The Descriptive Line
Architect Sim Van der Ryn wrote of ten patterns that make up our physical world at all scales including lattices, meanders, and the fractal. How does craft, rarely original yet always in motion, inform how and why we make?
This talk will reflect on the conceptual and formal interests artist Kim Cridler has drawn from the decorative arts, vernacular art forms, and ideas about craft. She will touch on issues of repetition, ideas about beauty and originality, and the essential struggle towards change in the development of her studio and public art works.
Evening Lecture series
The practice of Smith Shop Detroit
Gabriel Craig and Amy Weiks are a Detroit-based artist team who operate full time as Smith Shop. Craig is a nationally renowned metalsmith, writer and craft activist. Weiks is an artist with an interdisciplinary practice rooted in photography, printmaking, metalsmithing and domestic crafts. Gabriel will present a lecture covering individual artistic work, his collaborative practice, and the work of Smith Shop. This lecture is sponsored by the Society of North American Goldsmiths.
TRICIA TREACY AND ASHLEY JOHN PIGFORD
The Technographic Research Project
In 2014, Tricia Treacy and Ashley John Pigford were awarded a grant from the Center for Creativity, Craft and Design (CCCD) to further their personal research of methods and techniques that utilize “post-digital” technologies as tools for the creative process, (what they have termed "The Technographic Research Project"). Their ongoing project includes work-shopping ways to integrate digital fabrication technology (CNC routers, laser cutters, 3D printers), and physical computing (robotics), with traditional crafts and graphic arts, such as letterpress printmaking and drawing. The experiences they facilitate offer the opportunity to learn-by-doing and experiment with processes. In this lecture, they will present the results of their research.
Thinking Out Loud
This lecture will be a journey through my experiences and shared questioning that I place within my practice and beyond. It will be a personal reflection on the traditions of silversmithing. Reviewing the importance of making, the obsession with skills and tools. Revealing the essential act of experimentation and play that is central to my practice. I will also explore why I position myself the way I do within the world of metals. It will offer by example, a playful manner of making; allowing precious metals to be destroyed, assisting redundant objects to become relevant and illuminating on why I challenge traditions.
Energizing Morning Lectures
The Identity of the Maker
This lecture reveals the projects and research of Jeffrey Clancy that explore the identity of the maker, skill, originality and authenticity. Prior to the industrial revolution individuals who specialized in a craft / trade often made utilitarian domestic objects. Skills were learned in workshops and passed down from master to apprentice. The apprentice eventually became a master by demonstrating their ability to repeat techniques with regulation, dutifully preserve skill and proliferate their trade. Since the industrial revolution, which also created the modern day craft object, an object that is a highly expressive in form, technique and material, attention to regulation has shifted to idiosyncratic personal aesthetic expression. Clancy will discuss his projects “Original Copies,” “Limitation / Imitation,” and “Revere” that all examine vessels in the context of modern art icons and ideology.
REBEKAH FRANK Director, Art Jewelry Forum
Beyond the Obvious
In 1997 when Art Jewelry Forum was founded, we rarely looked at emails or websites. They were a novelty, but the artistic practice of jewelry that emerged from academia and from a certain set of ethics and values defined by an alternative culture had been around for 30 years. Fifty years later, these ethics and values have remained the same but the value and visibility of art jewelry has increased many times. It has taken a village of passionate people (artists, gallerists, collectors, curators, researchers and writers) to challenge the obvious assumptions of the traditional jewelry world about what jewelry means, what it represents, and how it is valued. Looking behind assumptions and writing about the unexamined decorative and status-seeking aspects of jewelry has been the way that art jewelry has developed visibility in the culture at large.
Memorial & Reincarnation
Aric Verrastro will speak about his practice and methods with a focus on his recent body of art jewelry, Memorial & Reincarnation, created from broken sentimental objects given to him by Facebook friends from all over the world. The form and material of these new jewelry objects have been determined by the personal stories attached to the objects shared by each of the participants. They are given a new life, containing old and new memories. The transformed object as jewelry becomes a method of connecting to a larger public audience and established art jewelry enthusiasts.
TERESA FARIS Associate Professor, Area Head of Metals program, University of Wisconsin-Whitewater
Before and After
My work is driven by ideas and practices that I do not understand. It is the spaces between the things that I do know that spark my curiosity and drive me forward. The idea of human dominion and advantage is the ultimate driving force behind what I chose to investigate, how I chose to live my life and what I chose to make and research as an artist.
ANYA KIVARKIS Associate Professor, University of Oregon, Eugene
Anya Kivarkis will discuss recent projects, and the trajectory of her studio work for the last decade as it has moved through the replication of jewelry appropriated from archives of history, the Internet, and film. Throughout her work, she has focused on making mutated copies of jewelry from moments of economic recession that are laden with insatiable consumer desire. Kivarkis replicates only what is observable of the jewelry worn in these appropriated images as they are mediated and compromised through their representations.
COURTNEY KEMP Contributor, Art Jewelry Forum Instructor, Oregon College of Art and Craft and Univ. of Oregon
Is there a place for installation-based works in the field of contemporary jewelry? This lecture explores emerging makers whose practices conjoin the methodologies of jewelry with wholly installation-based works. These makers, diverse in studio practice and intent, all circumvent the age-old conversations around the function of jewelry on the body and address instead the cues of space, architecture, and subtlety of perception: how this particular body of ours interacts with space or surface, and how engaging in installation imparts knowledge of bodily experiences that wearable work often does not.