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Previous Exhibitions 2008

“jewel, labyrinth of dreams” by Francesca Gabrielli
Nov.29 – Dec.8, 2008 10.00 - 22.00
Tempio di Adriano, Piazza di Pietra-Roma

The Gallery 105 ART, participates at the famous exhibition of jewellery: Desideri Preziosi
The event will take place in December and will include among the protagonists Francesca Gabrielli director of the gallery itself, and member of the jury of the event. A chance to admire in a large and sumptuous location the creations of an esteemed goldsmith. The artist will present her latest collection proposing the personal vision of the theme: “jewel, labyrinth of dreams.” With a series of performances inspired by natural, roughness and asymmetries Gabrielli reveals her particular propensity for abstract and gestural, never falling in trivial, rhetorical or forcibly extravagant.

Pieces of Eight at Inform Contemporary Jewellery
Opening Night Tues Nov 25th, from 5pm
Inform Contemporary Jewellery, Christchurch, NZ
until Dec 13th, 2008

This year, for the very first time, the group of jewellers working at the Pieces of Eight studio have been exhibiting together. The exhibition was recently held at Sturt Gallery in Mittagong, NSW. The exhibition comprises various works made by the workshop residents at Melbourne’s Pieces of Eight Gallery; Nina Ellis, Lucy Folk, Rachel Gorman, Melanie Katsalidis, Krista McRae and Suzi Zutic.

Made by Hand
Fine Porcelain by Shannon Garson & Contemporary Jewellery by Rebecca Ward

Maleny - Studio sale Sat. Nov. 15, 2008 9am - 4pm
Venue: The Studio 23 Cedar Street, Maleny

Kelvin Grove Urban Village Fri. Nov. 28, 2008 4pm - 8pm and Sat. Nov. 29 2008 9am - 3pm
Venue: Shop R5b, The Village Centre corner Musk Ave. and Caraway St. Kelvin Grove Urban Village

GoMA Gallery Store Christmas Design Market Sat. Dec. 6, 2008 9am - 5pm
Venue: Gallery Store forecourt GoMA - Gallery of Modern Art Stanley Place, South Brisbane

Kayo Saito, Kim-Jung Vu, Isabelle Lutz
at Galerie Orfeo
Oct. 10-Nov. 19, 2008

aura2008 international exhibition of contemporary jewellery
Nov. 7-9 at The Kings Manor, York

500 Pendants & Lockets: Contemporary Interpretations of Classic Adornments
The Pendant Show
Celebrating 500 Pendants & Lockets by Lark Books
Velvet da Vinci Gallery
Oct.29-Nov.30, 2008

Jillian Moore
Velvet da Vinci Gallery
Oct.29-Nov.30, 2008

Radical Makeover Jewelry Makeover
Velvet da Vinci Gallery
Oct. 22-Nov. 9, 2008

"Gioielli" by Elisabetta Duprè at Galleria 105 ART
Nov. 11-15, 2008

Helen Britton at Fingers Jewellery
Nov. 3-15, 2008

Show your love / Christmas 2008 at Studio 20/17
Christmas Showcase - Gifts of Wearable Art Exhibition
at Studio 20/17, Dank Street Galleries, Waterloo, Sydney NSW AU
Nov.15-Dec.20, 2008
Opening drinks: Sat. Nov.15, 2008 4-6pm

Pierre Cavalan - Face a Face & Mike Turner - Metalmorphosis
Recent works by the artists
Oct.30-Nov.11, 2008 at Gaffa Gallery - Sydney AU

Golden Clogs, Dutch Mountains Andrea Wagner Ineke Heerkens Jantje Fleischhut Stephanie Jendis Katja Prins
GOLDEN CLOGS, DUTCH MOUNTAINS: New Jewelry from the Netherlands

Golden Clogs, Dutch Mountains is an exhibition showing the young generation of Dutch avantgarde jewelry with strong and innovative work by eleven emerging artists. It will open at Velvet Da Vinci Gallery, San Francisco on March 21 till April 20, 2007. It was curated for them by Andrea Wagner (studio jeweller in Amsterdam) who further organized that the exhibition continues to a number of other galleries in the United States and Canada. Testifying to the exceptional originality and creative mentality in The Netherlands the charismatic and compelling work has an unconstrained playfulness and subtle humor. The innovative use of a wide scope of materials is the outcome of the arists’ experimental curiosity in their search for narrative materiality. These intelligently beautiful jewels project a strong visual language that is based to a large extent on the power of the emotional value of material conveying the meaning behind the work. There is an exhibition catalogue Golden Clogs, Dutch Mountains with 22 color illustrations exceptionally photographed by Corriette Schoenaerts. A lecture on the Dutch creative mentality and the historical background of contemporary jewelry in that country will be given by Andrea Wagner to accompany the exhibitions.
Further showings planned:
Ornamentum Gallery, Hudson NY 6 July – 6 August 2007
Gallery Loupe, Montclair, NJ - Fall 2007
Gallery Noel Guyomarc'h, (514) 840.9362 Montréal (Québec) Canada - 6 March – 13 April 2008
Anna Leonowens Gallery, Halifax, N.S., Canada September 2008

3rd Annual Intercollegiate Metals Exhibition
Oct. 6-17, 2008 Mon.-Thurs. noon-5pm; Friday noon-3pm
Opening Reception: Mon. Oct. 6, 2008 7-9pm
Tickets: Free
A national juried exhibition of jewelry and metalwork, selected and organized by Herberger College faculty member Becky McDonah and the Metals program in the School of Art, ASU Tempe, AZ USA

Dieter Roth’s Rings
through 5 Oct. 2008 at MUDAC

The Swiss creator Dieter Roth (1930–1998) worked on innumerable fronts, trying out multiple materials and techniques. He was a remarkable dabbler in many things: at one and the same time painter, graphic artist, designer, sculptor, creator of installations, poet, musician, filmmaker and organiser of his own exhibitions. The scope of his interests and his artistic research was such that Dieter Roth is unique and, indeed, unclassifiable. His work often leaped from one discipline to another, while some of his works decomposed naturally because they were made from chocolate, cheese or meat. The proliferation and originality of his interventions and his works have left a lasting mark on the most recent generations of artists.

In 1957, Dieter Roth decided to settle with his wife in Iceland, which very quickly became his adopted homeland. Following the birth of their three children, in order to meet his family’s needs, the artist went on to experiment in very diverse fields: he built furniture, designed a shelving system for a pharmacist, developed new pieces for chess (a very highly regarded game in Iceland), designed posters and produced work in ceramics and glass. In parallel he became interested in making jewellery, which he thought he could sell easily. These creations were totally innovative and burst the norms of traditional jewellery. Thus his bracelets were based on salvaged aluminium plates on to which he poured chemical products; he would wait two or three weeks until a form of oxidisation was produced and then cut out strips of metal. His early days as a jeweller were very laborious. Icelanders did not recognise the originality of his experimental work, which broke down the barriers between different areas of skills. The meeting in 1958 with his fellow countryman, the goldsmith Hans Langenbacher, marked a turning point in his production. A long, fruitful collaboration grew out of this friendship, which would last until the artist’s death, as the abundant correspondence presented at the mudac this summer will testify.

Hans Langenbacher was instantly fascinated by the freedom of expression of the jewellery designed by Dieter Roth, the audacity of the materials employed and their ingenious system of assemblage. The artist used to try out various combinations of bolts, nuts and screws, propose new components to add, cover or remove. This incredible series of sculptures for fingers, or ring-sculptures, was based on rather ordinary materials such as gilt brass, iron and coloured plexiglass. Dieter Roth even went further, including the eventual wearers of his jewellery in the creation of their own ring. They could modify the ring as they pleased by combining or replacing certain components, thereby creating a unique object. The dialogue of the artist with the person who would wear the object is a central theme in Dieter Roth’s work. The series of rings produced by Dieter Roth includes some very special models such as the “Ring with rotating components” (1971), permitting the wearer to play with 15 different settings, the four “Lion rings” (1971) inspired by the Lion Monument in Lucerne, and the “Zoo ring” (1971) made up of toys in the form of interchangeable animal heads.

The exhibition presents six ring-sculpture models with multiple combinations permitting 40 different rings to be made, as well as 70 original documents prefiguring these projects. Drawings, sketches, letters and postcards sent by Dieter Roth to Hans Langenbacher allow one to follow, step by step, the collaboration between artist and goldsmith. All the objects come from the private collection of Hans Langenbacher (Lucerne).

Parallel to this project, Edizioni Periferia (Lucerne) is publishing in German and English the book Dieter Roth, Ringe 1959–1973, which includes photographs by Harry Burst of the various ring projects, with previously unpublished texts by Jean-Christophe Ammann, Hans Langenbacher and Flurina Paravicini, Adalsteinn Ingolfsson and Peter Noever. As the goldsmith Hans Langenbacher placed his archives at the publisher’s disposal, all the original documents relating to this collaboration have been reproduced in facsimile and gathered together in a loose-leaf file in a limited edition of 750. There is also a leader edition (15 numbered copies) incorporating an example of the “Lucerne lion ring” in silver.

From Hand to Hand: Passing on Skill and Know How in Contemporary European Jewelry From Hand to Hand: passing on skill and know-how in European contemporary jewellery
through Oct.5, 2008 at MUDAC

Special events:
Lecture by Karl Fritsch
Karl Fritsch, jewellery-maker, talks about his work. Sept.23, 2008 at HEAD / Boulevard James-Fazy 15, 1201 Geneva, free entrance.
Lecture by Karen Pontoppidan
A lecturer at Ädellab, Konstfack, Stockholm, Karen Pontoppidan talks about the transmission of knowledge. Oct.3, 2008 at MUDAC

Via a selection of jewellery by European creators, the exhibition “from hand to hand” seeks to define the bonds that are created between teachers and pupils and what is involved in passing on a skill or knowledge. European jewellers whose influence in the contemporary jewellery world is clearly established and recognised were therefore chosen, not just because they are eminent teachers but also because they are outstanding creators of their period. What influences have they had on their pupils? What do they hope to pass on? What have their pupils retained of this? And do the latter, some of whom have become teachers in their turn, have the feeling they are continuing a link in the chain?

Contemporary jewellery
In our Western societies, technical virtuosity acquired in a traditional manner in workshops or professional schools allows the making of jewellery that unites prestige with market value. Nevertheless, since the 1970s, the world of contemporary jewellery creation has questioned these values. So does this knowledge still have any meaning? Is it not the idea transmitted via the object that is of prime importance? In observing the selected pieces, made by the creators themselves, one realises that both these factors co-exist: manual skill remains very evident in as much as these pieces of jewellery testify to the attention paid to ensuring they are well made, a judicious choice of materials, a genuine pleasure in producing a beautiful object. But this manual skill is placed at the service of the expression of each individual’s private questionings. It is this combination that makes contemporary jewellery so fascinating. One can allow oneself to feast one’s eyes while enjoying a pleasant sensation of intellectual titillation. Benjamin Lignel, jeweller and art historian, has set out a number of common characteristics of contemporary jewellery. He underlines “notions of individuality, craftmanship, and its troubled relationship to the production mainstream.” And adds the following elements: “the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; […] and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.” [In Metalsmith Magazine, autumn 2006]. These are a few of the facets which allow one to define better the preoccupations of contemporary jewellery creators.

Apart from a few isolated examples, it would be difficult in Europe to find a school that is characterised by its territorial roots. The majority of European jewellery schools and colleges have developed an international style, based rather more on the identity of the creator than on his or her origin. Ever since the 1980s–1990s, Europe has represented a crucible for the creation of contemporary jewellery. Students still come from all over the world to undergo training here. Creators who have passed through European schools are consequently right in the centre of the reflections that prevail in the contemporary jewellery field.

Ties and links
To define more closely the relationships that exist between the exhibition’s participants, the latter responded to a questionnaire regarding the transmission of skills and knowledge. Their answers echo their creations in the exhibition as well as in the catalogue. Thus, all the jewellers relate their experiences during their years of training; their relationship with their teacher(s); who pushed them, who supported or discouraged them; who they still remember several years later; how there was a certain amount of connivance. Some pupils, having become masters in their turn, are continuing an artistic process that was developed under the influence of their teachers. Fabrice Schaefer, who teaches at the Haute école d’art et de design in Geneva, says: “‘Transforming a material’ was at the heart of Esther [Brinkmann]’s teaching; I still work along those lines”. Others, on the contrary, claim to have broken with them completely: “I think that I have never been faithful to my teacher. We have completely different ways of facing our craft and making jewellery.” (Marc Monzó, Spain, 1973).

The exhibition
The exhibition brings together works by 58 jewellery-makers of 3 generations (12 masters, 39 pupils, 7 pupils of pupils) who have emerged from 10 schools in various countries: Germany, Spain, Finland, France, Great Britain, Italy, Netherlands, Portugal and Switzerland. It is organised around the first-generation teachers, with the addition of their pupils and, in some cases, the pupils of their pupils. The tradition that the Swiss are great travellers is confirmed here: of the 17 Swiss jewellers included, 5 of whom currently teach abroad, 5 pursued complementary training outside Switzerland before returning home.

The choice of pieces was carried out in agreement with the creators. The majority of the works date from the last five years. In a few cases they are older because they are emblematic of the work of particular teachers. Each creator has the same module at his/her disposal, without any sort of hierarchy: a trolley on wheels offering a presentation area of around 1m2. This display option conveys the very great mobility of jewellery creators: both the teachers who move around giving workshops and the pupils who follow the teacher of their choice.

Despite every effort on the scenographer’s part, a piece of jewellery presented in a display case is nothing but a miniature sculpture. It lacks its natural support, the body. To compensate for this absence from the exhibition, some of the jewellery pieces are also shown being worn by means of black-and-white photographs taken by students of the Ecole de Photographie in Vevey (CEPV).

The exhibition’s organisation and scenography were undertaken by Carole Guinard, jewellerymaker and scenographer at the MUDAC.

The Miniature Worlds of Bruce Metcalf
Sept.28 - Dec.21, 2008
Special Events on Sept.28, 2008:
Bruce Metcalf Lecture: "Chapters in a Life of the Imagination" 2-3pm at the Palo Alto Art Center auditorium
Public Preview 3-5pm
The lecture and preview are free to the public; please call 650-329-2366 to RSVP for the lecture.

A 120 page full-color exhibition catalogue is available.

Curated by Signe Mayfield of PAAC, this first major exhibition of his work examines social, moral and political issues, many of which Metcalf has also raised in his essays. In this exhibition, diminutive size matters. Cast in silver or carved in wood, Metcalf's vulnerable protagonists act out issues on the stage of miniature worlds. Some of his pieces serve dual lives as wearable brooches, where the protagonists venture into the world and engage the unsuspecting viewer with their stories and distinctive visual language. The exhibition also marks the premier of the United States tour slated for multiple venues through 2011, including the Mint Museum of Craft+Design in Charlotte, North Carolina; Bellevue Arts Museum in Bellevue, Washington; Fresno Art Museum in Fresno, California; Fuller Craft Museum in Brockton, Massachusetts; Arkansas Arts Center in Little Rock, Arkansas; and Racine Art Museum in Racine, Wisconsin.

Flip Side: Jewelry from JamFactory at Velvet da Vinci Gallery
Sept.10 to Oct.12, 2008

Velvet da Vinci Gallery in San Francisco presents "Flip side: Jewelry from JamFactory", a show featuring new work from eight established Australian jewelers. Sue Lorraine, Creative Director of the Metals Design Studio and curator of Flip side, explains that the intention of this exhibition was to push these artists into a new dimension of their work. "There is always more than one point of view, always several ways to look at something, from the back and the front, the inside and the outside, the upside and the downside, the safe side and the flip side." However, instead of creating drastically new pieces for the exhibition, Lorraine found that their mature and assured practice has allowed them to push the boundaries of their everyday work. For the last 30 years, JamFactory Contemporary Craft and Design Centre, located in Southern Australia, has been a center for the design, production, exhibition and sale of work by leading and emerging Australian designers / makers.

An exhibition catalog is available.
The artists exhibiting in the show are: Alisa Dewhurst, Kath Inglis, Tassia Joannides, Sim Luttin, Sally Mahony, Lauren Simeoni, Belinda Newick, Melissa Turner.

Tassia Joannides uses the common zipper as her medium. She has given this one-dimensional form body and substance. The armbands intentionally blur the boundaries between the inside and out. By unzipping and zipping they become part of the wearer, an intimate experience.

Melissa Turner uses stainless steel to create fluid and soft forms of beauty. There is no front or back, no pin back, no pendant, no ring shank, only fluid forms. These forms stand as an act of defiance to the jewelry world, without a wearable function.

Sally Mahony uses primarily stainless steel in her work. She manipulates the material to both extremes, making it corrode and shine to a satiny, seductive black. The brooches peel away from the body exposing fabric or metal beneath.

Kath Inglis again is a manipulator of materials. She carves PVC into three-dimensional wearable sculptures. Kath is inspired by the colors of shadows and reflections in water. Just as water has no top or bottom, no starting or ending point, her jewelry is a continuous ripple on the wearer.

Lauren Simeoni's brooches reflect the impact materials have on the world. She is a lover of materials and the impact these material leave. In this series of brooches she has printed nostalgic images on aluminum and reveals a time of personal innocence.

Sim Luttin made this body of work while recently living in the U.S. As a visitor she was hyper-aware of her surroundings. Her necklaces reflect and magnify nature with their seed-like forms as vessels strung from dark beads.

Alisa Dewhurst and Belinda Newick have used the body as their starting points. Alisa crochets necklaces illustrating the repetitive genetic message of DNA, the building material that makes up each individual. She mimics this process in crocheted wire. Belinda uses the necklace to discuss the fragility, fertility and fecundity of the female anatomy.

Home - Jewellery by Sofia Björkman at Platina Stockholm Sweden
Exhibition runs until Oct. 4, 2008

"Where I live, all the houses are similar. The small houses in wood are called shoe cartons and are on the line along the streets of the suburb. All who live there have a house, a garden, a car, a grill and at least one inherited piece of jewellery." Sofia Björkman

Chao & Eero - Our Nature at Design Forum Finland Sept.12- Oct.5, 2008
Unique one-off jewellery by Chao-Hsien Kuo and Eero Hintsanen

Board Meeting - New Work by Anna Whitley at Fingers Jewellery Sept.15 - 28, 2008
Preview Monday 15th from 5.30-7.00pm

Signs from Nature - Birgit Laken / Suzanne Esser at Galeria Reverso through Oct.4, 2008

Lisa Walker "Unwearable" at Objectspace Gallery through Oct. 4, 2008

"Trees Above" by Silke Spitzer
at Ornamentum Gallery through Sept. 29,2008

"Nest" Necklace, 18K gold, wood, natural rubber, 2008

Solo Exhibition of Yael Krakowski
Opening Sept. 15, 2008 at Galeria Bielak

GlassWear: Glass in Contemporary Jewelry by Ursula Ilse-Neuman 2007 GlassWear: Glass in Contemporary Jewelry
Curator Ursula Ilse-Neuman of Museum of Arts & Design New York, NY USA
organized by Museum of Arts & Design, New York, NY & Schmuckmuseum Pforzheim, Germany
traveling exhibition:
Nov.7, 2007– Jan.31, 2008 Glass Pavilion, Toledo Museum of Art, Ohio
March 14 -May 25, 2008 Schmuckmuseum Pforzheim, Germany
April 18-June 28, 2009 Memorial Art Gallery, University of Rochester, Rochester, NY USA
13 July – 20 Sept. 2009 Museum of Arts & Design, New York, NY USA
Oct.2, 2009 – Jan. 3, 2010 Mobile Museum of Art, Mobile, AL USA

Earl Pardon: Palette Maestro
Racine Art Museum WI April 13 – Aug. 10, 2008

Full Duplex
Exhibition / Installation
Stefan Heuser + Jiro Kamata
at Ornamentum through July 7, 2008

On the surface, the jewelry of Stefan Heuser and Jiro Kamata stand in stark contrast to the other. Kamata’s sleek, perfectly minimal forms seem at odds with Heuser’s rough, burnt and crudely enameled surfaces. However both come alive when you delve beneath the obvious and open up to explore their underlying mysteries.

During his time as the honored “city goldsmith” of Hanau, Germany, Jiro Kamata was transfixed by an old etching of the city, drawn in a completely illogical “fish-eye” view, that he found within the vast library of the “Drawing Academy”. From this he was inspired to explore the camera lens as subject, as well as the experience of seeing the world reflected through the lenses placed within his brilliantly thoughtful yet constructively minimalist jewelry. In his experimentation, Kamata discovered that by painting the back of each lens, he could achieve the deepest black and brightest white imaginable, and that light reflection and refraction would present a multitude of colors from within the glass. While the observer studies the jewelry object, a reflection on the mysteries of the surrounding environment, not to mention the memories and experiences that have passed through the glass within its’ “lifetime” become an intrinsic part of the encounter. The scorched and warped surface of a Stefan Heuser brooch, a black grey or brown rectangle pinned to the clothing, possessing an enormous visual strength, ominous and unforgiving… yet the true subversion comes into view when you turn the piece over in your hand. While leaving the front of the brooch a “blank slate”, he decorates the back using the traditional tools and techniques of the goldsmith… but he turns those against themselves as well: crude enameling oozing out from behind torn metal combined with black stones set on a burnt black backdrop, or a ruby encrusted gold brooch with the outermost layer of gold burnt to give a brown color that is unrecognizable as the valuable material it is.

“He is purposefully doing all of the things we yell at the students for doing wrong”:
Jamie Bennett- professor SUNY New Paltz

Both artists currently live and work in Munich, Germany and are graduates of the prestigious Munich Academy of Art.
Full Duplex: the transmission of data in two directions simultaneously

Framing - The Art of Jewelry Jan.19 – May 11, 2008
Museum of Contemporary Craft, Portland OR USA

Manuel Vilhena + Castello Hansen
at Galeria Reverso June 5 -July 5, 2008

Enamel Experience - International Badges Exhibition

Velvet da Vinci Gallery
through March 30, 2008

Velvet da Vinci Gallery in San Francisco presents "Enamel Experience - International Badges Exhibition," a show featuring 24 established artists from Germany, the United Kingdom and the United States. This exhibition is made up of contemporary badges inspired by the collection of historic enamel badges at Hamburg's Museum der Arbeit.

"Enamel Experience - International Badges Exhibition" originated at the Museum der Arbeit in Hamburg, Germany. The museum is located in The Company Carl Wild Badge Factory, which was in production from 1901 to 1989 and was forced to close due to cheaper competition overseas. The historical badge collection includes badges made for the military, various societies, commercial organizations and charities. The contemporary artists have re-interpreted these badges to create a series of new ones.

Badges have a rich history through their messages and techniques. Elizabeth Turrell, the organizer of the exhibition, says, "The making of badges, medals and regalia gives artists a means of portable communication, including subversive messages, pleas for peace, and satirical images. The badge can be produced as a one off, a limited-edition or commercially produced by the hundreds or thousands."

Three prestigious international artists in the exhibition have taken very different approaches to re-creating the badge. Prominent British artist Wendy Ramshaw makes both public art and jewelry. Her work is found in museums and private collections throughout the world, such as the Smithsonian Institute in Washington D.C., the Cooper Hewitt Museum and the Art and Design Museum in New York and the Victorian and Albert Museum in London. Her badge was inspired by the intrepid polar explorer Ann Daniels who told the BBC how she saw a "rainbow around the sun". The image caught Wendy's attention and she created this sight in the form of a badge.

Tamar de Vries Winter, originally from Israel, lives in the UK where she creates jewelry and hollowware. She is highly influenced by ancient cultures. Her work can be found in many prestigious collections such as the Jewish Museum in New York and the Victoria and Albert in London. She wants to communicate the message of peace through her badge. She says, "The vision expressed by this badge follows that of the prophet Isaiah - 'We shall transform their iron crosses into olive branches'. I wish to dedicate the badge to the memory of my grandfather Josef Lachmann who for all his life as a father, physician, soldier and citizen fought for his ideals." The photo on the badge is from a collection of photographs taken in Germany and Palestine in the first part of the twentieth century that she inherited. It is a reminder to her of the world they have lost.

Mark Hartung is a U.S. artist. He originally studied glass at Kent State in Ohio. He has been working in enamel since 1989 and is a recipient of many Ohio Art Council Grants. Mark was inspired by badges with numbers he found in the collection of the Museum der Arbeit. He took this element and used it as a decorative motif to create his striking images.

Velvet da Vinci is open Tuesday through Saturday from 12 pm - 6 pm, Sunday from 12 pm - 4 pm. The Gallery is closed on Monday.

silver brooch by Alexandra Stülb

New Works: Jewellery by Alexandra Stülb & paintings by Andrea Gabbriellini

at ORFEO Galerie d'Art - Luxembourg
Exhibition runs until April 31, 2008

Åsa Lockner

Åsa Lockner - Views of Order

at PLATINA, Odengatan 68, Stockholm
Exhibition runs until April 30, 2008

In 7 chapters Åsa Lockner depicts the concepts of order. The idea and inspiration for the exhibition comes partly from journeys in countries with limited freedom of speech and repression. Order is also Åsa Lockners own tool for balancing her everyday life.

The exhibition "Views of Order" at Gallery Platina in Stockholm is a research on different aspects of order political, social and cultural. But the artist and designer Åsa Lockner also relates to her private life:
- When I face symptoms of stress my desire for order increases. I try to compenesate my loss of control with actions as organizing work papers in files.

Recently Åsa Lockner visited Laos and White Russia, two countries where the inhabitants are under strong repression from the authoritiy. She reacted with surprise on the few visible signs from the governmental control in the streets:
- The lack of individual expression and subcultures was the things that struck me hardest. Downtown Minsk was unnaturally tidy and clean, simply too clean. The whole society was cleansed from diverting expression.

"Views of Order" is organized in seven chapters of jewellery and sculptures in different environments, all describing the artist ideas. The first chapter, "Table Manners", handles governmental repression towards dissidents. The third chapter is the sculpture, "Being Nice", where a woman fights against visible and invisible chains.

Ted Noten, Kiki van Eijk, Joost Van Bleiswijk, Shan-Shan Sheng
April 18-May 10, 2008
opening reception 5-8pm on April 18, 2008
at design-e-space Venice Italy

Verdura: The Life and Work of a Master Jeweler - Patricia Corbett Verdura: The Life and Work of a Master Jeweler
Through Feb. 17, 2008 at the Houston Museum of Natural Science
Jewelry with the original renderings will be displayed.

Ritual Objects: Sculptural Jewelry
Natasha Seedorf solo show
Jan. 9 - Feb.11, 2008
Gallery One
Appalachian Center For Craft, Smithville, TN

Exploring Boundaries: Evolutionary Metal
Dec. 14 - Jan. 23, 2008
Bevier Gallery - Rochester Institute of Technology
Rochester, NY

LIBIDO- chains, gender, feelings and love
Jewellery - Jenny Edlund
Foto - Morgan Norman
Exhibition runs until February 2, 2008
PLATINA, Odengatan 68 in Stockholm

New West Coast Design: Jewelry + Metalwork
Velvet da Vinci Gallery
2015 Polk Street @ Broadway
San Francisco, CA 94109

Jan. 18 to Feb. 17, 2008
Artist Reception, Friday, Jan. 18, 6-8 pm.

Velvet da Vinci Gallery in San Francisco presents New West Coast Design: Jewelry + Metalwork, an exhibition showcasing 60 West Coast established and rising metal artists and jewelers creating exceptional new work.

New West Coast Design is a group of exhibitions to be held in different venues throughout the San Francisco Bay Area focusing on specific developments in the craft and design fields. New West Coast Design exhibitions have a rich history which started with a desire to exhibit furniture and objects by California artists. The California Design exhibitions began at the Pasadena Museum of Art in the 1950s and continued through the 1970s. Designer Craftsmen of the West, curated by Elizabeth Moses in 1957 and held at the de Young Museum, and the thirteen California Design events sponsored by the Baulines Craft Guild in San Francisco from 1988 to 2004 were also premier showcases for regional design. West Coast designers and artists continue to create unique work exhibited in Museums and private collections.

The exhibition at Velvet da Vinci, New West Coast Design: Jewelry + Metalwork highlights a collection of the most exciting new designs in jewelry and metalwork currently being made on the West Coast.

Helen Shirk is one of the New West Coast Design: Jewelry + Metalwork artists. Ms. Shirk is a world-renowned, Southern California metalsmith who creates large organic (plant like) vessels out of copper. The piece in the exhibition is textured and painted with colored pencil to evoke the color palette of Western Australia. The work is deeply rooted in her time spent there. She says, “I try to create the feeling of sensuousness, strangeness, and vitality that I find in the natural world.”

Jeweler Maria Phillips, (Seattle) conjures up the female body through her choice of materials. Her series of brooches made from gut, gold, silver and thread look almost like quick, precise sketches.

Cynthia Toops, (Seattle) an established polymer-clay jeweler, has created a new series of work out of felt. Her Twig bracelet is hand felted into an organic oval with three-dimensional texture emulating small protruding branches.

James Yont, one of the younger artists in the exhibition, has created a modern style brooch. Made from red, white and orange plastic and a variety of industrial metals the appearance is that of a space ship with its modern sleek angles.

Mike Holmes and Elizabeth Shypertt co-curated New West Coast Design: Jewelry + Metalwork. Velvet da Vinci is one part of a Bay Area-wide exhibition of the New West Coast Design Exhibition.
In total there are five other museums and galleries:

San Francisco Museum of Craft + Design
New West Coast Design - Contemporary Objects
Jan. 18 through April 27, 2008

San Francisco Center for the Book
New West Coast Design - Books
Jan. 25- April 25, 2008, reception Jan 25, 6-8pm

Bucheon Gallery
New West Coast Design - Fiber
Jan. 4 - Feb. 9, 2008, reception Jan. 4, 2008 6pm - 8pm

Museum of Craft and Folk Art “C” Change: Craft in Our Future
Recent Graduates from the California College of the Arts
Nov. 1, 2007 - Jan. 27, 2008

Artworks Gallery
New West Coast Design - The State of the Art Quilt
Jan. 10 - Feb. 28, 2008, reception Jan. 24

Since 1991, Velvet da Vinci Gallery has been a leader in showcasing new developments in contemporary art jewelry and craft-based sculpture and regularly organizes exhibitions of contemporary craft. The Gallery represents more than 75 renowned artists from across the globe and regularly holds lectures by both local and visiting artists that are free to the public.
Velvet da Vinci is open Tuesday through Sat. from 12 pm - 6 pm, Sunday 12 pm - 4 pm.
The Gallery is closed on Monday.

Jewelry by Artists: The Daphne Farago Collection
May 22, 2007- March 5, 2008
Museum of Fine Arts, Boston MA USA

This exhibiton will present highlights from Daphne Farago's collection of contemporary jewelry, which was given to the MFA in 2006. The collection comprises more than 600 works of jewelry by leading American and European artists, ranging in date from about 1940 to the present, in a wide variety of media and sculptural forms. With this gift, the MFA now holds the most comprhensive collection of twentieth-century studio jewelry ever assembled. The exhibition will include a selection of about 150-200 objects, and will provide a chronological survey of studio jewelry in the 20th century. While demonstrating the breadth of the collection and the variety of artists' approaches to jewelry-making, the show will also represent key artists in depth, including Alexander Calder, Art Smith, Sam Kramer, Robert Ebendorf, William Harper, Wendy Ramshaw and Mary Lee Hu.

Metalcyberspace® is created & maintained by
contemporary studio jewelry designer Susan Sarantos
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in the field of modern art jewellery design & metalsmithing arts
Modern Jewelry

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