Keeping the Faith with Contemporary Jewelry

The Rise of the Collective in Mexico, Taiwan, and Beyond

Expansion raises many questions. Let’s consider one of these: Is there a universal critical framework for contemporary jewelry? One standard universal value is originality, whereby artists are credited with contributing something new to the international field. The emerging scenes of Mexico and Taiwan point toward alternative models based on the collective as creative agent. How does that work?

on the horizon: Curated by {x} collaborations

Brooklyn Metal Works, Brooklyn, New York, USA

At the beginning, we were actually focusing on the diversity of geographical representation of the artists, balanced by their equally broad investigations of jewelry. on the horizon has jewelers who are interested in value, humor, culture, history, process, materiality, the body, etc. However, as I opened the boxes and actually got to see the work as a physical grouping, I realized a bit about my own aesthetic.

Ike Jünger: Jewelry

Galerie Rosemarie Jäger, Hochheim, Germany

Enamel is such a versatile material. It comes in all colors and consistencies—from opaque to transparent—and can be applied to all kinds of surfaces. You can give it a shiny touch or make it rough and crackled, apply it thick and evenly, or brush it on ever so lightly. It can have the appearance of a quiet lake or of rough tree bark. For me the limits of enamel lie in the craftsmanship, in the technique of enameling.

Marzee Graduate Show 2014

Galerie Marzee, Nijmegen, The Netherlands

Every year I feel there is new, strong, and exciting work in the show. Every year the work is developing and changing in all the fields and disciplines that jewelry is “part” of—fashion, design, sculpture, painting, installation, graphic design—and every year there are new visions and ideas about adornment and materials, things like 3D printing, found objects, mechanical parts, and the use of semiprecious materials.

In Response to Stephen Bottomley’s Review, "Lost in Legnica"

Letter to the Editor

As part of his review of the Legnica Jewellery Festival, Stephen Bottomley reported on a lecture by Mah Rana, which in his account did not provide a satisfactory assessment of the focus of her lecture. In response, Ms. Rana wrote a letter to the editor, in which she outlines the conceptual premises of her research.

25 years of Ted Noten/Gold, Sweat & Pearls

Putti Gallery, Riga, Latvia

I play with greed and seduce by aesthetics, using archetypes that people can recognize and loads of humor. These elements make my work possible to enter and then there are more layers of comments, criticisms, condensations of meanings. All this without being moralistic! But through absurdist mirroring.

Daniel Kruger: Angle of Incidence

Sienna Gallery, Lenox, Massachussetts, USA

I’ve always known that I have both a male and a female side but had never consciously thought of it being so apparent in my work until Jorunn Veiteberg pointed that out in the article she wrote for my book. I don’t quite know what to do with this knowledge but I rather like it being that way.

De show van Gijs+Emmy/The Gijs+Emmy Spectacle

The exhibition is a useful tool—for the contemporary jeweler—to help us think through the (distant) relation the field seems to have with fashion. With the exception of a handful of makers who often take great care to separate their fashion activities from their art jewelry ones, nobody seems to want to go there. At fault may be fashion’s continued association with unappealing, unethical production or fast-consumerism, or the field’s much-discussed tendency to define itself out of existence.

Courtney Kemp and Karen Vanmol: Home

Heidi Lowe Gallery, Rehobeth Beach, Delaware, USA

While I love the medium of jewelry, the idea of the “body as site” doesn’t play into my work quite as strongly as it does for a lot of jewelers. I think it’s more about scale and reassessing the labels of decorative, structural, or useful. In my pieces of jewelry, you’re able to see the details in the architectural materials in a manner that allows you to explore them formally or with a personal narrative of touch and memory, rather than as pure utility.

In Critical Condition

Criticality nº5

Vidal was deemed “quarrelsome”; Hughs, “combative”; Sarris, “congenitally disputatious”; Crist, “savage”; Kramer, “contrarian”; and Hitchens, “fearlessly divisive.” Thus the anatomy of a vital critic is shown to include healthy doses of sharpness and contentiousness, features that have marked history’s greatest critical minds. This is a discriminating lot, bravely intent on making distinctions, not friends.

From the Forum

Graduate Portfolio

Chen, MA 2014

Graduate Portfolio

Clooney, MA 2014

Graduate Portfolio

Gu, MA 2014

Graduate Portfolio

Hu, MA 2014

Graduate Portfolio

Li, MA 2014

Graduate Portfolio

Ronsholt Smith, MA 2014

Graduate Portfolio

Tsai, MA 2014

Graduate Portfolio

Yang, MA 2014