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I do like wandering around the National Gallery of Victoria (NGV) International. After reading a post describing this exhibition on ArtBlart, I decided to see it for myself – especially as Marcus pointed out that a ‘highlight of the exhibition is a collection of more than 30 NASA photographs, on display for the first time in over twenty years‘.
The gallery-room is atmospheric, darkened and the music playing envelopes and encourages thoughts about such things as travelling away from Earth.
”]The exhibition media states: “In 1948, the British astronomer Sir Fred Hoyle speculated that “Once a photograph of the Earth, taken from outside, is available, we shall, in an emotional sense, acquire an additional dimension … and a new idea as powerful as any in history will be let loose.” Hoyle encapsulated the immense anticipation that was felt in the mid-twentieth century, when the idea of leaving Earth and viewing it from afar was on the verge of becoming reality.”
Viewing this exhibition was a lovely experience – genuine wonder is a rare experience.
‘Light Years‘ is at the NGV from 8th May – 27th September 2009.
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Categories : City_CBD, Exhibition, NGV, Visual_Art
A little personal anecdote for a Sunday morning … I have been caught up in an almighty Stevie Nick’s audio-crush. I love her melancholy and how she expresses raw pain bordering on vindictive hysteria (in a good way!). Thankfully, it hasn’t become so deep that I’ve started wearing handkerchief skirts – but I’ve asked my friends to keep watch.
- from ‘Can’t Wait‘
She wonders how many more hours
Her heart will feel broken
In secret she says she needs to see him
But no words are spoken
- from ‘Planets of The Universe‘
Well, you’ll forget the chill of love
But not the strain
You will never love again
The way you love me
You will never rule again
The way you ruled me
You will never change again
The way you’re changing
- from ‘Silver Springs‘
Time cast its spell on you,
But you won’t forget me.
I know I could have loved you,
But you would not let me.
I’ll follow you down till the sound
Of my voice will haunt you.
You’ll never get away from the sound
Of the woman that loves you.
Inspiration can come from the unlikeliest of places.
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Categories : Bare_my_soul, for_thought
Just a few things this time:
- RMIT G&S site advertises the annual G&S Jewellery Auction – mark the date in your diary: 20th August [post]
- Katherine Bowman details her involvement in a wonderful embroidery project ‘Wisdom of Wordly Women’ in a series of posts [first post]
- my favourite so far of Zoe Brand’s 365 project [post]
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Categories : Blog_roundup
No, I’m not tired of this exhibition yet!
When I first visited, I left with the impression that there were a lot of textile pieces – either wholly made of fabric or thread, or jewellery with such components. I decided to visit again and conduct an objective survey – to look at materials and form.
And the results are:
- 60 jewellers
- 212 pieces of jewellery
- 117 brooches – this is by far the most popular form
- 55 necklaces
- 16 rings and 16 bracelets
- only 5 earrings – why is this not a popular form?
In terms of materials:
- only half of the jewellers have used metals as their predominant material
- there are 8 jewellers for whom textiles is the focal material – which was interesting to me, given my initial impression; however these pieces are generally much more colourful and larger than the other works, so perhaps it was their sheer visual impact that influenced my view
- there are few pieces with gems – which could be argued as a quite traditional element in jewellery
- 2 jewellers have used mother of pearl – which to my mind is probably over-representative of the use of that material in the whole jewellery community
- there is quite a bit of wood, which is not an uncommon material in my experience; and lots of plastics and ‘collected’ objects
After this, my questions are:
(1) Why so few earrings and rings / so many brooches?
Is it in some part because earrings are limited by weight and size, and have a potentially more awkward position on the body? Perhaps brooches are more adaptable to communicating ideas – it is tempting to suggest that brooches are ‘easy’, in that an idea or creation can be put together and a pin simply put on the back in order to attach to the body … I recall being warned during my degree to integrate the pin or brooch into the piece, and not just ‘slap’ a pin on the back as an afterthought. I’m certainly not implying that is happening here at all, but the clear dominance brooch format is interesting.
If I think about my own work, I realise that most of my pieces are brooches too. However I am hesitant to extrapolate from my work to the general community, as many of my brooches were specifically referencing textiles and therefore being attached to the clothes on the torso made more sense than being hung around the neck or off the ears. I wonder if it is similar for other makers?
On the ring question: personally, I fling my hand around when I talk, so if I make rings then they need to be very sturdy; and not all of my ideas do well as ‘sturdy’. I imagine it may be similar for others, especially those exploring materials that need to be treated with care.
Further, I have considered recent exhibitions I’ve enjoyed and notice they are also largely brooches and necklaces. On a practical note as a maker you can be sure anyone can wear your brooch, however not everyone will be able to wear your earrings or have fingers the size of rings you make – perhaps it is that simple.
(2) Where have the gems gone? Are gems and ‘contemporary jewellery’ incompatible?
(3) Why is metal not more popular? Again, is this traditional versus contemporary?
My previous stories on ‘Schmuck 2009‘ can be found by using the Search facility, or the category cloud, in the right column. ‘Schmuck 2009‘ is at RMIT Gallery until 18th July 2009.
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Categories : 'Schmuck', City_CBD, Exhibition, Jewellery, RMIT_Gallery
Kevin Murray has curated the current exhibition ‘The World of Small Things: An Exhibition of Craft Diplomacy‘ at Craft Victoria. Pieces being exhibited have been made in a collaboration between artists/designers from predominantly ‘western’ economies, and artisans from ‘developing/industrializing’ economies.
Exhibition media states: “The world is turning inside out. The global financial crisis has set the world in flux, enabling new relations between rich and poor countries. The collapse of an over-leveraged financial market helps us appreciate the immediacy of hand-crafted objects. These ‘small things’ bypass the rarefied world of brands and the politics of trade restrictions. New craft-design collaborations herald an era of partnership between rich and poor countries…”
I have been following some of the stories on Craft Unbound, so it was interesting to see them in person. I am sometimes truly taken by surprise by the scale of pieces, for I unconsciously create my own expectation of their size from photographs or images I see, and there are times the idea is not right. An example is the pendant in the below image, which I expected (for no good reason) to be much smaller. This jewellery is from a collaboration between Martina Dempf (Germany) and grass weavers in Rwanda. More of their story here.
The below teapot is absolutely beautiful – I’ve mentioned a few times previously how much respect I have for artists succeeding with the teapot! This piece was designed by Karl Millard (Australia) and made by an Indian silverware company – the black insert is ebony, and the handle is layered metals. More of their story here. (Below photographs were taken with gallery permission.)
All of the works together creates an interesting multi-way dialogue, and the colours are beautiful. A particular highlight colourwise for me is the purple glass vessel below. These works are a collaboration between Jonathon Baskett (Australia) and Nouvel glass Studio in Mexico. More of there story here.
More information and images can also be seen on the Craft Vic blog; and there are many other items available for purchase in enCounter (the retail section of Craft Victoria).
In all cases here the designer has engaged a maker in an ’emerging’ economy … what about the possibility of the flow in the opposite direction? While I do recognise that it is currently less likely, given ‘western’ designers have advantages not yet available to people in their collaborator communities, such as being able to research and locate such artisans via relatively simple access to the internet and being more open to international travel … but I do wonder what beautiful art would be created if an artist/designer in say Siberia designed a piece for a knitter or embroiderer in Fitzroy to make!
While I play with that idea, a question is raised for me: perhaps the flow of the idea-to-making is more viable in the exhibited direction because many of these special craft cultures have been continuously ‘alive’ in these ‘unindustrialised’ economies, whereas in our ‘industrialised’ economies craft has become fragmented (though passionately loved and defended in the pockets it is practiced) … I’m not sure I’ve expressed that well, it may need more time to think through …
In a search for other references, I came across The CraftsMatch Project website, and I like how they connect this movement with previous art movements:
“In the nineteenth century, the Arts and Crafts Movement turned to traditional cultures in response to the perceived sterility of modern life. When this moved to studio practice in the twentieth century, a number of individual craft artists were inspired by non-Western craft traditions, such as the East Asian influence on ceramics. In the later twentieth-century, a number of craftspersons made individual pilgrimages to a wide range of traditional craft communities in order to absorb the more embedded lifestyle of making. For many, this entailed long-term commitment by craftspersons in assisting their host communities to sustain their craft practice in a globalising market.”
‘The World of Small Things‘ is at Craft Victoria until 25th July 2009.
Update (25th June): the Craft Vic blog (clog) has uploaded some photographs of the opening night
Update (6th July): the Craft Vic blog (clog) has a new story and images
Update (14th July): Kevin has written for Clog
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Categories : City_CBD, Craft_Vic, Exhibition, Jewellery, Silversmithing, Visual_Art
Alongside ‘Schmuck 2009’ at the RMIT Gallery is ‘Johannes Kuhnen: a survey of innovation‘.
Exhibition media states: “Johannes Kuhnen has made a pioneering contribution to Australian design and gold and silver smithing through his commitment as a generous educator and innovative practitioner. This exhibition will create linkages between his earlier works, some of which was made in Germany prior to migrating to Australia and new work specifically produced for this exhibition and this will be done both with objects and through a catalogue/monograph to be launched at the opening venue. The exhibition will borrow from Australian public and private collections to facilitate the demonstration of connecting design elements in the work from both significant streams in Kuhnen’s work in jewellery and hollowware.”
The statement on Artabase is also a good introduction: “Johannes Kuhnen is a pioneer of the anodising and colouring process of aluminium and its application in a studio based practice. He combines traditional working methods with industrial materials and processes. The works are recognisable through his dynamic use of colour and form and his attention to detail.”
Objects here include teapots, platters, jewellery and glasses. Many of the pieces are brightly coloured – which isn’t really my thing, but having previously used anodised aluminium I can appreciate the skill and technique in the flawless colouring. But of course the most important techniques are his handskills.
Johannes gave an artist talk on the Friday after the exhibition opening. It could not be held in the gallery surrounded by his exhibition because of the failure of the public address system the night before – so it was in the lecture theatre. That seemed okay to me actually, and it took conversation to places I doubt would have been ventured if the objects were distracting us.
Johannes explained that many of the pieces in this exhibition were sourced from collections, particularly where they were not on regular display. And to see his own work, which of course no longer belonged to him, he needed to make appointments and was no longer able to handle the objects. He mentioned that as he looked at these pieces made in the past, he was reminded of his thoughts and feelings at the time he was making them – something I can relate to.
He also spoke of, and generated quite a lot of discussion and some disagreement to, his views on the education of gold and silversmiths within universities. He spoke of the lack of art history and history of design in universities, and what little existed was driven by trends. And of the reduction in funding constraining what can be provided to students, and there was not enough time for appropriately teaching skills. And questioned if the emphasis on writing, particularly in post-graduate degrees, was not distorting the emphasis of the art: are they good makers or good writers? There were many educators in the audience, and those who spoke were more optimistic about education – which was good, for if our educators are not positive it’s a shame, as they are the ones who can effect change within the institutions.
‘Johannes Kuhnen: a survey of innovation‘ is at RMIT Gallery until 18th July 2009.
Update (5th July 2009): this exhibition has been rapturously reviewed by Marcus at ArtBlart [here] – “This is a superlative exhibition, one of the highlights of the year so far in Melbourne.“
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Categories : City_CBD, Exhibition, Jewellery, Johannes_Kuhnen, RMIT_Gallery, Silversmithing