Archive for November, 2012
Many of you have asked for a copy of Marjorie Simon’s lecture on Gothic Jewelry given at SOFA Chicago in November 2012 in conjunction with the SNAG exhibition there of work from the 2012 Metalsmith Exhibition in Print.
I started working with metal during graduate school in 1995, while studying Installation Art at Edinboro University of Pennsylvania. I met Sue Amendolora, who was one of the faculty advisors on my graduate committee. Interestingly, in undergraduate school I distinctly remember telling myself (foolishly) that I would NEVER pick up a file and make such obsessive work, but life had other plans for me and I absolutely fell in love with it. It was Sue who also introduced me to SNAG and the community of people that were open and eager to share their ideas/techniques.
Call for 2014 SNAG Conference Presenters
Deadline January 15, 2013
The Conference Program Committee is seeking proposals for up to five single-presenter presentations. These are 45-minute presentations, and should explore the following:
- What is the relationship between maker, material and ideas?
- What does it mean to “buy local” in a global economy and what impact does buying local have on artists and the community?
- What does it mean to be “handmade” in the 21st century?
Call for 2014 SNAG Conference Panelists
Deadline January 15, 2013
The Conference Program Committee is seeking proposals for a 1-hour, three-person panel. The topic of the panel should be oriented to emerging artists and explore the conference theme in some way.
Metalsmith Exhibition in Print 2013 – Call for Related Work
“As Seen by Others: Photography as Strategy”
Guest Curator, Susan Cohn
The photograph is an integral part of a maker’s practice. It not only records a work, it presents a maker’s intention and, as such, defines how a work is understood. More significantly, the photograph is often the only way an object is experienced; it becomes the filter by which the work is seen by others.
In our hyper digital world, the photograph has become more than a just a documentary tool—it is a pivotal mode of expression. Multiple image formats now coexist, and artists are increasingly exploring the formal potential of these imaging options. High-res images are typically used to publish work for catalogues and books as a way of arousing potential interest. Accordingly, these photographs tend to be crisp compositions that highlight key details in design and production. The more casual camera-phone snapshot is gaining momentum on the standard studio photograph. Whether shared among friends or on social media, these images are often less polished and provide a simple likeness of the given object. Alternatively, the photograph can be a key device for expressing an object’s concept or use, enhancing the intention of the maker. Such photographs may be experimental or documentary, showing narrative or poetic propositions for a work. The dynamic between these three photographic tactics opens up interesting ways to view objects today.
The 2013 Exhibition in Print will explore the power of the photograph to express the spirit of an object. Each work will be shown in at least two of the three photographic approaches above-–a formal high-quality studio photograph; a casual smart-phone shot; or an experimental image reinforcing the concept or function of the work. Guest curator Susan Cohn is seeking examples related to this theme of photographic translation.
For consideration, please send low-res image files to email@example.com
Deadline for submission is January 15, 2013.
Susan Cohn, a Melbourne-based jeweler, designer and curator, is director of Workshop 3000 and holds a Ph.D. in Fine Art Theory. Cohn is also the curator of the major museum exhibition, Unexpected Pleasures: The Art and Design of Contemporary Jewellery, currently on international tour.
Jeanne Jerousek-McAninch – Volunteer Spotlight
After earning an MFA at Kent State in 1974 in painting and jewelry, Tucson became my home base. For several years I taught Basic Design and Drawing classes at Pima Community College. In 1976 teaching jewelry, enameling and photography at Tucson Parks & Recreation I started doing chain making demonstrations at Tucson Gem & Mineral Show. My self-published book, a compilation of these demos, Chain Making Link By Link appeared in 1977. At that time we started offering City Visiting Artists workshops. Our first was Eleanor Moty’s Photo Etching Workshop. She is our Patron Saint of Workshops!
Volunteering since 1978 for several non-profits (Arizona Designer Craftsmen, Tucson Visiting Artists Consortium, Friends of Yuma Symposium, and most recently SNAG) morphed into grant writing, doing publicity, being statutory agent but mainly coordinating lectures and workshops by visiting artists. Hundreds of workshops later, ADC, an “all volunteer” organization, currently offers 10 to 12 visiting artists lectures and workshops a year. In 2012 ADC hosted the SNAG conference. Multi-faceted educational venues, lectures, exhibitions, and networking in epic proportions. Tucson and Mesa Arts Center pre-conference workshops followed by Demo Days made possible by many volunteers from ADC and MAC resulting in ties to an exquisite venue for future workshops. Frequently, my personal projects have taken a back seat to my “non-profit obligations.” And currently, Historic Chain Making is nearly done.