Saturday, August 29, 2009
Bennett also distinguishes between the use of color as an aesthetic tool and as a conceptual indicator. After reading his article, I decided to map out the characteristics of the two different methodologies. It's interesting how many connectors there are between concept and aesthetics, the two categories pushing against one another, with the only divider between them being intent.
Friday, August 28, 2009
This summer he posted an episode of On The Street titled Fashion Fireworks, which highlighted the summertime inclination of women to wear gigantic pieces of jewelery made out of imitation stones and plastic.
These playful and surreal pieces that Cunningham shows remind me a little bit of Alice In Wonderland, and you can check them out here...
Bill Cunningham, On The Street - Fashion Fireworks
Thursday, August 27, 2009
Monday, August 24, 2009
Set in Chelsea, (Untitled) stars Adam Goldberg as a experimental sound composer, Adriane Jacobs. Jacobs creates music whose sparsely attended performances involve musicians breaking glass and kicking metal buckets. But, Adrian’s luck appears set to change when he meets Madeleine, a gallery owner. She embraces his work and ask him to perform at her gallery, introducing Jacobs to a world of pretentious art collectors, dueling gallerists and eccentric artists.
Sunday, August 23, 2009
Tuesday, August 18, 2009
Wednesday, August 12, 2009
Surprisingly, this necklace looks very similar to the original sketch. I literally just finished it, the glue isn't even set yet! I can't wait to put it on the body and see how it lays.
I've been liking working with the horse hair, it has a very surreal sensation when it comes in contact with the body the body that I appreciate. It's pretty coarse, so it also doesn't immediately give off a post-mortem feeling; it's actually pretty subtle in terms of content. With the beads on this piece, it also reminds me of a mourning veil or decorative netting.
Wednesday, August 5, 2009
In today's techno-centric culture, there is a disconnect between how craft objects are actually made and what peoples perceptions of where they come from are. It seems that people have a limited concept of how a hand made object comes into creation, they cannot fathom the processes that come together to create a piece of jewelry. The making of jewelry there for seems more magical and inaccessible than tangible.
I often consider the dilemma that arises from working sequestered away in my studio poses to the education of jewelry buyers and the public. When faced with explaining what I do, I am often at a loss. When trying to explain the basic concepts of metalsmithing, people have no reference for my processes, and consider me more plumber than metalsmith or jeweler.
By changing the location of his studio and engaging the public, Craig investigates the concept of creating jewelery as an educational and performative experience. Usually, the act of creating jewelry is a solitary venture, occurring strictly as an intimate action between the artist and the object. But, when this process is shifted into the spotlight, the creation of jewelry becomes a spectacle. Craig engages the public, encouraging them to invest an equal amount of time and energy into the rings as he does.
The dialogue between jeweler and observer become set in metal, archived in the rings that were made during this experience. And the most interesting part: Craig would give the rings away! The act of giving the rings away to the people who interacted with him allows for the ring to become an index of the experience, a memento that will travel far away from Craig's bench and will still educate people on the field of jewelry and metalsmithing.
This performance pushes against the glass ceiling of understanding where fine craft objects come from. Check out a video of one of Gabriel Craig's Pro Bono Jeweler performances here: