Hello readers! I am pleased to announce a new reoccurring post, Misha Says Angrily, that will feature a short and sweet rant about the designer’s place in the world, or something of the like. Take what you will and maybe think about where we, the art jewelry world, may or may not fit in.

Nov. 11 2012

The hardest part of being a designer is being expected to know a comprehensive amount about art history, design history and craft history – and all these other lazy bitches just learn their own little sphere and carry on ignoring the fact that their entire man made surroundings are dictated by design – while maintaining that their sphere has some sort of intellectual or soulful (respectively) high-ground. I think that to be a designer means to accept this and take on the task of comprehensively regarding all three histories and current states while creating an object that has the additionally difficult task of being somehow usable – in the face of the complete lack of appreciation it will inevitably receive.

Misha Kahn

THIS IS A MUST READ!!!!!!!!

THE FOLLOWING WAS FIRST PUBLISHED IN METALSMITH MAGAZINE IN 2006 AS A RESPONSE TO A QUESTIONNAIRE SENT BY THE ACG AND WRITTEN BY ARTIST, BENJAMIN LIGNEL. 

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What does Contemporary Jewellery mean? 


Not very much, to anyone outside the profession; but the question is a helpful reminder that:

1/ in most countries, the debate will never find an audience outside the actual community that launched it;


2/ this is a simplistic label, falling short of the profession’s complex heritage and range of interests.

But it’s a tricky one, and I tried to list some of the ways one could answer it:




Contemporary Jewellery is a type of practice – understood as the contemporary offspring of a craft-based design activity that finds its origin in medieval workshops. Such a definition stresses contemporary jewellery’s historical past, and finds antecedents in the British and American Arts & Crafts movements, the renewed late XIXth century interest in manual skills (as a last stand against industrialisation), and the emergence of radical jewellery movements in the 60s: it underlines the notions of individuality, craftsmanship, and its troubled relationship to the production mainstream;

or a type of object: poised between high-street jewellery and art (the former’s glorified other, the latter’s poor relative), we know what it’s not (‘just’ manufactured artefacts for wearing), and what it wants to be (the expression of individual talent that reflects on, and sometimes influences, contemporary culture), much less what it is. 
A few distinctive characteristics, however, seem to be beyond debate: the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; the distinctiveness we associate with individual expression; and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.



It could also be defined as a market (I follow here the argument that cultural artefacts are defined less by methods of production than by distribution, accessibility and ultimately, potential impact on a larger consumer base). In most countries, a limited number of galleries take care of both distribution and promotion – while the designer-maker is expected (if (s)he wants to make a living) to be represented by at least five galleries, and complement consignment sales by direct, off-the-anvil transactions. From my point of view, the Contemporary Jewellery market works in ways similar to the art market, but on a scale so small, that its lack of visibility questions its existence.

So then: most jewellers would agree that Contemporary Jewellery is a fast-evolving profession at a crossroad between craft, design, and art, currently ridged by identity concerns. However, I think that the problem, rather than one of identity, is one of image. Although the lack of an established definition has contributed to an extremely rich range of output -personal answers to a collective question- it seems that diversity stands in the way of a more cohesive front, one that would focus on explaining to people that there is a life after Cartier, Pomellato and Tiffany’s. And the unsuspecting public still lumps the practice together with its craft-based past, judges its production on a par with high-end (or any other) jewellery, and considers artistic ambition rather like a presumptuous fancy (unless one equates ‘artistic’ with ‘skilled’, ‘meaningful’ or ‘committed to self-expression’).



This happens at least for two reasons:

Firstly, there are not enough of us to rally a larger population to Contemporary Jewellery’s standards: exposure is limited by the output (there are comparatively few jewellery design programs, fewer graduates that stick to the trade, and not many pieces produced per year per jeweller). This scarcity of active jewellery makers is further complicated by our cultural antagonism with serial reproduction -and therefore, bigger distribution (1). A cynical bystander would add: this is a micro-profession, which means little appeal to the press, anaemic cultural budgets, no specific courses in the history of Contemporary Jewellery (to my knowledge), and therefore, no history. As a result, Contemporary Jewellery is always deemed a subsidiary activity, on the margin of mainstream jewellery creation. 
Secondly, designer-makers are by nature a/o trade, uncommunicative, or certainly not prone to enthusiastic pamphlet scribbling. Who’s ever heard of Contemporary Jewellery, outside its confidential network of galleries and specialised clientèle?

The situation, and this is my point, demands more than just communication: instead of shunning assertive promotion/information strategies (for fear of contamination?), we must resist inertia from within and without that confine Contemporary Jewellery to its ill-defined (but restricting) marginal position, and explore new means of proliferation.

So we should communicate more. And explain our intentions. But in the end, let us not be too intent on defining our practice as one thing only: if anything, I would even drop the ‘Contemporary’ or ‘Studio’ used to qualify this jewellery: whatever specific meaning it may have had is now superseded by a vague sense of institutionalised ‘otherness’.



Let’s be proud, and call it jewelry.

THIS TEXT IS LINKED ON THE BLOG ON THE RIGHT SIDE OF THE PAGE UNDER PRACTICAL INFO…

IF YOU ARE IN OR NEAR THE PROVIDENCE, RHODE ISLAND AREA, PLEASE COME AND SUPPORT RISD’S JEWELRY + METALSMITHING DEPARTMENT BY VISITING AND PURCHASING SOME AMAZING (AND AFFORDABLE!) JEWELRY AT THE POP UP SHOP DURING THE DEPARTMENT’S TRIENNIAL EXHIBITION AT WOODS-GERRY GALLERY!!!!  CURRENT RISD STUDENTS, FACULTY AND ALUM ARE PARTICIPATING, INCLUDING:

TRACY STEEPYKEVIN HUGHESJIMIN PARKSARA GLABERSONANDREA WAGNERELA BAUERJOHN PRIP, MIELLE HARVEY, LORI TALCOTT, JOHAN VAN ASWEGEN, SISSI WESTERBERG, MALLORY WESTON, YOSHIE EDNA, MANUELA JIMENEZ, KATELIN GIBBS, ME,  AND MANY MANY OTHERS!

SATURDAY NOVEMBER 10TH AND SUNDAY NOVEMBER 11TH ARE THE VERY LAST DAYS!!! 

LINKS:

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The following is a delightful review of Gallery Loupe’s recent show, The Birthday Boys by ≥’s first guest writer (!), Misha Kahn. Please see the previous post for photos. 

Kellie was visiting me in NYC, over at my house trying to convince me to get on approximately 15 trains to go look at tiny things in Montclair, New Jersey.  It was one of those Saturday afternoons that puts you into a sleepy daze, the kind that doesn’t make you want to trek out into the boonies for really anything one ain’t able to afford.  But after a bit of convincing I came along –  I’m not entirely unfamiliar with contemporary jewelry, but my understanding of it is largely through an easy comparison to my own playing field – furniture.  It’s a similar set of problems, mostly peoples’ curiously rigid logic that design or craft or art should all get processed in different parts of the brain.  Sure, aesthetics can translate but at the end of the day that little pin-back or those four legs force it into some other part of cerebral processing.  And, rather hypocritically, I process most of these types of “craft” media in terms of whether or not I want to own it, wear it, or put it in my house.  Unlike most people though my fantasy shopping isn’t limited by comfort or practicality or really any pragmatic concerns that the mainstream would use to evaluate “design” objects.  

Let me tell you, I wanted everything at this show.  Now, let me tell you why:

The Birthday Boys’ work was divided diagonally down the gallery, between a line of optically perplexing mirrored structures with delicate metal feelers on one side and little nuggets of perfection on the other, part memphis part maquette part tiny silly color texture pattern blocked objet d’brooch.

Peter Skubic’s mirrored mini chosms where like tiny little fun houses for your lapel.   The way they reflected your face, fragmenting it and introducing your neighbors faces and body parts, re- configuring them felt reminiscent of a Hockney joiner or cubist painting.  This way of seeing makes so much sense, because we never really see anything without processing it, introducing our own knowledge and memories of what surrounds us.  These brooches function as glasses for seeing how we see –  allowing us to see the room unpeiced, before our brain assembles these parts.  The delicate feelers reaching out had the effect of an antanea, making sure the wearer didn’t bump into anything too close, but it’s easily altered forms become a memory of the space that the object has encountered, recording each of its run ins with its new, altered shapes.  The pieces become a collection of memories, those recorded, and those of the moment, deconstructed and put on view.  This to me seemed a more than valid justification for making a slew of objects that for all intensive purposes where quite similar.  Because they were about this alteration of space, and this shattered view they worked more strongly in this extensive line up.

Although within contemporary jewelry there is no surprise when an object falls outside the mainstream convention of sparkly/shiny/precious, and since the other Birthday Boy was working with such high, reflective sheen, Thomas Gentilles felt extra fresh.  Because of this, his work seemed even more reminiscent of the Memphis response to the largely chromed, sleek furniture of the early 80’s.  His use of color, mixing pattern and play between angular construction and more imaginative shape and proportion added to this connection.  However, on this scale the play between shape and pattern became far more engaging.  As much as I hate to ever call things architectural, being as unimaginative as saying “it’s nice”- these brooches had some qualities of miniatures that forced this connection.  Trying to imagine them blown up I was displeased, but at their current size, with the detailed prints of shattered eggshell they felt like pocket size maps to imaginary worlds.  It was as though he discovered some secret area where a miniature only works at that size – a rarity in the object world where scale is frequently arbitrary or as large as the market will allow.  In this brooches he created the effect of a window – functioning in such an abstract way – that one might be looking at Gentille’s world from a 10,000 foot altitude or standing so close its about to go out of focus.

Gentille’s play of scale and distance in conjunction with Skubics alteration of vision and memory made a show that left you in a blissful imaginative daze.  Wandering back into the streets of suburban New Jersey feeling adjacent to standard space and time — all conjured by something to wear that on a Lapel – that is really something.

Misha Kahn,  RISD BFA Furniture ’11 and Fulbright Fellow, Israel 2011-12, lives and works in Brooklyn (surprise!), New York. 

THE BIRTHDAY BOYS – Thomas Gentille and Peter SkubicGallery Loupe in Montcair, New Jersey, Oct 09 – Oct 30, 2012

the following photos are from the opening on oct. 20th

more info to come about the pieces on display ! 

both artists will be speaking at Brooklyn Metal Works on Oct. 21st. click —–> here for more info!

Alchimia Blog

The September issue of Texte zur Kunst  (one of the world leading magazines for contemporary art) reflects on the current state of criticism.

‘The end of art criticism has been predicted for quite a while now. As far as we can see, the dilemma, however, is not that criticism is no longer possible or can no longer be articulated, but that the will to engage in debates within art criticism is lacking. But for what purpose should art criticism be formulated, if not primarily to enhance its own discourse? In the best case, art criticism is an open process in which contentious voices are continuously involved in negotiating the possibilities, principles, and questionable aspects of artistic production. In view of this ideal, we call for bringing contention and dispute back to the centre of art criticism, to force it to engage in a serious debate. Dissent in art critique and…

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A unique example of jewelry being accepted as art…. or at the very least, snuck into the Met via an acquisition by the Department of Nineteenth-Century, Modern, and Contemporary Art !

From the 92Y blog, May 2011: “Wahl was trained as a jeweler and sculptor, and started this series of drawings as a response to the launch of his own jewelry line. He noticed that some people were puzzled that he creates both sculpture and jewelry, as though, he says, they were oil and water, instead of being linked to and informing each other. Looking at some pieces of Victorian mourning jewelry one day, he realized that many of the pieces, designed entirely in black and intended for adornment during the long period mourners were not supposed to wear gold, silver or bright colors, looked like sculpture. “I thought I’d try drawing them on a much larger scale,” Jonathan explains. “If they were blown up that large, they would read as sculptures, not as brooches, and people would see the common ground between the two art forms.”

Read full text here: Being Featured In The Met: ‘Like Receiving An Academy Award’ – 92Y Blog – 92nd Street Y – New York, NY.

Wahl’s work is characterized by a technical brilliance, allowing the artist to replicate a specific aesthetic found in the history of jewelry adornment. His scale shift indicates that a greater importance should be given to the chosen reproductions, forcing the viewer to pay attention to detail and appreciate the forms. The success of his work does not just rely on Wahl’s drawing skills, but it’s also due to his choice selection of era. Victorian mourning jewelry is forever contemporary, made timeless by its facets, symmetry, use of chains, and of course, its jet blackness. Wahl’s hand skills reflect those necessary to actually create a piece of jewelry like those found in his drawings, closing the gap between art and jewelry’s alleged differences, while indirectly educating the general public about moments in the history of jewelry. These drawings may spark conversation and interest into the world of contemporary jewelry with a question as simple as, what else is out there today?  For Wahl, and in this case also for the Met, jewelry ≥ art. 

photos taken from artist’s website 

Dear Readers,

I’m reposting my review of Alchimia’s graduation show (it was first published on the Alchimia school blog) so that I can include more photos to better illustrate some points and to show a bit of the opening from last June. PLEASE ENJOY.

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WHY ON EARTH WOULD YOU WANT TO WEAR A LEMON? 

A review of PURUS, graduation exhibition of Alchimia Jewelry School, Florence, Italy

Multiple yellow citruses suspended in the foreground of woolly red and fleshy pink masses only scarcely hint to the world in which these puzzling objects belong. The hanging work seen through the large window of Alchimia acts as a mysterious aperitivo to the average passerby surely stumped by the question “what is this I’m looking at?”

To those of us familiar with the world of contemporary jewelry, hearing questions like this is common coming from others unaware of this unique and expressive form of art. But interestingly, even to the most acquainted sets of eyeballs, most of the Alchimia students’ pieces begged for similar inquiry. Due to the diverse content and spatial limitations inherent to graduation exhibitions, finding an appropriate method for review is a bit tricky. Unlike a normal group show, where collected work circles around a central theme, Alchimia’s PURUS, a title that mirrors the mutual curiousness of the content, showcases small collections of eleven very different emerging artists.

Upon entering, the gaze is focused straight ahead. Angular white tables hang from above, covered with what from a distance looks like delicious confections of white, light blues and soft pinks. Before the first table is reached, attention is indirectly diverted to the coat racks to the left. A double take is needed before realizing that the exhibition’s only true installation is what hangs on the wall.

The series of Izabella Petrut (Romania) is a self-proclaimed love story retold by dismembered roller blades and skating paraphernalia–turned jewelry objects. Pinned to and draped over similar colored clothing and casually thrown about denim, the work in hues of slate, cold blues and off-whites is tangled in disguise, as Petrut’s series seems at first to be hardly sentimental. Choosing titles for her shoe lace-wrapped wheel brooches like “sunrise on the beach…” and “the first morning…” the question that remains is whether the work really does retell the love story that the pieces represent, or if we can accept and maybe even enjoy the visual disconnect between object and intention.  The especially flesh-toned wheel brooch (installed pinned to a shirt draped over a stool) starts to bridge this gap by insinuating a bodily connection. Ultimately, the relative ambition of the installation can be appreciated in comparison to other setups. Petrut’s ability to mirror the subtle yet familiar essence of the physical objects can be thanked for its success. More importantly, Petrut’s series, A Love Story, stays true to the jewelry’s position as the emotional and the everyday, while effectively avoiding aesthetic (but perhaps not verbal) redundancy and trite clichés.

With regard to exhibition install overall, the show starts on a short-lived high note as few other artists were allotted such a generous space for contextual display. Spatial constraints of the room could be partially to blame, certainly. But could it also be due to a lack of consideration and/or demand for an apt theoretical framework to the work? For some artists, perhaps yes. For Patrick Davison (Great Britain) however, his series Talking, isn’t in need of such support. Davison’s pieces stand autonomously on the first of the white tables, paired appropriately with Guilia Savino (Italy) and Weronika Marek (Poland). The series title is a delicate boost to their aesthetic independence –a product of a transcendence of materials (plaster or latex with silver and string) and a continuity of idea that elicits a strong lasting impression. Hot and delicate breath carried through a succession of string lifelines is evidence of a symbiotic relationship where talking is in fact making for Davison.

Davison’s necklaces ask to be picked up for a test of weightiness and to be seen elongated from all sides, not unlike the work of his tablemate, Guilia Savino in her series, Shhh!. It is apparent that both Davison and Savino would have greatly benefited from some room to breathe, as would have Marek. Collectively their subtle natures begin to infiltrate one another, diminishing the three aesthetics and conceptual underpinnings that uniquely demand individual isolation.

A division does endure between these three artists despite the close quarters, characterized by diverse explorations with material. This can be said for most of the Alchimia graduates, yet certain artists more soundly developed profound bodies of work that surpass a reliance on material as concept. How does materiality relate to the overall strength of a piece? Marek’s series, Into Emptiness, is worth mentioning here. The name, the objects—brooches comprised of cold cylinders in softly melting shades of icy blues and whites—and the sentiment all add up; knowing what they are made of is more of an added curiosity than it is crucial.

Across the room on an identical white table, Sam Hamilton’s series, Praise, (paired with the work of Ji Yang Lee, Korea), contributes to the dialogue addressing material strength and meaning. Being one of the more ambitious material explorations presented, it can perhaps be said that she is only getting started. At first it seems Hamilton’s internal and bubbly growth-like resins struggle to rationalize why they need to belong to the world of jewelry at all—yet this thought is quickly confronted after seeing the pieces contextualized. Small photographs of classical statues ornamented with Hamilton’s necklaces and a series of flipbooks showing continuous stages of process accompany the collection. Also thinking about communicative framework like Petrut, Hamilton (Ireland) is the only artist who thought to pair photos with the physical. They are important vestiges like her books, but should have been blown-up and presented as equally valued works. The images are beyond supplemental and positively mimic the praiseful and candidly personal satisfaction that making (and wearing) brings to the maker.

So then what does it really mean to put on an artwork, to adorn oneself with a summary of feelings, past events, ideas? Where can a personal connection be found, between maker and object, or object and future wearer? Some Alchimia graduates were capable of asking and simultaneously answering questions like these; Hamilton’s Praise serves as a humble example. Valentina Caprini (Italy) pushes it further by presenting a fresh take on the fundamental roles of jewelry vs. a devotion to them, successfully achieving equilibrium in her series, Therapy. The distinctive collection, displayed suspended from the ceiling (one of two collections first mentioned seen through the window), is so aptly titled that one can walk away with the word slipping off their tongue without having known it prior. Caprini’s work speaks on multiple levels including reinvention of tradition, making/wearing as healing, self-growth and remembrance, and femininity. The four woven necklaces into which pills have been sewn (and the trio of fleshy brooches) independently possess a strong emotive presence owed to the delicate and deliberate touch of the artist. In addition to a unique tactile quality, Caprini has involved an accessible depth to her work worthy of further contemplation.

Nearby, and in quite a stark contrast, are the dangling lemons by Catalina Gibert Nadal (Spain). Visual impact initially denies their alliance to the jewelry realm, as they seem to function as a sly ploy to get a wider audience through the front door. It works, strangely, and even stranger is why these mysterious lemons (some are brooches, others are long necklaces that would hang past the waist) are objects that someone would want to wear to carry the weight of. This moment of questioning is arguably part of the work itself, which becomes a sophisticated element provided that it’s intentional. In this way, Gibert’s Llimona series is perplexing; a delightful intrigue into the artist’s background and from where came her firm commitment to the citrus.

Located on the second of white tables near the entrance, the culturally referential collection, Sontob, the Korean word for Fingernail, similarly raises questions about the influence of place and why one decides to be adorned with specific things. Dinah Lee’s series (USA) can also be compared to Caprini’s insofar that Lee’s brooches are better synched to the concepts behind jewelry versus the aesthetics that identify it. If one can be convinced that the abstracted imagery denotes more than an empty semblance of a loyalty to heritage, the colorfully rhythmic brooches act as new traditional symbolism reflecting jewelry’s responsibility as a social and cultural signifier.

An initial critique of Lee’s collection would be to say that the presented work feels a bit redundant, or could have been pushed further. Before drawing this conclusion however, it is well worth looking through her published book that each graduate was required to provide as an accompaniment to his or her collection. The books are worth mentioning; some are able to enhance the shown work, as in the case of Andrea Coderch Valor (Spain). Hers is able to enlighten the viewer as to the true intention of her 150 pillowy-sewn flower brooches, each made one day at a time over the course of six months for one specific person. Coderch’s story is half the work itself; her book provides depth and closure to the physical objects installed for exhibition in a grid on its own wall opposite the book display.

More simply, the beautifully shot photographs found in Marek’s book reveal the quieter, poetic details of her pieces that can easily be overlooked in person.

Other books begin to call into question the selection decisions of curator, Christoph Zellweger, by exposing what he decided to include in the show and what he has decided to leave out. For example, some of Davison’s stronger and more varied pieces are excluded, similar to Lee, and the same goes for Anna Helena Van de Pohl de Deus (USA), Lee’s display tablemate. Helena’s exhibited work becomes more so affected after looking through her book. Not only does the book show more interesting works, but it also reveals a disconnect between concept and final product. By including a lot of quotes about talking, silence and language, Helena’s book proposes that the objects for her series, com∙mu∙ni∙ca∙tion, are supposed to stand in for her own communicative inabilities. If they’re meant to speak for her, what do they actually say? Her painterly neckpieces of pinks and natural wood are compositionally pleasing and probably fun to wear. Are these merely visual qualities lessened by the mismatch of object to verbal framework, thus failing to really say anything at all?

When an object strikes the right balance of message and mystery it develops a captivating nature.  In terms of contemporary jewelry, one hopes this balance manifests into a desire to touch and to wear, hence creating a moment of exciting personal connection that characterizes the object’s success. The goal of this review is largely to speak about where in the exhibition this balance can be found so as to respect the dedicated investigations and personal growth (guided by artist and teacher Ruudt Peters) of each Alchimia student mentioned.

It can now also be said that the show’s abstract title, PURUS, Latin for “pure and free from”, ends up being quite a good match. Most of the collections are significantly personal; they are extensions of the individual that qualify a sense of pureness true to the maker, a quality not always found in the world of contemporary jewelry at large. By remaining free from one another and free from material limitations, the name too embodies the search for balance that the majority of graduates were ultimately able to discern.

Alchimia’s PURUS will travel to Joya Contemporary Jewelry week in Barcelona on October 11-13, followed by SIERAAD Art Fair in Amsterdam, November 1-4, 2012. Additionally, the work of Izabella Petrut, Weronika Marek and Dinah Lee will be showcased at Galerie Marzee in Nijmegen, NL for the 2012 International Graduate Show.

THEY ALWAYS COME BACK

placesofpause

when the old man took his place on stage and began to play all the room fell silent.  it was the blues – he played alongside a young man – their two pianos angled inwards. they played off of one another – with one another – i wondered who they were.  i looked at the old man, i was sucked right in.  his white hair – his thick horn rimmed glasses – his silver rings : one on each finger – his seemingly frail silhouette – his black high top chuck taylor’s sporting flames.  he was gentle yet aggressive and played with a refreshing looseness that conveyed his level of comfort with his instrument – and yet after years of mastery he was coy – humble. they jammed – i watched – and when it was over neither one of them spoke a word – and left the stage with…

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In mid May a friend and I took a day trip to Ferrara to eat some good pumpkin ravioli. When wandering around, we stumbled on a surprisingly good exhibition entitled, VIOLENCE, L’arte interpreta la violenza (art interprets violence). The following images are select works from the show. I kindly encourage you to ask these questions while looking:

IS THIS ART OR IS THIS JEWELRY?

OR IS IT NOT THE SAME GOD DAMN THING?

Curated by Lola Bonora and Silvia Cirelli, the group show was part of the XV Biennale Donna, or Woman Biennial , and located in Ferrara’s Padiglione d’Arte Contemporanea (or PAC Museo). If not already clear, the works shown do not belong to the realm of contemporary jewelry, YET THEY COULD. On the surface, both pieces are obviously aesthetically linked to similar work being produced by artist-jewelers, and when more thoroughly investigated, their conceptual underpinnings act as confirmation to the relationship between the two realms.

Had this work been a part of a contemporary jewelry exhibition and the artists from a background of jewelry as well, how would the framework of the show been different? The first image, Peso (or Weight), 2006, is by Regina José Galindo, a performance artist I have previously mentioned on this blog because of her similarities to practices found in art jewelry, namely her devotion to the body. Peso is described as a framed lambda print on forex, made singular by the physical absence of the chained object that adorns the wearer in the photo. If Galindo were a contemporary jeweler, I would be willing to bet the object itself would also have been on display. Whether or not Galindo would have hypothetically made the chain by hand perhaps does not matter in this case due to the strong visual connotations the piece carries with it. The audience would also probably know whether or not she had done so, as the written framework usually highlights this aspect and more clearly communicates the materials used when it comes to conceptual work in jewelry. If it wasn’t hand made, the chain would have most certainly been indicated as a found object. In the present context however, the audience knows nothing of make or material and that’s because it really doesn’t matter. As such, the idea, the message and the visual impact is all the more highlighted and not weighed down by material discourse like it so often is in contemporary jewelry.

Below is a similar work of artist Gisbert Stach entitled, Fitting, 2008, a 29 minute video showing a woman being repeatedly adorned with chains until she is holding 30+ pounds of weight on her upper body. This piece was not a part of VIOLENCE. 

Fitting was a piece included in the exhibition What’s in a Frame?, a collateral show during Schmuck 2012 in Munich. Although part of a contemporary jewelry fair, here we can also ask ourselves, IS THIS JEWELRY OR IS THIS ART? When considering work like this, especially in relation to a piece like Galindo’s, the question becomes almost unnecessary and silly. I’ll mention that chains  adorning the woman in Stach’s film were also not on display. Like Peso, they simply did not need to be; Fitting was much more about the collective power and physical burden. Gisbert can be described as a trans-disciplinary artist heavily tied to contemporary jewelry yet is not limited to any particular medium. He also regularly makes work with Rose Stach and they exhibit as a duo.

Naiza H. Khan’s installation for VIOLENCE included four galvanized steel armor sculptures entitled, Armour Suit for Rani of Jhansi (2008), Armour Lingerie IV (2007), Armour Lingerie V (2007), and The Robe (2008), as well four photographs from the series, New Clothes for the Emperor. When considering if Khan’s works had been part of a contemporary jewelry show, the audience would probably assume that the artist had personally made the armours, but here we do not know, and again, it is not so important. I myself would be interested to know one way or the other; kudos to Khan if the metalwork was done herself. Is the question of who made the work a shared curiosity or is it my background as a jeweler that has sparked this interest? As a maker, I also walked around the hanging armours and thought about how well or not-so-well they were made. This is another typical discourse in contemporary jewelry when distinguishing weather the work is good or bad, but in this scenario, it hardly matters.

Below is a poor photograph of the write up for Khan’s work.

The show’s specific theme of violence meant that most of the included work had a strong and central tie to the physical body, an obvious fundamental seen in the most interesting works within  conceptual jewelry practice. Although much less visually linked on an obvious scale, I found Galindo’s prints, No perdemos nada con nacer (2000) to be similarly relevant. Like Khan, the use of photo documentation as an effective tool for reading the work remains to be underutilized in works in jewelry artworks. Here we can take note and follow the example of how Galindo gives her work a very specific environment that without which would fail to mean much of anything.

Yoko Ono’s adaptation of her 1965 performance,  Cut Piece, can also be abstractly tied to the world of jewelry. The performance, which included a seated Yoko Ono and an invitation for members of the audience to come on stage one by one to cut off pieces of her clothing, emphasize the necessity of interaction as the functioning role to the success of an artwork. “Yoko Ono’s body becomes in itself the performance with an exchange of roles where the spectator is turned into the protagonist,” states the writeup; the point of which mimics the inherent foundation of jewelry objects once adorned and living in the world. The statement also mentions subordination, the passivity of women and the lightening of spirits, concepts that are historically buried beneath jewelry’s societal past, truths that can almost always be dug up from any jewelry object if looking to find it.

Loredana Longo’s site specific installation for VIOLENCEFloor#5 Triangle Shirtwaist Fire, utilizes recognizable, found materials (once worn clothing) and visitor participation to communicate the magnitude of a past event. Longo shares the sentiment that her work is not complete until truly engaged, the same way that some jewelry artists only see their work as complete when worn on the body. Tactile and physical demands are present and therefore imperative, tampering with the approach to the artwork that ultimately exploits a specific emotional ingredient and connection. Here is one strong example of where visual art and contemporary jewelry share a common ground.

Lydia Schouten’s installation, A Virus of Sadness, is also worth mentioning here. I think it poses questions to the likes of whether contemporary jewelry works could ever rise to a similar occasion and demand a larger and more thougful framework for exhibition. Do objects, small ones at that, harness the same capabilities to tell a story like this? Works in jewelry are capable of being equally confrontational. Are we interested in thinking bigger?

Perhaps the biggest question to ask is whether or not a contemporary jewelry artist like Stach or anyone else working similarly (Shari Pierce could have kicked some ass in this show particularly, Christoph Zellweger and Hilde De Decker are worth noting for thinking more abstractly exhibition wise… just to name a few) would ever be included in an contemporary art exhibition. After all, our world exists on a parallel and basically invisible track to the fine art world. We need some cross pollination. But first, and like I said earlier, we need to think bigger. Taking cues from exhibitions like VIOLENCE will benefit just about everyone, jewelry related or not.

Shari Pierce, detail of 300 Sex Offenders from Within a 5 mile Radius, installation

Shari Pierce, Detail of 300 Sex Offenders Body Piece

Blue and White Jean Dress with Small Blue Flowers, Age 42: USA, Part of She LL Project

http://www.sharipierce.com/shell_project_archive.html

Saturday the 9th of June marked the inauguration of 4 Padovani e un Torinese, presented by Maurer Zilioli Contemporary Arts. A humble space in the center of the small and beautiful northern Italian town of Brescia, the gallery is a rare dose of contemporary culture, currently housing what I’ll call today’s traditional in Italian contemporary jewelry and sculpture.

The Padovan representatives were Giampaolo Babetto, Graziano Visintin, Renzo Pasquale and Annamaria Zanella, Bruno Martinazzi from Torino; the five artisti-orafi are legends in the field for those that don’t know. Some of the artists from Padova showcased new works with recognizable or iconic pieces also mixed throughout the gallery. Framed drawings from the research stages of their processes were also hung, acting as their own strong and singular works while simultaneously welcoming the viewer into each artistic process. For me this addition was quite the bonus and pulled the show together by adding substance to the singularity of each sculptural piece. Perhaps it could be even more substantial to outsider perspectives; the drawings act as indicators to thought, research and thorough investigation that suggest the practice of each maker to be similar (if not the same) to methodic visual artists outside of the jewelry sphere.

Pieces by Renzo Pasquale

Pieces of jewelry and drawings were not the only works presented. Works by Zanella and Pasquale took shape in much larger forms, a departure from the formal scale limitations of jewelry objects. Pasquale’s clear acrylic sculptures can be seen as a natural shift, having been known to integrate the material into his previous works in jewelry. Zanella implements a material shift as well as a scale shift in her larger work on display. This literal transition (past brooches take on the exact same formal qualities, Cuore Bionico, 1995) begs the question of whether there is a true difference between what is known as sculpture and certain works in contemporary jewelry like what is seen in this exhibition. The Italian goldsmith/artists are particularly known for their sculptural ties through their tendencies and devotion to geometric abstraction and minimal languages. And although this particular exhibition is at first glance heavily tied to the jewelry world, it doesn’t mean that it’s an entirely complete assessment. Maurer Zilioli after all, is a contemporary art gallery (and also a cultural organization), a bridge builder of sorts, promoting the work in the jewelry field in hopes to give it a higher consideration in the art world. Has it worked?

Sculptures by Pasquale

Sculpture by Zanella

Drawings by Babetto and sculpture by Zanella

While in Brescia I was warmly greeted by Ellen Maurer and Claudio Zilioli and was able to chat with them about the liminal role their gallery plays between the jewelry and fine art world. Although there are no hierarchical distinctions between form and medium in their minds, the majority of Zilioli’s exhibitions are not necessarily related to contemporary works in jewelry. In fact, few of their past exhibitions have actually combined jewelry to visual arts directly, noting Piccole Sculture (with Peter Skubic, Franz Hitzler, Valeriano Trubbiani, Therese Hilbert, Bruny Sartori, and Bruno Martinazzi), and Gente di Mare (David Bielander and Michelle Taylor) as two examples within the last year. A more impressive example of integration can be seen in one of their Schmuck exhibitions in Munich last March with artists Elisabeth Altenburg (Füll RAUM) and Wolfgang Rahs (Projektor Oben Often). When they do have shows exclusively devoted to jewelry, Maurer stated that there is wind of disinclination blowing from certain contemporary art audiences. In their minds, jewelry is separate and is not art, maybe even less than or on rare occasions equal to it.

Drawings by Babetto

Pasquale

Graziano Visintin

Babetto

Visintin

Babetto

Babetto – oldies but goodies

Babetto

Bruno Martinazzi

Martinazzi

Martinazzi

Visintin

Babetto

It’s easy to see that all the works (with the exception of the bigger sculpture pieces) were under glass. Although still well within the realm of “our kind of jewelry” (or contemporary art jewelry… you pick the name), the work coming from the Padovani (and from Martinazzi) is still largely and willingly bound to a material tradition so precious that the pieces really can’t be anywhere other then under the safey of a vitrine. Most the time the pieces are, indeed, made of gold.  Beyond this material fundamental there also lies the considerations for which the pieces are successful singular works, which at the end of the day is slightly more independent of a necessity for the piece to be seen on the body than other categories of contemporary jewelry. In this case, with this type of sculptural work, is the body factor just an encouraged bonus?

To better illustrate what I mean, here is a version of the Jewelry as Art Venn Diagram posted under the COSMOLOGY section at the very top of the page where I have isolated the Italian artists in order to see how they approach their work. Almost all of the artists are categorized in the Jewelry as Sculptural Object sphere (click on cosmology to see the full context).

The glass vitrine continues to be utilized as one of the only practical modes for display when focusing especially on this type of contemporary jewelry. The eye can still move around the object (although it’s a bit limited) and if in a gallery, there is indeed a gallerist available to show you the piece more intimately so that the light may move through it and the tactile physical experience appreciated. When asked, Ellen said ever so fittingly that the most important action to take in the promotion of contemporary jewelry was to simply wear the work. “I really insist on this fact. We need collectors. We need them to wear it. You have… well, you have one thing (addressing me). You don’t have anything (addressing Graziano Visintin). We need people to wear jewelry, because most people don’t wear jewelry. This is one of the most important media for propaganda. Absolutely.”

At the opening Ellen could be seen wearing a very large and very gold necklace by Bruno Martinazzi. At Maurer Zilioli, jewelry ≥ visual art.

Ellen Mauer Zilioli (in blue), Annamaria Zanella (to her right) and Renzo Pasquale

download the press release <——

This evening was the inauguration of Purus, Alchimia Contemporary Jewelry School’s graduate exhibition. I’m off to Amsterdam tomorrow, but wanted to give you a peek of the opening and to announce the three exclusive picks of Marie-José an den Hout of Galerie Marzee to be included in an upcoming international graduate show.

 

Weronika Marek

Dinah Lee

and Izabella Petrut

MORE TO COME