Place of Work ? Example: Studio, College, Gallery, Museum, ...)
International Society of Glass Beadmakers
I am a .... Example: Student, Maker, Educator, etc.
The Society of Glass Beadmakers (SGB) was formed in 1993 by a small group of American beadmakers brought together by an exhibit of contemporary glass bead artists at The Bead Museum in Prescott, AZ. SGB's founders united to establish an organization dedicated to promoting the growth and recognition of glass beadmaking by facilitating communication and mentoring among members and educating the public about the process of beadmaking and the artistic value of glass beads.
One of the primary goals of ISGB has been to foster the rebirth of ancient glass beadmaking traditions through the sharing of techniques and information among both members and the public. Interest in ISGB has grown rapidly and today well over 1600 members participate Internationally. Members of a large network of glass beadmakers share techniques in an effort to promote their own work as well as the contemporary glass bead movement itself.
Glass beadmaking classes are now taught all over the U.S. and abroad, how-to videos are available to the general public, and Society members gather for an annual national meeting at which they explore techniques, tools, design, and business issues. This new, collaborative approach to glass beadmaking has captured the interest of glass artists and collectors around the world.
Your website, DIRECT flickr or DIRECT facebook links where your work can be seen.
Thank you for viewing this on-line exhibitionThis exhibition is a showcase for narrative work, with over 234 images it was decided that the exhibition would be in two parts with chapter two being on-line in January 2015I would like to personally thank all the makers who took the time to submit work for this on-line exhibition. Image left: Dauvit AlexanderTitle - "Blood Will Have Blood: A Macbeth Brooch" Image Credit: Photography by Andrew Neilson, Neilson Photography. See More
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!