‘Schmuck’ in the press

7 06 2009

1. I have just found the New Zealand-based jewellery blog Paua Dreams. The post about the opening night of ‘Schmuck‘ is interesting, though perhaps made the evening sound less worthy of attending than it was … but that probably depends on a person’s reasons for attending an opening night in the first place (more on that later).

It is true that the failure of the public address system was an embarrassment; and it meant that those of us who couldn’t fit into the space where the speeches were made heard nothing. As one of the stranded, I neither heard or saw the opening speaker(s), so I cannot rightly comment on whether her/their comments were relevant or informed. That’s what makes this post all the more interesting to me – for those who could hear, their disappointment at the selection of an ill-informed speaker is well worth the organisers consideration.

I do have a query though – information from RMIT Gallery states that Amanda Dunsmore (Curator, International Decorative Arts and Antiquities, National Gallery of Victoria (NGV)) was the opening speaker – perhaps there were two speakers, or a change in plans – can anyone shed some light?

Now back to the question I have been pondering of late: is the opening night more of a social event than an opportunity to hear an opening speech from a luminary in the field? For many people I know opening nights are more about catching up with other makers and collectors, and less about hearing a speech or even deeply contemplating the work. I put that view forward as I have yet to attend more than a handful of openings where I was truly inspired by the opening speech(es). With respect to viewing the work, more often than not there are too many people to feel okay about lingering over a piece, or to even have the space – I invariably visit the exhibition again on a quieter day to actually see and spend more time with the art. Perhaps more on opening nights another time…

2. The Age on Friday 5th June

schmuck002_adj

The Age , Friday 5th June


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