Art Jewelry Forum (Mill Valley, Calif.) Search this
Physical description:
261 pages : color illustrations, 21 cm
Type:
Exhibitions
Exhibition catalogs
Date:
2015
Contents:
Modern handmade jewelry / Toni Greenbaum -- Schmuck / Ursula Ilse-Neuman -- The international exhibition of modern jewellery 1890-1961 / Sarah Archer -- Objects to wear / Namita Gupta Wiggers -- Objects : USA / Glenn Adamson -- The jewellery project : new departures in British and European work 1980-83 / Cindi Strauss -- Joieria Europea contemporània / Mònica Gaspar -- Iris Eichenberg's graduation show / Jennifer Navva Milliken -- Home exhibitions / Liesbeth den Besten -- Nocturnus / Jivan Astfalck -- Parades / Lizzie Atkins -- Showtimes / Benjamin Lignel -- The missing link jewelry presentations in the museum / Liesbeth den Besten -- What is it that you do exactly? Categorizing contemporary jewelry through exhibitions / Kellie Riggs -- Making space / Iris Eichenberg in conversation with Hilde De Decker -- Touching stories / Jorunn Veiteberg -- Distance and respect / Kellie Riggs in conversation with Ruudt Peters -- Victoire de Castellane : Fleurs d'Excès / Benjamin Lignel -- Exhibition in Motion : objects performed / Gabriel Craig -- Crafting Modernism : midcentury American art and design / Damian Skinner -- Joyaviva : live Jewellery from across the Pacific / Meredith Turnbull -- On display / Susan Cummins, Benjamin Lignel -- Art and commerce / Marthe Le Van, Benjamin Lignel -- Words worth / Marthe Le Van -- Otto Künzli. The exhibition / Damian Skinner -- Framed by Ted Noten / Liesbeth den Besten -- Dans la ligne de mire. Scènes du bijou contemporain en France / David Beytelmann -- Show and tell : Calder jewelry and mobiles / Toni Greenbaum
Summary:
"The challenge of showing contemporary jewelry - under the pressure of creative competition, institutional inertia, and claims of curatorial legitimacy by non-affiliated curators - has given rise to a bubbling exhibition landscape, with amateurs and professionals playing musical chairs to a very D.I.Y. score. Artists mount their own exhibitions. Museums invite amateurs to curate shows from their collection, and visitors to handle work. Collectors issue exhibition lists and detailed press releases. Meanwhile, the trend towards ever more experimental scenographies continues, with set-ups that never cease to negotiate with our expectations: works are shown on plinths, window sills, chairs, tables, floors; suspended, hung, or nailed; in set-ups in turn immersive, meditative, performative, artefactual, or theatrical. While the question of exhibition making occupies an ever more important place in art theory, there has never been, thus far, a publication on the subject with jewelry as its focal point. Given how extremely busy jewelry curators have been over the last 60 years, it is surprising that the variety of their approaches, and the implied notion that the exhibition space is a space of production, are so rarely acknowledged, nor is the extent to which curation transforms our perception. This publication aims to remedy this absence, and provide an overview of jewelry exhibition history, an understanding of the challenges inherent to showing jewelry in public spaces (whether commercial, institutional or ephemeral), and some insight into what curation can do to jewelry objects. It aims to help professional and amateur curators articulate the relative importance of selection, mediation and experience design, and question their assumptions about display conventions. This publication addresses the question of 'exhibiting jewelry' in three different ways: it features a series of commissioned articles on landmark exhibitions, to plot the evolution of the field, using the exhibition space as a historical marker. It includes commissioned essays by and discussions with curators on the challenges of curating craft. It incorporates, finally, a series of exhibition reviews from Art Jewelry Form's archives that track some recent experimentation with display strategies"--Google books.
