“Form + Function” is on display at Patina Gallery, Santa Fe, NM August 3-26. Patina features two prominent European artists in this exhibition of highly contemporary studio jewelry. Erich Zimmermann’s voluminous, hand-forged precious metal works counterpoint the trompe l’oeil dimensionality of Claude Chavent’s. <www.patina-galley.com> Claire Kahn returns for her second Patina Gallery exhibition of crochet […]
The Center for Craft, Creativity & Design awards $15,000 to ten graduating seniors in the form of an annual Windgate Fellowship. This money gives these emerging artists the validation and financial resources to pursue their dreams. This year’s ten Fellows were recently announced, and three of them were in Jewelry/Metals: Rachel Columb, University of Georgia; […]
The Phoenix conference was terrific, as anticipated, and I heard rave reviews from many of the attendees. Garth Clark delivered a provocative keynote speech entitled “Who’s Your Daddy,” which he began by asking, “Who do you want to pimp your art in the 20th century?” Needless to say all weekend I heard people debating what he talked about.
Meghan Patrice Riley is featured in the June/July American Craft. She recently won the Society for Contemporary Craft’s Raphael Founder’s Prize. Daniel DiCaprio received an honorable mention from the Society for Contemporary Craft.
Claudio Pino is the subject of the article “Light Show” in the July MJSA Journal.
The July Jewelry Artist magazine’s 65th Anniversary Gallery includes Alan Revere and Celie Fago.
Wendy Edsall-Kerwin’s foldforming cuff bracelet project is in the July issue of Art Jewelry Magazine. In the “Gallery” is work by Karen Christians, Andrea Williams, Alex Lewandowski, and Hiromi Suter.
Ornament Volume 35 Number 4 shows beads by Randy Long and Billie Jean Theide. An article about Shana Kroiz appears in the same issue.
Metalsmith Volume 32 Number 3 includes work by SNAG members Jan Harrell, Kristina Glick, Jeanie Pratt, Alicia Boswell, Ubaldo Vitali, Kirsten Haydon, and Flora Book. Exhibition reviews for Niki Ulehla, Micki Lippe, and Gabriel Craig are also in the issue.
Written by Harold Nelson, provided courtesy of the Enamel Arts Foundation
Harold B. “Bill” Helwig (1938–2012), a masterful artist and widely respected educator, passed away in Newport, Kentucky on July 12, 2012. Best known for his extraordinarily well-crafted enamels done using a painterly Limoges technique, Helwig was a leader in the late 20th-century enameling field.
Bill Helwig’s enamels are enormously inventive, both formally and technically. While he typically used round, plate-like forms in his early work, around 1972 Helwig began to pierce, cut, open, and eventually give sculptural shape to his copper plates, creating objects of extraordinary beauty, elegance, and power. Similarly, through near-obsessive exploration, he discovered several nearly-lost enameling and glazing techniques and reintroduced them to the contemporary enamels field.
Bill Helwig enthusiastically shared what he learned with his students through classes, workshops, lectures, and demonstrations. In 1989 Beverly Semmes described Helwig’s generosity in an article in Metalsmith. She wrote, “There are no sacred cows in Helwig’s enamel lexicon. He’s an enthusiastic, prolific risk-taker in the enamel studio, and his expertise is unmatched. He encourages students to learn the logic of the process, rather than the process itself. Unencumbered by an academic’s strictures, he reinvents the artform daily, both technically and esthetically.”
In 1982, he served as cofounder and editor of Glass on Metal. Helwig served on the board of the Enamelist Society, and received the Society’s prestigious Creative Arts Award. He also served on numerous Fair Committees for the American Craft Council, chairing the Committee in 1970.
The subject of numerous one-person exhibitions throughout the course of his life, Helwig was most recently featured in Painting with Fire: Masters of Enameling in America, 1930 – 1980, a publication which accompanied an exhibition of the same name at the Long Beach Museum of Art in California (2007). Helwig’s work is in numerous private collections across the country. He is also represented in the collections of the Long Beach Museum of Art and the Enamel Arts Foundation in Los Angeles.
In 1977 Helwig became head of the Vitrearc division at Carpenter’s Ceramic Coating Company in Newport, Kentucky (which later became Thompson Enamels). In his role at Thompson, Bill Helwig became an invaluable resource to artists, educators, and the industry, alike on the properties and possibilities of the enameling medium.