Showing Publicly and Building a Legacy Privately

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Showing Publicly and Building a Legacy Privately

For the next 13 months we'll discuss the trials, triumphs, and tribulations of exhibiting  in art shows as emerging artists and established artists. Exhibition coverage will be balanced with tips on how to strategically build a legacy over a length of time, in a way that makes sense to your individual goals as an artist. 

Join us each month! There will be surprises around every corner, with photos, videos, SNAG conference coverage, and occasional interviews by rising artists!

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Latest Activity: Jul 17

About this blog...

Like many of us, early on in college I saw the similarities of foundry sculpture and metalsmithing jewelry. In both cases I started with an idea, and transformed that idea from concept to reality out of wax and burnable objects. In both cases I plaster coated the original, kiln fired it, melted metal, and poured it into the negative space.

 

I saw that sculpture and jewelry were the same, interchangeable.

 

The only difference between the two: one form of art is heavier, more apt to be immobile and decorative, and the other form is smaller, more apt to be mobile and functional. What was missing was a way to bridge the two. And over the years I saw I’m not the only one who wants to bridge that gap and dispel myths that jewelry is less than, instead of equal to, other mediums accepted as a fine art.

 

The new movement: Bridgism.

 

Georgia O'Keeffe wearing an Alexander Calder brooch, 1950.

 

 

Bridgism describes bridging the gap between art that’s considered craft and art that’s considered fine art- blurring the line so the line doesn't exist or matter. Equalling the playing field, where both are equally recognized and revered.

 

Bridgism summarizes the current crossover in the worldwide art scene. Applied artists are getting their work shown in fine art shows and galleries, and established fine artists are dabbling in, and experimenting with the applied arts. As an example, check out Claire Oliver Gallery's "Beyond Bling: The Artist as Jeweler" show in NYC, November 2012. More galleries are following suit, opening their arms, doors, and collecting clientele to jewelers. I plan on showcasing some of the artists involved in this crossover in upcoming entries.

 

The resurgence of artists today is reminiscent of the Victorian Arts and Crafts movement of the 1980’s, the Pasadena Arts and Crafts movement of the 1920’s, the German Bauhaus movement of the 1930’s, and even the American Arts and Crafts movement during the 1960’s. You fit into the big picture because you’re an artist within this movement, and this movement has the ability to change the mainstream collective view so jewelry is accepted as a conduit of high fine art.

 

Salvador Dali created 39 jewelry pieces between 1941-1970.

Discussion Forum

Showing Publicly: Curatorial Interview with Jessica Ross of "Paper Cuts" at Spoke Art Gallery

Started by Rebecca Rose May 12. 0 Replies

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._____________RR: As described, "Largely seen as a style of craft art, Paper Cuts seeks to investigate the intersection between…Continue

Tags: Fine, Hari, Deepti, Crystal, Craft

Showing Publicly: Special Edition Art Palm Beach 17

Started by Rebecca Rose. Last reply by Corinna Coutouzi Feb 9. 1 Reply

Art Palm Beach entered it's 17th year this January, promising to showcase the biggest blending of fine and applied disciplines of art yet. I just stepped out of the vast expanse that is the Palm Beach Convention Center, and am compelled to happily share the very large fine craft presence on view this weekend! This blog post is mostly pictures than text, in order to emphasize and give full credit to, the incredible amount of jewelry, glass, and ceramics showing among paintings and sculpture.…Continue

Tags: Whitespace, The, Woolf, Reed, Duane

Showing Publicly: The Curatorial Eyes of Ellen Schinderman

Started by Rebecca Rose Feb 8. 0 Replies

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. This week I was able to interview Ellen Schinderman, founder and curator of the annual exhibition "Stitch Fetish II." "Stitch Fetish II," held every February at 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…Continue

Tags: knitting, embroidery, stitch, cross, craft

Building a Legacy Privately: In Search of Lost Time / The Artist's Procrastination

Started by Rebecca Rose Dec 16, 2013. 0 Replies

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. But you do. We all do.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…Continue

Tags: Rose, Rebecca, Art, Jewelry, Backwards

Showing Publicly: Brave New World

Started by Rebecca Rose. Last reply by Harriete Estel Berman Aug 17, 2013. 7 Replies

Want to submit to international shows but don't know where to start? 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…Continue

Tags: Metalsmith, Museo, Poland, Mensa, Mayer

Sculpturings artist Rebecca Rose is the winner of this year’s Halstead Grant

Started by Brigitte Martin. Last reply by John Lunn Aug 17, 2013. 2 Replies

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.Davenport, FL  - - Halstead is proud to announce that Sculpturings entrepreneur Rebecca Rose of Davenport, FL…Continue

Tags: Halstead, Grant, crafthaus, winner, Rose

Building A Legacy Privately: As I Lay Dying

Started by Rebecca Rose Jul 31, 2013. 0 Replies

Imagine your biggest dream. Now imagine a bigger one, really allowing yourself to release the ceilings of your imagination. Look beyond your own existence, beyond your own life, beyond money and fame, and flirt with the big picture of your art however you define it.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? Consider that your creations, your pieces, will outlast you in years, and that your art…Continue

Tags: Rebecca, Rose, Curry, Tim, Rings

Showing Publicly: Special Edition Art Basel 44

Started by Rebecca Rose. Last reply by Jennifer Merchant Jun 21, 2013. 1 Reply

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: https://www.artbasel.com/en/Basel ) This Art Basel 44 post, as…Continue

Tags: Anish, Antonella, 2013, Villanova, Switzerland

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Comment by Linda Savineau on May 26, 2013 at 7:10am

Hi Rebecca. I'm like Steve Shelby: I don't do shows where you go and peddle your wares from a booth. The exhibitions I've been in are held in art museums and galleries. (Rebecca, we actually were in the same exhibit "Fabricated" at the Target Gallery). My main concern is: I'd like to know WHY I'm not selected. I'd like to learn from the experience. Is it the artwork in itself, is it the pictures, ... ? Only in 1 occasion did the jury send me their observation (apparently I was one of the last to be "dumped") which I really appreciated.

PS: sorry we didn't meet at the SNAG conference

Comment by Steve Shelby on May 24, 2013 at 10:55am

Hi Rebecca. I have had probably a 50% success rate entering juried exhibitions, which I think is actually pretty good. I don't do shows where you go and peddle your wares from a booth. The exhibitions I've been in are held in art museums and galleries. I have always been able to get into local shows in nearby Fort Wayne. There is almost no competition for my type of media there, and they are only advertised locally. In other small venues I've entered, though, I have struck out, probably because they are small galleries that only have room for 40-50 works, and because they advertise nationally, they get hundreds of entrants. I have had good luck with a couple big shows, Craft Forms 2010 (Wayne Arts Center, Wayne PA), and Craft Forms 2012 (I entered in 2011, but didn't get in); CU29: Copper in the Arts, 2012, Mesa, AZ, and 34th Annual Contemporary Crafts, 2013, MCA Museum, Mesa, AZ. The last one is my biggest success so far; I won a cash prize, and the grand prize, a solo show in 2014. I was also in a narrow niche exhibition for funerary urns, "Ashes to Art" in Graton, CA, 2010-2012, and not quite as narrow, "Forged", at Torpedo Factory Art Center, Alexandria, VA, 2012. There is a pattern here. All the exhibitions I have gotten into have been for 3D craft of one kind or another. That's interesting, in light of your post above about "Bridgism". I have always suspected that jurying was a very subjective and arbitrary thing. A few months ago I got to find out first-hand, being on the jury for a local exhibition. Each submission was projected onto a screen for about ten seconds, and had to be judged up or down in that time. I know my decisions were not that well thought out.

Comment by Rebecca Rose on May 23, 2013 at 3:17pm

Hi Steve welcome to the group! Been sifting through the SNAG conference pictures and info to compile entries for this week, for those who didn't have the chance to attend -in the meantime, thanks for your patience. I'd love to hear your experiences regarding what types of shows you're entering, which types of venues the shows are held at, and what the themes of the shows were, if you'd like to share!

Comment by Steve Shelby on May 23, 2013 at 8:40am

This looks like it could be interesting; one of my favorite topics. Not much happening so far. I have been entering exhibitions for the last 3-4 years with success and failure. It's a difficult thing to figure out.

Comment by Rebecca Rose on April 30, 2013 at 12:15pm

Glad to hear that, John, the bi-monthly topics will be chock full of info that I hope everyone can benefit from- thanks for your interest and blog involvement!

Comment by John Lunn on April 30, 2013 at 9:51am

This is of great interest to me, Rebecca. Lead on...

 
 
 

Tales From the Tool Box - A Crafthaus Online Exhibition

Diana Greenwood
‘There is always one moment in childhood…’

Mantel Box 230 x 330 x 45 mm

Mantel Box in Cherry wood with a hinged glass door, containing a silver vessel marked ‘drink me’, marbles, sweets and found objects

A piece about childhood, forgotten toys, favorite stories and the loss of innocence as the future beckons, inspired by ‘Garden of Love’ by William Blake.

Image Credit: Diana Greenwood

www.diana-greenwood.com

View the new CRAFTHAUS online exhibition (October 24-November 24, 2014)

Tales from the Tool Box - Chapter 1

Curated by Mark Fenn - Studiofenn, UK

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A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

DETAILS on exhibition premise, call for artists, submission guidelines.....

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