SEAMAN SCHEPPS: A CENTURY OF NEW YORK JEWELRY DESIGN BY AMANDA VAILL AND JANET ZAPATA (original) (raw)
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Contemporary Jewellers: Interviews with European Artists. Example Chapter
This book offers an essential reference for anyone interested in contemporary European jewellery design. Through guided conversations with the major designers of today, Roberta Bernabei reveals the creative, conceptual and technical working practices that underpin the aesthetic of each practitioner's work. In addition, the dialogues shed new light on these jewellers' inspiration and their ideas about functionality and the human body. In the book, each interview is supported by photographs, a detailed bibliography and an appendix that locates the jewellers' work in galleries, museums as well as online. Major jewellery artists present include: Giampaolo Babetto, Gijs Bakker, Otto Künzli, Ruudt Peters, Mario Pinton and Tone Vigeland, alongside members of the emergent generation: Ted Noten, Annamaria Zanella and Christoph Zellweger. Book published by Bloomsbury (ex Berg) in 2011.
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Journal of Jewellery Research – Volume 04, 2021
The essay affirms the legitimacy of contemporary jewelry practice as a meaningful form of cultural production that cuts across the fields of design, art, and industrial production. The analysis is double and concerns the meaning of the ornament, and its projection to future scenarios defined by renovated instances and digital technologies. Concerning the ornamentation's debate, it has been at the center of the entire 20th century, from Loos to Morris, Bloch to Maldonado right up to the present day. The question has mainly focused on the usefulness of decoration, the aesthetics and its value. Following the instances of contemporaneity, the objects move now in a multi-faceted direction, aimed at asking questions and expressing concepts, and becoming, in this sense, narrative and relational "subjects". In the jewel object, where uselessness constitutes its immense wealth and uniqueness, the issue becomes complex since its existence is related mainly to a series of functions that are not practical but communicative, and identifiable as intimately useful. Far from a short-term inspiration, the contemporary jewelry designer has necessarily fed on a cultured design study, expressing the vision of the world he wants to communicate. It is not just a matter of embellishing people through an ornament, but of incorporating immaterial values, creating an object- thought capable of stimulating the mind and producing knowledge. Thinking about the future scenario of this design approach, the international debate on jewelry requires new perspectives, focused on deepening the discipline towards the main issues of the current era. In the face of changes such as Industry 4.0 and widespread digitalization, it is no surprise that contemporary jewelry starts to need exploring a broader spectrum of topics, including sustainability, technologies, politics and social issues that most influence today's society.
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Desde la aparición de los ready-made en el siglo XX, autores como Arthur Danto (2004), George Dickie (2005) y Elena Oliveras (2008) desde la perspectiva de la teoría institucional del arte, han intentado definir cuándo hay arte, partiendo de la tesis de que no todos los objetos cotidianos son obra de arte, aunque podrían llegar a serlo. Para ello se necesita que el artista, el público conocedor del tema: marchands, críticos, filósofos, historiadores, etc. (mundo del arte) y los espectadores “comunes”, se entrelacen para dar validez y estatus artístico al que no arriba cualquier objeto. A partir de esta premisa, este proyecto de investigación analiza el proceso a través del cual artistas contemporáneos formados en el medio artístico visual local y nacional, como Milo Lockett, Mario Lange, Claudio Baldrich, Germán Toloza, Ricky Crespo, y Felipe Giménez, han ido desplazando la materialidad de su producción pictórica a un conjunto de objetos de consumo, ganando reconocimiento y legitimación a nivel nacional por la fácil de asimilación de una imagen simple, una paleta de colores estridentes y una estética “ingenua”. Al mismo tiempo, la obra de varios de estos artistas forma parte de acciones solidarias permitiendo que el mundo del espectáculo, los medios masivos de comunicación y las firmas comerciales conozcan y adquieran sus obras “transfiguradas en objetos de consumo” (zapatillas, ropa, artículos de librerías, de cocina, libros, anteojos, borcegos, indumentaria, etc.) Esta investigación busca indagar esta cuestión analizando los límites entre el arte, la publicidad y el diseño industrial. En otros términos, partiendo de la difusión de las imágenes de los artistas citados en productos de consumo, busca examinar cuándo sus propuestas operan como obras de arte y cuándo y cómo pasan a ser productos industriales.