a 20 second manifesto for the contemporary jeweler / artist : 

 

go outside and look around

harness and transmit your youth

remember to have fun

keep going

make dope ass shit

change does not mean death; don’t fall for the eulogy talk

bling is ok

fuck the manifesto

 

 

 

( WHAT CONTEMPORARY JEWELRY IS NOT )

Dear International New York Times,

Today I saw your A Cut Above Jewelry feature (from the Dec. 9 issue) laying on the table and decided to give you a read. I must say, you’re soooo confusing! I just can’t figure out why you’re using terms like, contemporary jewelry, or, conceptual and expressive, alongside luxury goods encrusted with diamonds and ridiculous gemstones that no one can afford from labels such as Graff. Is it that you accidentally misplaced the caption, “Straddling the frontier between craft and art, contemporary jewelry is not always pretty. Conceptual and expressive, its meaning may count more”? Or is it just a misguided opinion that you think this kind of stuff IS conceptual and expressive, you know, stuff that is absurdly expensive or can rarely even see in person/get any hands on? Do you think this stuff is conceptual and expressive just because it isn’t exactly normal jewelry or even young? Don’t you know there are things in this world that are really actually what you describe in that caption? I mean, you’re a newspaper, right? Aren’t you supposed to be more accurate? Wouldn’t you think you’d be more interested in things that touch on real topics, perhaps highlighting jewelry that actually is conceptual and expressive, birthed from meaningful ideas and more accessible to the average person? You know, stuff that isn’t just a crazy fantasy off limits to most your readers? Or actually just a product in the end? After all, it says in Suzy Menkes’ article, Graff has over 40 stores all over the world.

kelliepaper006

And then we have Nazzanin Lankarani’s piece featuring Cindy Chao’s work that you describe like so: “shaped by a sculptor, jewelry as an art piece,” with all this talk about the labor of a sculptor before Koons which was dependent on that artist using their own hands doing all the work from start to finish, and how Chao does that, as if it’s something unique to her, you know, a new revival of sorts. But it’s just not true! Again, that thing about accuracy. Am I to assume, International New York Times, that you think these kinds of “artists” in jewelry are few and far between? It seems to me like y’all decided to feature Chao because it’s neat she’s a one-man-band and all, and her work perfectly lines up with your bourgee aesthetic you oh-so consistently feature. But like I was saying, is this the best you can do considering this high jewelry/nature thing was maaaybbee conceptual during Art Nouveau (over 100 years ago)? But we don’t have to get into all that.  If you’re interested in featuring more compelling work, maybe even more today, while still holding on to your great need for glitz+glam, why not try to feature someone more like Philip SajetKarl Fritsch or Lola Brooks just to name a few? OH RIGHT you like naturey things a lot. OK ok, why not then look at Marta Mattsson or Mari Ishikawa, or check out this exhibition? Without trying to discredit Chao (as I do respect her work practices at the very least), these people I’ve mentioned are real artists and their work is part of an actual conversation, not to mention the fact that their ‘entry level’ jewelry starts at a hell of a lot less than $10,000-$100,00 like that of Chao. I’m just throwin’ out suggestions here. Can I ask another question? Other than aesthetically speaking, how is Graff or Cindy Chao really that different from the companies who paid for ads alongside these articles (Dior, Chanel, Cartier, de Beers…). At at very least this one from Bulgari below seems slightly more relevant in the sense that if I were rich I might actually consider buying that bracelet and ring set vs. a god awful heart-shaped emerald covered flower or something, but I digress… My point is that if you’re going to use this kind of language, you better get better at choosing the right work to talk about. This ain’t it. It is our language after all, particular to a field you obviously know little to nothing about (see artists I mentioned, they are a good place to start, or watch this video).

kelliepaper003

I’ll mention that this jewelry issue from December 9th isn’t completely inaccurate and out of touch, you do include the following bit about jewelry designers exhibiting their work at the Museum of London (which is great), plus a pretty good feature about Romanian designer, Carla Szabo, that talks about what she intends with her objects and local consumer culture.

Getting warmer, but let me ask my last question; why on earth did you feel it necessary to publish this ??? :

horror

Really hideous, NYT. I won’t even start, which is difficult considering the first thing one reads is “designed for woman”…. you know what, I will take that heart-shaped emerald covered flower thing after all.

Respectfully,

Kellie Riggs

 

—-

Full texts : Graff—> here / Cindy Chao —> here / London on Edge —> here / Carla Szabo —> here /   A-list Phone —> here

the linked video in this text is a lecture by Damian Skinner introduction AJF’s new book, Contemporary Jewelry in Perspective. 

aka Secret Recordings No.1

CONFESSION: Justified as research yet an attempt that left me feeling awkward and kind of embarrassed, I secretly recorded every single conversation I had with artists/gallerists/etc during Schmuck week 2012 in Munich, Germany. I am only now in the process of transcribing these conversations.

Over a year and a half ago I walked into Volker Atrops’ exhibition, No Stone Unturned, at the Zipprich antiquarian bookstore where we fell into a delightful conversation about perspectives on jewelry and its cultural relevance. Below are the highlights of our conversation (his text is black, where I chime in is grey), as well as images from the exhibition.

Images and info about his Munich 2013 exhibition are to follow.

Mr. Atrops has kindly given me his permission to post this text. 

——————————————————

2012 – NO STONE UNTURNED

OLYMPUS DIGITAL CAMERA

The jewelry scene is a special club. And this club works over the whole world and that gives you an impression that something is going on. For example, Otto Kunzli, my old professor, in this world, is quite famous. He has a lot of students – but when I switched over to my home country, nobody knows about the whole scene. And here (Munich) people come in and say oh nice show, maybe it’s been 60 people from all over the world. But if I make the same exhibition in my area nobody is really – it’s not inside the scene.  So that is a pity that is isn’t really cultural, there are only somethings – Peter Skubic, he put a silver plate under his skin, you know? It was a time -1979, punk, they started to make piercings… and so this has to do with the time. Jewelry was going into body manipulation. It was really special; it was a kind of culture. Peter Skubic was sensitive, but in general it didn’t come from the academies, it came from punk, from whatever, music, and I think for the schools, it’s a pity that all this talent and all this –

There’s nowhere for it to go.

Volker Atrops - No stone unturned

Yeah, if you study engineering, sometimes you make a new car, maybe, and the car drives on the street, and you’re part of the whole culture. And when we study here in the academies, in Australia, in Providence, or in Amsterdam, in Stockholm, it doesn’t matter, you make work – or it was like this- you make work just for the club… mostly, not every time. Sometimes people try to get over this kind of border, sometimes.

Volker Atrops - No stone unturned What is the ideal environment that you would chose for a piece of yours?

Environment?

Yeah, I mean where would you like it to live? Volker Atrops - No stone unturned

That is easy. That is, you! A girl, a boy… it doesn’t matter. And so for a show, I have often some show pieces, but not so much, not only show pieces, which is good in between – but mostly I try… big rings – sometimes so for collectors, or museum shows, for the serious goldsmith/jewelry art scene collectors, I make some bigger pieces. And also when you work for fashion, you work totally different, if it has to show up on the catwalk, it’s totally different work. It’s about the size sometimes instead of what it has to do with.

Volker Atrops - No stone unturned

What about problems relating to typical display conventions, of a gallery for example, and how that might distance the object’s pursuit for its idea environment on a body and everything it could mean…

Volker Atrops - No stone unturned

Environment… environment. I don’t want to show an environment. But maybe it’s a language problem… environment for me is this room or something. But this room, it’s like a living room a little bit. Because the pieces aren’t going out so fast, it’s not a product. All theses books had living rooms, and now it’s still kind of a living room. And to show is quite easy somehow – yes it’s best to do it also with privacy. If you decide to buy a jewel it has to touch you, it’s not about – you don’t think like a picture or a movie, or other art. So it’s totally different. When they come in (to the exhibition), mostly women, and they choose the jewelry, they make really fast decisions. I like it or I like it not, it’s really fast. It looks like it’s without thinking. And sometimes I wonder if it fits quite well.  Not every time, because sometimes it’s a collector and they want to show it’s from Daniel Kruger or Manfred Bischoff, or, it doesn’t matter. They want to show off they are collectors in the scene. Outside the scene, if you have a show somewhere else and people want to have a piece of jewelry and how they desire, is really pure. Because it has such an old history, older than painting. It’s very sexual, it’s like hair going into ornament… so it really has to do with life, your body, not dying…  so if you connect something to your body, it is what stays. You have something and you die and the warmth comes, and then it stays.

Volker Atrops - No stone unturned

Do you think the people that buy your work think about these things? Or are we the makers the only ones?

No no no. I think no body really thinks about it, but they know all about it. They have this in common in every culture,, everyone knows about it, everywhere. Ok so if I name it now, it is not so important because everyone know is it already but the don’t talk about it, they know it. But it doesn’t matter if someone, a little girl, if you put a nice flower behind your ear or something it is also kind of jewelry, it’s nice. The flower is a pure sexual organ, and people, humans, don’t think about that either, but they know. Do you know what I mean? I make myself nice with that attribute. And that is what is so important and more important for jewelry than with art, the art scene, and I don’t know other names…

Volker Atrops - No stone unturned

Would you personally like a wider more art based/intellectual audience for your work?

Yeah I like it. Most friends of mine – because I really like art, in Berlin, also I studied at the academy and most of my friends are artists, some of them are very good but not good at selling, and others are higher end, rich – and yeah I like it very much. Art is really nice, but I think for jewelry, it is really, really difficult. And with the quality of jewelry, it is so close to the body, this is the difference, it’s so close to, what do I say, life, humanity. In art you try to make the whole picture artificial, the whole life you want to show! In a movie! In an art piece, you want an artificial piece of life you want to show somehow, that is high-end art. In jewelry, you’re still a part of life and this is the difference. With jewelry you add to life a dead thing, but you add it, you know? You add it to humans. I add something to you. In art they want to make a whole picture and they make you a second time. Yeah it is quite easy.

You think it’s easy? Yeah but I make it really easy to explain.

Volker Atrops - No stone unturned

Sometimes I wonder why jewelry is marginalized or placed in a supplementary category, but other days, I think that all the things that define jewelry are so special and unique that why should I care if it doesn’t end up penetrating fine art. Why do I care? I care because I think more people should get to understand why we love it and appreciate it so much, I mean it was so easy for you to say all these things, that you say people know but don’t think about, but I would love for everybody to think about them, and I don’t know how to solve that.

Volker Atrops - No stone unturned

It’s nice, if you have people who are rightly educated or know about all these art things, it’s nice to talk… but the really basic thing is that these people sometimes lose the way, the professors… they’re really into this jewelry art and they sometimes lose the way, so they don’t get the point anymore. So they stretch the borders, it’s quite nice also…

Volker Atrops - No stone unturned

They might be trying to please too many people? 

Volker Atrops - No stone unturned

It’s also ok, and it’s also kind of cute… what could happen if they really stay or came to the real point? I said to Manon van Kouswijk, in the 1990’s was making a lot of pearl chains, this really really basic jewelry piece in a lot of ways… the sexuality, it’s pure, it’s a jewelry piece that has worked for how long make man can think. Something else that’s more culture, something like gold; if I make the same exhibition in my area where nobody knows about he jewelry scene and I make it in iron, it’s difficult, it’s not possible, not really.  Nobody will buy anything. They say, OH nice show! Oh, you have ideas? You are very creative, oh! But If I make the same show in a big city, or kind of the same show in gold, everyone would say, ahhhh, I want to have it, only because it’s gold, and so it’s about culture.

Volker Atrops - No stone unturned

I like this idea as an experiment, maybe making the same body of work in two materials yet indistinguishable, to see what would happen. 

Because in art there is also kind of – if you put something, everything, in Germany, in the white cube, and then you put something on a pedestal, that is something really important for a lot of people; Ahh that must be higher than me, also these things are quite important.

Volker Atrops - No stone unturned

**The textile pieces shown in this show were from the artist’s wife, Brigitte Atrops, as until 2010 she was part of the Berlin based label Boessert-Schorn. 

——————————————————

2013 – VINTAGE VIOLENCE

The background to the exhibition is as follows:

“Some time ago, I was invited to exhibit in a nineteenth century villa, where I made an exciting discovery. Behind the villa was a stranded ghost ship, in the form of an enormous, abandoned jewellery factory, the captain of which was still sitting behind stacks of dusty files and reading the latest newspaper. The ship’s lieutenant led me through the treasure-filled wreck… A year later my wife and I returned on a 14-day mission to hammer out the bitter remnants of the past. Embossing, punching, winding… the 1950s fashion-jewellery aluminium we found went into the early-industrial machines with such finality, that it was almost impossible to reproduce standard pieces, as is the case with genuine handicrafts. Through cottage-industryesque labour, the crude output of the machines was bound together into sheaves of lovely jewels. The pieces are numbered and stamped with BfG (Bund für Gestaltung / Confederation of Design ). The title “Vintage Violence” as well as the arrangement of the scene photographed for the invitation card are taken from a completely different context and originate from an early 1970s’ record sleeve (John Cale). Despite all the retrospect, the pieces are completely fresh and untarnished and were  on display for the first time in the Zipprich antiquarian bookstore, within the wider context of the Internationale Handwerksmesse ‘Schmuck’ exhibition.”

volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops - vintage violence volker atrops w/ CO

Hello readers,

I realize it has been a bit of time since I’ve posted anything. I’m sorry. I took a long summer while starting a new job and moving to a different city, etc. Now that i’m done ‘adjusting’ to all that I will break my four month spell of zero posts and leave with you this bit I have found in a book called, THE SECRET OF METALS. Being who I am – and who some of you are, i’m sure – I found the following to be pretty fucking sick; to be reminded why I was originally brought to jewelry in the first place is refreshing, especially so epically so, and especially among today’s mess of contemporary bullshit where I often find myself bombarded with plastics and resins and wood and paint and glue and readymades and other junk (if of course those things can ultimately be described as junky, that is).

—–

WITH THE HELP OF METALS MAN HAS ESTABLISHED HIS POSITION IN THE WORLD AND HAS TRANSFORMED THE FACE OF THE EARTH. THE CONCORD OF HIS BODILY FUNCTIONS DEPENDS, IN MANY IMPORTANT PROCESSES, ON MARVELOUS METAL-BOURNE EFFECTS. EVERY DECADE OF RESEARCH ACQUAINTS US WITH NEW FACETS OF A COSMOS OF METALS WITHIN US. IN THE WORLD OUTSIDE WE COME AGAIN AND AGAIN UPON NEW DEPOSITS IN EARTH, WHICH ENABLE US TO ADVANCE IN CIVILIZATION; IN THE INNER WORLD OF THE BODY, EVER NEW LAYERS OF ACTIVITIES PERMEATED BY METALS ARE LIFTED INTO OUR CONSCIOUSNESS. WE NOT ONLY BREATHE WITH IRON, BUT WE NEED COPPER TO FORM OUR BLOOD AND COBALT TO ESCAPE PERNICIOUS ANEMIA. AS THE METHODS OF INVESTIGATION BECOME MORE REFINED, WE CONSTANTLY DISCOVER MORE METALS TO BE REGULAR COMPONENTS OF OUR BODIES. WE FIND THEM, HOWEVER, NOT AS BUILDING BLOCKS IN THE GROSSER SENSE, BUT AS INSTRUMENTS BY WHICH OUR HUMAN ENTITY CARRIES OUT SIGNIFICANT PHYSIOLOGICAL ACTIVITIES. 

THE METALS AFFECT MAN NOT ONLY IN HIS BODY BUT ALSO IN HIS CONSCIOUSNESS, IN HIS SOUL AND SPIRIT. THEY SPEAK A LANGUAGE THAT CONVEYS THEIR NATURE MORE IMPRESSIVELY AS THESE EFFECTS MOVE INTO HIGHER SPHERES OF EXISTENCE. WHAT IS A MERE INDISTINCT STAMMERING IN THE REALM OF THE ORGANIC BECOME MORE ARTICULATE AS IT IS TAKEN UP AND UTILIZED BY MORE PERFECT REALMS– THROUGH THE REALM OF THE MERELY LIVING PLANT, INTO THAT OF THE ENSOULED ANIMAL, AND FINALLY INTO THAT OF MAN. FOR THE HIGHER OF BEING RISES AND THE MORE IT IS ABLE TO EXPRESS ITS OWN ESSENCE, THE BETTER IT CAN EXPRESS THE REGIONS OF THE WORLD FROM WHICH IT DERIVES. 

photo (5)

Really interesting dialogue going on at AJF between writer/reasearcher Liesbeth den Besten and Ornamentum’s Stefan Friedemann. I find that Liesbeth’s response to Friedemann also functions quite well as a clear and accurate breakdown of the systems of contemporary jewelry as compared to the fine art world, even a solid introduction. They are both definitely worth the read, as this kind of open and critical conversation doesn’t get much better. LET’S KEEP IT GOING

click below for their texts:

Stefan Friedemann: Letter to Liesbeth den Besten

Liesbeth den Besten: Letter to Stefan Friedemann

 

These texts are part of AJF’s In Sigh Series. 

Please visit the original post ——–> HERE 

BL: Loved your enthusiastic scribbling on Bourriaud. I have a problem with your working hypothesis (as usual!?) but like your dauntless crusade!

Where I find you err (!?) is that (1) you assume that the similarities between art and jewelry are what will bring them closer (2) you use as ‘proof’ an example that is particularly unhelpful: Bourriaud’s relational aesthetics texts encapsulates a ‘meaningful departure from the norm’ amongst contemporary art makers: a way of engaging the public that is new, exciting, and representative of larger social concerns. However, while it is new and exciting for art, it is old (and exciting) for jewelry: i.e. jewelry, as you point out, has always relied on a form of public sharing to function. So in my eye, ‘relational’ is not how jewelry becomes more like art, but how art becomes more like jewelry.

KR: I am smiling. And I both agree and disagree with you. Yes, perhaps it is old and exciting for jewelry, but it doesn’t hurt to bring those qualities to the surface and compare it to something so concrete in contemporary art (has it been done?), so that at the very least, dummies who have never thought about jewelry, in its old sense or contemporary sense, can at least take a new kind of pleasure in it, or consider it (even just a tiny bit) to be something bigger and more complex than they ever gave it credit for.

It’s more like, hey everyone, you think this bourriaud relational shit is cool? well guess what: we’ve already been doing that for… ever. so maybe it is worth thinking about, or at the very least enjoying. oh and here’s a whole bunch of jewelry that you’ve never seen before, or even knew existed! you’re welcome. 

BL: I am smiling as well. Comparing is fine, and the way you express it there is more to the point, I think. I would urge you to envisage the possibility that what will make CJ more ‘like art’ is precisely what makes it different from art as we know it.

This dialogue was taken from email correspondance on April 30, 2013. Mr. Lignel is my editor at AJF. 

IF YOU LIKE THIS:

elizabeth renstrom elizabeth renstrom

elizabeth renstrom

elisabeth renstrom

****************************************************************************************************************************************

THEN YOU WILL ALSO LIKE THIS:

mallory weston

 

mallory weston

mallory weston

 

*MWeston1

**************************************************************************************************************************************

appearing first: photography by ELIZABETH RENSTROM <====all photos taken from artist’s website

^(thank you matthew leifheit for introducing her to me through your super awesome MATTE magazine)

second: jewelry by MALLORY WESTON <====all photos taken from artist’s website

please visit the websites to learn more about each artist and their work

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