for the award; over 530 entries from more than 35 countries were received. The work of 31 finalists was selected and is currently on exhibit at Gallery Funaki from August 13–September 13, 2014.
The winner of the established artist category is Kiko Gianocca, from Switzerland, with a series of three necklaces collectively titled Veneer. His work has been exhibited internationally since 2003 and he is currently represented by Gallery Funaki.
In the emerging artist category, two winners were selected: Patrícia Domingues, from Portugal, with her pendant from the Duality series, and Polish artist Sara Gackowska for her brooch, Membrane, from the Methamorphosis series. In addition, two commendations were given, the first to Inari Kiuru, a Melbourne artist, for her two brooches from the Evolution series, and Jiro Kamata, based in Germany, for his Spiegel necklace.
The recent announcement of winners provided an opportunity to speak with gallery director Katie Scott about the award and her vision for the gallery, as well as hear from the three winners.
Bonnie Levine: Mari Funaki was an important visionary and maker in the world of contemporary jewelry, particularly in Melbourne. Can you tell us about her and her legacy?
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Tilling Time/Telling Time is the latest jewelry exhibition held at the Facèré Jewelry Art Gallery. The exhibition is in conjunction with the launch of Karen Lorene’s newest novel of the same name. The show features jewelry artists Kit Carson, Jude Clarke, Kevin Crane, Marita Dingus, Robert Ebendorf, Cynthia Toops, Roberta and David Williamson, Deb Karash, and Anne Fischer. Karen loves words and jewelry separately and together, but always with a story in mind.
Susan Cummins: Karen, you have done a number of shows relating words and jewelry, such as Louder than Words, Woman Working Words, and your series of publications called Signs of Life. Now you have published your own novel called Tilling Time/Telling Time. Can you tell us what it is about?
Karen Lorene: The novel is based on a grandfather I never saw, never met. I knew only one thing about this man: he ran away with the neighbor lady. And so begins a made-up tale about a granddaughter and a grandmother, each telling her story about falling in love, marrying, and then how life, as life is wont to do, comes along and hits each upside the head and makes each a strong, independent woman.
Why did you decide to write this particular story?
Karen Lorene: Half of my life is writing. Ideas appear, and then words, and then, strangely enough, a novel. Creating a world, populating it, following where characters lead is like indulging in the finest chocolate, the finest meal.
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