Theory of Craft

What’s in a Word

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 […]

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Idea as Material

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

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Kim Buck

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

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Material Fiction

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

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The Economics of the Critical Article, or Some Opinion Is Required

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

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Critiquing in Craft

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

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Punk Jewelry

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

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