All Discussions Tagged 'Rebecca' - crafthaus2024-03-28T20:17:27Zhttp://crafthaus.ning.com/forum/topic/listForTag?groupUrl=showing-publicly-and-building-a-legacy-privately&tag=Rebecca&feed=yes&xn_auth=noShowing Publicly: Curatorial Interview with Jessica Ross of "Paper Cuts" at Spoke Art Gallerytag:crafthaus.ning.com,2014-05-12:2104389:Topic:4836842014-05-12T15:33:12.676ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<div>Last weekend, Spoke Art Gallery in San Francisco brought together some of the best international contemporary paper artists for a group show cleverly named "Paper Cuts." The exhibition's curator, Jessica Ross, kindly shared some insight behind the works themselves, the inspiration of the show, and the role paper art and fine craft plays in the big picture of fine art.</div>
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<div>Last weekend, Spoke Art Gallery in San Francisco brought together some of the best international contemporary paper artists for a group show cleverly named "Paper Cuts." The exhibition's curator, Jessica Ross, kindly shared some insight behind the works themselves, the inspiration of the show, and the role paper art and fine craft plays in the big picture of fine art.</div>
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<div>RR: As described, "Largely seen as a style of craft art, Paper Cuts seeks to investigate the intersection between fine art and crafts." It's interesting to think that graphite on paper is seen by some in a different artistic context than paper on paper. Do you feel the show helps bridge a gap? How do you foresee the impact this show has or will have on paper art in general? </div>
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<div><b>JR: Good question! In essence, all art is one form of craft or another (as it is 'crafted') it's usually society that defines art into paradigms of fine art or kitsch. I wanted to mostly focus on the crafters themselves and show a range of artists that handle the same exact medium in different ways, to me that is fine art. The amount of precision that goes into these works is on the same level as say an oil painter for me. </b></div>
<div><b><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/yulia-brodskaya-o" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058568080?profile=RESIZE_480x480" width="450" class="align-center"/></a></b></div>
<div style="text-align: center;">Yulia Brodskaya<div>"O"</div>
<div>paper</div>
<div>11.81" x 15.75"</div>
<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div>RR: Some of the work in "Paper cuts" is representational and figurative, some is abstract and focuses on forms. It's thought provoking to imagine replacing paper as a medium with say, paint, and the imagined paintings would be equally as strong as their paper counterparts. With this idea, what roles do materials and artistic intent play in selecting works for the show?</div>
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<div><b>JR: My selection of artists do vary in their artistic intent, many have experimented with different mediums and practices. For example Ryan De La Hoz is a painter, printmaker, puzzle designer and textile worker, for him paper holds a kind of graphic aesthetic in which his work really resonates. For the works in this show I think all of the artists wanted to highlight their skills with paper, not just because it's their primary medium but because it's what they feel comfortable with as an artist. </b></div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/crystal-wagner-spectrum-bio-interloper-vi" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058567577?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div style="text-align: center;">Crystal Wagner <div>"Spectrum: Bio Interloper VI"</div>
<div>screen print, relief print, cut paper, wood, paint, wire</div>
<div>25.5" x 8" x 25.5"</div>
<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div>RR: Asia, specifically Japan, doesn't primarily impose a distinction between craft and fine art, whereas western Europe and the US primarily does. Before the British Arts and Crafts movement at the turn of last century, western art schools would teach a hierarchy of art forms, restricting the term fine art to describe paintings, sculpture, and printmaking. Do you feel a preconceived distinction between craft and fine art still exists in the US? Between design and fine art? Where and how do you see these distinctions blurring? </div>
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<div><b>JR: Totally, I think before the turn of the century this kind of hierarchal organization of art was meant to hold class structure. In 8th and 9th century China, paper art was a common domestic art reserved for the middle class, while royal artists usually practiced mainly with poetry and painting. Today, obviously because the expansive globalization of art and its respective market, these kind of rigid class structures are not as enforced. Of course there is still a distinction between say a fine art gallery in Chelsea and a more low-bro gallery in Los Angeles but I feel as though most collectors (at least the ones we have at Spoke Art) are open to many different forms of art. On space in particular that comes to mind is Guerrero Gallery in San Francisco. At the moment they are in-between spaces but their roster of artists span many different mediums they are definitely trying to push the boundaries between fine art and craft, they are doing a spectacular job if I do say so myself! </b></div>
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<div><b><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/crystal-wagner-spectrum-bio-interloper-iv" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058568148?profile=RESIZE_480x480" width="450" class="align-center"/></a></b></div>
<div style="text-align: center;">Crystal Wagner <div>"Spectrum: Bio Interloper IV"</div>
<div>screen print, relief print, cut paper, wood, paint, wire</div>
<div>21.5" x 5" x 21.5"</div>
<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div>RR: Images of design, architecture, craft, and art are so easily shared and readily available within the digital landscape. Do you feel the virality of images from fine and applied art forms -especially where traditional concepts are being pushed beyond normal boundaries in terms of execution and imagination-contribute towards a widely open and equal mainstream acceptance of craft as fine art?</div>
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<div><b>JR: Definitely! I have a love/hate relationship with the way art is shared online (in an effort to not stray I'll hold my tongue) but the internet definitely holds a major presence in the way we view art, whether it be craft or not. I definitely think craft art is well on its way to acceptance especially through the online community. People see a detailed hand-cut/ hand-sewn/ hand created piece of work and can't help but be awed, especially because most everything is digitized in this day and age. The analogue processes that create craft art are not only appreciated but envied by an entire generation of people that can only click or drag. Bottom line: people appreciate hand-crafted work and want to see more of it! </b></div>
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<div><b><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/elaine-penwell-menagerie" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058575481?profile=RESIZE_480x480" width="450" class="align-center"/></a></b></div>
<div style="text-align: center;"><div>Elaine Penwell<div>“Menagerie" - Detail</div>
<div>Hand cut paper</div>
<div>18" x 24"</div>
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<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div>RR: The work selected for "Paper Cuts" is primo- Megan Stratman, Hari & Deepti, Ryan De La Hoz, Kevin Jay Stanton, Elaine Penwell, Sarah Dennis, Yulia Brodskaya, Charles Clary, Crowded Teeth and Dan Jaffe all delivered. Where did you initially find the inspiration to curate a paper themed show and group these artists together? Any personal standouts or certain pieces that have proved to be crowd favorites? What are some of the stories behind the pieces?</div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/hari-deepti-sold-1" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058565881?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div style="text-align: center;">Hari & Deepti <div>"Enchanted Land" </div>
<div>Cut paper </div>
<div>8" x 10" </div>
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<div style="text-align: center;"><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/hari-deepti-sold-1" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058569951?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div style="text-align: center;"><span><span>Hari & Deepti </span></span><div>"Enchanted Land" </div>
<div>(View of piece when illuminated by light box frame in a darkened room)</div>
<div>Cut paper </div>
<div>8" x 10" </div>
<span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div><b>JR: Well let me start by saying this is my first curatorial endeavor so I'll be blunt, I didn't exactly know how I wanted to do this show at the beginning. The grand plans in my head wanted to showcase over fifty artists from around the world and include massive (and very expensive I might add) installations and immersive paper environments. Ken the owner of Spoke Art graciously helped me edit down my list of artists and helped me figure out what would fit best for Spoke Art and our collector base. Having worked for Spoke Art for almost three years and seeing countless themed group shows, my favorite works were always the paper ones, I always felt like a little kid again, unwrapping the work, discovering the painstaking detail and kicking myself for not having more patience.</b></div>
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<div><b><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/charles-clary-hugg-a-diddle-workup-8" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058567775?profile=RESIZE_480x480" width="450" class="align-center"/></a></b></div>
<div style="text-align: center;">Charles Clary<div>"Hugg-a-Diddle Workup #8" </div>
<div>Hand cut paper and acrylic on panel</div>
<div>12" x 12" x 5"</div>
<div>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</div>
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<div><b><br/> A lot of the artists in PAPER CUTS we've exhibited before at Spoke Art and then of course I got to reach out to some of my favorites. One in particular was Charles Clary, I had found his work online several years ago and posted him on my side project blog, Exhibition-ism, he was so sweet and told me that he would be using my blog in his class syllabus! That really stuck with me and when I was thinking of new artists for PAPER CUTS his name just popped back up in my head! Don't you just love when things come around full circle? His psychedelic abstract island-y formations have definitely got some amazing reactions from our viewers, it's hard to believe he doesn't laser-cut his pieces! I don't want to play favorites but I could stare at his work forever. </b></div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/charles-clary-patiflasmic-flamungle-gestation-movement-4" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058568926?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div style="text-align: center;">Charles Clary<div>"Patiflasmic Flamungle Gestation Movement #4" </div>
<div>Hand cut paper and acrylic on panel</div>
<div>24" x 24" x 7"</div>
<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/charles-clary-patiflasmic-flamungle-gestation-movement-4" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058568539?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div>Charles Clary<div>"Patiflasmic Flamungle Gestation Movement #4" - Detail</div>
<div><span>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</span></div>
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<div style="text-align: left;">A few of the artists exhibiting in Spoke Art Gallery's "Paper Cuts" show were kind enough to share the history behind their pieces and processes. Paper artist Kevin Jay Stanton:</div>
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<div style="text-align: left;"><div class="_5wd9"><div class="_5wde"><div class="_5w1r _5wdf"><div><span class="_5yl5">RR: Kevin, what are the inspirations and stories behind your pieces? </span></div>
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<div class="_5yt9 _5wd4 _1nc7 direction_ltr"><br/><div class="_5wd9"><div class="_5wde"><div class="_5w1r _5wdf"><div><strong><span class="_5yl5">KJS: Well recently I worked on a piece for a different show that was about spirit animals, and a bit of that bled into these pieces. Plants and animals as symbols really speaks to me - I love the idea of taking on the attributes of them or making them into a sort of shrine. With these two pieces I took two favorite birds (Blue-Eared Kingfisher and Bumblebee Hummingbird) and added flowers I thought paired well (Lotus and Vanilla Orchid, respectively). I also added a crescent moon and sun to play off of each other.</span></strong></div>
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<div><span class="_5yl5">RR: Please guide us through your process in creating these pieces:</span></div>
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<div><strong><span class="_5yl5">KJS: My process varies a lot depending on the project, but it tends to revolve around hand-cut paper. For these two pieces I also added in some hand cut stencils (the gold corona and the silver stars), and also did some acrylic monoprints on the birds and flowers for added texture.</span></strong></div>
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<div style="text-align: center;"><strong><span class="_5yl5"><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/kevin-stanton-blue-banded-kingfisher-and-lotus-1" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058567488?profile=RESIZE_480x480" width="450" class="align-center"/></a></span></strong></div>
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<div style="text-align: center;">Kevin Jay Stanton <div>"Bumblebee Hummingbird and Vanilla Orchid"</div>
<div>Cut paper, metallic spray paint and acrylic</div>
<div>8" x 10"</div>
<div><div>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/kevin-stanton-blue-banded-kingfisher-and-lotus" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058567546?profile=original" width="360" class="align-center"/></a></div>
<div>Kevin Stanton <div>"Blue Banded Kingfisher and Lotus"</div>
<div>Cut paper, metallic spray paint and acrylic</div>
<div>8" x 10"</div>
<div><span>(Photo Courtesy of the artist and </span><a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a><span>)</span></div>
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<div>Another heavy hitting paper artist in the show is Meghan Stratman:</div>
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<div>RR: Meghan, what are the inspirations and stories behind your pieces? </div>
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<div><div class="_5wd9"><div class="_5wde"><div class="_5w1r _5wdf"><div><strong><span class="_5yl5">MS: "There and Back Again" was inspired by a video game, and "Journey" and "Laputa" was inspired by the anime "Castle in the Sky". Both of these pieces were originally created for an adventure-themed show at Hero Complex Gallery in LA. "The Cat" and "The Bat" are new pieces made specifically for the PAPER CUTS show, in which I played around a bit with ways to combine color and shapes into the collages.</span></strong></div>
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<div><div><span class="_5yl5">RR: Please guide us through your process in creating these pieces:</span></div>
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<div><strong>MS: I use layered, cut paper to create texture and dimension in my collages, my work is illustration based and on the cartoony side.</strong></div>
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<div class="_3ry4"><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/meghan-stratman-there-and-back-again" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058568218?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div class="_5yt9 _5wd4 _1nc7 direction_ltr"><div class="_5wd9"><div class="_5wde"><div class="_5w1r _5wdf"><div style="text-align: center;"><div>Meghan Stratman</div>
<div>“There and Back Again”</div>
<div>12” x 12”</div>
<div>Paper Collage</div>
<div>(Photo Courtesy of the artist and <a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a>)</div>
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<div><a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show/products/meghan-stratman-sold-2" target="_blank"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058566608?profile=RESIZE_480x480" width="450" class="align-center"/></a></div>
<div>Meghan Stratman<div>“Laputa”</div>
<div>12” x 12”</div>
<div>Paper Collage</div>
<div>**SOLD**</div>
<div><span>(Photo Courtesy of the artist and </span><a href="http://www.spoke-art.com" target="_blank">Spoke Art Gallery</a><span>)</span></div>
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<div style="text-align: center;"><div style="text-align: left;">RR: Jessica, as the curator, is there anything else you'd like to add?</div>
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<div style="text-align: left;"><b>JR: PAPER CUTS for me was a really fun way to showcase a group of artists that I've been following and loving for years, it just so happens they all work with paper. I am fascinated with the return to a more analoque way of art making, especially in this day and age. All the mistakes, flaws and cuts along the way are what make this kind of work memorable and in the end completely unique. It's important to continue to blur that line between craft and fine art and I can't thank Ken Harman and Spoke Art enough for giving me an opportunity to put all these great artists in one show!</b></div>
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<div>"Paper Cuts" will be on view at Spoke Art Gallery in San Francisco from May 3rd to May 24, 2014, and online at <a href="http://www.spoke-art.com" target="_blank">www.spoke-art.com</a></div>
<div>Check out the full exhibition here: <a href="http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show" target="_blank">http://spoke-art.myshopify.com/collections/paper-cuts-a-group-show</a></div>
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<div>A big thank you to Curator Jessica Ross, Artists Kevin Jay Stanton and Meghan Stratman, Gallery Director Ken Harman, and the Spoke Art Gallery team for coverage of the exhibition!</div>
<div>-Rebecca Rose</div>
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<div><b> </b></div> Showing Publicly: The Curatorial Eyes of Ellen Schindermantag:crafthaus.ning.com,2014-02-09:2104389:Topic:4566442014-02-09T00:14:03.726ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p><span style="font-size: 13px;">Another facet of the Showing Publicly portion of the blog, The Curatorial Eye, allows me to share the inside scoop behind the scenes of putting together a nationwide exhibition. </span><span style="font-size: 13px;">This week I was able to interview Ellen Schinderman, founder and curator of the annual exhibition "Stitch Fetish II." …</span></p>
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<p><span style="font-size: 13px;">Another facet of the Showing Publicly portion of the blog, The Curatorial Eye, allows me to share the inside scoop behind the scenes of putting together a nationwide exhibition. </span><span style="font-size: 13px;">This week I was able to interview Ellen Schinderman, founder and curator of the annual exhibition "Stitch Fetish II." </span></p>
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<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: left;">"Stitch Fetish II," held every February at<span> The Hive Gallery & Studios in downtown Los Angeles, continues to explore the art of the stitch, revealing the fetishized secrets lurking in the minds of artists as interpreted through hand made approaches like<span> knitting, crochet, embroidery, needlepoint, cross-stitch, quilting, plushes, appliqué, tapestry, and needlefelting.</span></span></p>
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<p style="text-align: left;"><span>This year’s "Stitch Fetish II" exhibition showcases the work of more than 30 contemporary stitchers, who have offered their interpretations on the theme:</span></p>
<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column" style="text-align: center;"><p style="text-align: left;">Bren Ahearn, Mark Bieraugel, Katharine Lawrie, Amy Goldsmith Sheridan, Meghan Willis, Tara Fields, Carol Powell, Ashford Harrison, Mo Powers, Judith Pudden, Robert Marbury, Pita Garcia, Matthew Monthei, Erin M Riley, Shae Merrit, Kevin Muth aka Dirty Pillowz, David & Vesna Miller, Ken Amarit, Hine Mizushima, Luke Haynes, Billy Kheel, Oh Sew Nerdy, Rebeka Trigg, Spike Dennis, Maxine Shaw, Maggie Hunt, Iviva Olenick, Reavis Eitel, Leah Emery, and Ellen Schinderman.</p>
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<p style="text-align: left;"><span>Ellen graciously gave me</span><span> a sneak preview of the show, as well as details on her personal body of hand stitched work. Enjoy! </span></p>
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<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058534978?profile=original" target="_self"><img width="375" src="http://storage.ning.com/topology/rest/1.0/file/get/1058534978?profile=RESIZE_480x480" width="375" class="align-center"/></a></p>
<p>"Angela" linen on cotton, 24" x 24", Ellen Schinderman, 2014</p>
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<p><span><span style="color: #0000ff;">RR:</span> This is your second annual Stitch Fetish show held at The Hive Gallery & Studios in Los Angeles. Take us back a few years, how did you come up with the idea?<br/></span></p>
<p><span><span style="color: #ff0000;">ES:</span> I had just curated my first show, "Home is Where the Needle Marks" at Pop Tart Gallery, and was having a featured solo show at The Hive Gallery. Nathan Cartwright, the owner, and I got into a conversation about the show I had just put up, which he came to see. I said I’d love more opportunities to curate and we started talking about the next available slot at the Hive, which turned out to be February 2013, and since February is all Valentines and lovers anyway, Fetish and Erotica seemed obvious.</span></p>
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<p><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058533353?profile=original" width="375" class="align-center"/></p>
<p style="text-align: center;">"The Feminine Ideal" thread on paper, Mark Bieraugel, 2014.</p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> </span> <span>Has the show ever been a subject of controversy given the subject matter?</span></p>
<p><span><span style="color: #ff0000;">ES:</span> Not that I’m aware of. God, please picket me! Such good press! No, no controversy, though I have been banned by Facebook for 24 hours for posting smut.</span></p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> What experiences are different this time around?<br/> <span style="color: #ff0000;">ES:</span> It’s much easier - not easy, but easier. Having done this twice, and once before in this space, I knew what to expect and was very prepared. The hanging went far more smoothly this year, and overall it’s been less stressful and more fun.</span></p>
<p> </p>
<p><img width="375" src="http://storage.ning.com/topology/rest/1.0/file/get/1058536791?profile=RESIZE_480x480" width="375" class="align-center"/></p>
<p style="text-align: center;"><span>"Woman With Long Brown Hair" c</span><span>otton & chiyogami paper, </span><br/> <span>6.75" x 6.75" Judith Pudden, 2013.</span></p>
<p style="text-align: center;"></p>
<div class="layoutArea"><div class="column"><p><span style="color: #0000ff;">RR:</span> In what ways has the show gained in popularity?<br/> <span style="color: #ff0000;">ES:</span> It’s amazing! So many people have told me they’re excited for this year’s show, and that last year’s was one of their favorites of the year! No one knew what to expect last year, lots of people were so amazed by the novelty of stitch, but now they’re prepared. There’s been more press, more pre-sale inquiries, and tons of lovely re-posting and re-blogging of info.</p>
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<div class="layoutArea"><div class="column"><p> </p>
<p><span style="color: #0000ff;">RR:</span> Is your selection process a combination of juried works and invited artists? How has the selection process varied from year to year?</p>
<p><span style="color: #ff0000;">ES:</span> Yes, I do an open call, ask people I think are fabulous, and troll the web looking for people who work with fabric and thread and have the right mindset. This year I already had a great stable of people to work with, and people randomly began reaching out to me, as I’m “the dirty stitcher,” and some of their works are just wonderful. Finally, I reached out to some people whose work I just love, though they may not usually make erotica - what they’ve come up with are some of my favorite pieces.</p>
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<p style="text-align: center;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058533582?profile=original" width="375" class="align-center"/></p>
<p style="text-align: center;"><span>"Just the Three of Us With Clothes" linen on cotton, 5" x 7", Ellen Schinderman, 2012.</span></p>
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<div class="layoutArea"><div class="column"><p> </p>
<p><span><span style="color: #0000ff;">RR:</span> </span><span style="font-size: 13px;">What is your history and experience as far as curating exhibitions on a national scale?</span></p>
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<div class="page" title="Page 2"><div class="section"><div class="layoutArea"><div class="column"><p><span><span style="color: #ff0000;">ES:</span> So far I’ve only curated in LA. It’s so much work, it seems daunting to curate a show where I am not, but I am thinking about it. I’ve been asked to curate at a gallery in Seattle and I’m talking about it with a gallery in San Francisco, so we’ll see what happens.</span></p>
<p> </p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> As a curator, what type of work initially catches your eye?<br/> <span style="color: #ff0000;">ES:</span> I’m a big humor girl, so usually things that make me giggle, or that are just so so smart that it hurts... that you thought of that, that you executed it so well, that I didn’t think of it first, that I want it so badly...</span></p>
<p> </p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> </span> <span>What advice would you give to artists seeking out exhibition opportunities?</span></p>
<p><span><span style="color: #ff0000;">ES:</span> Be polite and ask. Seriously. I can’t tell you how many shows and galleries I've gotten into just by saying, “Hey, can I play?” Granted, I usually know the people I'm asking, or they know my work, but don’t be scared to ask for what you want! The worst thing that can happen is they’ll say no, but they’ll probably remember you.</span></p>
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<div class="column"></div>
<div class="column"><img width="375" src="http://storage.ning.com/topology/rest/1.0/file/get/1058532926?profile=RESIZE_480x480" width="375" class="align-center"/><p style="text-align: center;"><span>"The View From Here" linen on cotton, 24" x 36", Ellen Schinderman, 2014.</span></p>
<p style="text-align: center;"></p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> The creatives at the Hive Gallery combined their efforts with you and filmed a Youtube and Vimeo teaser, which is unique and intriguing marketing aspect of the exhibition before the show opens. Where did this idea come from?<br/> <span style="color: #ff0000;">ES:</span> The idea came from Rick Galiher aka Wilkinson the Butler, but once we decided to go with it, it was truly collaborative, with us riffing off each other and having lots of fun. Daisuke Okamoto shot it and did a fantastic job editing.</span></p>
<p> </p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> What was it like filming the teaser and how has it been received?<br/> <span style="color: #ff0000;">ES:</span> It was super fun, super silly. I come from a theatre background, so it was really fun to play “let’s pretend,” again. It’s been amazingly well received, over 350 views, in just a couple weeks!</span></p>
<p> </p>
<p style="text-align: center;"> <a href="http://www.youtube.com/watch?v=YvdqZfele9o" target="_blank">http://www.youtube.com/watch?v=YvdqZfele9o</a></p>
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<div class="layoutArea"><div class="column"><p style="text-align: center;"><span>"Stich Fetish II" teaser at The Hive Gallery & Studios, Los Angeles (NSFW)</span></p>
<p style="text-align: center;"><span><a href="http://www.youtube.com/watch?v=YvdqZfele9o" target="_blank">http://www.youtube.com/watch?v=YvdqZfele9o</a></span></p>
<p style="text-align: center;"></p>
<p style="text-align: center;"></p>
<p><span><span style="color: #0000ff;">RR:</span> What are your thoughts and view on fine craft and fine art? Do you have any thoughts or stories in regards to explaining these views to traditional artists or gallerists that primarily show traditional fine art?<br/> <span style="color: #ff0000;">ES:</span> I ignore the distinction. All art is crafted, not all craft is art. If someone doesn’t get it, I move on. I'm not here to convince people that my work is art even if the medium is a traditional craft.</span></p>
<p> </p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> You've become a very well known and respected fiber artist burgeoning in the field today. How have you overcome obstacles with galleries to show your work alongside paintings?</span></p>
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<p><span style="font-size: 13px;"><span style="color: #ff0000;">ES:</span> Again, I ignore the distinction. I approach galleries as an artist, not a fiber artist. I think of my works as paintings and drawings, but using thread and fabric rather than paint and canvas or paper and pen.</span></p>
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<p style="text-align: center;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058533232?profile=original" width="364" class="align-center"/></p>
<p style="text-align: center;">"My Mother as a Young Woman" linen on cotton, 24" x 36", Ellen Schinderman, 2012.</p>
<p style="text-align: center;"></p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> I'm proud to say I have a piece of yours in my private collection. What has been your experience establishing your career in the past five years?<br/> <span style="color: #ff0000;">ES:</span> An amazing and lucky one. I started making things to amuse myself and putting them in a bag in the closet. I finally showed my work to Gallery1988, who I knew as an occasional art buyer, and they put me in a group show. Both my pieces sold in pre-sale and I’ve never looked back. It’s been an incredible ride, I’ve gotten to travel to the UK, teach kids, I get the nicest emails from stitchers all over the world, and when you curate you get presents! Basically, I’m the luckiest girl in the world.</span></p>
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<div class="layoutArea"><div class="column"><p> </p>
<p><span><span style="color: #0000ff;">RR:</span> Your work ranges anywhere from embroidery to cross stitch to any thread related approach in between, what drew you to your current larger scale works? Can you also tell us the intent and inspiration behind your smaller works?</span></p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #ff0000;">ES:</span> With the large works, I really wanted to push scale; art collectors aren’t looking for 8”x10” pieces. I dream of having the time to make a 10’x6’ piece. With the small works I tend to do red-work (an embroidery tradition where everything is stitched in a deep red tone), taking modern subjects and recasting them in stitch and only the one color, to force the viewer to see them in a new way.<br/> And the doilies project is a study of the female form - the real one, not the air brushed magazine version - using images of mid-century naked woman stitched onto hand made doilies of the same era.</span></p>
<p> </p>
<p style="text-align: center;"><img width="375" src="http://storage.ning.com/topology/rest/1.0/file/get/1058532276?profile=RESIZE_480x480" width="375" class="align-center"/></p>
<p style="text-align: center;">"DMG" linen on cotton, 30" x 30", Ellen Schinderman, 2013.</p>
<p> </p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> Where can we see your work normally?<br/> <span style="color: #ff0000;">ES:</span> I often have work at the Hive, and most of my work is on my site, <a href="http://www.schindermania.com">www.schindermania.com</a>. There are also a bunch of my pillows and things at the Twilight Gallery in Seattle, and if you’re in LA, I’ll be installing works at Dove Biscuit Gallery, on the Mezzanine level of The Last Bookstore next week, and will be in residence there for several months.</span></p>
<p> </p>
<p><span style="font-size: 13px;"><span style="color: #0000ff;">RR:</span> In Addition to "Stitch Fetish II" opening this weekend, what new work are you creating for upcoming shows and events?</span></p>
<p><span style="font-size: 13px;"><span style="color: #ff0000;">ES:</span> I have a lot of stuff coming up, but the bigger and more interesting things are that I’m in Dirty Detroit 15, this weekend and next, with a large piece </span><span style="font-size: 13px;">called, “My Girl Lollypop,” I’m making a couple works on paper for a show Daniel Rolnik is curating at Flower Pepper March 1st, and I’ve just been asked to participate in Gallery1988’s 10th anniversary show - still figuring out what I’ll make for that. Plus, I have a list of other things to make and do... there’s always more to make and do.</span></p>
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<div class="layoutArea"><div class="column"><p><span><span style="color: #0000ff;">RR:</span> Any other comments you'd like to share about the show?<br/> <span style="color: #ff0000;">ES:</span> A huge thank you to Nathan Cartwright, who runs The Hive [Gallery], for letting me get naughty up in his space, not once, but twice.<br/> <br/></span></p>
<p> </p>
<p><span>"Stitch Fetish II" opens tonight, February 8th, and runs through March 1st, 2014.</span></p>
<p></p>
<p><span style="font-size: 13px;">Until next time!</span></p>
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<p style="text-align: left;">-Rebecca Rose</p>
<p>_____________________________________________________________________________</p>
<p>Why don’t we be friends?<br/> <span style="text-decoration: underline;"><a href="http://www.facebook.com/RebeccaRoseArt">Facebook</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.pinterest.com/RebeccaRoseArt">Pinterest</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.instagram.com/sculpturings">Instagram</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.twitter.com/sculpturings">Twitter</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.sculpturings.com">Sculpturings Website</a></span><br/> ________________________________________________________________</p>
<p> </p>
<p> </p> Building a Legacy Privately: In Search of Lost Time / The Artist's Procrastinationtag:crafthaus.ning.com,2013-12-17:2104389:Topic:4471722013-12-17T02:42:58.245ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p class="p1"><span class="s1">Who hasn’t fallen victim to one’s own hubris with the clock? Errors await, obstacles sneak in, and before you know it, the midnight deadline has passed, and after a quiet “Damn it” spoken to yourself, you swear you’ll never cut it that close to the wire again. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">But you do. </span></p>
<p class="p1"><span style="font-size: 13px;">We all do.</span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">We…</span></p>
<p class="p1"><span class="s1">Who hasn’t fallen victim to one’s own hubris with the clock? Errors await, obstacles sneak in, and before you know it, the midnight deadline has passed, and after a quiet “Damn it” spoken to yourself, you swear you’ll never cut it that close to the wire again. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">But you do. </span></p>
<p class="p1"><span style="font-size: 13px;">We all do.</span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">We procrastinate on starting projects, fulfilling deadlines, and try our hardest to cram it all in during the 11th hour. Procrastination handicaps our progress, hurts our performance, sabotages our goals, and blocks us from achieving the success we dream about. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">It’s about choice, decision, and self discipline. To break this cycle, you have to self regulate your actions, manage your time, and develop a different lifestyle. </span></p>
<p class="p1"><span class="s1">All boring stuff, right?</span></p>
<p class="p2"></p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058506422?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058506422?profile=original" width="202" class="align-center"/></a></p>
<p class="p1" style="text-align: center;"><span class="s1">Let’s look at the chemical make up of our laziness. </span></p>
<p class="p1" style="text-align: center;"><span class="s1">(Simpsonous Homerus.)</span></p>
<p class="p1" style="text-align: center;"></p>
<p class="p1"><span class="s1">Physiologically, our brain’s frontal lobes are what triggers the urgency to accomplish and get our to-do list done, and our more addictive leisurely tendencies lie towards the back of the brain in the limbic system. We experience a mild anxiety response from our frontal lobes, when coupled with fear, sends survival signals to the brain and inversely makes us crave what feels good instead of what doesn’t. Usually that good feeling means leisure over work, which keeps us on the couch watching old reruns of 30 Rock.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">Many times we postpone projects based on these uncomfortable feelings of fearing the project will fail, anxiety towards anticipated challenges along the project’s way, and the uncertain insecurity that the project’s outcome will be imperfect. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">These feelings convince us that our project is so overwhelming, we don’t even know where to start. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">So how do we change that?</span></p>
<p class="p1"><span class="s1">Develop a lifestyle and be cognitive about your projects, and make the decision to start the next step on your piece. Planning goals, and splitting a giant overwhelming piece into smaller steps and smaller goals will help you get into the habit of attacking a project. You may find yourself feeling more satisfied when achieving and completing these smaller steps, thus reinforcing productive behavior. Plan for distractions, obstacles, errors, and failures. Sounds easy, right?...</span></p>
<p class="p1"><span class="s1">But seriously. How DO we change that?</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">Try planning backwards. When we look at a calendar, we look forward and ahead, so it seems like we have more time than we don’t. I propose you take that same calendar and look backwards instead of forwards. </span></p>
<p class="p1"><span class="s1">Here’s what I mean.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058506723?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058506723?profile=original" width="499" class="align-center"/></a></span></p>
<p class="p2" style="text-align: center;">(Meredithicus Burgessica)</p>
<p class="p2" style="text-align: center;"></p>
<p class="p1"><span class="s1">Let’s take your overwhelming project and </span><span style="font-size: 13px;">break it up into pieces, smaller goals, and steps with</span> <span style="font-size: 13px;">a 2-3 day period assigned to accomplish each step. </span><span style="font-size: 13px;">With those days, add them to your calendar in reverse, starting from the deadline. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">Let’s say a deadline for submissions is January 31st. </span></p>
<p class="p1"><span class="s1">On the calendar: </span></p>
<p class="p1"><span class="s1">Mark January 29th as the deadline (to allow for unforeseen computer problems).</span></p>
<p class="p1"><span class="s1">Mark January 26th as the deadline for taking pictures (to allow time for photoshop corrections i.e. cropping, file format changes, etc.).</span></p>
<p class="p1"><span class="s1">Mark January 23rd as the actual deadline to have the piece polished, finished etc.</span></p>
<p class="p1"><span class="s1">Mark January 22nd as the deadline for pickling, sawing, and grinding sprues (to allow for pesky solder problems). </span></p>
<p class="p1"><span class="s1">Mark January 19th as the deadline to cast.</span></p>
<p class="p1"><span class="s1">Mark January 16th as the deadline for the carved wax to be finished and cleaned.</span></p>
<p class="p1"><span class="s1">Mark January 10th as the deadline to make the wax positive.</span></p>
<p class="p1"><span class="s1">Mark January 5th as the deadline to make the mold.</span></p>
<p class="p1"><span class="s1">Mark January 1st as the deadline to finish the prototype.</span></p>
<p class="p1"><span class="s1">Mark December 28th as the deadline for conceiving of and sketching out my idea.</span></p>
<p class="p1"><span class="s1">LAST AVAILABLE START DATE: December 26th.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">I know my process doesn't take 35 days to produce a piece, but by setting a last available start date, once the 26th hits and every day after, I'll mentally feel the pressure to stop procrastinating and start doing. </span><span style="font-size: 13px;">Obviously not everyone takes the above steps for a piece, but it's easy to tweak it to your process. You know better than anyone how many steps your process takes, and how long each step takes to fulfill. </span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">Doesn’t take you that long to make a piece? Great! You’ll feel more accomplished and proud when you meet step by step deadlines before their respective deadlines approach. If you find yourself meeting deadlines ahead of time every time, you’ll engrain a more efficient production rhythm and procrastination, unnecessary stress, and guilt won’t enter your head. You’ll have broken the routine and succeeded. </span></p>
<p class="p2"></p>
<p class="p1" style="text-align: center;"><span class="s1">Here’s a great slideshow on planning backwards:</span></p>
<p class="p2"></p>
<p class="p3" style="text-align: center;"><span class="s2"><a href="http://www.slideshare.net/edvainker/backwards-planning">http://www.slideshare.net/edvainker/backwards-planning</a></span></p>
<p class="p3" style="text-align: center;"><span class="s2">CLICK ON THIS LINK.</span></p>
<p class="p3" style="text-align: center;"><span class="s2">This link is the portal to procrastination knowledge.</span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">For those that feel they work best under pressure with a small time constraint, or is most stimulated under a sense of urgency, think of a reason to push up the deadline. It has to be a valid reason though, one that will trick and convince your brain into believing it’s the last possible day to get your project finished. For example, If your deadline is the 31st, purposely buy tickets to a concert for the 30th, thus pushing your deadline up to the 29th, and forcing you to feel that time pressured stimulus to start the project earlier. Maybe you’ll be less likely to skip out on those concert plans if you’ve already plopped down money for tickets. And what a great way to reward yourself for finishing the project two days before the actual deadline.</span></p>
<p class="p2"></p>
<p class="p1" style="text-align: left;"><span class="s1">Procrastinators unconsciously find distractions to postpone their projects and obligations.</span></p>
<p class="p1" style="text-align: left;"></p>
<p class="p1" style="text-align: center;"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058506859?profile=original" target="_self"><img width="210" src="http://storage.ning.com/topology/rest/1.0/file/get/1058506859?profile=RESIZE_320x320" width="210" class="align-center"/></a></span><span style="text-align: center; font-size: 13px;">For me, it’s washing the dog.</span></p>
<p class="p1" style="text-align: center;"><span style="font-size: 13px;">(Towelus Dogicus)</span></p>
<p class="p1" style="text-align: center;"></p>
<p class="p1" style="text-align: left;"><span class="s1">I’ve learned that I’m the type of artist that is easily distracted, and over time I’ve objectively watched my actions to physically remove distractions like television, gaming, etc. When I find myself placing my dog in the tub, I take a moment, ask myself why, and end up heading back to my bench. I sit with the fear and anxiety about my project until the fear subsides, which only takes a few minutes, and then dive back into work.</span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">Once you’ve gotten into the routine of being ahead of deadline and on a roll, keep that routine until it feels natural. Do that with your big picture. Remember the big picture legacy you saw yourself in from earlier posts? Metaphorically replace your overwhelming project with your big picture, and replace the small project steps leading up to the finished piece with step by step accomplishments that lead up to your big picture legacy.</span></p>
<p class="p2"><span style="font-size: 13px;"> </span></p>
<p class="p4"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058508163?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058508163?profile=original" width="250" class="align-center"/></a></p>
<p class="p4"></p>
<p class="p4" style="text-align: center;">Even if you don’t start today, you’re still in good company.</p>
<p class="p4" style="text-align: center;">(Proustias Marcelius)</p>
<p class="p4"></p>
<p class="p5"><span class="s1"><i>“If I had not been so determined to set to work, I might have made an effort to start at once. But given that my resolve was unbreakable, given that within twenty-four hours, inside the empty frame of tomorrow where everything fitted so perfectly because it was not today, my best intentions would easily take material shape, it was really preferable not to think of beginning things on an evening when I was not quite ready - and of course the following days were to be no better suited to beginning things. However, I was a reasonable person. When one had waited for years, it would be childish not to tolerate a delay of a couple of days... </i></span><i style="font-size: 13px;">Unfortunately, tomorrow turned out not to be that broad, bright, outward-looking day that I had feverishly looked forward to.” </i></p>
<p class="p5"><i style="font-size: 13px;">-Marcel Proust</i></p>
<p class="p6"></p>
<p> </p>
<p><span>And if all else fails, be like Mike- Just Do It.</span></p>
<p> </p>
<p><span>-Rebecca</span></p>
<p>_____________________________________________________________________________</p>
<p>Why don’t we be friends?<br/> <span style="text-decoration: underline;"><a href="http://www.facebook.com/RebeccaRoseArt">Facebook</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.pinterest.com/RebeccaRoseArt">Pinterest</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.instagram.com/sculpturings">Instagram</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.twitter.com/sculpturings">Twitter</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.sculpturings.com">Sculpturings Website</a></span><br/> ________________________________________________________________</p>
<p> </p>
<p> </p> Sculpturings artist Rebecca Rose is the winner of this year’s Halstead Granttag:crafthaus.ning.com,2013-08-16:2104389:Topic:4298242013-08-16T13:23:34.722ZBrigitte Martinhttp://crafthaus.ning.com/profile/brigittemartin
<p><i><span style="font-size: 12.0pt; font-family: 'Times New Roman','serif'; color: black;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058445449?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058445449?profile=original" width="400"></img></a> <span class="font-size-4" style="color: #339966;">Sculpturings artist Rebecca Rose is the winner of this year’s Halstead Grant for design excellence and business strategy acumen in the silver jewelry market.…</span></span></i></p>
<p class="ecxMsoNormal" style="line-height: 115%;"></p>
<p><i><span style="font-size: 12.0pt; font-family: 'Times New Roman','serif'; color: black;"><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058445449?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058445449?profile=original" width="400"/></a><span class="font-size-4" style="color: #339966;">Sculpturings artist Rebecca Rose is the winner of this year’s Halstead Grant for design excellence and business strategy acumen in the silver jewelry market.</span></span></i></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">Davenport, FL - - Halstead is pro<a name="GoBack" target="_blank" id="GoBack"></a>ud to announce that Sculpturings entrepreneur Rebecca Rose of Davenport, FL is the winner of the 8<sup>th</sup> annual Halstead Grant competition for new silver jewelry designers. She will receive $5,000 in cash and $1,000 in jewelry supplies in addition to other prize package benefits.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="font-size: 10.0pt; line-height: 115%; font-family: 'Arial','sans-serif'; color: black; background: white;">"Upon hearing the news, to say chills ran up and down my body is an understatement. It was in that very moment I realized the Halstead Grant will flip the switch from sketches into pieces, from dreams into realities," said Rose.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">Rose studied metalsmithing at Northern Arizona University but pursued another career in the arts after graduating. She recently returned to the jewelry studio to launch her line of Sculpturings.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">The cast rings are sculpted from found object components and original elements to interpret social issues or current events. Creations are named by pairing relevant words with the word “ring,” usually as a suffix. An example is her piece entitled “Acquiring” which depicts American materialism and the credit crisis.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">Each ring is a large statement piece that can be worn as jewelry or displayed as art. Rose releases some as unique pieces, and some as limited editions available in sterling silver or bronze. Silver rings are currently limited to runs of ten pieces and are sold with cloche display cases and certificates of authenticity for collectors. Sterling prices range from $500 - $1,200. Bronze rings are limited to 50 per design and cost $150 each. Rings are sold online and through galleries on both coasts.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">“Rebecca’s collection has that rare wow factor. It is incredibly unique. Her cohesive body of work and strategy bridge the gap between art sculptures and wearable accessories,” commented Halstead Grant coordinator Hilary Scott.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">The Halstead Grant competition recognizes jewelry artists who excel in both design and business preparation. Applicants are required to submit a portfolio and elements of a business plan including marketing, production capacity and financial planning information. The program is designed to encourage sound professional practices in the jewelry arts community. The application process guides candidates through several critical business issues. Analyzing those challenges helps new jewelers lay the groundwork to become successful, independent studio owners.</span></p>
<p class="ecxMsoNormal" style="line-height: 115%;"><span style="line-height: 115%; color: black;">The grant sponsor, Halstead, provides wholesale jewelry supplies to artists around the globe. The company celebrated its 40<sup>th</sup> anniversary earlier this year. Halstead is a trusted industry source for chain, findings, metals and tools.</span></p> Showing Publicly: Brave New Worldtag:crafthaus.ning.com,2013-08-09:2104389:Topic:4284042013-08-09T01:04:36.572ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p><span style="font-size: 13px;">Want to submit to international shows but don't know where to start?</span></p>
<p> </p>
<p>During the SNAG Conference segment: "Purple Cow, Sacred Cow, Cash Cow" the speakers discussed that by thinking differently in our field, you can set yourself ahead of the rest of the pack. Not only were attendees encouraged to think outside the norm in regards to finding, getting, and capitalizing on opportunities ranging from galleries to magazines, the speakers…</p>
<p><span style="font-size: 13px;">Want to submit to international shows but don't know where to start?</span></p>
<p> </p>
<p>During the SNAG Conference segment: "Purple Cow, Sacred Cow, Cash Cow" the speakers discussed that by thinking differently in our field, you can set yourself ahead of the rest of the pack. Not only were attendees encouraged to think outside the norm in regards to finding, getting, and capitalizing on opportunities ranging from galleries to magazines, the speakers practically handed over the key formulas to attendees in order to do so. It was an excellent segment, and proved to be one of the most useful and contemporary presentations throughout the conference. It was so advantageous, I fervently typed notes on my iPhone and soon noticed I wasn't the only one. Clustered around me, I noticed a slew of attendees' faces illuminated by the yellow glow of the notes app also.</p>
<p> </p>
<p>If you find yourself lost in digital cul-de-sacs when seeking out international exhibition opportunities, I'd like to offer a piece of my purple cow and blow your mind for a second to help rewrite your map from a cul-de-sac to a highway. In the name of thinking differently, here's an approach I thought of and started implementing last year that has opened my eyes to opportunities that lie seemingly unreachable around the rest of our globe. </p>
<p> </p>
<p>Firstly though, let's consider how most North American artists search for show opportunities. We generally enter keywords and search for phrases in English, right? By searching these phrases solely in English, you're only generating English results, and your Google passport isn't being utilized to it's full capacity.</p>
<p> </p>
<p>For example, "Art Jewelry Submissions" searched in English will primarily give you the same opportunites in America, United Kingdom, Canada, Australia, and other English speaking countries, the same as all of your fellow artists are reading and going after. To find more diverse international shows, take those same keywords and search phrases like "Art Jewelry Submissions" or "Art Exhibitions" or whatever you wish, and search in your desired country's native language, and voila! You've tapped into the unearthed and under-discovered international art show and market. </p>
<p> </p>
<p>When galleries list opportunities online, they do so in their native language, and roughly 75% of people in the world do not speak English.</p>
<p> </p>
<p style="text-align: center;">Let's take that key phrase "Art Jewelry Submissions" and input it to Google Translate while selecting Portuguese to yeild show opportunites available in Brazil. Brazil is the 5th most populous country boasting major galleries in cities like Rio De Janeiro, Sao Paulo, and Fortaleza.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058443357?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058443357?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p> </p>
<p style="text-align: center;">Highlight the Portuguese translation, copy, and paste the Portuguese in your search bar or url.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058444196?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058444196?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p> </p>
<p> </p>
<p style="text-align: center;">Click enter.</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058442618?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058442618?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p style="text-align: center;">Click on the translate button.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058446547?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058446547?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p> </p>
<p style="text-align: center;"><span>Welcome to a new facet of your art career.</span></p>
<p> </p>
<p>Get into the habit of checking every two weeks, and experiment with your searches using different phrases, keywords, and languages. Don't be afraid of other alphabets, if you want to search for a show in Japan, Google Translate will search for the translated Kanji, Katakana, and Hiragana into your search engine without your need for a keyboard that supports those keyed alphabet symbols. Customize your search time frame to filter out the old and receive only the most recent postings, and you're on your way to peer through a periscope above the web's sea of data, focused on other continents.</p>
<p> </p>
<p>Some examples:</p>
<ul>
<li><span style="font-size: 13px;">Appel de soumissions art -French</span></li>
<li><span style="font-size: 13px;">Arte presentaciones- Spanish</span></li>
<li><span style="font-size: 13px;">Bando per progetti di arte- Italian</span></li>
<li><span style="font-size: 13px;">υποβολές τέχνης- Greek</span></li>
<li><span style="font-size: 13px;">التقارير الفنية- Arabic</span></li>
</ul>
<p><span class="s1"> </span></p>
<p>I know what you're thinking, relying solely on Google translator is risky given the nuances of each language, but that's where deeper, personal research will be to your benefit. Extra research ahead of time will also save your neck when it comes to ensuring you'll participate with a gallery who has a reputable and trustworthy history. I can't emphasize extra research enough, especially when participating on the international stage and dealing with customs, currency exchanges, cultural differences, etc. Do your research!</p>
<p> </p>
<p>Coincidentally enough, while preparing notes for this blog post, the August Mensa Bulletin arrived on my stoop, sporting a cover filled with different translations for words associated with comprehension and intelligence. The meaty article inside penned by fellow Mensan Lisa Van Gemert, "Language Lessons: 6 Reasons You Should Learn a Foreign Language Today" points out the advantages of learning more than one. In it, she included a fitting quote by philosopher Ludwig Wittgenstein who wrote, "the limits of my language are the limits of my universe."</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058444079?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/1058444079?profile=RESIZE_1024x1024" width="500" class="align-center"/></a></p>
<p> </p>
<p style="text-align: center;">"Mensa Bulletin" August 2013 Issue. Roger Brooks, Editor.</p>
<p style="text-align: center;">Learn more at: <span style="text-decoration: underline;"><a href="http://www.us.mensa.org/" target="_blank">American Mensa</a></span></p>
<p> </p>
<p>Every so often however, domestic art galleries will partner with international art galleries to produce traveling shows and exhibitions. San Francisco's Velvet Da Vinci Gallery recently partnered with Museo Franz Mayer in Mexico City for "La Frontera," an exhibition sharing artists' interpretations on the relationship between Mexico and the US as influenced by the infamous border between the two. Below are some pieces from that exhibition. The show features the work of roughly 90 different artists and just completed it's first leg of the tour at Museo Franz Mayer in Mexico City, from June 6 - July 28, 2013. The second leg of the tour will open at Velvet da Vinci in San Francisco, from August 14 - September 15, 2013. </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058443196?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058443196?profile=original" width="400" class="align-center"/></a></p>
<p style="text-align: center;">Celeste Christie, "La Migra" Lapel Pin.</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058443765?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/1058443765?profile=RESIZE_1024x1024" width="500" class="align-center"/></a></p>
<p style="text-align: center;">Nancy Moyer, "Border Fence Series: Border Scenarios" Neckpiece, Front and Back View.</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058446347?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058446347?profile=original" width="500" class="align-center"/></a></p>
<p style="text-align: center;">Elvira Bessudo Maya, "Seguro 1" Brooch.</p>
<p style="text-align: center;">(My favorite "La Frontera" piece.)</p>
<p style="text-align: center;">View their online coverage of the full exhibition here:</p>
<p style="text-align: center;"><span><a href="http://www.velvetdavinci.com/allimages.php?action=show&id=160" target="_blank">Velvet Da Vinci x Museo Franz Mayer present "La Frontera"</a></span></p>
<p> </p>
<p>Earlier this year in May, while conference goers hustled from one ballroom to the next, European jewelers were converging across the globe at the Art Gallery of Legnica in Katedrainy, Poland for the 22nd Annual Silver Festival. This year's theme, "Revolt!" showcased artists' interpretations of the Occupy Movements that triggered similar global revolutions and events worldwide. I was honored to show my piece "Puppeteering" at the festival, along with art jewelers from 43 different countries.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058443980?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058443980?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p style="text-align: center;">"Revolt!" Official Poster, 22nd Annual Legnica Jewellery Festival, Katedrainy, Poland.</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058444248?profile=original" target="_self"><img width="550" src="http://storage.ning.com/topology/rest/1.0/file/get/1058444248?profile=RESIZE_1024x1024" width="550" class="align-center"/></a></p>
<p style="text-align: center;">Guests during the opening of "Revolt!" May, 2013.</p>
<p> </p>
<p> </p>
<p>Huxley's literary warning about technology thankfully doesn't have to surpress your ability to currently use modern developments to your advantage. <span style="font-size: 13px;">If you're daring enough in this brave new world, you can do anything, be anyone, and go anywhere you want to with a strong wifi signal and a plane ticket. </span></p>
<p> </p>
<p><span>Enjoy your new Art Show Rosetta Stone!</span></p>
<p> </p>
<p><span>-Rebecca</span></p>
<p>_____________________________________________________________________________</p>
<p>Why don’t we be friends?<br/> <span style="text-decoration: underline;"><a href="http://www.facebook.com/RebeccaRoseArt">Facebook</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.pinterest.com/RebeccaRoseArt">Pinterest</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.instagram.com/sculpturings">Instagram</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.twitter.com/sculpturings">Twitter</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.sculpturings.com">Sculpturings Website</a></span><br/> ________________________________________________________________</p>
<p> </p>
<p> </p> Building A Legacy Privately: As I Lay Dyingtag:crafthaus.ning.com,2013-08-01:2104389:Topic:4275692013-08-01T03:17:17.046ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p>Imagine your biggest dream. </p>
<p>Now imagine a bigger one, really allowing yourself to release the ceilings of your imagination. </p>
<p>Look beyond your own existence, beyond your own life,<span> beyond money and fame, and flirt with the big picture of your art however you define it.</span></p>
<p>Look beyond this generation, or however many years you believe you have left on this planet, and think: What will your art have left the world? </p>
<p>Consider that your creations, your…</p>
<p>Imagine your biggest dream. </p>
<p>Now imagine a bigger one, really allowing yourself to release the ceilings of your imagination. </p>
<p>Look beyond your own existence, beyond your own life,<span> beyond money and fame, and flirt with the big picture of your art however you define it.</span></p>
<p>Look beyond this generation, or however many years you believe you have left on this planet, and think: What will your art have left the world? </p>
<p>Consider that your creations, your pieces, will outlast you in years, and that your art takes on a life of it's own beyond your hands as it travels from owner to owner. Who will it effect and how? Where will it go, where could it end up? By what method is your art able to change other people's lives just by existing?</p>
<p> </p>
<p style="text-align: center;">- - -</p>
<p> </p>
<p>Now switch from dreaming it, to being it. </p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058441428?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058441428?profile=original" width="389" class="align-center"/></a></p>
<p style="text-align: center;">Tim Curry, "The Rocky Horror Picture Show"</p>
<p> </p>
<p>More times than not, discussions about building a legacy begins with <span style="text-decoration: underline;"><a href="http://blog.legacy.com/2011/10/03/writing-your-own-obituary/" target="_blank">people writing their own obituaries and pretending to be dead</a></span>. And for good reason- it helps release our minds from the material motives and reasons we make up for doing what we do. </p>
<p>Too abstract? Start with something small, for example, "Once I leave that room full of people, how will they remember me?" Usually we fall into the realm of 'Out of sight out of mind'. The key is to have your art, actions, thoughts, and presence be so long lasting that it ripples around the people you interact with, much longer after you've left.</p>
<p> </p>
<p style="text-align: center;">- - -</p>
<p style="text-align: center;"></p>
<p>And now the switch from existentialism to artistry.</p>
<p>I admit, the aforementioned suggestion is macabre, instead of an obituary, <span style="font-size: 13px;">try writing your desired encyclopedia entry instead, a sample entry for <span style="text-decoration: underline;"><a href="http://www.phaidon.com/store/art/the-art-book-new-edition-9780714864679/" target="_blank">“The Art Book”</a></span></span><span style="font-size: 13px;">, or writing a manifesto. It can be your personal one, or one that intends to effect and benefit a group of people. </span><span style="font-size: 13px;">The Latin term Manifesto is taken from the root ‘manifest’ meaning ‘to make visible or to reveal’. A manifesto reveals your intent, helps you make and set measurable time oriented goals, all in an attainable and realistic manner.</span></p>
<p>The almighty Wikipedia has a fantastic list of art related manifestos to peek at and poke through: <span style="text-decoration: underline;"><a href="http://http://en.wikipedia.org/wiki/Art_manifesto" target="_blank">http://en.wikipedia.org/wiki/Art_manifesto</a></span><a href="http://http://en.wikipedia.org/wiki/Art_manifesto" target="_blank"></a>.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058441113?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058441113?profile=original" width="461" class="align-center"/></a></p>
<p> </p>
<p style="text-align: center;">Check out <span style="font-size: 13px;">Andre Breton's 1st Surrealist Manifesto, and his 2nd with amended intent and named supporters like Salvador Dali and Max Ernst.</span></p>
<p> </p>
<p><span style="font-size: 13px;">If you haven’t defined it yet, dip into your artist statement, it might be hiding in there. Chances are you already know what is truly important to easily decode the primary purpose and intent behind your work. </span><span style="font-size: 13px;">Be true to your purpose, vision, and aim. Be unwavering, and stick with it long term. </span></p>
<p>Expand on that purpose and find or build a community around it, delve deep and find like minds to help reinforce that central objective, and<span style="font-size: 13px;"> keep that dialogue going. Whether your legacy is a personal one, or one meant for others, eventually you’ll need to turn the dialogue into actions and events, and create tangible realizations of that vision. And then repeat, repeat, repeat, even after you think your efforts have been enough. That’s when you’ll begin to see the effects long term.</span></p>
<p><span style="font-size: 13px;">Here are two great business articles about leadership and legacy, the themes can be applied to artists as strongly as it is to CEOs: </span></p>
<p><span style="font-size: 13px;"><span style="text-decoration: underline;"><a href="http://www.inc.com/les-mckeown/how-to-leave-a-leadership-legacy.html" target="_blank">http://www.inc.com/les-mckeown/how-to-leave-a-leadership-legacy.html</a></span></span></p>
<p><span style="text-decoration: underline;"><span style="font-size: 13px;"><a href="http://www.success.com/articles/861---live-your-legacy" target="_blank">http://www.success.com/articles/861---live-your-legacy</a></span></span></p>
<p> </p>
<p style="text-align: center;"><span style="font-size: 13px;">- - - </span></p>
<p> </p>
<p>During the SNAG Toronto conference, Damian Skinner's "Jewelry Mandala" segment provided a great example of specifically describing his sociological vision of t<span style="font-size: 13px;">he field </span><span style="font-size: 13px;">in the form the diagrams below. These diagrams succinctly define and establish groups of diverse jewelers to help artists understand how they fit into the big picture of the jewelry field. </span></p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058441328?profile=original" target="_self"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058441328?profile=RESIZE_480x480" width="450" class="align-center"/></a></p>
<p style="text-align: center;"><span>Oppi Untracht's original diagram.</span></p>
<p style="text-align: center;"></p>
<p class="p1"><span class="s1">Damian Skinner's response to Untracht’s diagram is that "it puts all the emphasis on the maker and the studio, rather than on the life of the jewel once it leaves the jeweler’s care." And causes him to define w</span><span style="font-size: 13px;">hat he desires to be altered in ‘The jewel mandala’, "which deals with the functions that jewelry has from the wearer or user’s point of view." These approaches and his continuing efforts in analyzing and communicating the theories of craft and art jewelry history will no doubt have a lasting impact on existing and future generations of jewelers.<br/></span></p>
<p class="p1"></p>
<p style="text-align: center;"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/1058442579?profile=RESIZE_480x480" width="450" class="align-center"/></p>
<p style="text-align: center;"><span>Oppi Untracht's original diagram.</span></p>
<p> </p>
<p> </p>
<p>Check out this 2009 Jewelry Manifesto by James Sweeney: <span style="text-decoration: underline;"><a href="http://www.mardonjewelers.com/blog/the-slow-jewelry-manifesto/" target="_blank">http://www.mardonjewelers.com/blog/the-slow-jewelry-manifesto/</a></span></p>
<p> </p>
<p style="text-align: center;"><span>- - -</span></p>
<p> </p>
<p><span>Legacy building takes time. Once you define your big picture and purpose, it's easier to fill in the missing smaller pieces to get you there. Those small pieces to your puzzle may be:</span></p>
<p> </p>
<ul>
<li><span style="font-size: 13px;">Classes you want to take, classes you secretly want to teach.</span></li>
<li><span style="font-size: 13px;">Reaching for an award, writing grant proposals.</span></li>
<li><span style="font-size: 13px;">Gaining real world art experience, exhibiting work in local, national, and global shows.</span></li>
<li><span style="font-size: 13px;">Gallery representation, finding & establishing relationships with galleries who believe in your art.</span></li>
<li><span style="font-size: 13px;">Philanthropic art, getting your art involved in charities or starting an art foundation yourself.</span></li>
<li><span style="font-size: 13px;">Developing new processes or techniques and giving lectures or workshops on the topic.</span></li>
<li><span style="font-size: 13px;">Having your art shown in printed publications, online blogs, film, and TV.</span></li>
<li><span style="font-size: 13px;">Getting your work on the fingers of public figures and celebrities. </span></li>
<li><span style="font-size: 13px;">Being a part of art organizations or starting an artistic community.</span></li>
<li><span style="font-size: 13px;">Building a definitive brand or timeless art style so your work is recognizable at first glance.</span></li>
<li><span style="font-size: 13px;">Protecting the technical and legal aspects of your work through ongoing intellectual property support.</span></li>
</ul>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058440718?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058440718?profile=original" width="222" class="align-center"/></a></p>
<p style="text-align: center;"><span>Turn a S.M.A.R.T. goal into a smarter one to achieve the small steps leading up to your big picture.</span></p>
<p style="text-align: center;"></p>
<p style="text-align: center;"><span style="font-size: 13px;">- - -</span></p>
<p style="text-align: center;"></p>
<p>Let's switch back to the romanticized idea above: Your pieces having a life beyond your hands, and outlasting you. A chance exists that the pieces you create will get handed down through family estates, will be viewed under panes of glass in a museum, and can even be used in a film that wins best picture and is watched by generations to come. These may seem far fetched, pie-in-the-sky ideas, but next time you visit the artifacts section in a museum and look at the jewelry, ask yourself if those artists envisioned their art would end up there too. </p>
<p> </p>
<p><span style="font-size: 13px;">Just as Faulkner's <span>characters wrestle with questions of their own existence and identity, ask and answer the questions about your artistic existence and artistic identity. </span></span><span style="font-size: 13px;">Dream about the legacy you want to leave behind, then slowly define it so you can easily become it.</span></p>
<p> </p>
<p><span style="font-size: 13px;">And if you like the idea of discovering your legacy through writing an obituary, watch this TEDtalk from Brad Meltzer given in 2011: <span style="text-decoration: underline;"><a href="http://www.youtube.com/watch?v=zgiixRwn6xU" target="_blank">http://www.youtube.com/watch?v=zgiixRwn6xU</a></span></span></p>
<p> </p>
<p><span style="font-size: 13px;">Be the change you want to see in the [art] world.</span></p>
<p style="text-align: center;"> -<span style="font-size: 13px; text-align: center;"> - - </span></p>
<p style="text-align: center;"></p>
<p><span style="font-size: 13px;">-Rebecca</span><span style="font-size: 13px;"> </span></p>
<p>_____________________________________________________________________________</p>
<p>Why don’t we be friends?<br/> <span style="text-decoration: underline;"><a href="http://www.facebook.com/RebeccaRoseArt">Facebook</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.pinterest.com/RebeccaRoseArt">Pinterest</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.instagram.com/sculpturings">Instagram</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.twitter.com/sculpturings">Twitter</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.sculpturings.com">Sculpturings Website</a></span><br/> ________________________________________________________________</p>
<p> </p>
<p> </p> Showing Publicly: Special Edition Art Basel 44tag:crafthaus.ning.com,2013-06-21:2104389:Topic:4215832013-06-21T23:30:54.057ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p class="p1"><span class="s1">I regularly attend Art Basel Miami Beach held in South Beach every December, but this year I was presented with a highly unusual opportunity to attend Art Basel 44 in Basel, Switzerland. It was an opportunity I couldn't pass up, and thought to myself, I can share this worldwide event with the crafthaus community! (For those unaware of the glory that is Art Basel, check out this link: …<a href="https://www.artbasel.com/en/Basel"></a></span></p>
<p class="p1"><span class="s1">I regularly attend Art Basel Miami Beach held in South Beach every December, but this year I was presented with a highly unusual opportunity to attend Art Basel 44 in Basel, Switzerland. It was an opportunity I couldn't pass up, and thought to myself, I can share this worldwide event with the crafthaus community! (For those unaware of the glory that is Art Basel, check out this link: <a href="https://www.artbasel.com/en/Basel"><span class="s2">https://www.artbasel.com/en/Basel</span></a> ) </span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">This Art Basel 44 post, as it relates to the topic of 'Showing Publicly', covers standout galleries that showed wearable art during the Basel fairs last week.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">Lucky enough to attend Monday night's Design Miami/Basel Fair Vernissage, I made Ornamentum Gallery my first stop for their highly anticipated exhibition. Ornamentum housed an incredible show with brand new works from Ruudt Peters.</span></p>
<p class="p1"></p>
<p class="p1"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/1058425654?profile=RESIZE_480x480" width="400" class="align-center"/></p>
<p class="p1" style="text-align: center;">Entrance Floor, Design/Miami Basel, 2013. Photo: Rebecca Rose</p>
<p class="p1"></p>
<p class="p1"><span style="font-size: 13px;">Peters' exhibition entitled "Qi" -loosely translated in Chinese to mean "life energy", "life force", or "breath"- is the product of his recent 3 month experience living in China. Peters' engraved bluestone brooches and necklaces are shown with shelved groupings of his porcelain figures. Each of the porcelain figures begin the same in shape and size, and are then altered with found objects, debris, human hair, and other various materials. The designs engraved on each bluestone brooch and necklace were initially drawn blind, with Peters closing his eyes and letting his own "Qi" to take over and create the image. </span></p>
<p class="p1" style="text-align: center;"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058425192?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/1058425192?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p class="p1" style="text-align: center;">Ornamentum Gallery with artist Ruudt Peters, Design/Miami Basel, 2013. Photo: Rebecca Rose</p>
<p class="p1" style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058425817?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058425817?profile=original" width="400" class="align-center"/></a></p>
<p class="p1" style="text-align: center;">Ornamentum Gallery, Design/Miami Basel, 2013. Photo: Rebecca Rose</p>
<p class="p1" style="text-align: center;"></p>
<p class="p1" style="text-align: left;">At first glance, one might think that the pairing of his brooches and necklaces with his figurative sculptures are unrelated, but let's explore Peters' "QI" concept deeper. Some of the figures are altered with acupuncture pins, and mapped out with acupuncture points. <a href="https://en.wikipedia.org/wiki/Acupuncture" target="_blank">I<span style="text-decoration: underline;">t's said that for acupuncture to fulfill it's needs, "QI"</span></a> must readily flow through the body to the vessels. I liked the application of oxidized silver on top of the bluestone, the linear forms made with the silver placed over parts of the blindly drawn figure reminded me of veins and major arteries in the body. I'm unsure if this was the intent, but I enjoyed seeing that relationship between the silver, bluestone, porcelain, and acupuncture pins.</p>
<p class="p1" style="text-align: left;"></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058424842?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058425604?profile=original" width="400" class="align-center"/></a></p>
<p style="text-align: center;">Sculpture: Ruudt Peters, Porcelain, 2013. Photo: Rebecca Rose</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058426368?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/1058426368?profile=RESIZE_480x480" width="400" class="align-center"/></a></p>
<p style="text-align: center;"></p>
<p style="text-align: center;"><span>Sculpture: Ruudt Peters, Porcelain, 2013. Photo: Rebecca Rose</span></p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058425282?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058425375?profile=original" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;"><span>Necklace: Ruudt Peters, Engraved Bluestone, Silver, 2013. Photo: Rebecca Rose</span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058427176?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058426795?profile=original" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;">Necklace: Ruudt Peters, Engraved Bluestone, Silver, 2013. Photo: Rebecca Rose</p>
<p class="p2" style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058427355?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058427817?profile=original" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;"><span style="font-size: 13px;">Ornamentum Gallery, Design/Miami Basel, 2013. Photo: Rebecca Rose</span></p>
<p class="p2"></p>
<p class="p2">Louisa Guinness Gallery at The Design Fair showed a collection 10 new necklaces and rings called "Cuts and Voids" from sculptor Anish Kapoor, famous for his highly reflective convex and concave public art pieces. For more about <span style="text-decoration: underline;"><a href="http://www.louisaguinnessgallery.com/exhibitions/13/overview/" target="_blank">"Cuts & Voids" click here</a></span>.</p>
<p class="p2"></p>
<p class="p2">At The Scope Art Show, <span style="text-decoration: underline;"><a href="http://gallery-g77.com/artists/hiroko_tsuchida" target="_blank">Gallery G-77</a></span>, showed paintings with the larger than life jewelry work of Tokyo based artist Hiroko Tsuchida, pictured below. Tsuchida's Stainless Steel version of the piece, <span style="text-decoration: underline;"><a href="http://gallery-g77.com/artists/hiroko_tsuchida" target="_blank">available by clicking here</a></span>, also describes the artist's relationship to jewelry and the outside perception when worn. Although I personally prefer the polished stainless steel version via the link aforementioned, Tsuchida's use of performance art wearing, or "being anchored by", her piece proved striking in person at the Scope Fair. The artist also showed necklaces made entirely out of safety whistles and parts of small nail scissors.</p>
<p> </p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058427323?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/1058427323?profile=RESIZE_480x480" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;">"From MYSELF to Myself", Hiroko Tsuchida, 2012. Scope Basel Art Fair. Photo: Rebecca Rose</p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058422512?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058424447?profile=original" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;"><span>"From MYSELF to Myself", Hiroko Tsuchida, 2012. Scope Basel Art Fair. Photo: Rebecca Rose</span></p>
<p class="p2" style="text-align: center;"></p>
<p class="p2">Tsuchida's description as read from the <a href="http://gallery-g77.com/" target="_blank"><span style="text-decoration: underline;">G-77 Website</span>:</a> <span> </span></p>
<ul>
<li><span style="font-size: 13px;">In the work "From MYSELF to myself" Hiroko Tsuchida suggests that jewelry may be a mirror of oneself, but not a mirror which is a mere reflection, but rather a tool helping to find her true self. She says: "Sometimes, small and delicate things, like a piece of jewelry, are becoming powerful for articulation of oneself. When I wear my jewelry, it becomes a big part of expressing who I am. It says a lot about me". By wearing the large necklace, anchored to the ground, the artist feels like being dressed in a silver frame and forced to see herself objectively through "other eyes".</span></li>
</ul>
<p> </p>
<p class="p2">Antonella Villanova Gallery out of Milan exhibited new necklaces from Lucia Massei, and curiously displayed each piece on canvas, angled on black easels or music stands, with spotlights pinpointing each piece as the background faded away.</p>
<p class="p2"></p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058422533?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/1058422533?profile=RESIZE_480x480" width="400" class="align-center"/></a></p>
<p class="p2" style="text-align: center;">Necklaces: Lucia Massei, Photo: Rebecca Rose</p>
<p class="p2" style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058424373?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058424405?profile=original" width="400" class="align-center"/></a></p>
<p style="text-align: center;"><span>Necklaces: Lucia Massei, Photo: Rebecca Rose</span> </p>
<p></p>
<p class="p2">The abundance of jewelry and wearable art on view during this year's Design Miami/Basel Fair not only caught the discerning eyes of Blouin Art Info, but also sparked this article available via the <span style="text-decoration: underline;"><a href="http://www.blouinartinfo.com/news/story/913792/jewelry-art-takes-pride-of-place-at-design-miamibasel-2013" target="_blank">Blouin Art Info website</a></span>.</p>
<p class="p2"></p>
<p class="p2">Amidst the countless galleries that housed conceptually driven sculptures, paintings, sound art, etc. it was a delight to see such a strong presence of jewelry and wearable art at Art | Basel 44. On the Design Miami/Basel official website, their contributing writers have condensed the jewelry and wearable art pieces in a recap through <span style="text-decoration: underline;"><a href="http://www.designmiami.com/designlog/basel-shows/basel-show-information/jewelry-by-artists-at-design-miami-basel-2013/" target="_blank">their perspective here</a></span>.</p>
<p class="p2"></p>
<p class="p2">So if the accomplishments that these artists, galleries, fairs, etc. have attained regarding sharing wearable art with the Art Basel audience inspires you to take part in your own Art Basel endeavor, opportunities are available.</p>
<p class="p2"></p>
<p class="p1"><span class="s1">If any of you are interested in showing and representing yourself (or a collective of jewelry artists) The SELECT Art Fair's application season has begun. Matthew Eck and Brian Whiteley host the hotel style art fair out of South Beach's Catalina Resort, on Collins Ave. in Miami, mere steps away from Art Basel Miami Beach, Aqua Art Fair, The Ritz Carlton, and Sagamore Hotels. The ticket price of $5,000 gets you, or split amongst a collective of you, a hotel space to showcase your art during the hottest art event in the States. (In comparison, Aqua Art Fair's ticket price per gallery is around $12,000 and up.) To view their prospectus for <span style="text-decoration: underline;"><a href="http://www.select-fair.com/wp-content/uploads/2013/06/miami-2013.pdf" target="_blank">The SELECT Art Fair 2013, click here</a>.</span></span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">The NEW MATERIAL Art Fair will host it's inaugural event at this December's Art Basel Miami Beach. The New Material Art Fair also applies the hotel fair model and is steps away from The Aqua Hotel Fair, also on Miami Beach. To view the prospectus, price tag, and potential for prosperity, <span style="text-decoration: underline;"><a href="http://www.newmaterialartfair.com/apply.html" target="_blank">click here.</a></span></span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">Before making any leap, heavy amounts of homework and research are recommended first. A great conversation topic is already in progress, primarily discussing the relationships between artists and galleries, but also skims the surface of art fairs <span style="text-decoration: underline;"><a href="http://www.artjewelryforum.org/articles/in-sight-series-high-expectations-artists-galleries-and-their-relationships-part-13" target="_blank">via this link on Art Jewelry Forum.</a></span> But just as Stefan from Ornamentum Gallery says in the Art Jewelry Forum conversation aforementioned, it takes a lot of out of pocket resources to make a big event like this happen. So if you're intrigued, and at a spot in your career where you can afford to participate, show solo or buddy up with a collective of artists, get past the application process and are invited, you've got to sell, sell, sell during that week.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">And as always, let us know the outcome of your efforts if you pursue these outlets, we'd all love to hear how it goes! </span></p>
<p class="p1"></p>
<p class="p1" style="text-align: center;"><span class="s1">***DISCLAIMER***</span></p>
<p class="p1"><span class="s1">I am in no way affiliated with The SELECT Art Fair, The New Material Art Fair, nor do I promise riches and gold if you participate. But some of you may want to show and be able to show, so if I can somehow facilitate connecting artists with the right people involved in these fairs, all the better.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">Until then, </span></p>
<p class="p1"><span class="s1">-Rebecca Rose</span></p>
<p class="p1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058427366?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058427366?profile=original" width="400" class="align-center"/></a></p>
<p class="p1" style="text-align: center;"></p>
<p>_____________________________________________________________________________</p>
<p>Why don’t we be friends?<br/> <span style="text-decoration: underline;"><a href="http://www.facebook.com/RebeccaRoseArt">Facebook</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.pinterest.com/RebeccaRoseArt">Pinterest</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.instagram.com/sculpturings">Instagram</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.twitter.com/sculpturings">Twitter</a></span><br/> <span style="text-decoration: underline;"><a href="http://www.sculpturings.com">Sculpturings Website</a></span><br/> ________________________________________________________________</p>
<p> </p>
<p> </p> Showing Publicly: Thinking Outside the Box. Or Better Yet, Erasing It.tag:crafthaus.ning.com,2013-06-02:2104389:Topic:4182102013-06-02T06:23:11.544ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p>Many of us seek out identical exhibitions and shows and fairs and collectors and you name it, which contributes to the struggle we each face blending in to the group. </p>
<p> </p>
<p>But what if we expanded our idea of that group? Do we as a group of jewelers and metalsmiths mainly seek out jewelry and metalsmith opportunities only? If so, why? Because it's safer or considered the norm? Have we as a group accepted the rift between fine and applied art so much that we perpetuate it as well?…</p>
<p>Many of us seek out identical exhibitions and shows and fairs and collectors and you name it, which contributes to the struggle we each face blending in to the group. </p>
<p> </p>
<p>But what if we expanded our idea of that group? Do we as a group of jewelers and metalsmiths mainly seek out jewelry and metalsmith opportunities only? If so, why? Because it's safer or considered the norm? Have we as a group accepted the rift between fine and applied art so much that we perpetuate it as well? Is this blocking our potential as artists?</p>
<p> </p>
<p>Appropriately along the lines of Bridgism- the crossover of fine and applied art- below is coverage of the collaborative art show of Karen Russell + Sea Of Bees Jewelry. </p>
<p> </p>
<p>Karen Russell is a portrait artist known for her angled lines, elongated anatomy, and harsh harmony of colors, she's won awards for her portraiture and is pretty well known about town. Stephanie Marie Smith, founder and artist at Sea of Bees Jewelry is known for her angled brass necklaces, geometric shapes, and <span style="font-size: 13px;">creates each piece by hand with brass sheet, jump rings, and a load of ingenuity. </span></p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058419375?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1058419375?profile=original" width="440" class="align-center"/></a></p>
<p style="text-align: center;">Official Show Poster, The Falcon, Orlando, FL </p>
<p> </p>
<p>Here's what the show announcement read:</p>
<p>"All new original paintings by Karen Russell, featuring all new jewelry designed by Sea of Bees depicted within the paintings. The paintings and new jewelry line will be for sale at the opening and throughout the month." </p>
<p> </p>
<p>Did you catch that? Art featuring jewelry <strong>depicted</strong> in the paintings, while selling the actual jewelry pieces. Perfect, harmonious, artistic synergy at work here. Solid success. </p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058417636?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/1058417636?profile=RESIZE_1024x1024" width="600" class="align-center"/></a></p>
<p style="text-align: center;"> Paintings: Karen Russell / Jewelry: Stephanie Marie Smith / Photos: Rebecca Rose</p>
<p> </p>
<p>At tonight's opening, which drew art lovers and jewelry lovers alike, Karen sold paintings, and Stephanie sold a great deal of Sea of Bees Jewelry, a great deal of it. I bought a piece and love, love, love it. </p>
<p> </p>
<p><span><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058421084?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/1058421084?profile=RESIZE_1024x1024" width="600" class="align-center"/></a></span></p>
<p style="text-align: center;"> Paintings: Karen Russell / Jewelry: Stephanie Marie Smith / Photos: Rebecca Rose</p>
<p> </p>
<p><span>Stephanie hung each Sea of Bees piece on the wall, next to the corresponding portrait painting of the figure wearing it. Next to each shadowboxed jewelry piece was a framed professional photo of a human model wearing the jewelry.</span></p>
<p> </p>
<p> </p>
<p><span>Smart for multiple reasons:</span></p>
<p><span>1.) Guests could see what the necklace looked like worn on a real person in the photograph in addition to the painting.</span></p>
<p><span>2.) Multiples of each necklace were available at the event so she didn't have to keep removing the necklace off the wall if a guest was interested in purchasing.</span></p>
<p><span>3.) The painting depicting each necklace made you want to buy *both* the necklace and the painting. </span></p>
<p><span>4.) Wall hanging her jewelry like a painting reassured patrons the jewelry is a piece of art itself.</span></p>
<p> </p>
<p><span><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058421645?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/1058421645?profile=RESIZE_1024x1024" width="600" class="align-center"/></a></span></p>
<p style="text-align: center;"> Paintings: Karen Russell / Jewelry: Stephanie Marie Smith / Photos: Rebecca Rose</p>
<p> </p>
<p><span>Stephanie's a smart cookie. It's no wonder that her pieces are collected by uber popular and renowned Pop Surrealist Audrey Kawasaki, and was recently approached by Urban Outfitters to carry her line nationwide.</span></p>
<p> </p>
<p><span>The point: think outside of the box that says you only have to show with other jewelers. Consider showing with artists in different mediums, too. For example, i</span><span style="font-size: 13px;">f you're a Rapid Prototype Artist think of the possibility of showing with various 2 Dimensional Digital Artists. The opportunities really are endless. </span></p>
<p> </p>
<p><span>Think of a painter in your area whose painting style emulates your metalsmithing style. Maybe there's a similarity in color scheme, where your jewelry matches their palette. Seek them out and propose a collaborative show. One of the reasons Karen and Stephanie's show was a hit is because of those angled, geometric lines in both artist's work- paintings and necklaces. It visually made sense that they hung together.</span></p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058418975?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/1058418975?profile=RESIZE_1024x1024" width="600" class="align-center"/></a></p>
<p style="text-align: center;"> <span style="font-size: 13px;">Paintings: Karen Russell / Jewelry: Stephanie Marie Smith / Photos: Rebecca Rose</span></p>
<p> </p>
<p>Play with the idea of hanging your work. Does it hang well on a wall? Can you shadowbox it? Is it more sculptural? Can it be shown on a pedestal like a piece of sculpture? If we present our work in a way that makes it easier for the gallerist to understand how to show it, the more likely they'd be able and willing to show it at their venue. <span style="font-size: 13px;">(In addition to sculpture pedestals, I sometimes wall hang my jewelry with the framed original sketch next to it, and find I'm able to show in more venues.)</span></p>
<p> </p>
<p>So, I'm going to suggest something that sounds out of the norm that might ruffle feathers.</p>
<p> </p>
<p>We have the power to rewrite our own shows, and how our work is shown. We have the power to propose an idea for a show to a gallery or venue, put the word out there and curate the best pieces as it fits with the show's vision, be it with metal, ceramic, sound, fiber, performance, or paint. </p>
<p> </p>
<p>Why wait to be accepted into a show, when you can create one?</p>
<p> </p>
<p> </p>
<p>And when you do, let us know about it! :)</p>
<p>-Rebecca</p>
<p> </p>
<p>Karen Russell: <a href="http://solaceincolor.com" target="_blank">http://solaceincolor.com</a></p>
<p>Stephanie Marie Smith: <a href="http://www.seaofbeesjewelry.com" target="_blank">http://www.seaofbeesjewelry.com</a></p>
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<p> </p> Around the Conference in 80 Hours: Pin Swap & Gallery Hoptag:crafthaus.ning.com,2013-05-27:2104389:Topic:4174382013-05-27T18:48:40.709ZRebecca Rosehttp://crafthaus.ning.com/profile/RebeccaRose
<p><span style="font-size: 13px;">For those that missed the chance to pack their suitcases so tight until the zippers puckered, for those that wished to collect new pieces from talented artists at the trunk show and tools from the vendor room, for those that couldn't make it up to Toronto, this blog's for you.</span></p>
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<p class="p1"><strong><span class="s1">The Pin Swap:</span></strong></p>
<p class="p1"><span class="s1">After checking in, settling in, and diving in on Wednesday, the…</span></p>
<p><span style="font-size: 13px;">For those that missed the chance to pack their suitcases so tight until the zippers puckered, for those that wished to collect new pieces from talented artists at the trunk show and tools from the vendor room, for those that couldn't make it up to Toronto, this blog's for you.</span></p>
<p> </p>
<p class="p1"><strong><span class="s1">The Pin Swap:</span></strong></p>
<p class="p1"><span class="s1">After checking in, settling in, and diving in on Wednesday, the first round of pins and business cards were exchanged during the annual pin swap. Toronto being my first SNAG conference, I realized this type of activity is way more fun in the role of participant than observer, a mistake I am determined not to repeat after finding myself pining for pins.</span></p>
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<p><a href="http://www.reactivemetals.com/http___www.reactivemetals.com/Home.html">Reactive Metal's</a> magenta/cobalt blended diamonds, <a href="http://michaeldalebernard.ning.com/photo/album/list">Michael Dale Bernard's</a> powder coated and laser cut resin pins in hues of teal/pacific blue, and fellow crafthaus member <a href=""http://linda-savineau.blogspot.com/'">Linda Savinaeu's</a> RP diamonds -where only the outlined angles were printed, strategically leaving visible the negative space inside- provided SNAG guests with a bounty of brooches. </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058412197?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/1058412197?profile=RESIZE_1024x1024" width="500" class="align-center"/></a></p>
<p style="text-align: center;"> <span style="text-align: center; font-size: 13px;">A shot of assorted SNAG artists’ pins, as swapped by attendee <a href="http://www.laurastangerjewelry.com/">Laura Stanger</a>.</span></p>
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<p><strong>The Gallery Hop:</strong></p>
<p>Thursday night's exhibition crawl gave SNAG guests an unlimited day pass for <span style="font-size: 13px;">streetcar jaunts and subway trains to explore the 18 location Gallery Hop. I met up with fellow crafthaus member <a href="http://www.johnlunn.com/lunnflutes/">John Lunn</a> and friends, and started at Toronto's </span><a href="http://www.textilemuseum.ca/" style="font-size: 13px;">Textile Museum</a> for their show <em>SHINE.</em> The standout piece being the 20 foot long tapestry pictured below, not made from textiles, but rather aluminum.</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058414576?profile=original" target="_self"><img width="650" src="http://storage.ning.com/topology/rest/1.0/file/get/1058414576?profile=RESIZE_1024x1024" width="650" class="align-center"/></a><span style="font-size: 13px;"><span>Carmelo Arnoldin, </span><i>The Last Supper</i><span>, 2013, tapestry constructed with strips of aluminum from 3,363 recycled soft drink and beer cans, 6.6 ft x 20.2 ft / 203 x 616 cm</span></span></p>
<p style="text-align: left;"><em>A Bit of Clay on the Skin: New Ceramic Jewelry,</em> in it's encore exhibition held at <a href="http://www.gardinermuseum.on.ca/exhibitions">The Gardiner Museum</a> was a true delight. The ceramic-centric institution is of course a perfect setting for the show, and the SNAG Conference and Toronto International Jewelry Festival is of course perfect timing for the show. Enjoy this PBS video below of the exhibition before its journey to The Gardiner Museum.</p>
<p style="text-align: center;"><span style="background-color: transparent; color: #808080; font-family: Arial, Helvetica, sans-serif; font-size: 11px; text-align: center;">Watch</span> <a href="http://video.pbs.org/video/1896969320" target="_blank" style="text-decoration: none !important; font-weight: normal !important; height: 13px; color: #4eb2fe !important;">A Bit of Clay on the Skin</a><span style="background-color: transparent; color: #808080; font-family: Arial, Helvetica, sans-serif; font-size: 11px; text-align: center;"> via PBS, filmed at the Museum of Art and Design.</span></p>
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<p><span style="font-family: helvetica;">18 Karat Gallery offered up a second public viewing of [Fe]rrous, the well known show traveling from San Francisco's <a href="http://www.velvetdavinci.com/show.php?sid=159">Velvet Da Vinci Gallery</a>. If you have yet to see the steel, iron, and alloyed pieces selected for [Fe]rrous, view the digital exhibition in house on crafthaus <a href="http://crafthaus.ning.com/group/ferrous">here.</a></span></p>
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<p><span style="font-family: helvetica;">Two treats at the <a href=""">Design Exchange</a>: <em>Design Sans Frontiers </em>included larger sculptural works <span>&</span><em> A Table!</em><span> </span>explored artistic interpretations of table settings in any vast expanse of the word.</span></p>
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<p><span style="font-family: helvetica;"><span>At the Harbourfront Centre, </span><em>Quintet: A Conversation in Design</em><span>, brings together Shona Kearney, Paul McClure, Wing-Ki Chan, Martha Glenny, & Katharina Moller -5 professors from Toronto's esteemed George Brown College- in the fifth installment of their traveling exhibition that has already touched ground in Montreal, Halifax, and Ottawa. Shona Kearney's <em>Direction and Movement</em> series especially caught my eye because of an understood dialogue the work had with the display. The spotlight created shadows off the figures, prolonging her motive of reminding us we are not alone, and the grounded connectedness we all have but forget during our daily grind. Read about Kearney's inspiration and the other <em>Quintet</em> artists in their <a href="http://issuu.com/quintetcollective/docs/quintetjewellery/27">online catalogue here</a>. </span></span></p>
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<p style="text-align: center;"><span style="font-family: helvetica;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058416080?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/1058416080?profile=RESIZE_1024x1024" width="500" class="align-center"/></a>Shona Kearney, <em>Direction and Movement</em>, Steel and Silver, 5 cm x 5 cm x 0.5 cm.</span></p>
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<p><span style="font-size: 13px;"><span style="font-family: helvetica;">The methods Jules Verne used in his literary classic to circumnavigate the globe -railroad, horse drawn carriage- are obviously slower than today's standards. Similarly, SNAG representatives mentioned this year for the first time, audio recordings synced with powerpoint slides of speaker presentations will be available online, expeditiously increasing your</span> ability to circumnavigate the conference, heading straight to the topics of your choosing. In fact, to get an additional quick and complete overview of shows and pieces featured during the SNAG/TIJF Gallery Hop, check out the 80 page <a href="http://issuu.com/scarlsen/docs/tijf_catalogue_/1">Toronto International Jewelry Festival guide</a> online.<br/></span></p>
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<p><span style="font-size: 13px;"><span>From the time available for check in Wednesday afternoon, to the last deejayed song on the dance floor Saturday night, the 80 hour Meta Mosaic conference schedule was filled to capacity, so s</span>tay tuned for more SNAG conference coverage as the days progress!</span></p>
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<p>-Rebecca Rose<br/> _______________________________<br/>
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