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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Karl Fritsch, Die Tranen Von Pandora, 2004, silver, various stones; oxidized To be clear, editor Marthe Le Van never uses the term ‘greatest hits.’ But she has taken the concept, turned it on its ear and produced a unique look into contemporary art jewelry spanning the past 31 years and published over the past ten
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This review was first published in The Journal of Modern Craft, v.3, n.2, July 2010, pp.269-272. And so here it is, the enormous catalogue to the Helen Williams Drutt collection, acquired by the Museum of Fine Arts, Houston (MFAH) in Texas and co-published by that institution and Arnoldsche. Presided over by Cindi Strauss, curator of
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Daniel Kruger, Necklace, 2010, enamel, copper, silver, photo: Uwe W Beier A dealer gallerist with 20 years’ experience is going to be closer to this subject than most other people. She comes into contact with a constant stream of new jewelry, is in constant touch with what the public likes (or doesn’t) and is constantly
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In the late 1950s, Dr Ümit Bir set out with his stethoscope in his bag, traveling around the world and including frequent visits to Turkey, his home country. In 1960, he met an architect, Dr Rudolph Steinbach, who gave the order to ‘start collecting!’ Trained in ‘the strenuous and exacting practice of medicine,’ Bir turned
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