A case study of Austrian artist Manfred Nisslmüller’s work ‘Taschenrecorder’ (1984-1993, made in eight examples), highlighting the artist’s view of “jewelry as a disruption” using of critical, ironic, and subversive modes of art history.
This text explores how theoretical concepts of opulence and excess are explored in contemporary art, especially jewelry. Images of several exhibited works are included. Focusing on artists from the United States and Western Europe, it offers a Western-based interdisciplinary perspective for thinking about what “baroque” could mean in a modern context. Jewelry forms the basis