Metalsmith Magazine

If you get a chance, check out the latest edition of Metalsmith. The Exhibition in Print theme this year was color-
While the choices tend to be pretty conservative, I feel that the curators did a good job of showing selections of various coloring methods. Especially those of you interested in either enamelling or in resins, give it a read through!!
SNAG/Metalsmith site

Art Smith

Art Smith (1917-1982) has a couple of things that made my research easier. One, you can find lots of information and images of his work. Two, some of his creations truly resemble Calder's work (explaining why Jenn gave me the assignment, I think).

The Brooklyn Museum of Art recently hosted a small exhibit of his work and provided on their site a nice biography of the artist.

"Born in Cuba to Jamaican parents, Smith grew up in Brooklyn and majored in sculpture at Cooper Union. He subsequently trained with jewelry designer Winifred Mason and worked in her studio in the Village before opening his own studio. Though his jewelry was clearly not mainstream, he did have business relationships with several other stores including Bloomingdales and his work was featured in Vogue, Harpers and the New Yorker. Considering that Smith was a gay, black man designing avant-garde jewelry in the 1950s, it’s a testament to his skills as a designer and artisan that his work was admired and commissioned outside of the downtown, bohemian world in which he lived and worked.

Smith also designed jewelry for many black dance companies and as Barry Harwood, Curator of Decorative Arts at the Brooklyn Museum comments, “These commissions encouraged him to design on a grander scale than he might otherwise have done, and the theatricality of many of his larger pieces may well reflect this experience.”

Art Smith wrote in the 1969 catalog of his one man exhibition at the Museum of Contemporary Craft: “A piece of jewelry is in a sense an object that is not complete in itself. Jewelry is a ‘what is it?’ until you relate it to the body. The body is a component in design just as air and space are. Like line, form, and color, the body is a material to work with. It is one of the basic inspirations in creating form.”

I find it fascinating that Art Smith verbalized the connection between jewelry and the body. Even though his background was in sculpture and many of his pieces appear to be to difficult to wear, he was aware of how the piece is to be displayed (on a human body). From a practical commercial purpose this is crucial. Beautiful jewelry that can only be used on a display case or a static body, in my opinion, does not accomplish the ultimate goal of adorning the ultimate subject, that is, the human body.

Make sure to check this link http://www.925-1000.com/amx_smithA.html. It includes an obituary that appeared in the New Amsterdam Post and many "calderesk" (I just made up that word) images of Art Smith's work.

One last aspect of his work that I found mentioned thru out many postings is the fact that he maintained a certain style through his entire career. Making it very difficult, if not impossible to date his work... Interesting....

Lam de Wolf (sounds a lot like "lamb the wolf") is a Dutch artist (not just jeweler) born in 1949. Her work includes architecturally inspired work like the one above right which uses the repetition of shapes to create massive wall images.

She produces work that have multiple functions. Wall hangings that become hats or parasols. Others can be worn as neck pieces (top left image). She also works using an array of materials and media. From wire, to cloth, japanese paper, popsicle sticks and film.

Speaking of films, while researching her work online I found one minute films that involve wall exhibits along with performing art... check the http://urbanscreensart.net/m62r3...Ever2-theoneminutes.

She also has a web site lamdewolf.nl which displays lots of her wall art and textile art. Most of her textiles are wearable pieces.

Most of the work reflects an interest in geometric forms and letters. The wall exhibits, although made of "random" simple materials, seem to form intricate yet not heavy looking geometric, repetitive patterns.

From what I found on the net, her work is quite artistic a creative. The functional component appears to be secondary, although clearly considered when designed.

Plastics/Resins Info

Some common types of resin and plastics:

Epoxy resin

• easy to work with
• many different varieties out there- easy to find locally
• softer than polyurethane or polyester resins
• good brands: envirotex, devcon 2ton, colores (rio)
• check the labels! some are waterproof, others water resistant.
  
• look at both pot time (which is your working time) as well as total curing time
• usually a 1:1 mix, more wiggle room on the measuring than other types
  

Poylurethane Plastic

• harder plastic
• takes finishes better than epoxy
• easy to work with
• check the pot time and cured color when ordering
• much shorter working time than epoxy
• measurements must be exact especially for clear
• usually a 1:1 or 1:10 mix
• polytek and smooth on are the 2 major brands
• smooth on is available at some art supply stores
• much less viscous during pot life enabling more detailed castings
• there have been several reports of skin sensitivity to the clear smooth on products. test for yourself to see if you are irritated by them

Polyester Resin

• very toxic
• hard plastic
• takes finishes well
• easiest to get optically clear castings with
• not allowed in the school studio due to fumes associated with it.
• most exacting in terms of accuracy in measuring
  

websites:
TAP Plastics
Smooth-On
Polytek
Sculpture House
Plaza Art Supply

Liv Blåvarp

Born in 1956 in Norway. Educated at the State College of Art and Design, Oslo from 1979 to 1983 and later at the Royal

College of Art, London. She is a master woodworker who designs one of a kind sculptural pieces that are incredibly sophisticated, yet primitive simultaneously.

Along with wood, Blåvarp often incorporates ebony, ivory and whale teeth in her pieces. Her hand-dyed collars fuse ethnic and botanical influences, reminding us that the wood was once very much alive. http://fashionindie.com/designer-discovery-liv-blavarp/

Personally, I agree with those who see Liv's art imitating life in their organic form that appear almost alive, animal like.

Although you can find many photos of her work and a list of exhibitions she has participated in, there does not seem to be a lot of information on how her work has evolved or interviews with the artist.

I would want to find out how she developed her approach to jewelry and use of materials. Older photos show wood work that had been hand dyed and creations that looked like beautiful colorful birds. More recent work has the look of internal animal and plant structures with a very modern twist. Some look like sets of backbones. (as evidenced by the photos posted)

Her work in the US is represented by Charon Kransen Arts. http://www.charonkransenarts.com/artists/Blavarp_6_2005/artist_blavarp.html

Caroline Broadhead

I will hope for the best, but I don't seem to remember much from my first post.

One of the names Jenn gave me is Caroline Broadhead.

Artist information

Born in 1950, Caroline graduated from the Leicester School of Art in 1969 and the Central School of Art and Design, London in 1972. Although Caroline trained as a jeweller she soon diversified into textiles and sculptural installations incorporating clothing as pieces of art which are not intended to be worn. Caroline uses garments to explore ideas about personal identity and the portrayal of hidden feelings and emotions. Her recent work concentrates not only on clothing and textiles but on the space around garments on the body and shadows.

She has been exhibited widely throughout the world. Caroline was the winner of the Jerwood Prize for Applied Arts: Textiles in 1997.

{tried to insert picture of her work.}

'Dress with Holes' is part of a body of work I (Caroline) made using shadows as an integral part.

Previous work had used the dress as a metaphor for a person, but with these works, I was using the play between object and image to refer to substantial and insubstantial elements.

Shadows of people are both part of them and separate, perhaps the outermost visual boundary of someone, giving a likeness but more usually a distortion. There are many stories, like Peter Schlemihl or Peter Pan, about people trading their shadows with the devil or otherwise becoming separated and the subsequent struggle to reunite with it.

My intention was to give the shadow equal attention to the dress. The silk of the dress was dyed a mid grey and was a lightweight, transparent fabric. Because the silk was so fine the shadow carried the details of overlaps, seams, creases. In the shadow, I painted the inside spaces of the dress on the wall behind, like the neck, cuffs and the hem, so it looks like there might be a lining to the shadow, give a sense of three-dimensions.

I was also interested in the process of completing a work in the space it would be exhibited. These pieces depend on the theatrical nature of traditional art galleries - smooth white walls, controlled lighting. I always started with the light source and worked by placing the dress to get the right shadow.

The work comprises of two tulle dresses and shadows drawn on the wall. Broadhead uses garments to express ideas about personal identity and to reveal the characteristic feelings or emotions that a person may seek to conceal. Purchased by the Art Fund with the assistance of the Esmée Fairbairn Foundation.

{RATS! tried to insert another photo}

"Windows can be seen as the ‘eyes’ of a building, through which there is a view inside and out, letting light in or being screened to obstruct the light. I had worked with shadows for some time when I made this piece, ‘Still Light’, and it was a response to working in a sunny studio space in Vienna, where I would watch the patch of light moving across the floor every day. I wanted to arrest this moment, to stop time passing, and to divide the light from the shade. I thought of the walls of the building being like a dress, or the skin of a body. The boundary of the building has been penetrated, the outside come in." -- Caroline Broadhead

COMMENT--I could only find the two images and unfortunately, can't manage to paste either in this post. What I find intriguing about her work is the combination of jewelry technique, fiber work, and very conceptual presentation. I'll try to find more examples of her work and bring them to class so you guys can see her stuff.

what's happening

Here's a list of some resources to stay involved and keep a finger on the pulse of the jewelry world. Check them out, and see what you think!

Organizations:

• Washington Guild of Goldsmiths (local)
• Metals Guild of Maryland (local)
• SNAG (national)- in addition to having annual conferences, SNAG also has the SNAGnet email ist which lists calls for entry among other things. It's a good reseource to follow regardless of whether you attend the conferences
• ACC (national)
• depending on your interests, there are also beading organizations, enamelling guilds, etc.

Magazines:
Metalsmith
American Craft
National Student Craft Zine (when it makes it's debut)
Object
ID
Crafts
CRAFT

Websites/Blogs:
Klimt02
American Craft Zoom blog
18kt
Crafthaus (social networking)
Core77
DesignBoom
Conceptual Metalsmithing
CraftGadfly

Galleries:
Sienna Gallery
Studio 4903 (local)
Jewelerswerk (local)
Ornamentum
Mobilia
Aaron Faber



and there's a lot more, this is to get you started- explore!!

CRAFT