Non-jeweler designers at shows

Jewelry Discussion
81

Wow! I’m even more delighted that I don’t have to work as a jeweller
in America after reading the comment about the “top judge saying,
'whenever i (sic) see a piece with a commercial clasp on it i (sic)
just pass over it…”

What a poseur! Forget design, forget originality, forget the
handcrafting that lies above that insignificant little commercial
catch or clasp… see only that and nothing else! And this is a “top
judge”?

In amazement,
Rex Steele Merten
National President
Gold and Silversmiths Guild of Australia.

82 
 while it is possible but not likely, to do designs without a
working knowledge of the mechanics [recall the beginning
metalsmithing]

Ive has a point here. How many of us have drawn up what looks like
a great design, only to run into an ‘engineering’ problem midway
through its execution.

A pinback may not be able to be attached where we thought it should
go, or a bail might not accommodate the chain we’d designed for
it…or a brooch is topheavy and keeps flipping over…Even after
years of experience, we might have to modify a design to make it
work. I’m beginning to wonder if the designer in question might not
have drawn up her design from a piece already designed and executed
by someone else. (Not that I’m of a suspicious nature, mind you…).

Dee

83

I wanted to wait a bit before I joined the fray on this topic and,
as I suspected, both ends of the spectrum appeared before long
although it seemed to then deteriorate into an argument over
casting. However, be that as it may, I am joining the fray because
it is a challenging topic and truthfully, it reminds me of one of my
favorite Orchid posts by Mr. Revere.

On one hand, we have the Rodin reference. On the other hand; complete
disdain for anyone who doesn’t actually make the pieces from start to
finish; a dismissive comment that “they” do not have the wherewithal
to produce the design they envision. Hypothetically, one could be
equally dismissive of the repetition found within art/craft shows.
Aren’t there jewelers that lack design “skills”? With all due
respect, there are jewelers whose skill level leaves them at a
plateau where certain designs are possible; but others are not. So,
one could argumentatively say “they lack the wherewithal to envision
a design involving complex sklls”.

Simply put: there is a chance that a great designer may not also be
able to be a great jeweler; and vice versa. I know that there are
some; but perhaps most are not. Either the aesthetic appeal of a
piece stands on its own merit or it doesn’t. All of which, comes
down to the design. What is to say the fabrication/ability to
fabricate is more important than the design? What is to say that
without the latter; the former becomes mundane?

Let’s separate out the two distinctly different aspects of this
topic:

Juried arts/craft/jewelery shows: This area is completely the
jurisdiction of the show. If they require the artist to have
actually made the pieces; then this is a no-brainer and the student
is wrong, absolutely. If they haven’t, then the student is fine IF
the pieces are unique. She is the artist and the jeweler is the
means of production. Sorry, but that is the truth of the matter. (I
would assume that those who view her with disdain must feel at least
equal disdain for those who string briolettes and call themselves
"jewelers". And, even if you do, America, it seems does not; hence
the prolific display of such pieces at top-end stores.)

Distinction between “designer” and “jeweler”. This one is hardly
unique to jewelry (think Warhole, Murakami; Yurman [“yuch”, by the
way], Barbara Barry, Cartier, Tiffany, etc., etc., etc. ). There are
very clear delineations between the designer’s job and the piece’s
fabrication. However, I would bet bottom dollar that every
successful designer has to understand the complexities of
fabrication while the reverse may not be true. Or even, if a jeweler
studies “design”; they may not have the vision to develop
exceptional designs. In an ideal situation, a designer has a jeweler
they trust and together they work on the viability of a project;
each being “masterful” in their own capacity.

Now, I hearken back to Mr. Revere’s post a while back: our need to
name ourselves. For the record, I call myself a “designer”. Every
piece is unique; designed with the customer in mind; usually with
carte blanche from the customer. Why? Because of their faith in my
design “skills”. Am I going to set a $15,000 sapphire myself? No. I
am going to design the setting; pick the stone and give it a jeweler
in whom I have absolute faith. Will I create a custom link and then
have it cast so that I can assemble a chain? Absolutely. I will send
it to a casting house for them to do what they do best and I will
pick one of the best to ensure the best quality. (Hi Daniel ~~) Am I
going to feel “less than” because I don’t want to make the piece
myself? No. My passion comes from the designing; not the fabrication.
My delight comes in knowing that I had quality people helping me
bring the design to life. My satisfaction comes from the customer
receiving a piece that exceeded their expectations. The intent with
every piece; to create something worthy of being passed down to the
next generation(s).

If I were to sign up for an “arts & craft” fair; I would feel
perfectly justified in presenting that aforementioned chain because
I would likely be displaying my pieces next to someone who purchased
the beads, components, stones, whatever, to complete the pieces they
are selling.

Now, I return you to your regularly scheduled program. :wink:

84

I whole heartedly agree with Marlene. This seems to be a recurring
theme: casting is seen by some as a process that somehow yields only
one result-- multiples or facsimiles.

I simply can’t understand this reasoning. To be sure, casting is
indeed often used to reproduce multiple items from original masters,
but the process of casting is simply that, a process. If a smith or
jeweler uses tumbling-- a mass finishing technique-- to clean up an
element in a one of a kind fabricated piece, must the completed piece
be somehow considered less than it is? How about the jeweler who
uses jigs?

Ive stated in her email:

  "it ranks with sticking anything from a strawberry to a dead
insect into a tank with diodes, anodes, 6-toed toads, and a sliver
of metal to coat the object, which is then used to make a 'jewelry
design'. "

With all do respect to Ive those orchidians who agree with her, this
seems to me a terribly short sighted stance. While the above
statement is certainly true at times, it really is the purpose to
which a process is applied that matters.

When I taught casting I always took pains to explain to students
that casting is a method-- a tool-- that should be applied to
situations that might best benefit from what it has to offer.
(there were always those who tried to cast a sheet of wax so that
they would have a sheet of silver…) In the image that I’ve
attatched, the entire brooch was fabricated with the exception of a
tiny portion of the central gold element, which was cast from a bit
of prickly pear cactus. The rest of that central element is
fabricated to it.

I have been producing one of a kind work for some time and have
gained some what of a reputation for this work. I in no way consider
the above piece any less valid than one fabricated from sheet, shot
or scrap. (If we extend the casting as cheating argument out, then
isn’t every smith who uses factory milled sheet and wire somehow
making an end run around true craftsmanship?)

There is certainly a distinction in my mind between artist concieved
and crafted work and work that is jobbed out to carvers, casters and
finishers. But that obvious line becomes less so when I think of the
wonderful jewelers I know who build a piece for a large, valuable and
fragile stone and job out the final setting of it, after building the
piece themselves in its entirety. Does this final act of out
sourcing invalidate the rest of the work? How about artists such as
Jim Dyne or Deborah Butterfield who produce large sculptures with the
aid of a foundry?

As Marlene put it:

      Some pieces are more conducive to being carved from wax and
then cast and others need to be fabricated.  The piece and the
design dictate the method that will be used. I think that both cast
and fabricated methods are honorable ways to create jewelry.  It is
not the method, it is the quality of the design and the
craftsmanship that makes a piece a work of art.

Well said.

Respectfully, Andy Cooperman

85 
We can rip into each other or we can turn around and face the
system that is screwing everyone. We can do this in a "think
globally, act locally" way, by addressing the organizers and
jurors of specific shows--doing this as a group would be much more
effective--and we can also put together the collective wisdom of
this group to create a think tank that could address the larger
picture.

Good for you Lisa. I totally agree. I do not participate in shows
so I can’t comment with any real understanding, but I can imagine the
problems that all of you face who do.

It’s obvious to me that you participate with a great deal of faith
that it will be successful and you’ll make your expenses PLUS a profit
(novel concept). So I can understand your concern when you feel you
are following the rules but the person next to you isn’t…but
obviously the rules are only truly known by “the committee” who lets
you in or says thumbs down.

So your idea of collective wisdom to address the “larger picture”
seems to me to be an excellent way to work on this problem.

Thanks for a clearer review of this problem - I think you nailed a
lot of the problem right on the head.

Kay

86

Marlene,

You’ve said it better than anyone so far. I agree 100%

     Some pieces are more conducive to being carved  from wax and
then cast and others need to be fabricated. The piece and the design
dictate the method that will be used.

I think that both cast and fabricated methods are honorable ways to
create jewelry. It is not the method, it is the quality of the
design and the craftsmanship that makes a piece a work of art.

Brian P. Marshall
Stockton Jewelry Arts
Stockton, CA 95209 USA
209-477-0550 Workshop/Studio/
instructor@jewelryartschool.com
jewelryartschool@aol.com

87 
I've run across similar instances in the past that were associated
with another art form where clients have entered my (not
jewelry-related) pieces in juried shows. Since the pieces were
their property, it was up to them.

james -

you brought up some very good observations in your post & you might
be glad to learn that actually what they do with your work it is not
up to them. as of the ‘new’ copyright laws (in force january 1,
1978) what you make remains your (estate’s) intellectual property
for 5 decades after your death. say you are a sculptor, a client
buys one of your bronze pieces & you subsequently break the mold to
that piece, the copyright law says that the client has to give you
reasonable access to the piece & time to make another mold from it -
because … it is still actually your intellectual property.

when someone claims, represents, or presents any of your work as
their own, that constitutes theft of intellectual property & there
are attorneys who make more than sufficient livings enforcing the
terms of that ‘new’ copyright law.

as to someone entering just designs in an ‘art show’ - that isn’t
possible unless (s)he does paintings, line drawings, etc. of them &
enters those in another show 2-D category.

fortunately it is becoming harder for people to bend entry rules to
fit what they feel they deserve or can slip by the juries - but it
is necessary for the rest of us who follow the rules to maintain an
educated, professional stance while coolly assessing the situation
of vendors who ‘bought & brought’ jewelry to shows & then …
ripping at their bums like starving piranhas just my opinion -

ive

88 
  .... it is also possible that the promoter is simply a greedy
#$&!* and knowingly booked the offending seller to fill a booth
and get the fee. You should not have to sort that out, though. The
fact is that you did not get what you paid for, and your issue in
either case is with the promoter.

And if you make a stink about it, the promoter will very efficiently
take care of the problem-- by excluding you from the show next year.

89

All,

Several years ago a friend of mine in the business for 40 years gave
me some advice when I tried to get him involved in a discussion like
this. He said “I just keep my head down and take care of my own
business”. In a short understanding it means I bury my head and
ignore what is going on around me. What it really means is this. I
am a skilled artisan, stone cutter, jewelry designer, and
businessman. There are things that happen around me that I have total
control over, little control over, and absolutely no control over. I
take care of the things I have total control over input on things I
have little control over and do not waste my time on things I cannot
control. Things that I have no control over I will not let effect my
life. When they try I will make sure I shut them out. I am a
survivor and a fighter who will chose the areas I play in and not
allow the areas to chose for me. Sage advise from a person in the
business as a one person operator for over 40 years who has raised a
family of 2 children, owns a nice house, has two cars, and still does
near 7 figures a year in business.

My 5 cents, Gerry Galarneau, when a cutter hunkers down and you do
not hear from them for a while expect something is going on.

90 
    when someone claims, represents, or presents any of your work
as their own, that constitutes theft of intellectual property &
there are attorneys who make more than sufficient livings enforcing
the terms of that 'new' copyright law.

sigh Okay, I was being a bit cryptic about it for personal reasons
but I’ll explain heRe: The “similar instances in the past that were
associated with another art form where clients have entered my (not
jewelry-related) pieces in juried shows” were national competitions
in such categories as Best Tattooed Female, Best Tattoo Artist, Most
realistic Tattoo, etc. Magazine photographers always attend these
national events and have put my pieces on covers, masthead pages,
etc. I never encouraged it, but the recipients of my work in that
art form want their own validation for the time, money and effort
they spent acquiring their pieces, and the pieces, once finished,
are considered the property of the client. The tattoo business has
at least as many arguments over juried competitions as the jewelry
business does, and it stinks no matter which one you’re involved
with.

Here’s where I empathize with you, and the main reason I won’t
bother with juried shows: The tattooed competitor would enter the
show and win, or not win. The photographer takes photos and the
magazine’s editor displays my work right next to some jailhouse
hack’s cassette recorder tattoo machine garbage because, after all,
the magazine has to fill space, right? Just as the craft show
promoter also has to fill space. Face it, when it’s all about money
(all craft/jewelry shows are), ethics often go out the window, or
the rules become stretched or re-defined. And please, nobody lecture
me about the differences between ethics in the tattoo business vs.
ethics in the jewelry trade. There are top professionals in both
fields. If your show’s authorities won’t “follow the rules” then
quit the show.

To get back to the topic once again, is the student in question “the
artist?” Yes, by one definition - no, by another. I carve, cast,
forge, roll, solder, tattoo, draw/design and have played guitar for
well over 40 years, sing and write songs and still macrame from time
to time. Does this make me an artist? I don’t care, so you be the
judge. Just don’t expect me to show up for the decision; I’ll be too
busy creating something out of something else.

James in SoFl

91

Hi to all you special jewelers

I have been following orchid for a numaber of years now. I make
jewelery as a hobby. My main function is in the health care field as
an RN. I see it this way. Just as doctors and also nurses have their
specialties they all work together for one common goal–to help
people obtain the highest quality care. This is what I see with the
jewelers industry. With the technology ever expaning it is difficult
for one to do it all. Thus you have specialties as designers,
fabricators, casters, repair, etc. You are good at what you do
everyday. You all work for a common goal and that is to give us the
best quality jewelery that is possible and believe me I’ve seen some
of your incredible pieces of jewelery. I’ve also seen those who call
themselves “artists” and the stuff they call art that looks like it
was mangled the the garbage disposal. As the professionals you all
are–you do the best you can do to get the highest quality and if
you have to send it for polishing or such-it doesn’t take away that
you all contribute in your own special ways to the field that you
love so much. When someone said casters and not homemade I don’t
think they meant to put down anyone except the fakes-scums-and rule
breakers out there. When someone breaks the rules I assume they are
stupid and can’t read or they have a tendencey to get money no
matter who they step on. They will get there’s. How long can someone
who puts cheap jewelry up keep going? Until people find out how
crappy the jewelry is. So you guys come together (I think you
already are together at heart) and respect what others
("professional jewelers " that is) do. Hobbiests also do good work
at times and have contributed to the field. You’ve already shown
what incredible people you are to so freely give advise to beginners
and even hobbyists. You are all equally specail in my book and
nobody can change that. Having a discussion about the different
areas of jewelry is okay and I don’t think anyone is deliberately
putting another down. They just don’t have the finesse to put it out
there as some do and someone takes it wrong. Keep doing what you are
doing because what I can see you all have very beautiful quality
jewelry (the ones I have looked at). Not trying to scold anybody
here. I know when the chips are down-the real professionals will be
there to help a colleague. You are special people—and don’t you
forget it or I will have to get the old needle out and medicate you!
Thanks for allowing me to contribute.

Anna Herrick

92

ive wrote:

as to someone entering just designs in an 'art show' - that isn't
possible unless (s)he does paintings, line drawings, etc. of them
& enters those in another show 2-D category.

Just to take this fascinating discussion in another direction… What
ive wrote isn’t exactly correct. There is at least one case about
which I have read, in which the ‘author’ of a photograph sued a
sculptor (Jeff Koons) who created a life size three dimensional
represention of the subject of (author’s) photograph.

(Author) won based on infringement on his creation.

To further complicate things, (and to make your head spin,) the
sculpture wasn’t made with Koons’ own two hands, but by craftspeople
under his direction.

David Barzilay, Lord of the Rings

607 S Hill St Ste 850
Los Angeles, CA 90014-1718
213-488-9157

93 
  I'm beginning to wonder if the designer in question might not
have drawn up her design from a piece already designed and
executed by someone else.

The designer in question (who does not really matter, as my original
post was inspired by her, but intended as a general topic) appears
to have a thorough understanding of the engineering necessary. Why
would you jump to the conclusion that she doesn’t? She wouldn’t be
much of a designer if her designs didn’t work. Understanding
engineering and dynamics is necessary for construction, not
necessarily the other way around.

Noel (who didn’t intend to become an apologist for any point of
view, but wants to be fair)

94 
 And if you make a stink about it, the promoter will very
efficiently take care of the problem-- by excluding you from the
show next year.

IF it is important enough to you, AND you are willing to expend the
effort required, you could organize enough of the creative artists
(whether they hand fabricate and/or cast.)

A mass protest, or threatening a mass walkout on last day of show
(with lots of press coverage) would likely get the attention of the
show’s promoter.

I would love to see that happen. I, personally, don’t do shows, but
if I did, I would be furious at being placed next to someone who
only imports mass-produced junk (and represents it as their own
work.)

David Barzilay, Lord of the Rings
607 S Hill St Ste 850
Los Angeles, CA 90014-1718
213-488-9157

95

It seems like some one is being bashed who cannot speak for her
self. Are the students enlightened of the existence of the ORCHID
Forum - Since this is what it is all about. Another thought-Where
would the jewelery world be with out any Casters, wax carvers, etc.?
Just a bench worker, all around jeweler voicing an opinion-- Who has
seen quite a few (artists ) sorry, who could not survive at a bench.

Leona-benceworker for
wwwgoldcreations.org.

96

I like to carve waxes, cut pieces from them, and solder them to any
other pieces that look good , and strike my fancy, as i juxtapose
them next to each other, some i hammer, some bend, some recarve,
add wood, make into rings by adding shanks, pinbacks, bails. The
amount of new and incredible designs that come from this practice is
endless, and also it gives an endless variety of findings and parts
such as unique bails, etc. Sky’s (meditation, interest,
imagination) the limit!!! The transverse, reverse, symmetrical
aspect of this technique is very fruitful, and a sound argument for
the necessity of casting in one of a kind work, dp

97 
  And if you make a stink about it, the promoter will very
efficiently take care of the problem-- by excluding you from the
show next year.

Not true in all cases, Noel. Roy Helms, for one, is very receptive
to the complaints of artists in this respect. He has repeatedly
taken action to remove or exclude exhibitors when it is discovered
that they do not meet the stated criteria of his shows (the
Contemporary Crafts Markets). I suspect that this is true of all
reputable, top-end promoters.

When dealing with less ethical promoters, I would think a group
protest would be the safest way to go. Better yet, encourage any
customers who express discontent with the situation to complain.
That should get the promoter’s attention in a hurry!

Beth

98 
        I would love to see that happen. I, personally, don't do
shows, but if I did, I would be furious at being placed next to
someone who only imports mass-produced junk (and represents it as
their own work.)

Surely you would only have a right to be furious if you are trying
to sell your own mass-produced junk?

If you are not in this market, then you should be able to expect the
market organisers to deliver enough customers for your type of
product, and if this is not the case then there is no point in going
to this market

Bill Bedford

99

What is hand made ---- Is not saws hammers files, etc., not tools?
I my self cannot make things by hand. I use tools. The question is,
is it copied or not.

100

I also have to take issue with your take on casting. A lot of my
pieces are cast from the wax models that I hand carve and most of my
work is one of a kind, not multiples. So would you consider this to
be a “Print”?

Joel
Joel Schwalb
@Joel_Schwalb
www.schwalbstudio.com