Calendar: October 2010

30 09 2010

all month

  • NGV (International) ‘Lace in Fashion‘ [link]; until 23rd January 2011

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

1st October: last day for application to Siemens Awards [link]

1st October: last day for application to St George Art Awards 2010 [link] (thanks to Melissa Cameron for the tip!)

3rd October: ‘Part B‘ Melbourne jeweller gathering, organised by the super-active Melissa Cameron; a special edition, as a part of Mari Funaki’s show Objects at the NGV there is an extensive programme of events, so Part B is planning to have a chat after Otto Künzli concludes his Lecture: With Mari, which takes place from 2:30pm [tickets only, so you have to ring the gallery to purchase a ticket beforehand]

3rd October: last day for Griffith City Council 2010 National Contemporary Jewellery exhibition and awards, Griffith Regional Art Gallery [link]

4th October: last day for submissions to be involved in RMIT presentation ‘Making Objects Personal‘ [link] which will be run 27/28th October; “Coordinated by Professor Robert Baines of RMIT School of Art and RMIT Design Institute, this two day seminar will look at how a crafted object can be the bearer of cultural and historical meaning and memory.

5th October: Gallery Funaki, ‘Leonids and Fumerols’ Jewellery by Therese Hilbert and Otto Künzli [link]; opening night 6-8pm, both artists will be present; until 30th October (updated 25th Sept)

exhibition media (click on image for original source)

8th – 10th October: workshop at Griffith University, Brisbane: Plique a Jour enamel on a Jewellery Scale with Jill Parnell; “Plique a Jour is a technique of firing enamel into small backless openings the result of which is reminiscent of leadlight windows, as the light will pass through transparent enamel. There are several methods of achieving this beautiful but challenging technique.  In this workshop participants will learn the “Russian” method in which all the elements are soldered together on an oxidised stainless steel form.  The enamel is applied to the framework by surface tension.  This is a highly specialised and exacting method and accordingly only modest jewellery scale pieces will be explored in this Master Class held over 3 consecutive days. This is a shorter version of the highly popular 2008 class Jill Parnell taught.

9th-10th October: Finders Keepers Market comes to Melbourne!! [link]

10th October: last day for NGV (International), Winter Masterpieces ‘European Masters: Städel Museum, 19th–20th Century‘ [link]

16th October: workshop at Griffith University, Brisbane: “Parts of the Story: Composition and Visual Language in making Jewellery and Objects” with Christel van der Laan; “Much of contemporary jewellery is concerned with the personal stories and journey of the maker; works are the culmination of an intense emotional and physical process to give expression to something that is not yet defined. The selection and arrangement of materials to give form to thoughts, feelings and memories, is often the most challenging and exhilarating part of the process of making. … Christel will lead a one day intensive class, the purpose of which is to find ways to express ideas through the spontaneous exploration of new materials and processes.  The emphasis will be on composition and creating a poetic visual language without the constraint of having to make finished works.  In turn this will act as a catalyst for the development of new concepts and stimulate individual practices.

17th October: last day for 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.“; see my review here

22nd October: ‘Everyday Objects‘ at Loft Gallery, “Six artists use traditional Gold and Silversmithing techniques to explore, interpret and re-imagine everyday objects and themes. Curate by Beka Hannah. Featuring: Claire McArdle, Georgia Lancaster, Inari Kiuru, Mary Hackett, Melissa Cameron, Beka Hannah.“; opening night 21st October; until 3rd November

exhibition media (courtesy of a few of the artists!)

24th October: last day for NGV (Ian Potter): Mari FunakiObjects‘ [link]

26th October: RMIT First Site Gallery, “First and Second Year – Gold and Silversmithing 2010” [link]; until 6th November

29th October: Blanche Tilden at the Canberra Glassworks ‘Fer et Verre‘ [link]; “work is inspired by the pre modernist glass and metal buildings, the Crystal Palace and the Palais de Machines“; the opening night will also be the scene of the lauch of an artist monograph ‘True‘, covering a history of Blanche’s practice as well as a number of essays about her work; until 18th November

29th October: last day for application to Jam Factory Career Development Plan [link] (updated 19th Sep)

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

If you know of any other jewellery / object exhibitions over the remainder of the year, please let me know by comment or email

… last calendar post: September 2010





Has Monash really dumped jewellery?

29 09 2010

I’d very much like confirmation from someone in the know …

… but (following news initially sourced a few months ago) looking at the Monash University website, it looks like Jewellery is definitely no longer offered under Fine Arts.

There seems to no longer be a graduate intake …

screen shot taken 28th Sept 2010 22:25 (click on the image to go to the original source)

… though it does look like anyone already in the course may be continuing through the rest of their degree year(s) – that is, there are no longer any first-year subjects, but still what look to be second and further year subjects.

Or, this may mean it is being offered as a ‘specialisation’ of sorts, not under Fine Arts though, after a foundation first year…

screen shot taken 28th Sept 2010 22:25 (click on the image to go to the original source)

Can anyone please confirm and fill in some detail?

If I’ve nagivated the Monash website correctly (and not missed Jewellery being offered through another degree), what could this mean for studying Jewellery / Gold & Silversmithing in Melbourne? It’ll be a shame to lose a degree of diversity: of places to study and of formative environments for students …

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Update (27th November 2013) : in an important update to this story, please see Melissa Cameron’s post about Monash jewellery – it is STILL offered at Monash, but as part of a restructured art degree

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Blog link updates

28 09 2010

After trialling three different levels of ‘blog’ categories in my Links page, I have decided it’s time to update and migrate them. So the following have moved … just in case you were worried!

from Blogs #3 (just started) to Blogs #1 (current) – excellent to see the more regular posting!

the following are in danger of being moved from Blogs #1 (current) to Blogs #2 (in hibernation), but not just yet

also, most importantly, I have found some more blogs – some new, some I just hadn’t seen before (I did spend hours searching the net to find these, so if you know of others, please please do let me know!)

Finally, I’m considering if there’s in fact a time when a blog ought be moved out entirely, even from Blogs #2 (in hibernation) … if a blog hasn’t been updated for over 12 months, is it really of interest? Perhaps it is… what are your thoughts?





‘Re-Visions: new art from old’ @ RMIT First Site Gallery

27 09 2010

Having recently heard Helen Dilkes speak at the RMIT Seminar, and admiring her work an exhibition last year, I was interested to see her work in ‘Re-Visions: new art from old‘ at RMIT First Site Gallery. She is joined by Sarah Edwards and Charlene King in making work in response to Turner’s ‘Rain, Steam and Speed‘ oil painting.

Turner: Rain, Steam and Speed (image in public domain)

Also though, I have a particularly strong attraction to the making of art in response to other artworks (I’ve written about this before) – I love the idea and am always interested in how others respond themselves – so that was also a big part of wanting to see this exhibition.

Each of the three artists have made one piece in response to this painting – the sparseness of the room in keeping with the mood of the painting I think.

installation; Helen Dilkes pieces

Helen’s piece reminded me of steam clouds. The texture was interesting – it looked like it could have been made from cuttlefish-cast components; the construction was so intriguing (I couldn’t spot any solder joins, most confounding!). And of course I love exhibition displays that play with shadows.

Helen’s artist statement links this piece with her exploration of conic sections and slices, as “a kind of metaphor for duration“.  On initially seeing the piece I made my own connection to the painting, however I felt much less certain of this after I reading her text, which I have to admit confused me a bit … it’s certainly not a criticism by any means, though it has made me think about the balance of sharing the meaning behind an artwork versus leaving the interpretation to the viewers’ imaginations.

An artist will naturally respond to another artwork within the context of their own practice – I’ve done it myself – though I wonder if compressing much detail (which has taken the artist a great deal of time to explore in-depth) into an artist statement potentially complicates the relationship of viewer to the work being observed? I’ve often found it difficult to know how much of the background detail to share when discussing a particular piece – do I share the whole background of my research, or enough of it to give a little context to the viewer, or nothing and just let the viewer draw their own conclusions… how much do I want to influence their experience? I know I often appreciate background information, but does everyone? I think it takes great skill to find just the right balance, and of course it is different for each artist.
Just a few thoughts … I like that a visit to an exhibition can provokes such contemplation of related issues…

Update (27th September): in one of those coincidences that sometimes happen, both in making and writing, Mark of Melbourne Art & Culture Critic also recently shared some thoughts about artist statements (also quoting from one of my recent posts, which gave me great pleasure; thank you Mark!)

Sarah Edwards (installation) and Charlene King (paintings)

Re-Visions: new art from old‘ is at RMIT First Site Gallery until 25th September 2010 (sorry – I have been out of Melbourne so much the last few weeks that I only got to visit it on one of the last days!).

Update (28th September): I have just found that Mary Hackett has also written a review of this exhibition, in which she has answered one of the questions I had by detailing that the pieces were made using rapid prototyping …





Beauty in the city

25 09 2010

Waiting for a tram…

Century Building

… on the corner of Swanston Street and Collins Streets …

Manchester Unity Building

Art Deco delights.

windows





Sydney visit, part #3, Metalab & COTA

24 09 2010

The third jewellery gallery I visited while in Sydney recently was Metalab. The delightful Nina spent some time talking with me about the current exhibition, and taking me through the many drawers of works.

Designer Sushi; photograph taken with gallery permission

The current exhibition, above, was so interesting and a great idea – makers and designers were sent a small collection of items in a sushi box, and they either used them directly or for reference to create a work.

cabinets; photograph taken with gallery permission

cabinets; photograph taken with permission

The cabinets were full of treasures – my favourite piece here, and in fact of my entire visit to Sydney, is the blackened silver brooch below by Peta Kruger [her website, Metalab interview]. The Art Deco influence (almost Metropolis-like in my mind) and the hand work in the engraving is so enthralling – gorgeous! In fact, the brooch has been haunting me since I left the gallery … perhaps I should have taken it home…

Peta Kruger; at Metalab; photograph taken with gallery permission

An interesting topic Nina mentioned was that Sydney was very much an earrings and neckpiece kind of audience, which I would contrast to Melbourne having quite a strong brooch tendency. What do other makers think?

I next went to Object, but have nothing to report as the exhibition wasn’t jewellery-specific.

The last jewellery gallery for my Sydney visit was COTA (Courtesy of the Artist), the Metalab gallery in the centre of Sydney (the atmospheric Strand Arcade). I understand the store was initially a pop-up, but is shortly due to undergo a more permanent refit.

COTA; photograph taken with permission

Sydney jewellery making community – thank you for making my visit so enjoyable!





Sydney visit, part #2, Studio 20/17

22 09 2010

With this gallery being the first to invite me to join a group exhibition since I graduated university, in ‘Feast‘ curated by Zoe Brand (see many my posts here), and then the subsequent ‘Winter Brooches‘ (here), a visit to Studio 20/17 was a must-do on my recent whirl-wind trip to Sydney.

Studio 20/17; photograph taken with permission

After walking from my hotel in the centre of Sydney (yes it took a little while, but it was such a gorgeous morning!), I met the lovely Bridget, who was so generous with her time. We spoke about the space, the wider environment it is in (in a great contemporary art complex) and her work practice.

It was great to be exposed to some Sydney-based jewellers’ work – in doing so, I realised just how Melbourne-centric my maker knowledge is (naturally enough really!).

My favourite piece spotted during the visit was a pale-blue dipped pin by Lina Peterson. In this piece a combination of copper wiring and crystals are dipped in brightly coloured plastic.

I meant to but forgot to ask about the name – can anyone tell me why it’s called 20/17?