Calendar: September 2010

31 08 2010

all month

  • NGV (Ian Potter): Mari FunakiObjects‘ [link]; until 24th October
  • NGV (International), Winter Masterpieces ‘European Masters: Städel Museum, 19th–20th Century‘ [link]; until 10th October
  • NGV (International) ‘Lace in Fashion‘ [link]; until 23rd January 2011

30th August – 3rd September: short course at RMIT, ‘The Art of Enamelling‘ by Professor Lindy Darty (USA); $695, 9:30-4:30pm each day [link]

2nd September: Vikki Kassioras and Katherine Bowman (jewellery and drawings) ‘Black, an exhibition‘ at Nicholas Building (level 7, room 10) [link]; part of Melbourne Spring Fashion week; limited opening times (2nd, 3rd, 8th September)

exhibition media

2nd-3rd September: short course at RMIT, ‘Rapid Prototyping for Jewellery and Small Objects‘, by Nicole Jacquard; $290, 9:30am-5:30pm each day [link]

4th September: Part B jewellers gathering (organised by Melissa Cameron), 2pm at Gallery Funaki for the David Neale and Emma Price exhibition (listing below)

4th September: last day for Gallery Funaki, David Neale and Emma Price [link]

4th September: last day for ‘I’ll show you my craft if you show me yours 2‘, exhibition, part of Craft Victoria Craft Cubed festival [link]

4th September: last day for ‘Playing Field‘, group exhibition as part of Craft Victoria Craft Cubed festival [link]; “The exhibition features the work of Anna Davern, Jennifer Bartholomew, Anika Cook, Michael Doolan, Bern Emmerichs, Tim Fleming, Gracia Haby & Louise Jennison, Greer Honeywill, Ben Pearce and David Ray

5th September: last day for Gallery of South Australia ‘Gray Street Workshop: 25 Years’; “presents the work of well-respected South Australian jewellers and object-makers Catherine Truman, Julie Blyfield and Leslie Matthews” [link]

6th September: last day of Craft Victoria ‘Craft Cubed‘ [link]; “the theme is Childhood. Artists have long engaged with issues associated with childhood, and it is a particularly relevant query today as to what constitutes childhood – how do the different forms and phases of childhood affect the arts, and what is the importance of play?“; there is SO much going on, so check out the website program, and also the satellite events

9th September: Griffith City Council 2010 National Contemporary Jewellery exhibition and awards, Griffith Regional Art Gallery [link]; until 3rd October

9th September: Craft Victoria, Karla Way and Natalia Milosz-Piekarska ‘Bad Beasts Do Not Harm Me‘ [link]; “Natalia Milosz-Piekarska and Karla Way come together to present new work investigating the transcendent and transformative capabilities of materials. Amuletic and talismanic objects have long been associated with attracting luck and fortune, protecting from natural and supernatural forces, and radiating powers to benefit the beholder or wearer.“; until 17th October

11th September: Craft Victoria ‘Craft Hatch’ market [link]

28th September: Museums Australia fourteenth annual Museums Australia National Conference, ‘Interesting Times: New Roles for Collections‘ [link]; “The conference will be of interest to everyone involved in collecting organisations and institutions of all sizes across the museums sector including staff,  boards and management committees, funding bodies, researchers, students and volunteers from museums, art galleries, libraries, archives and universities.“; until 2nd October

If you know of any other jewellery / object exhibitions during September 2010, please let me know by comment or email


plan ahead for these
[see here for others]:

1st October 2010: last day for application to Talente 2011 [link]

31st October 2010: last day for application for Artist in Residence at Sturt University [link]

link to exhibitions and events on the August 2010 calendar …





David Neale and Emma Price @ Gallery Funaki

30 08 2010

I have had a crush on David Neale‘s pieces for some time now, so I was excited about seeing his work at Gallery Funaki. He is paired with Emma Price, whose exhibition at RMIT First Site in 2005 was the topic of my very first critical writing assignment. So my expectations were high, and happily this show was certainly a pleasure to visit.

exhibition media; click on image to go through to the original source (Gallery Funaki site)

Exhibition text states about David’ work:
There is a bold sense of the painterly in these works, as Neale’s powdery, textured colours become a dominant focus“;
and about Emma’s:
Her finely balanced structures are constructed from painstakingly drawn down tubing in gold, brass, silver and copper. The shifting, architectonic forms of her neckpieces seem to dance against the body.

photograph courtesy of Katie at Gallery Funaki

I am particularly attracted to the colouring in David’s collection – the powdery finish evokes a sense of nostalgia in my mind; some of the pastel colours remind me of my childhood (strangely, of my nana’s and grandma’s kitchen things) and even of school uniforms (the blues against greys, like in the one below).

Because the softer colours are such a connection for me, the little spots of very strong bright colours on a few of the pieces didn’t quite work for me; though for many I know that balance of soft and bold is the attractive part – I like different perspectives like that.

photograph taken with gallery permission

I spent a most enjoyable time reading back through David’s blog to find any related to these lovely objects – this is one of the things I love about blogs, that they can show a path through time:

  • 25th August 2010: showing the gem dust he has used in some of the colouring
  • 6th August 2010: a sneak peek at the exhibition; with some lovely detailed images of the work
  • 2nd August 2010: more information about the work in the Funaki exhibition – David points out that some of the paint is actually crushed marble or turquoise and lapis lazuli – amazingly beautiful idea!
  • though there isn’t anything specific on the blog, David took pieces from this group to Metalab for ‘Some and None‘ solo-exhibition [link] (3rd June – 1st July); their blog has some great images and an interview [here, here and here]
  • 9th April 2010: lots of photographs of pieces in the Metalab / Gallery Funaki / Jam Factory exhibition
  • 14th March 2010: photographs of pieces that David actually took to the first exhibition of this group of work, at Jam Factory Adelaide (‘Some and None‘ [link] 10th April – 16th May); I particularly liked these pieces, and I expect as they weren’t in the Funaki exhibition they found new homes in Adelaide
  • 7th January 2010: similar pieces for Itami, Japan – I like the second one (in detail)
  • 17th June 2009: a story with some pieces that look like ancestors of the current group?
  • 17th February 2009: another piece that may be an ancestor too?
  • 16th February 2009: a ten-year-old piece that speaks to me of the enduring attraction of this type of work for David
  • 1st February 2009: the first post on David’s blog, with a little painting that for me links directly into this group

Further, David’s website has a page with photographs of all the pieces from this group – my little camera just doesn’t give his work enough credit, so please do check them out.

photograph taken with gallery permission

There seems to be a great freedom and joy in the making of these pieces, which is something I admire. Though I wonder if it’s planned or a genuine reflection of David’s work practice – that is, they may be truly spontaneous or skillfully conceived to seem so. It is certainly not at all a criticism, and it really doesn’t matter either way at all, but I seem to like wondering such things and toying with the idea that my interpretation may not be reality at all!

I particularly liked the one in the centre above, among others – but (happily for David) many pieces were sold. As much as I love these little expressions, I worry whether the colours may erode over time with handling (fingerprints are the enemy of many a metal finish!)?

photograph courtesy of Katie at Gallery Funaki

While at the gallery I perused the draws and spotted a little pair of his Aster earrings (see here and here) – so incredibly beautiful, gold sheet worked in the way gold should be worked … in his hands the metal retains its incredible rich colouring, and an ancient-ness, like it could have been found in an archeological dig. I haven’t worn earrings for well over a decade, but if any earrings will bring me back to the earring-wearing-fold, these just may be responsible.

The pairing with Emma Price’s work is surprisingly sympathetic, with the graphic nature of both collections creating a connection. While the solid, soft-edged organic shapes of David’s work are contrasted with Emma’s linear empty forms, for me it really works.

photograph taken with gallery permission

The mixed metals of the fine square-profile tubes gives a life to the constructions, which wouldn’t be as animated if the same metal were used throughout – I like this.

I’m not sure why, but something about them reminded me of the late 1970s or early 80s perhaps, though I cannot put my finger on why … perhaps the graphic nature, square-edged-ness, perhaps the gold/bronze colouring combined with the shapes … did anyone see the same and can help me identify why?

Some neckpieces were on silk, some on linen thread and some on fine chain – the chain linked in with the era evocation more for me than the thread did.

image courtesy of Katie at Gallery Funaki

The above piece was my favourite in the group.

It’s a quiet collection, one that rewards playing with the pieces, for they move quite beautifully (I never touch the pieces without permission mind!).

This is a wonderful exhibition. Both David and Emma’s works are fabulous in their own right, but something more is brought out in each of them when they are shown together.

Update: I wrote the above review before seeing Marcus’s review (ArtBlart) here; with some more images of the work. Also, Part B jewellery discussion group, organised by Melissa Cameron, will be meeting at Gallery Funaki this Saturday at 2pm to visit the show and retire somewhere nearby for coffee and discussion.

David Neale and Emma Price are showing at Gallery Funaki until 4th September 2010.

Update (30th August): please do click to see the great comment David has added, especially with respect to the painted surfaces – I should have known better than to be a little worried (especially given I make with paper, which has even more chance of not weathering a wearing well) … with time, and evidence of wearing, a piece does often become more beautiful; which reminds me of one of my favourite posts of David’s, about a gold painted brooch by Robert Smit





Jewellery at auction #7

29 08 2010

Monday next week, 30th August 2010, Leonard Joel is holding a jewellery auction in Melbourne. A couple of pieces caught my eye:





Gallery Funaki catalogues

27 08 2010

A quick post … I popped into Gallery Funaki today to see the latest exhibition of David Neale and Emma Price (which I’ll write about shortly). While I visited, the lovely Katie was fervently reorganising cupboards and mentioned that she has many old catalogues she would like to give away to new homes.

So, if you would like to see some of the catalogues Gallery Funaki has accumulated over the years, and which you may like to make a home at your place, just pop in!

[published with Katie's permission]





NMIT video

26 08 2010

A web-tastic friend has pointed out a video that NMIT have produced to showcase their jewellery courses (though not sure whether it’s new this year, or has been around for a little while).

This is a great video and worth watching by anyone considering studying jewellery at a tertiary institution. The most interesting part for me is their (justified) emphasis on their focus on hand skills; and it also shows their great bench facilities (though having used both NMIT and RMIT studios, I do feel the silversmithing and larger-scale equipment is better at RMIT – personal opinion only!).

The NMIT site also has a static page: NMIT Static Page

A quick search of the other tertiary institution websites turned up:

  • two static pages for RMIT: one for the general degree: RMIT General Fine Arts
  • and one jewellery-specific RMIT G&S (though in my humble opinion, the entire RMIT needs re-working to look fresher).
  • a search of Monash confirms they now seem to be offering a broad-based first year and a more specific second/third year, that includes jewellery: Monash Page
  • Box Hill Tafe also has a static page: Box Hill Tafe page

It seems to me that NMIT has the marketing edge on all of them with the excellent information in their video…

Update (29th August): I’ve changed the layout of this post, removing the full pathnames and replacing them with tidier-looking links.

Update (29th August): on a related note, there is a discussion on Kit and Caboodle about places to learn jewellery-making [here]; of particular interest is Simon Cottrell’s viewpoint.





Claire McArdle ‘Tokens of Place’ @ Guildford Lane Gallery

24 08 2010

Thank goodness Guildford Lane Gallery is open on Sundays, otherwise it would be more likely I’d miss out on some exhibitions … there never seems enough time to visit all shows I want to see (for example, I am very unhappy I missed out on Open Studios at Nicholas Building – damn work!).

installation view; photograph taken and used with artist permission

Claire McArdle’s show at Guildford Lane Gallery is ‘Token of Place – which she spoke about in the rapid fire papers at the RMIT seminar a few weeks ago. The show was on the ground floor when I visited (above), where it looked a little lost among darker music space (the gallery hosts jazz groups on Fridays I understand), though Claire tells me that it will be moved to the second floor for the next fortnight.

installation view; photograph taken and used with artist permission

This is an interesting body of work, where each piece is made with collected and crushed rock/dirt and is titled with the location and time the materials were collected. I really responded to the idea of tracing a journey.

Claire writes in her artist statement:
The pieces could be from a street you walk down every day.
Each piece holds a memory of a place, to be carried with the wearer on their personal journey.
All the pieces are blackened silver with the variation in colour and texture of the rocks presenting a palette of the urban and rural environments the artist traverses.
These collected works are a history of place for the maker. A journey traced in jewellery.
They are a memento of a moment.
A token of a place.

installation

The pieces are very well presented against (and incredibly discretely and well attached to) boards that look like rendered concrete – a perfect background for the pieces derived from an urban environment.

I particularly liked:

  • a little pin with dark green material called ‘Cedar Avenue, 4.14pm‘;
  • the resolution to the earring construction on ‘Brunswick Street, 12.42pm‘ is wonderful;
  • and the hinged earrings ‘Heatherdale Road, 12.18pm‘ were well-made, unexpectedly and delightfully sparkly.

Drybough Street, 7.12pm ; image courtesy of artist; copyright belongs to the artist

The above image was one Claire sent to me – I like that it’s placed against the concrete and not in a typical ‘white-space’.

The pieces as a group tell a story and have a shared vision/intent, and as such the show has great cohesion – contributed to no doubt by the palette of found rocks but also due to the choice to only use blackened sterling silver.

I wondered if the design of each was influenced by or referenced the place the materials were found, or something that was in her mind when she found them…

Claire McArdle’s ‘Tokens of Place‘ is at Guildford Lane Gallery until 29th August 2010.