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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
Being more organized, and planning how you use your time will mean that you will spend less time on some jobs and you will therefore have this time available. I tell my students that they need to plan their time and work fast, smoothly and efficiently not for its own sake, but to have more creative time available. This greater efficiency also translates into more income from your working day.... (2001) Complete Story
An art school is in some ways a difficult place to learn to be a metalsmith. Traditional systems of industry education took from 3 to 7 years of concentrated time to educate a goldsmith. This is because metals, as Jamie Bennett puts it, are a 'process oriented media'. By this is meant there that there are often many more ways of working and manipulating the material than in other media.... (1990) Complete Story
Ask any jeweler to list the gemstones with which they prefer to work, and sapphires and rubies would undoubtedly rank near the top. With a hardness of 9 on the Mohs scale, these popular varieties of corundum have long been considered nearly impossible to damage, and they can easily withstand the melting point of even high karat gold solders. Not surprisingly, many jewelers feel a comforting sense of security when faced with a ruby- or sapphire-set piece. Which may be a problem.... (2003) Complete Story
