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| [493] Hermann Junger - The Jeweled Meadow |
Over the past forty years, jewelry making has become increasingly rich and diversified as the time-honored reliance on precious metals and gems has been augmented or even disavowed. After the Second World War, jewelry artists more and more turned to intellectual and artistic concepts as their starting points to provoke a reexamination of the role of jewelry itself as well as of the relationships between maker and wearer. Jewelry artists in northern Europe and the United States led the way, and in Germany, Hermann Junger exerted a strong influence on the development of contemporary jewelry both as an artist and mentor.... (2002)
 Complete Story |
| Show me more articles from: [Metalsmith Magazine]|[Ursula llse Neuman] |
| Releated Categories: [Features] |
| ISBN: B00006KNMM |
| [898] Inquire Within: The Holloware of David Huang |
Several disparate techniques and a clear personal philosophy came together over a period of years to produce these extraordinary pieces. Born in 1971 in Michigan, Huang settled on visual art as a career even before he entered high school. By his senior year, five of his six classes were studio art, and he was selling the jewelry he was making under the tutelage of his teacher Nona Bushman. The work was relatively flat, and meticulous renderings in his notebooks from that time show a marked preference for formal geometric structures paired with looser, organic forms..... (2008)
Complete Story |
| Show me more articles from: [Metalsmith Magazine]|[Ann L. Larsen] |
| Releated Categories: [Features]|[Behind The Design] |
| ISBN: B00006KNMM |
| [883] John Marshall and The Birth of Time |
John Marshalls position in American art is an awkward one. His sculptures of fine silver with acrylic, Corian, wood, and basalt are larger than the ornamental metal objects usually associated with silver. At the same time, they are smaller than the over-scaled, not to say monumental, size the rest of contemporary sculpture has occupied over the past few decades. (True, Marshall executed a series of site-related liturgical commissions, but they should be the subject of another essay.).... (2008)
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| Show me more articles from: [Metalsmith Magazine]|[Matthew Kangas] |
| Releated Categories: [Features] |
| ISBN: B00006KNMM |
| [469] Lee Sauder - Crossing the Creative Matrix |
There are few disciplines that depend primarily upon visual observation for an understanding of human creativity and meaning behind objects. An art historian examines a composition to determine a work's authenticity and attribution; an appraiser closely examines a piece of jewelry to confirm its value; an archeologist learns to read an object as evidence of the physical process which produced it. But as viewers of art, we tend to suppress reading an object in favor of an appreciation of its aesthetic value.... (2003)
Complete Story |
| Show me more articles from: [Metalsmith Magazine]|[Anna Fariello] |
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| ISBN: B00006KNMM |
| [904] Linda Threadgill: Conceptualizing Ornament |
Threadgills keen interest in ornament undoubtedly arises from her longstanding practice of etching motifs into the surfaces of her works, a process that she began perfecting as early as her graduate student days. In 1984, after studying the manner in which printed circuit boards were mass-manufactured, she developed a smaller and more portable version of industrys spray-etching machines. Armed with this technology, easily applicable to a photo-resist technique, she deftly created bas-relief patterns on thin metal plates that could be incorporated into larger and more complex works. (2009)
Complete Story |
| Show me more articles from: [Metalsmith Magazine]|[Glen R. Brown] |
| Releated Categories: [Features]|[Behind The Design] |
| ISBN: B00006KNMM |
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