Contemporary American Jewelry Design by Ettagale Blauer PDF
By Ettagale Blauer
The Phenomenon of Studio Goldsmithing while the background of artwork within the Eighties is written, a lot of it is going to be etched in gold. this is often the time of the modern goldsmith, an artist who chooses to paintings in worthwhile metals instead of oils or marble. The modern jeweler-as-artist has just recently develop into a re cognized strength. With infrequent exceptions, the complete box is little greater than thirty years previous. however it is just in the previous fifteen years that those jewelers have entered the jewellery mainstream. The phenomenon of up to date goldsmithing embraces an eclectic team of artists, every one with a special imaginative and prescient, every one taking a in keeping with sonal route to jewellery generating. they've got as little dating to the common, heavily produced jewellery as a champagne maker has to a bottler of orange soda. They technique a section of artwork, now not a bit of steel. The paintings is own and an ideal expression of the "back to the land" stream that spawned it. lots of those goldsmiths have been having a look now not only for how to make a dwelling yet for how to make a existence that was once worthwhile of residing. working a company whereas attempting to stay an artistic metalsmith while is the continuing problem. The jeweler-artists have solved or resolved those usually conflicting wishes in a bit other ways and in a stunning number of ideas and kinds. Their meth ods, their progress, and their paintings are mentioned here.
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Extra resources for Contemporary American Jewelry Design
The gallery provides the permanence that jewelry buyers prefer. The retail days at craft fairs provide excite- Craft Galleries Tony Papp. Brooch. Marriage of metals: sterling silver, nickel silver, brass with patina. (1988) Marne Ryan. Collar. Oxidized sterling silver, 18k gold, bezel-set fancy-colored diamonds. zoto by Tony Ward. ) ment and customer contact, but they cannot offer the ambience, the quiet, ·and the security of a gallery. The "important" sale-whatever that means to each customer-is made in the store.
EYE, THE JURY Marketing, in its myriad forms, remains an all-consuming issue for craftspeople. The constant growth in size of both the ACE events and the Rosen shows, plus the proliferation of shows, from the sidewalks of New York to the fairgrounds of Rhinebeck, guarantee that a quantity of crafts is available to the public on an almost constant basis. Yet those who look to the ACE shows to uphold a standard of craftsmanship find themselves increasingly surrounded by lesser work. And even given the changing level of products offered, they must still depend on a jury to determine whether they will have a venue in which to offer work each year.
Teachers Finally the debate about whether jewelry making is a craft or an art can be laid to rest. It's all of those things at once, and Pardon sums them up. Like only a few of the best known and most influential teachers, Pardon has continued to develop his own metalsmithing through the years, producing an ever-growing body of wearable jewelry. He is alone in this regard; he defies being discussed in the chapter on teachers because his own production has been considerable. Yet he has been the consistent thread in education since 1951, when he took up his teaching position at Skidmore.
Contemporary American Jewelry Design by Ettagale Blauer