Dushko Petrovich and Roger White, eds., Draw It with Your Eyes Closed: The Art of the Art Assignment. New York: Paper Monument, 2012. ISBN: 978-0979757549 Dushko Petrovich and Roger White, eds., Draw It with Your Eyes Closed: The Art of the Art Assignment (New York: Paper Monument, 2012). Draw It with Your Eyes Closed: The Art […]
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Tanel Veenre, Handful. Stuttgart: Arnoldsche Art Publishers, 2015. ISBN: 978-3-89790-436-1 Book cover: Handful, Stuttgart: Arnoldsche Art Publishers, 2015, photo: Benjamin Lignel. It must be brave for an artist to author a book about their work. Writing seems ancillary to the core occupation of producing work. The act might appear self-congratulatory, unfair on the reader who cannot access, touch, much
Damian Skinner and Finn McCahon-Jones, Fingers: Jewellery for Aotearoa New Zealand—40 Years of Fingers Jewellery Gallery. Auckland: David Bateman, 2014. ISBN:978-1-86953-862-0 Fingers: Jewellery for Aotearoa New Zealand is an informative book that leaves you craving for more: This is a rich subject that can hardly be covered fully within 150 pages. On the one hand,
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Lin Cheung, Tomfoolery: Objects & Jewellery. London: Tomfoolery Publishing UK, 2014. ISBN: 978-0-9572988-0-4 For those not well versed in the artful linguistic gymnastics of London’s East End, tomfoolery is Cockney rhyming slang for jewellery. It is also defined in the dictionary as foolish behavior, utter nonsense, rubbish, and it is in the space between these
Damian Skinner and Kevin Murray, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand. Auckland: David Bateman Ltd, 2014. ISBN: 0824846877 After seven years of collaborative research, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand is now published, written by Damian Skinner from Aotearoa New
Matthew Hart, GOLD: The Race for the World’s Most Seductive Metal. New York: Simon & Schuster, 2013 ISBN 978-1451650020 “What are you reading?” I nearly knocked over my coffee in surprise when the smoky voice of the waiter cut through my focus. At the dining counter, Gold, Matthew Hart’s newest 290-page work of nonfiction,
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Roberta Bernabei. Contemporary Jewellers: Interviews with European Artists. Oxford: Berg Publishers, 2011. Bernabei begins with a historical overview of European jewelry from the Middle Ages to the present day. All too often, the studio art movement is touted as the father of the studio jewelry movement, leaving students with little sense of the origins of
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Jo Bloxham, ed. Transplantation: A Sense of Place and Culture. England: University of Lincoln, 2012. photo: Zoe Brand When I finally received the 80-page catalog, my first thoughts were of the fresh and inviting look created by the graphic designer—a mostly white cover with green text and an image of Bridie Lander’s sparse leafy neckpiece.
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By Example: Australian Contemporary Jewellery is part of a series of international jewelry exhibitions hosted biannually by the Museum of Arts & Crafts in Itami, Japan. The Itami Cultural Foundation and the City of Itami have made jewelry an integral ‘pillar’ in their community development. Not only do these exhibitions work to broaden the audience
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Lauren Kalman, Hard Wear (Tongue Guilding), 2007 Hand + Made is the catalog for the 2010 exhibition of the same name, curated by Valerie Cassel Oliver at the Contemporary Arts Museum in Houston. The publication features essays by Oliver, Glenn Adamson, and Namita Gupta Wiggers, along with rigorous catalog entries by Sarah G Cassidy. Both
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Felieke van der Leest, Super Freak Zebra, Brooch, 2007, textile, plastic animal, gold, glass beads, cubic zirconia, 150 x 60 x 30 mm, photo: Eddo Hartmann Pia Aleborg, Necklace, From The Series: Apartfrom, 2005, electric cord, gold plated brass, 250 mm diameter, photo: Michael Grenmarker All of a sudden, jewelry has several: not only do
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Exhibition Poster Emmy van Leersum Aldo Bakker Aldo Bakker, Watering Can Another noteworthy complaint involved the size and clarity of the text and photos. I found myself straining to read label information and decipher images. The font, at times, appears to be in the single digits. I speculate that this reduction is motivated by the
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