350 Words for Jewellery isn’t the kind of a book you’d bring on vacation. Instead, jewelry designer and researcher Barbara Schmidt’s deliberate prose leads the reader on an intellectually stimulating journey that roams broadly through the expansive world of jewelry.[i] Referencing 75 different languages, Schmidt follows the deep connection of jewelry to all aspects of […]
Angela Hennessy, Mourning Wreath (detail), 2017, synthetic and human hair, found hair, artist’s own hair, gold leaf on copper, enamel paint, chain, wire frame, cement base, base 267 x 183 x 91 cm in diameter, photo: artist Also in this series: Jewelry||Adjacent: Demetri Broxton’s Beaded Boxing Gloves Jewelry||Adjacent: Hollis Chitto Jewelry||Adjacent: Monica Canilao This
Jewelry||Adjacent: Angela Hennessy Read More »
Anna-Maria Saar. I wanted to marry. It did not work out. 2014. Photo Miecke Oosterman This article is about the most risky and radical material I know: the Idea. But I’d like to begin with a small prelude of a fateful meeting that made me think about this topic. A few years ago, I happened
Descriptors like innovative, funny, beautiful, masterful, cool, challenging, refined, and eye-catching are just some key words that describe Kim Buck’s work. In this interview, his thoughtful answers reveal much about what has sustained him over a long career; there is much to learn here. Ever evolving, Kim is a maker fully engaged and enmeshed in
Materiality and our understanding of how a material changes the way we interact with the objects around us has always fascinated me. I consider this one of the main reasons why people are excited about seeing and interacting with jewelry objects—we get to touch and physically connect to the artist’s choices to get the full
Gisbert Stach , Wurfmesser, 2015,videostill, photo: Simon Brucker Author jewelry seems to be changing its appearance in the practice of today‘s younger generation of makers. Jewelers are reevaluating their relationship to the medium, its spatial boundaries, the possibilities of its presentation, and the relationship between jewelry and the viewer/wearer. This new work often balances on
Beyond the Formal in Jewelry Read More »
A version of this lecture was originally delivered as part of a panel discussion on critical texts at the International Academy of Ceramics Assembly in Santa Fe, New Mexico, USA, in September 2012. It was then re-presented at the Talkfest organized by Philip Clarke (director of Objectspace) in July 2014 at the Auckland Museum, New
The Economics of the Critical Article, or Some Opinion Is Required Read More »
Classicism: “a brief, perfectly balanced instant of complete possession of forms.” —Henri Focillon, Life of Forms in Art Everything began with the sight of a wonderful and candid piece by Selen Ozus. I was looking at The Closest, and I had an intuition. The purity, the gentle image of a soft-edged pendant, made me think
Classicism in a New Era Read More »
In this panel discussion, which took place in the Chipstone Foundation Fox Point museum on May 26, 2016 during Zoom Milwaukee, artist Beth Lipman and English scholar Dr. Jamie Jones examine the notion of the skeuomorph—an object that bears a resemblance to an obsolete or bygone form of technology, in which traces of this technology
On Function: Skeuomorphs and Other Traces Read More »
This panel discussion, which took place at the Chipstone Foundation Fox Point museum grounds on May 26, 2016, during Zoom Milwaukee, explores issues surrounding contemporary criticism in craft. Panelists include Anya Kivarkis, associate professor of jewelry and metalsmithing at the University of Oregon in Eugene; Jeffrey Clancy, assistant professor in the department of art at
Critiquing in Craft Read More »
There’s a new genre of contemporary jewelry emerging in Melbourne. On the surface it appears connected through a shared aesthetic temperament. However, what more concretely defines this movement is a collective concern with new forms of social and cultural mediation and a sense of irreverence. The artists at the forefront of this development in practice
Stefano Marchetti, Untitled, 1989, sample of a brooch without a pin, silver, gold, patina on silver, 1 x 65 x 65 mm, photo: artist When the AJF tour group visited Italian goldsmith Stefano Marchetti (along with Annamaria Zanella) in September of 2016, it came to our attention that an interview with this skilled artist, who
In Conversation with Stefano Marchetti Read More »
