Art jewelry is one of the names given for jewelry made by studio artisans. As the name suggests, art jewelry emphasizes creative expression and design, and is characterized by the use of a variety of materials, often unusual or low economic value. In this sense, it forms a counterweight to the use of "precious materials" (such as gold, silver, and gems) in conventional or fine jewelry, where the value of the object is bound to the value of the material from which it is made.. Art jewelry deals with studio crafts in other media such as glass, wood, plastic and clay; it shares trust and values, education and training, state of production, and distribution and publicity networks with a broader field of studio craft. Art jewelry also has links to fine art and design.
While the history of art jewelry usually begins with modernist jewelry in the United States in the 1940s, followed by German artistic goldsmith experiments in the 1950s, a number of values ​​and beliefs that informed art jewelry can be found in arts and crafts. the movement of the late nineteenth century. Many regions, such as North America, Europe, Australasia and parts of Asia have mushroomed the art jewelry scene, while other places such as South America and Africa have developed institutional infrastructure, dealer galleries, writers, collectors and museums that retain the art of jewelry.
Video Art jewelry
Terminology
Art historian Liesbeth den Besten has identified six different terms to call art jewelry, including contemporary, studio, art, research, design, and author, with the three most common being contemporary, studio, and art. Curator Kelly L'Ecuyer has defined studio jewelry as a branch of the studio craft movement, adding that it does not refer to any particular artistic style but rather to the situation in which the object is produced. By definition, "Studio jewelry is an independent artist who handles their choice of materials directly to make limited or limited production jewelry..... Jewelry studios are the designers and fabricators of each piece (although the assistant or apprentice can help with technical tasks ), and the work is made in small and private studios, not factories. "Art historian Monica Gaspar has explored the temporal meanings of different names given to art jewelry over the last 40 years. He suggested that the position of "avant-garde" jewelry itself radically in front of mainstream ideas; "Modern" or "modernist" jewelry claims to reflect the spirit of its time of manufacture; Jewelry "studio" emphasizes the artist's studio above the handicraft workshop; The "new" jewelry assumes an ironic attitude to the past; and contemporary "contemporary" jewelry claiming the present and "here and now" are different from the eternal nature of traditional jewelry as the inheritance heirlooms among generations.
Art historian Maribel Koniger argues that the names given for art jewelry are important to distinguish this type of jewelry from related objects and practices. The use of the term "conceptual" jewelry is, in its words, an "attempt to escape by the terminology of commercial jewelry industry products that reproduce cliches and oriented to the tastes of mass consumption on the one hand, and, on the other hand, the aesthetic design that individualistic and subjective of pure crafts. "
Maps Art jewelry
Precious Criticism
Art jewelry often works in a critical or conscious way with the history of jewelry, or the relationship between jewelry and body, and they are questioning concepts like "elegance" or "endurance" that are normally received without question by conventional or good jewelry. This quality is the product of valuable criticism, a term that describes the challenge of art jewelry in the United States and Europe with the idea that jewelry value is equivalent to the value of its ingredients. Initially art jewelry works in precious or semi-precious materials, but emphasizes artistic expression as the most important quality of their work, linking their jewelry with modernist art movements such as biomorphism, primitivism and tachism. In the 1960s, artists began introducing new alternative materials into their work, such as aluminum and acrylics, violating the historical role of jewelry as a sign of status and economic value or portable wealth. When focusing on the value of giving way, another theme takes its place as the subject of jewelry. Writing in 1995, Peter Dormer describes the effects of criticism on the strangeness of the following: "First, the monetary value of matter becomes irrelevant; second, when the value of jewelry as a status symbol has been reduced, the relationship between ornaments and the human body once again takes the dominant position - become conscious-body; third, jewelry loses its exclusivity to one sex or age - it can be worn by men, women and children. "
Jewelry arts and crafts
Art jewelry that emerged in the early years of the twentieth century was a reaction to Victorian taste, and heavy ornaments and ornaments, often produced machines, popular in the nineteenth century. According to Elyse Zorn Karlin, "For most jewelry, art jewelry is a personal artistic quest as well as the search for a new national identity, based on a combination of historical references, reactions to regional events and the world, newly available materials and other factors, art jewelry reflects the identity of a country while at the same time becoming part of a larger international design reform movement. "Initially, art jewelry attracted a certain group of clients with artistic taste, but was quickly picked up by a commercial company, making it widely available.
There are many different movements that contribute to the category of art jewelry as we know it today. As part of the British Art and Craft movement, flourished between 1860 and 1920, Charles Robert Ashbee and his Guild and School of Handicraft produced the earliest art and craft jewelry in a union setting. Presenting their work as an antidote to industrial production, the first generation of art and craft craftsmen believe that objects should be designed and created by the same people, although the lack of specialized training means that many of these jewelry have attractive handmade qualities. Responding to the changing fashion, as well as Victoria's taste for wearing set, art and craft jewelry, made pendants, necklaces, brooches, belts, cloak clasps, and solo hair combs. Art and craft jewelers also tend to like materials with little intrinsic value that can be used for their artistic effect. Base metals, semi-precious stones such as opal, moon and turquoise, defective pearls, glass and shells, and many uses of Vitreous enamel, allow jewelry to be creative and produce affordable objects.
Art nouveau jewelry from France and Belgium is also an important contributor to art jewelry. Worn by rich and literate artistic clients, including Paris demimonde prostitutes, art nouveau jewelry by Rene Lalique and Alphonse Mucha are inspired by symbolic, literary and musical art, and the dramatic and dramatic revival of the rococo period. As Elyse Zorn Karlin says, "The result is a surprising, sensual, sexual, and melodious, and sometimes even frightening beauty jewelry and jewelry, away from the symmetrical and somewhat subdued design of jewelry Art and Crafts, which is more like jewelry Renaissance. "Lalique and other art nouveau jewelry are often mixed precious metals and gemstones with cheap materials, and are favored by the plique-a-jour and enamel cabochon techniques.
Other important art jewelry production centers include Wiener Werkstatte in Vienna, where architects Josef Hoffmann and Koloman Moser designed jewelry with silver and semi-precious stones, sometimes to be worn with clothes also made by the workshop. The Danish Skagnvirke movement (aesthetic work), in which Georg Jensen is the most famous example, loves the original Scandinavian silver and rocks and aesthetics that fall somewhere between the teachings of art and art and craft. Art jewelery in Finland is characterized by the rise of the Vikings, coinciding with his political freedom in Sweden in 1905, while modernism in Spain follows the lead of art nouveau jewelry. Art jewelry is also practiced in Italy, Russia, and the Netherlands.
In the United States, art and crafts jewelry is popular among amateurs, because unlike ceramics, furniture or textiles, it requires little investment in equipment, and can be made in the kitchen. One of the first American art and craft artists, Madeline Yale Wynne, studied alone and approached her jewelry as a form and composition with an emphasis on aesthetic qualities rather than skill, stating that "I regard every business by itself in terms of color and shape, as I paint a picture. "Brainerd Bliss Thresher, another American arts and crafts jewelry, uses ingredients like carved horns and amethyst for their aesthetic qualities, following the example of Renà © Lalique that blends valuable and precious ingredients in its jewelry. As Janet Koplos and Bruce Metcalf suggested, while the British Art and Craft movement tried to reunite art and labor, many upper-class Americans such as Thresher united art and recreation: "The practice of crafts as recreation can be a relief from the pressures of difficult work, the demonstration of taste good and savior vivre, a polite manifestation of progressive politics, or an expression of satisfactory working pleasure. "
Art jewelry was no longer stylish in the 1920s and 30s, overshadowed by art deco, and audience response to its functional and aesthetically challenging (too fragile and humiliating) qualities. However, it marks a significant break with what happened before, and puts a lot of value and attitude to the ideals of art or jewelry studio of the 20th century later. As Elyse Zorn Karlin says, "Art jewelry appreciates valuable and handmade creative and innovative thoughts, these are the first to use materials that do not have the intrinsic value expected in jewelry, and they reject the taste of mainstream jewelry, their work as an artistic pursuit and make it for a small audience that shares their aesthetic and conceptual values. "
Modernist jewelery
The history of art jewelry was tied with the advent of modernist jewelry in urban centers of the United States in the 1940s. According to Toni Greenbaum, "Beginning in 1940, the revolutionary jewelry movement began to emerge in the United States, and this was driven by the destruction of World War II, the Holocaust trauma, the fear of bombs, politics, prejudices, sterility of industrialization, and commercial rudeness." modern jewelry and studios sprang up in New York City (Frank Rebajes, Paul Lobel, Bill Tendler, Art Smith, Sam Kramer and Jules Brenner in Greenwich Village; and Ed Wiener, Irena Brynner and Henry Steig in downtown Manhattan) and the Bay Area on the Beach West (Margaret De Patta, Peter Macchiarini, cheerful renk, Irena Brynner, Francis Sperisen and Bob Winston). The audience for modernist jewelry is a liberal, middle-class suburban intellectual, which also supports modern art. Art historian Blanche Brown describes the appeal of this work: "Around 1947 I went to Ed Wiener's shop and bought one of the square-spiral silver pins... because it looks great, I can buy it and it identifies me with my chosen group - aesthetically consciously, intellectually and politically progressive, the pin (or one of the others) is our badge and we use it proudly, it celebrates the artist's hands and not the market value of matter. "
In 1946 the Museum of Modern Art in New York hosted the Modern Handmade Jewelry exhibition, which included studio jewelery such as Margaret De Patta and Paul Lobel, along with jewelry by modernist artists such as Alexander Calder, Jacques Lipchitz and Richard Pousette-Dart. The exhibition visited the United States, and was followed by a series of influential exhibitions at the Walker Art Center in Minneapolis. Kelly L'Ecuyer points out that "Calder's jewelry is vital for many museum and gallery exhibitions in this period, and he continues to be seen as the most important figure in contemporary American jewelry." Using cold construction and rugged techniques that suggest improvisational passion and creativity, Calder's jewelry shares the use of lines and sculptural movements to describe space, creating jewelry that often moves with the wearer's body. A strong connection with the art movement is a characteristic of American art jewelry during this period. While Calder showed primitive interest in ancient African and Greek art, Margaret De Patta made constructivist jewelry, manipulating light, space and optical perception according to the lessons she learned from LÃÆ'¡szlÃÆ'³ Moholy-Nagy at New Bauhaus in Chicago. Toni Greenbaum writes that "After his mentor, the painter John Haley, showing him working by Matisse and Picasso, Bob Winston exclaimed: 'That's the kind of nonsense I do!'." Modernist jewelry materials - organic and inorganic non-valuable substances, as well as objects found - correlate with cubism, futurist and chest attitude, while modernist jewelry styles - surrealism, primitivism, biomorphism and constructivism - are art movements as well.
Art jewelry since 1960
The postwar growth of jewelry in the United States is supported by the concept that jewelry-making techniques, which are believed to strengthen the hand and arm muscles and assist eye-hand coordination, play a role in the physical therapy program for World War II veterans. The War Veterans Art Center at the Museum of Modern Art, led by Victor D'Amico, the School for American Artisans, and a workshop run by Margret Craver in New York City, responds to the needs of American returnees while the GI Bill of Rights offers free lectures for veterans, many of whom are learning crafts. As Kelly L'Ecuyer points out, "In addition to individual creativity, the proliferation of craft-based and therapeutic education for soldiers and veterans in the United States during and after the war provides a stimulus to all studio crafts, especially jewelry and metalsmithing.Public and personal resources devoted to the program veteran handicrafts plant seeds for a more durable educational structure and engineer a broad interest in craft as a creative and fulfilling lifestyle. "
In the early 1960s, graduates of these programs not only challenged conventional jewelry ideas, but also taught a new generation of American jewelery in a new university program in jewelery and metalworking. Architectonic jewelry is being developed around the same time.
In the 1960s - 1970s, the German government and the commercial jewelry industry cultivated and strongly supported modern jewelry designers, thus creating new markets. They combine contemporary design with traditional gold craftsmen and jewelry making. Orfevre, the first gallery for art jewelry, opened in Duesseldorf, Germany, in 1965.
Exhibition
The acceptance of jewelry as an art was fostered in the United States very quickly after World War II by major museums such as the Museum of Modern Art in New York and the Walker Art Center in Minneapolis, which each held a great exhibition of fine art jewelry in the 1940s. Museum of Art and Design formerly The American Craft Museum, started their collection in 1958 with pieces dating from the 1940s. Other museums whose collections include works by contemporary jewelry designers (Americans) include: Cleveland Museum of Art, Corning Glass Museum, Mint & amp; Design in Charlotte, NC, Fine Arts Museum, Boston, Museum of Fine Arts, Houston, and Renwick Gallery from the Smithsonian museum.
Some of the famous artists who created art jewelry in the past were Calder, Picasso, Man Ray, Merpen Oppenheim, DalÃÆ' and Nevelson. Some of them are represented at the Sculpture to Wear Gallery in New York City which closed in 1977.
Artwear Gallery owned by Robert Lee Morris continues to showcase jewelry as an art form.
Collection of art jewelry can be found at Schmuckmuseum in Pforzheim, Germany.
List of jewelry artists
Listed in the decade in which they were first recognized:
1930
- Suzanne Belperron, Prancis, 1900-1983
1940-an
- Margaret De Patta, Amerika Serikat, 1903-1964
- Art Smith, Amerika Serikat, 1923-1982
1950 an Irena Brynner, Amerika Serikat, 1917-2003
1960s
- Gijs Bakker, Netherlands, 1942 -
- Kobi Bosshard, Switzerland/New Zealand, 1939 -
- Stanley Lechtzin, United States, 1936 -
- Charles Loloma, USA, 1921-1991
- Olaf Skoogfors, Sweden, 1930-1975
1970s
- Arline Fisch, United States, 1931 -
- William Claude Harper, United States, 1944 -
- Mazlo, Lebanon 1949- France
- Robert Lee Morris, Germany 1947 - United States
1980s
- Warwick Freeman, New Zealand, 1953 -
- Lisa Gralnick, United States, 1953 -
- Bruce Metcalf, United States, 1949 -
- Alan Preston, New Zealand, 1941 -
- Beatrice Wood, USA, 1893-1998
- Bernhard Schobinger, Switzerland, 1946
1990s
- Andrea Cagnetti - Akelo, Italy, 1967
- Karl Fritsch, Germany/New Zealand, 1963 -
- Linda MacNeil, USA, 1954 -
- Lisa Walker, New Zealand, 1967 -
- Areta Wilkinson, New Zealand, 1969
- Nancy Worden, United States, 1954 -
2000an
- Rebecca Rose, AS, 1980
- Betony Vernon, AS, 1968
Referensi
Bacaan lebih lanjut
- LaGamma, Alisa (1991). Perhiasan metropolitan . New York: Museum Seni Metropolitan. ISBN: 0870996169.
Source of the article : Wikipedia
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