Chile is a land of earthquakes, but it isn’t just a case of the earth moving. In November 2010, the tectonic plates of the emerging scene of contemporary Chilean jewelry moved to unexpected places in this part of the globe. The catalyst? Ruudt Peters came to openly share his particular way of understanding contemporary jewelry, the […]
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On a terrible winter day in New York City, with snow piled up on sidewalks and narrow paths cutting through canyons of grey slushy muck, I made my way to the Museum of Arts and Design. On view was the exhibition Think Again: New Latin American Jewelry. With over 50 Latin American jewelry artists contributing almost
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Kambui Olujimi, Untitled from The Blackout Collection, 2010-11, mixed media, photo: Catharine Clark Gallery, San Francisco Each sculpture, a hybrid of equal part necklace and handcuff, hang on the wall throughout the gallery. The show is tidy, with each piece staying closely within a simple format. But within that format variations arise allowing for an
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TarraWarra Museum of Art is situated a short drive from Melbourne. Located in a landscape of rolling hills that juxtapose manicured vineyards with paddocks of dry grass and stands of aromatic gum trees, this impressive museum is home to the considerable collection of modern art donated, along with the building, to the people of Australia
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Installation, Adornment and Excess: Jewelry in the 21st Century, Miami University Art Museum, Oxford Installation, Adornment and Excess: Jewelry in the 21st Century, Miami University Art Museum, Oxford Kathy Buszkiewicz also uses money, in her case shredded money (obtained from the Treasury Department) to address issues of materialism, commodification and value/worth. It took her countless
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Installation, Karl Fritsch: Some Rings Are Fuckwits, Hamish McKay Gallery Installation, Karl Fritsch: Some Rings Are Fuckwits, Hamish McKay Gallery Available for close scrutiny, the raw power of the casting process and the artist’s fingerprints marking the surface of the soft wax in the shaping of each piece, are easier to read. The technical skill
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The recent renovations at the City Gallery, Wellington have seen some significant changes, particularly the Hirschfeld Gallery. This gallery is for the exhibition of local artists and used to be an odd lower-case, T-shaped space tucked in beside Nikau Café. This location, next to a bustling Wellington food venue, seemed to reflect the diverse shows
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Metalsmith magazine’s 2010 exhibition in print was curated by Garth Clark, a writer, curator, historian and ex-dealer gallerist who has been a leading commentator on ceramic practice. Titled Neo-palatial: A Curatorial Imaginarium, Clark’s curatorial conceit is to imagine his exhibition taking place in a faded eighteenth century palace in Europe that used to be occupied
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I was lucky enough to encounter Lisa Gralnick: The Gold Standard in three ways: as a viewer looking at the show; during a private floor talk with Gralnick; and as a reader of the exhibition catalog. A review usually collapses these three stages together, into a seamless text that is informed by many sources of
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Thomas Gentille, Brooch, 2010, eggshell inlay, India ink, metal, 101 x 75 x 13 mm The show at the dynamic four-year old Gallery Loupe includes some sixty Gentille brooches, all created in the last nine years. Thomas Gentille: Twenty-First Century could easily find a home at New York’s Museum of Modern Art, or any top-notch contemporary art
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Ornamentum’s current exhibition, History Repeating II, presents a collection of recent jewelry from Viennese jeweler Petra Zimmermann. This is Zimmermann’s first solo exhibition in the United States. Her work is a reflection on the overlap between art jewelry and fashion, mixing high-couture sensibilities with a twenty-first century ‘mash-up’ aesthetic. In Ornamentum’s newly renovated exhibition space, Zimmermann’s
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Fluvial erosion is a process that happens in a riverbed where there is motion – sediment accreting – and then a hydraulic action as the water drags across the surface of the bed and scrapes or erodes it. Fluvial erosion comes to mind on encountering John Iversen’s jewelry at Patina Gallery in Santa Fe. You
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