Fortunately, change is inevitable. Even for those individuals in the art establishment who assert that artists cannot and should not be active as curators or critics. This assertion is part of a traditional art would - one built on a foundation of hierarchies and exclusions that erode any modicum of power, control, influence, and authority that an individual artist has on or within the system. When artists actively participate as curators, critics, or arts administrators, this foundation starts to crumble.... (2004) Complete Story
In cast iron we recognize only the machine-made copy of a copy; in wrought-iron we feel the presence of the thought which the craftsman has stamped upon his work. One brings us face to face with matter; the other with mind... Purveyors of cast iron countered that there was greater scope for individual craftsmanship at the design stage, fashioning molds and models in wood and clay. The debate was about process more than product.... (2003) Complete Story
Rarely do we think of jewelry as a matter of life and death. On the contrary, ornament is typically perceived as superfluous or even trivial. In spite of this view, jewelry and other bodily adornment can indeed facilitate our survival in various ways. Among the many roles that ornament performs, perhaps its most compelling is its ability to protect us from harm.... (2005) Complete Story
Archetypal images in sheet-constructed holloware, the vessels of Robly Glover give concrete form to the most ethereal and intuitive of content. Fascinated by the notion of unconscious predilections that from the unfathomable recesses of the mind murmur their incessant persuasion over actions, Glover is an implicit Jungian. His work tacitly acknowledges both the reality of the soul and its nonsensory receptiveness to rhythms in nature and the influence of events from the remote past.... (2002) Complete Story
By the mid-nineteenth century, European ironwork was in decline due to innovations brought about by the Industrial Revolution. Cast iron was replacing the more time-consuming and skillfully made hammered iron, driving the decorative smith toward extinction. A French historian wrote that the last piece of decorative ironwork to be produced in the 'glorious tradition' of wrought iron was made in 1809 and surrounded the choir in the Cathedral of Notre Dame. One hundred years later - in 1909 Samuel Yellin established a blacksmith shop and attempted to recreate the quality craftsmanship found in historic ironwork.... (2003) Complete Story
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