Please join us on October Saturday, October 27th when MassArt hosts
a one-day Symposium.
For go to: http://www.massart.edu/metals click on the
Invited artist speakers include:
Iris Eichenberg - Current Artist in Residence at Cranbrook Academy
of Art, formerly the head of jewelry design at Gerrit Rietveldt
Academy, Amsterdam, Netherlands
Lauren Fensterstock - Current interim Director, Institute of
Contemporary Art at Maine College of Art. Maine State Editor, Art New
Katja Prins - Currently Artist in Residence Idar-Oberstein, Germany.
Deb Todd Wheeler - LEF Foundation Fellow, Instructor Fine Arts 3D,
Massachusetts College of Art, Metals,
Andrea Wagner - Artist/Curator: "Golden Clogs, Dutch Mountains"
Joe Wood - Curator:" IN SITU" http://www.joewoodstudio.com
This one-day conference event takes advantage of an opportunity to
compare two separate bodies of work. At Massachusetts College of Art
and Design, there will be two separate exhibitions installed in the
Bakalar Gallery;Golden Clogs, Dutch Mountains and IN SITU.
Both of these exhibitions stem from investigations in jewelry and
personal object making. Since jewelry and objects for personal use
have an essential built-in context, the divergent approaches the
artists take in these two very different exhibitions is intriguing.
It sheds light on the differences in the approach to context in
personal adornment and object making as art. As explorations and
investigations that use jewelry and personal objects as a point of
departure, there is always an implied function or context. How these
two groups employ context illustrates a fundamental difference in
The exhibition “Golden Clogs, Dutch Mountains”, organized by Andrea
Wagner, features the work of relatively young artists working in the
Netherlands. With a recognized legacy of bold defiance to convention,
Dutch works often pose questions for the viewer and wearer to
reconcile historic references with new materials and associations.
The artists in the exhibition “IN SITU” are a group of young artists
working primarily in the US. These artists work from a similar point
of departure. They too employ elements from conventional approaches
to jewelry and personal object making but that is where the two
groups diverge. Where one group (Dutch) embraces the open, enigmatic
and fragmentary the other creates a full-blown narrative fiction
around the objects. For the Americans, the object remains central to
the experience but only as it becomes wrapped in a specific personal
projection of the artist’s intent. Interaction, experience and
documentation become intregal to the work.