Sydney Lynch: Interpreting Her World

Aaron Faber Gallery, New York, New York, USA

It was on the reservation that I first saw that jewelry could be handmade. As a kid, I had always made things out of all kinds of materials. My grandmother would have been called a craftsperson if that term had been popular in her time, and I saw her sewing, hooking rugs, and making a variety of objects. In Navajo country I met rug-weavers and silversmiths, and the idea that a person could make things and have that as their identity took root. 

Capture and Disarm

Reflections on the Northwest Jewelry and Metals Symposium

In my own experiences in academia and beyond, decorative and ornamental objects are typically discussed based on the abilities and the authority of the maker. Ramljak’s research, however, highlights ornament’s authority independent of the strategies artists can employ when making work.

Strange Bedfellows

Lauren Kalman, Modern Furniture, Ornament, and Religion

Coveted Objects references spirituality and religion almost as much as modern furniture. When allusions to faith are paired with graphic and overtly sexual content, the work reads like a celebration of tradition, ritual, and adornment, rather than a refutation. The embedded religious references that cast a devotional feeling over Coveted Objects are new territory for Kalman.

Eric Silva: Instinct

Gallery Lulo, Healdsburg, California, USA

Being a jeweler isnʼt something that I planned to be or do. What I was most interested in was carving small objects. Because of the scale that I enjoyed working in, it seemed most appropriate to turn them into wearable items.

David Bielander, Snake

One on One nº11

David Bielander is well known for his jewelry representing natural elements such as plants and animals. His python “necklace,” measuring 2.5 meters (over 8 feet), is arguably his largest piece and, for that matter, probably one of the largest pieces of jewelry that has ever been conceived. 

Susan and Jeff Wise: An Exhibition of Modern Jewelry

Patina Gallery, Santa Fe, New Mexico, USA

In our understanding of “designer” and “artist,” we would say that we’re both. Some of our work embraces the concept of fashion with interesting colors and forms, but we wouldn’t call it art. The marketplace (making a living) is certainly a consideration for this kind of work. With other pieces, we intend to create art. These pieces pose questions about relationships amid disparate materials, historical timelines, and forms that create visual metaphors. 

Across the Ditch: A Regional Internationalism

This is not a picture book. Or a catalog. Or an encyclopedia. It reads as an informed and speculative account of recent and current practice. It is very engaging, particularly for those who recognize the histories, the people, the events. Alongside detailed “interlocking” case studies of key people, as well as those of selected exhibitions and organizations including cooperatives, specialist organizations, and galleries, more than 200 photographs of examples of jewelry, and some of the people and places mentioned along the way, are interspersed appropriately in the text.

Benedikt Fischer

Jeweler’sWerk Galerie, Washington DC, USA

Adornment was never something I had predominately on my mind when doing my work. Of course it is undeniable that jewelry has this adornment quality, and I think for me a good piece of jewelry has to be both alluring and as well made as possible. The content, its allure, and the making must go together for me; otherwise, a piece of jewelry cannot reach any real moment of adornment. I believe one can have content in one’s work and at the same time still care about the visual aspects of it.

Against Criticism: Seven Variations on an Unpleasant Theme, part 2

Criticality nº7

This summer we published a five-part series on criticality, as part of a partnership with Klimt02. The essays all embraced the idea that criticality is a good thing, and that criticism is a necessary compost for the growth of contemporary craft. Hence my excitement when Pravu Mazumdar agreed to develop his own thoughts on the role of the critique. This is the second part of Pravu’s essay, in which he focuses on the critical writing of Bruce Metcalf.

Caroline Gore: …mercurial silence…

Velvet da Vinci, San Francisco, California, USA

Memorializing tragic events through leaving objects and ephemera at sites of violence and tragedy is now pervasive. In doing so we attempt to process what has happened, honor victims, and give some physical form to loss. However, this was not the case 30 years ago—we tended to walk away from the actual site and perhaps more directly toward one another.

From the Forum

Yang, MA 2014

Yan, MA 2014

Wang, MA 2014

Chiawen Tsai, MA 2014

Chai-Ju Tsai, MA 2014

Tian, MA 2014

Luo, MA 2014

Liu, MA 2014