Lyndsay Rice, False Plumage, 2015, installation, paper, adhesive, 243.8 x 259.1 x 27.9 cm, photo: Elena Dahl 1. For this final installment of the three-part series Beyond Unwearable, I would like to take a moment to reflect on the makers from my prior articles to give a richer view of the content of this third […]
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magic language///game of whispers September 10–13, 2015 The Nordic Craft Pavilion, Révélations, Grand Palais, Paris, France Curated by Katrine Borup, Agnieszka Knap, Anna Leoniak, Katarina Siltavuori, and Marianne Zamecznik Exhibition view, magic language///game of whispers, 2015, Nordic Craft Pavilion, Révélations, Grand Palais, Paris, photo: Blog Esprit Design Norwegian curator Marianne Zamecznik is a relative newcomer
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“Once formed into images and representations, surfaces become keys and corridors of perception, signaling immediate reactions, eliciting habitual responses, exciting associations, and awakening and establishing memory.”[1] Amelia Toelke, Dragonfruit, 2014, mirrored acrylic, 2.7 x 2.7 m, photo: Tinnakorn Nugul Looking at two very different makers, this article explores adornment in installation works and the ways
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Poster in situ, After Wearing: A History of Gestures, Actions, and Jewelry, 2015, Pratt Manhattan Gallery, New York, photo: Mònica Gaspar After Wearing: A History of Gestures, Actions, and Jewelry September 25–November 14, 2015 Pratt Manhattan Gallery, New York, New York, USA Curated by Mònica Gaspar and Damian Skinner Visitors to After Wearing: A History
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Within our field, which is at its core diverse, there is often a certain set of assumptions on what makers in the field “make”: the wearable object, the handheld object, the adornment object, the commodity object. In this text, and another two short essays, I will investigate emerging makers whose practices conjoin the methodologies of
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Sculptor Peter Rockwell in his studio in Monteverde, Rome, with a photo of jewelry he had made in the 1960s. Sculptor Peter Rockwell in his studio in Monteverde, Rome, with a photo of jewelry he had made in the 1960s. The first piece by Peter Rockwell that I had seen in person was a necklace.
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Museum staff and guests discuss items in display cases at the preview of Maurizio Nannucci’s retrospective exhibition, Where to Start From, at the Museo MAXXI, Rome Museum staff and guests discuss items in display cases at the preview of Maurizio Nannucci’s retrospective exhibition, Where to Start From, at the Museo MAXXI, Rome Does an all-too-familiar
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Exhibition view, Black on Black, 2015-16, Manchester Art Gallery, Manchester, photo: courtesy of Manchester Art Gallery 2015 Black on Black June 20, 2015–January 31, 2016 Manchester Art Gallery, Manchester, UK Curated by Jo Bloxham Black on Black is the latest jewelry exhibition curated by longtime Manchester Art Gallery collaborator Jo Bloxham. In her introduction, Bloxham
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Umberto Mastroianni, Meteora, 1970, necklace (detail), 18-karat white and yellow gold, made by Gherardi, diameter of disc 10 mm, depth of disc 25 mm, photo: Didier Ltd Didier and Martine Haspeslagh developed their gallery exhibitions around jewelry by artists and mid-century jewelers. Didier Ltd shows at fairs all around the world, including the TEFAF (The
Italian Modern Masters and Post-War Artists’ Jewelry Read More »
Sofia Björkman making a sketch with a 3D pen, 2015, photo: Jenny Edlund Sofia Björkman is a contemporary jewelry phenomenon and an example for us all. She is a trained artist, a self-taught gallery owner, a creative mother, and open to it all. How does one woman pack so much into each day? Her show
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Wunderrūma July 17–November 1, 2015 Auckland Art Gallery, New Zealand Three different Wunderrūma shows in three different locations with three different outcomes: Peter Deckers unpacks the first two quite different Wunderrūma exhibitions, one at Galerie Handwerk in Germany and one at The Dowse Art Museum in New Zealand, and ponders its third iteration in Auckland,
Wunderrūma: The Auckland Version Read More »
In the mid-90s, to use the word “curating” in the field of contemporary jewelry must have sounded exaggerated or simply incomprehensible. To think with and through the format of an exhibition in order to transform it into a discursive medium was quite unusual, especially if the statement was coming from an independent curator, who was
This Summer I Am Reading… Read More »
