Throwing Stones in Glass Houses: On Criticism, Art History and Critical Discourse

Criticality nº3

How often have we mentioned concepts like ‘the body’ or ‘wearability’ or ‘functionality’, without thinking actively about what they mean, their history and the agendas they serve? How often have we used the term ‘context’, and therefore not thought about anything apart from the obvious, like what the jeweler meant to say, or how this particular object fits in with others in the category of contemporary jewelry?

Tilling Time/Telling Time: Curated by Karen Lorene

The jewelry world owes it to itself to encompass the world from which it grows. Jewelry art should celebrate the fact that it is part of a larger world of makers, creators, and collectors. In the best of worlds, jewelry art reaches out to involve maker, wearer, and observer. Perhaps jewelry art is perceived by some to be an insulated field because jewelry art makes such an intimate personal statement for maker and wearer. The art is the maker’s story. However, the choice to wear jewelry art spreads the story and expands the story by the wearer adding to the experience.

On Being Young, or Criticality and 21st Century Academia

Criticality nº2

In exhibitions, objects and jewelry are commonly presented on clean pedestals or hung on white walls; they remain off the body and out of reach, presented as “art object.” Reviewers can look at these pieces, but rarely do they touch, try on, feel the weight on the chest or how their hand cups around a piece, and even more rarely do they comment in their review on how that object or piece of jewelry interacted with the body. So where does this penchant for ignoring the body come from?

Protective Ornament: Contemporary Armor to Amulets, Curated by Suzanne Ramljak

Metal Museum, Memphis, Tennessee, USA

While certain factors remain constant over time—the human desire for health, love, wealth, social cohesion—there are now new threats against which we seek to protect ourselves. Instead of attacks from animal predators, we must contend with gun violence and bombs. These new dangers are reflected in the materials and imagery of the amulets within the book and exhibition.

Christian Hoedl: Unconventional Armour

Jewelers’Werk Galerie, Washington DC, USA

My inspiration came from contemporary dancers, who are gorgeous and most precise in their unique techniques and are constantly developing new modes of expression. I admire their endurance and their ability to redefine postures daily.

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

Criticality nº1

Writing what is currently called the “critical article” has to start with some agreement about what that is. That word “critical” is something of an obstacle, for to many it simply means making severe or negative judgements—being mean—when really it’s a second dictionary definition—being analytical, penetrating, and precise about the subject at issue, be it an individual’s work, an exhibition, or almost any topic in contemporary ceramics—that should be applied.

Julia Turner: Surfacing

One of my favorite ongoing collections is paint spills. It seems all the paint buckets in San Francisco are leaky and the sidewalks are a gold mine of accidental drawings, some of them multiple blocks long, that wind around in gorgeous calligraphic arcs and swirls with little spatters coming off. They sometimes split and then re-join and get really interesting around a stoplight where the person had to stand still for a while, with the bucket swaying. I always imagine the person coming from a painting job that they performed very carefully with tape and a scraper, afterward unknowingly making a masterpiece on the way back to the truck.

Judging a Book by Its Cover

An Interview with Sondra Sherman on Her Most Recent Body of Work, Found Subjects

Céline Browning: What did you find rebellious in the idea of responding to the book as an object? Sondra Sherman: I have not read the books. My library has been organized by color and size for over fifteen years. Its ‘Pantone-ian’ organization was a late-night inspiration as I observed the visual noise of the bookshelves might be quieted down if color order ruled over subject or title.

Anna Cheng: Building Jewellery

Architecture is very close to me because of my previous profession as an interior architect. Since I started working in contemporary jewelry, I have noticed that there are many things in common between the two. To me, architecture is a way to perceive the world, and its concepts are not limited to building environments. I wanted to explore its concepts in contemporary jewelry and see how artists express elements of architecture in their work.

Todd Reed: Raw Elegance

When I started making jewelry I knew I wanted to create a heritage brand; I did not know, however, that I would come to be synonymous with raw diamonds. I got turned on to raw diamonds in a geology class and loved the idea that society was fascinated with cut diamonds, while the raw ones were what I considered perfect in every way. Initially as I started as a teenager, the raw diamonds offered a bit of dialogue to otherwise stagnant jewelry. In other words I was poking a bit of fun at diamond jewelry.

From the Forum

Graduate Portfolio

Mellen, BA 2014

Graduate Portfolio

Li, BA 2014

Graduate Portfolio

Fedotova, BA 2014

Graduate Portfolio

Chan, BA (Hons) 2014

Graduate Portfolio

Petrut, BA 2014

Graduate Portfolio

Gil, BA 2014

Graduate Portfolio

Davison, BA 2014

Graduate Portfolio

Coda, BA 2014