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Archive for September 13th, 2012

Guzel Bakeeva Design – One Artist Take On Bead Embroidered Cabochons

Posted by learntobead on September 13, 2012

Guzel Bakeeva Design – One Artist Take On Bead Embroidered Cabochons

I love to explore beautiful jewelry as art.   Guzel Bakeeva uses bead embroidery techniques, and very smart and beautiful stones and found objects in her jewelry.   She often couples this with unexpected arrangements of components.    She seems determined to create pieces which have a combined sexiness and sophistication.

Take a look.

The challenges with bead embroidery are many:
– wearability (often the use of large forms, clustered together, which much take the shape of the body)
– artistic integrity (pieces of art when made, must maintain artistic integrity as worn)
– art vs. craft (avoidance of the reduction of art to craft, because of the materials — particularly the bead as a medium)

 

 

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Doris Betz – All About The Line

Posted by learntobead on September 13, 2012

Doris Betz – All About The Line

 

DORIS:  “My work is above all about the line: how it spreads and the possibilities of its arrangement. The line or the wire describes, through its movement, a space. There are overlaps, knots and different layers. At the same time arise apparently accidental, bizarre, three dimensional images. Plastic stands equally judged beside gold and silver. The pieces live through their lightness and transparency. Glamour and oppositions seek a beauty of their own.”

The “line” can be a frightening thing for a designer.   Once the designer commits to a certain line and its linear or curvalinear passageway, the line has to be managed towards some wearable aesthetic.    Not easy to do.

The line creates a boundary.   It separates one direction from another.   It forces, or at least implores, value judgements.  That is, which side of the line is better, more satisfying, more pleasing, more correct.

The line can also frame.   This sets up an inclusive vs exclusive quality, and recessive vs. forwarding seeking motion, a dimensionality, an encouragement vs. a restriction for movement and direction.

Doris Betz is not afraid of the line.

 

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Senses and Sensibilities at MAD, NY

Posted by learntobead on September 13, 2012

Senses and Sensibilities at Museum of Art and Design, NYC

“In the hands of imaginative craftspeople, jewelry can be more than a visual aesthetic adornment.  Forged out the right materials, it can invoke pleasing experiences in scent, touch, and taste.  This winter join MAD for an afternoon-long, hands-on workshop in constructing jewelry that titillates all the senses.  From using precious metal clay to crafting tactile jewelry, creating works out of sugar glass, and using the 16th-century technique of fashioning herb and spice necklaces, “Senses and Sensibilities: Jewelry Workshops in Sensory Materials” enables everyone to try their hand working with new  materials and techniques to create their very own sensory-expanding wearable wonder.”

This is a fun and imaginative exhibit of contemporary jewelry.

Herb and Spice Necklaces with Caroline Mak

 

 

Precious Metal Clay with Max Goodman

 

 

 

 

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Hanging Around – Jewelry From Recent Exhibit At MAD in NY

Posted by learntobead on September 13, 2012

Hanging Around – Jewelry From Recent Exhibit At MAD in NY

“The unique works on display in Hanging Around are from the Museum of Arts and Design’s jewelry collection. Dating from the 1960s to the present, these artistic creations encompass conceptual approaches ranging from the decorative to the provocatively political. Some of the necklaces on view feature precious metals and rare gemstones, but others derive their impact from materials as unconventional as pig intestines, gun triggers, mustard seeds, LED lighting, black coral, butterfly wings, phone directories, mirrors and lenses. The fabrication techniques employed by the artists are as different as traditional goldsmithing and cutting-edge digital prototyping.”

What do you think?

Liv Blåvarp, Untitled, 2002

 

 

Nancy Worden, The Seven Deadly Sins, 1994

 

Verena Sieber-Fuchs, Apart-heid, 1988

 

Marjorie Schick

 

Tory Hughes, Armillary,1992
polymer, steel, glass, brass, silver, mustard seeds

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Contemporary Pieces Using Gemstones From Margaret De Patta Collection

Posted by learntobead on September 13, 2012

Contemporary Pieces Using Gemstones From Margaret De Patta Collection

The Velvet Davinci Gallery in San Francisco held an exhibit of contemporary jewelry artists creating new jewelry with old stones.

“The De Patta Project was born when Velvet da Vinci purchased many of these unset stones from the estate of Margaret De Patta. There are some beautiful cut stones by Francis J. Sperisen, cabochon stones and beach pebbles found by De Patta. De Patta’s nontradtional use of gemstones and non-precious pebbles are key to the understanding the importance of her influence on the field of contemporary jewelry. ”

Jewelers represented in this exhibit:

Deborah Boskin

Petra Class

Sandra Enterline

Geoffrey Giles

 

Joanna Gollberg

April Higashi

Tom Hill

Mike Homes

Dave Jones

Terri Logan

Deb Lozier

Maja

Dawn Nakanishi

Brigid O’hanrahan

Julia Turner

Andrea Williams

 

It is difficult, when creating jewelry for an exhibit celebrating the work of an historical figure, to decide the best balance among:

– referent and reference to the past, both in terms of De Patta’s jewelry style, as well as the overall modernist aesthetic.
– showcasing your own personal style
– demonstrating a sense of what contemporary style means today
– showcasing the gemstones used

It’s useful to explore these artists’ other work you can see images online, to get a better sense of the artist, as well as a better sense of De Patta.

 

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Margaret De Patta

Posted by learntobead on September 13, 2012

Margaret De Patta Jewelry
(1903 – 1964)


From about 1939, Margaret De Patta was a major designer in American Contemporary Jewelry history, perhaps one of the major influential forces during her time. She was a founding member of the San Francisco Metal Arts Guild.  She is often credited as starting the modern jewelry studio movement.

Her pieces epitomize her use of simple lines and structure. There is a strong architectural sense.   You can see clear connections to the cubist and modern art and bauhaus and modernist architecturer prominent at the time.

She characterized her pieces as miniature wearable sculptures, and in reaction to the prevailing view of  jewelry merely as body ornament.   Her use of line demarcates boundaries, creates a sense of dimensional space, frames elements within her pieces.

 

De Patta envisioned a piece of jewelry as a dynamic object capable of changing perceptions of space and movement by creating reflections, optical illusions, and unexpected alterations of light.

 

It is interesting to look at her jewelry designs, and think about contemporary design today, the similarities and differences.

 

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