DIGESTING SCHMUCK 3: ARE WE TALKING TO OURSELVES? (part one)
Schmuck is a bit incestuous. Perhaps that can be said about the contemporary jewelry world at large. I tend to describe this world as a small, uncharted island. Indeed it is a very beautiful island where the weather can’t be beat, everybody is known and liked (nobody would dare say a bad thing about any one), and very few really want to leave. Whether that is because no one wants to build a bridge off of the island is a debate of its own. This all might be fine, after all, island life is quite delightful. But if no one crosses the surrounding waters, can new visitors from far away places ever really be expected, or welcome? Or can they even find it? This gets interesting when considering all the collective hype about the so-called ‘promotion of contemporary jewelry.’ But to whom are we promoting exactly, other than to fellow islanders?
Is anybody listening other than those who are doing the saying?
As I propose this question, I don’t even quite know to whom I am writing this blog post. Of course the islanders know what I’m talking about, as that’s how they all knew to attend/participate in Schmuck in the first place. But I hold my interest in the ways that the islanders are trying to engage a wider public or appeal to a larger audience, to those that have perhaps never heard of the island at all. What do –let’s say, foreigners—need to know? What do they know already? This to me seems impossible to gauge yet it is clear that it ain’t much. And what does the island have to offer to foreigners belonging to the fine art world? At the risk of exhausting an already mediocre analogy, the island of contemporary jewelry needs to think more about the benefits of tourism.
THE ROLE OF THE MUSEUM
I had the pleasure of running into Dr. Corinna Rösner, art historian and chief curator of the Die Neue Sammlung (International Design Museum) at the Pinakothek der Moderne in Munich while browsing the main Schmuck exhibition at the Handwerkmesse. She believes in the importance of the museum’s collection, a distinct entity from collections such as Pforzheim and specialized contemporary jewelry galleries. She has described work in the field as possessing “artistic will” deserving of a stronger relationship to fine art, and architecture. In the Jewellery Talks film (see in previous post —> here), Dr. Rösner expresses a need of looking to the future in the field despite the reputation the museum has to look back on history. How does the Pinakothek acknowledge this balance in a field relatively undervalued in the history of fine art (as opposed to applied arts)?
Here is the museum’s statement of concept:
With four major museums presenting art, works on paper, architecture and design under one roof, the pinakothek der moderne is one of the world’s greatest collections of 20th and 21st century art. The open and spacious building invites visitors to explore, to discover connections and gain new und surprising insights.
Perfect. No outward categorical discrepancies here. Jewelry as a category is listed under their permanent exhibitions (which means it can be seen at all times), as the Danner Rotunda gallery space is home to works by more than one-hundred international jewelry artists, with Hermann Jünger, Otto Künzli as past curators (Karl Fritsch is the current). Although the Pinakothek has showcased solo shows for contemporary jewelry artists like Giampoalo Babetto, Peter Skubic, and Robert Smit (future) alongside the likes of Donald Judd, Barbara Kruger and Olaf Nicolai just to name a few, the Danner Rotunda collection acts more as a historical summary rather than an image of the future. Imagine putting 100-200 paintings from a fifty-year period into one room. It’s true that jewelry’s history of conceptuality is not lengthy which means the community is much smaller (as are the pieces themselves), but still we have no categorical or artistic distinction between the individual works beyond that of the j-word. Is this fair? Although it pains me to express negativity to this undeniably wonderful collection in a real art museum, we do need to take it a step further. It’s not enough just to have the jewelry in a museum, even if the pieces do receive new sets of eyes because of it; the work needs to be treated equally with the same sense of criticality, selection, explanation and artistic representation. I have already expressed my feelings toward the Ädellab – The State of Things exhibition, also at the Pinakothek; you can read more —-> here.
Dr. Rösner and I only spoke briefly about the Pinakothek’s four independent museums, hers being the Die Neue Sammlung which represents design, jewelry and applied arts. Her curatorial position remains distinct from the fine art department, architecture department and graphic arts department, each with their very own directors. She spoke of the independence as a crucial element to the cooperation of each department, each with their own exhibition, collection and curating policies. I asked her if she valued then a distinction between the good work within the contemporary jewelry world being separate of what is considered to be contemporary art. “Yeah because it is not the same, although there are relations of course. So the big chance is to have it under one roof, but to have each piece from the museum to have its own power. Each director is fighting for his part.”
I then asked about potential overlap between departments, if there would ever be an exhibition that merged contemporary painting with contemporary jewelry for example, but Rösner could only speak to hope. She indicated a conservative nature of the fine arts department in regard to such collaboration, yet did say that a curator from the fine art department of the Neues Museum in Nuremberg (there are two departments, one for contemporary art and the other for modern design) is much more open as she is from a younger generation. Here’s a statement from the Neues:
Design and art are given an equal weighting and enter into a dialog – the idea of consistently adhering to such a policy represents a worldwide first and sets standards for the future.
Rösner told me that the museum has already hosted artists like Karl Fritsch, Lisa Walker and Annamaria Zanella. But more importantly, she mentioned that the contemporary art curator at the Neues, who I believe is Melitta Kliege, actually purchased a ring by Karl Fritsch for her own collection. This minimal transaction is a monumental sign that the overlap is in sight, at least here in Germany. “It’s like an invasion, working underground… it’s a process. One has to be patient and build the next step and then build the next step,” something Rösner says that can grow with the kind of energy felt at Schmuck.
Rösner reminded me that other big time museums like the Metropolitan Museum of Art in New York do, indeed, have contemporary jewelry collections, and the Met’s curator, Jane Adlin (associate curator for design and architecture in the Department of Modern and Contemporary Art), did in fact make the trip to Munich (Rösner had actually shown her around that very day). The Met’s website boasts a searchable database for pieces in the collection, however currently it is an underdeveloped educational tool if one doesn’t know what one is looking for. The contemporary work is sadly lumped with the historical and precious pieces, even though there is a clear knowledge of separation from past to contemporary (for example, read this bit from AJF —-> here). When comparing the Met to the Pinakothek, surely Munich takes the cake for better framing and acknowledgement of the field’s innovative potential, speaking more to a conceptual history than merely that of jewelry’s reputation as supplemental or decorative. Let’s also not forget that Dr. Rösner had to remind me the Met even had the collection, as they usually only devote one or two pieces to floor space (correct me if I’m wrong). In the Met’s defense, there are about 16 other departments to fight with for the floor space unlike the Pinakothek’s four, not to mention that most of the Met’s collection was donated just a few years ago. Step by step.
Bettina Speckner showcased at Schmuck
Jamie Bennett, Bettina Speckner, Tracy Steepy
Peter Skubic at the beer hall, slinging some of his pieces over pretzels (out of a tupperware !)
getting friendly, Wolfgang Rahs in the background
everyone was glad to see the Scmuck Bar
COMING NEXT IN PART 2: THE ROLE OF THE GALLERY