Metalsmith’s special annual issue brings exhibitions to your doorstep. Some years are juried, and other years are curated, every year a winning issue.
Past Exhibition in Print issues:
Exhibition in Print 2017 (Vol 37 No 4) - Repair and Renewal: Making Things Whole Again
Guest curated by Stuart Kestenbaum.
Soon after humans began making things, they began to repair them. In today’s high-tech world—where it’s challenging just to open up malfunctioning electronics, and it often costs more to repair than to buy a new product—the tradition and capacity for restoration has declined in our lives. This reparative spirit is still present among people who actually make things, however.
Besides prolonging the life of the object, repair also speaks to our yearning to make things right again, to make things whole. Repairing is more than fixing—it’s a metaphorical way to look at the role of makers. When we repair things, are we also fixing ourselves? Can giving renewed life to objects and materials—perhaps ones that have had other functions—renew us as well? How does the world look when we say that what is broken can be made whole again, using ingenuity and imagination?
Exhibition in Print 2016 (Vol 36 No 4) - Shifting Sites
Showcases works that reveal innovative approaches to how jewelry and metal objects are conceived, made, and displayed. For this issue, the emphasis is on location or place as subject or actual space for the creation and display of work. You will see works that expand and explore the “where” of contemporary metalsmithing: where shown or sold; where is it worn or used; where does it have environmental impact; where is work made. As a subject for metalsmithing, “site” can be understood as geography, landscape or cityscape and be revealed in imagery or forms that reference natural settings, architecture, urban or rural spaces.
Jurors: Eva Eisler, Lauren Fensterstock, Lori Talcott. Essayist: Susie Silbert.
Exhibition in Print 2015 (Vol 35 No 4) - Moved by Metal: On Beauty as Interaction
Guest curated by Wendy Steiner.
Steiner’s meditation on beauty traces the notion’s evolution from a removed and lofty concept to an engaged and personal aspect of experience.
See Metalsmith EXTRA! for a selection of videos from artists in this issue.
Exhibition in Print 2014 (Vol 34 No 4) - Animal Instincts
From prehistoric cave paintings to current digital art, animals have provided creative inspiration across the centuries. The 2014 Exhibition in Print showcases a diverse range of metalsmithing with works that are about animals, of animals, and even for animals.
Jurors: David Bielander, Jeweler; David C. Freda, Metalsmith and Enamelist; and Bruce Metcalf, Jeweler and Writer
Exhibition in Print 2013 (Vol 33 No 4) - As Seen by Others: Photography as Strategy
Guest curated by Susan Cohn.
Explores the ways photography is used in contemporary jewelry and metalsmithing as a means of presenting work. A call for entries was published asking for each submission to show work in at least two of three photographic approaches — a formal high-quality studio photograph, a casual smart-phone shot, or an experimental image expressing the concept or function of the work.
Exhibition in Print 2012 (Vol 32 No 4) - Gothic Jewelry: Sinister Pleasures
Guest curator Valerie Steele explores all aspects of contemporary gothic jewelry.
Valerie Steele is director and chief curator of The Museum at the Fashion Institute of Technology in New York. The author of more than a dozen books, including The Corset and Fetish: Fashion, Sex & Culture, she is also the founder and editor-in-chief of Fashion Theory: The Journal of Dress, Body & Culture.
Exhibition in Print 2011 (Vol 31 No 4) - Fresh
Work from 30 artists was chosen by jurors Lola Brooks and Cindi Strauss.
Lola Brooks, jewelry designer and educator, has taught at the Rhode Island School of Design and the University of the Arts. She was recently the subject of a feature article in American Craft, and her work has previously been showcased in W, Vogue, Blackbook, and Metalsmith.
Cindi Strauss is Curator of Modern and Contemporary Decorative Arts and Design, at the Museum of Fine Arts, Houston, where she served as curator and catalogue author for Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection. Recently, at SNAG’s Houston conference, Strauss gave the popular presentation “At the Crossroads of Trends and Traditions: Emerging American Jewelry Artists Today.”
Exhibition in Print 2010 (Vol 30 No 4) - Neo-Palatial: Objects of Virtue and Vice
Curated by Garth Clark, this issue offers a grand tour of the palatial mode in contemporary art.
Garth Clark is a writer, historian, and lecturer, and has been an art dealer for the past three decades. Clark has written, edited and contributed to over fifty books and is author of more than two hundred essays and articles. He has curated many museum exhibitions for such venues as the Smithsonian Institution, the Cooper-Hewitt Museum and the Victoria and Albert Museum.
Exhibition in Print 2009 (Vol 29 No 4) - Saturated: Color and Metal
Work from 34 artists was chosen by jurors Jamie Bennett and Marilyn da Silva. This Exhibition in Print’s theme was color.
Includes the essay “In the Midst of Color: Reflections on Color’s Inescapable Presence” by Jamie Bennett.
Exhibition in Print 2008 (Vol 28 No 4) - Equilibrium
Curated by Kate Bonansinga and Rachelle Thiewes. The potential of bodily ornament to realign perception is highlighted in this issue which explores work that engages the body as site, and alters experience by affecting one or more of the senses.
The featured work ranges from prosthetic devices to performance pieces. The majority of the photographs depict pieces upon a human form, underlining their impact on the body.
Exhibition in Print 2007 (Vol 27 No 4) - Framing the Art of Jewelry
Curated by Ellen Lupton. Her essay explores the fundamental functions of jewelry — to collect, connect, protect, and display.
Ellen Lupton is the curator of contemporary design at Cooper-Hewitt National Design Museum. Her numerous publications include the books D.I.Y.: Design It Yourself and Thinking with Type. In addition, she directs the MFA program in graphic design at Maryland Institute College of Art, Baltimore.
Exhibition in Print 2006 (Vol 26 No 4) - Breaking the Code
Juried by Elizabeth Goring, Jo Lauria, and Myra Mimlitsch Gray.
Submissions were judged on the quality of the image, the work itself, and the artists’ statements.
The issue includes the essay “Jewelry and Communication: Breaking the Code,” by Elizabeth Goring.
Exhibition in Print 2005 (Vol 25 No 4) - Flatware: Function + Fantasy
Curated by Boris Bally and Rosanne Raab. Features the work of 42 artists, all created around the theme of table settings. This work was exhibited at SOFA Chicago in October, 2005.
Boris Bally is a metalsmith who designs and produces flatware.
Rosanne Raab is an independent curator and collection advisor for twentieth-century craft and design.
Exhibition in Print 2004 (Vol 24 No 4)
The 10th annual Exhibition in Print, this issue was juried by Sharon Church, Susan Cummins, and Ursula Ilse Neuman. Within this issue, the jurors took the opportunity to reflect on the success of the Exhibition in Print and express their interest in metals gaining more exposure within museum collections.
Exhibition in Print 2003 (Vol 23 No 4) - Contemporary Enamel
Curated by Gretchen Goss and Maria Phillips with a focus on contemporary enamel, offering an overview and appraisal of this dynamic metals sector.
Includes the essays “Enamel: A Current Perspective” by Goss and Phillips and “Scratching the Surface: American Enameling in the Mid-Twentieth Century” by Toni Greenbaum.
Exhibition in Print 2002 (Vol 22 No 4)
Juried by Biba Schutz, Helen Shirk, and Joe Wood, driven by a healthy curiosity and a quest for the new. Includes work not typically seen in Metalsmith, such as knives and machinery.
Includes “Metal Detectors: A Jury Roundtable.”
Exhibition in Print 2001 (Vol 21 No 4) - Contemporary Holloware
Curated by John Cogswell and Lisa Gralnick, this issue focuses on hollowware, defined by Cogswell as “any volumetric, hand-fabricated, nonjewelry metal object.”
Includes essays “Contemporary Holloware: The Risks are Great, the Stakes are High” by Cogswell and “Thickening the Edge: Contemporary Holloware in an Age of Pluralism” by Gralnick.
Exhibition in Print 2000 (Vol 20 No 4)
Juried by Tom Herman, Ramona Solberg, and Rachelle Thiewes, with work from over 40 artists.
Includes the essay “In Praise of a Duller Edge: Notes from an Outsider” by Lucy Lippard.
Exhibition in Print 1999 (Vol 19 No 4) - Metalsmith Sculpture
Curated by Christine Clark and Jane Kyle, with a focus on sculpture.
Includes the essays “Continuing the Tradition” by Clark and “Worth It: Metalsmith Sculpture in 1999” by Kyle.
Exhibition in Print 1998 (Vol 18 No 4)
Juried by Lane Coulter and Barbara Jordan, includes work by 40 artists and essays by the jurors.
Exhibition in Print 1997 (Vol 17 No 4) - Studio Mutiples
Curated by Donald Friedlich and Bruce Metcalf. All work selected had to have been produced a minimum of five times in a small studio setting and original to the artist.
Includes the essays “Production Metalwork Today” by Friedlich and “When Production has a Good Name” by Metcalf.
Exhibition in Print 1996 (Vol 16 No 4)
Juried by Gaza Bowen, Pat Flynn, and Janet Koplos.
With the essay “Ins and Outs” by Janet Koplos
Exhibition in Print 1995
Daniel Jocz curated this Exhibition in Print and it includes his essay “Meaning in Jewelry: Risk and Reverence.” Jocz is a metalsmith who resides in Cambridge, Massachusetts. His work has been shown internationally and he has written on metals and crafts criticism for numerous publications.
Exhibition in Print 1994
Inaugural issue, juried by Donald Friedlich, Martha Glowacki, Susan Kingsley, Bruce Metcalf, and Kate Wagle.
624 metalsmiths responded to the call for entries for this first Exhibition in Print, and the jury spent two days looking at more than 3000 slides.
The issue includes the essay “Metalsmithing: State of the Art” by Mary Douglas.