Craftspace invited Rebekah Frank to explore queerness in relation to the expansive field of metalworking and metalsmithing. Explore the scope of the project at https://craftspace.co.uk/queer-metals/.
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“The coronavirus urged Ariel Lavian to close down the shutters facing outward and focus on creating a new series, Depths of Heaven, which unfurls a new branch of his work. In his new solo exhibition, Lavian presents jewelry made of copper and silver, using fold forming techniques. In the choreography between hammer, metal, and anvil,
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Everything around us has been touched, used, cracked, broken—evidence that reveals an object’s existence and experience. Min Jae Eom creates simple surfaces and forms that, when carried on the body, slowly gather traces of the wearer. The marks that are collected through these time-based works are not simply scratches, dents, and stains; rather, they become a witness, a
This is the catalog for Elegy, which was scheduled for March 10–April 9, 2020 and invited 12 Australian women artists to present jewelry and objects that facilitate mourning for a world in peril. The project asked us to recognize the profound mental and emotional impacts of climate change on individuals and society, and to acknowledge
The exhibition brochure, with exhibition checklist and essay, for the exhibition entitled Earl Pardon: Joy in the Making: Jewelry from the Collection of Martha Connell, held at the Decorative Arts Museum, Arkansas Arts Center, January 11, 1998–February 15, 1998.
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A thesis, written by Dierra Jones, for an MFA in jewelry. Storytelling is rooted in our daily lives, giving individuals the ability to connect and understand the world we live in. These stories are often memorable through one’s connection to time and place. In the jewelry field, place is significant in the life of an
Exhibition catalog for “Striking Gold: Fuller at Fifty.” As Fuller marked its 50-year anniversary in 2019, it turned to gold to commemorate this milestone with “Striking Gold: Fuller at Fifty” in its Stone and Barstow galleries. This invitational project explores the storied traditions, contemporary interpretations, skillful applications, and conceptual rigor of gold as an artistic
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A brochure and checklist for the exhibition “Gardens of Our Own Inventions: Granulated Gold by Douglas Harling,” organized and presented by the Arkansas Arts Center, Decorative Arts Museum, Little Rock, Arkansas, October 7–November 14, 2001.
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A brochure, including checklist, for the exhibition “Everyday Ceremonies: Metalwork and Enameling by Sarah Perkins,” presented at the Arkansas Arts Center, Decorative Arts Museum, October 7–November 14, 2001.
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For many years my work has explored qualities unique to jewelry as a medium. In my Lumina Series brooches, I focus on the fact that when worn, jewelry is viewed in motion. Many of these Lumina brooches call attention to this quality by dramatically shifting color or deepening in color intensity depending on the angle
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In/Animate surveys the past decade of work by Myra Mimlitsch-Gray, internationally renowned metalsmith and head of the metal program at SUNY New Paltz. Curated by author Akiko Busch, the exhibition explores a variety of artistic processes using iron, copper, brass, silver, and enameled steel. Mimlitsch-Gray’s domestic artifacts suggest a coalescence of body and thing, conveying
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Peter Bauhuis’s material experiments often “play” visual tricks; for example, in his show Armillaria, at Gallery Funaki, he displays a little “bronze” cup in the cabinet of curiosities he has fashioned from the pristine walls of the Crossley Lane space. The cup, which is part of “the Kolomna Report,” the official announcement he made of
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