Archive for 2019
SNAG has announced that its current Editor, Emily Zilber, is departing the organization and that Adriane Dalton will fill the position on an interim basis. Zilber’s last day will be January 31, 2019 and she will work closely with Dalton in the transition.
Zilber joined SNAG at the end of 2017 and oversaw the debut of a totally new editorial voice for Metalsmith Magazine while also introducing a companion publication, Metalsmith Tech. In addition, she oversaw publication of the 2018 Jewelry and Metals Survey (JaMS), SNAG’s annual photo review of jewelry and metals in contemporary art, architecture, craft, and design.
“I am deeply grateful for the opportunity to lead SNAG’s publications through these important transitions over the past year,” said Zilber. “While I remain committed to the continued success of SNAG and all of its efforts to support the jewelry and metals community I’ve decided to take my career in a different direction, starting a new position in February.”
“SNAG has been incredibly fortunate to have had Emily on staff as our Editor over this past crucial year for our organization and community,” said SNAG Executive Director Gwynne Rukenbrod Smith. “The response to the magazine’s new voice, the launch of Metalsmith Tech, and the publication of JaMS, has been overwhelmingly positive, and we largely have Emily to thank for that.”
Dalton, who will take over editorial duties on February 1, 2019, is a writer, artist, curator, and educator based in Richmond, Virginia. She currently serves as Teen Programs Coordinator for the Virginia Museum of Fine Arts and teaches at the Visual Arts Center of Richmond and ART 180. She is a regular contributor to Art Jewelry Forum, where she interviews contemporary jewelry artists, curators, collectors, and gallerists.
“As sorry as we are to lose Emily, we’re very excited to have a writer, curator, and artist of Adriane’s caliber step in as Interim Editor,” said Rukenbrod Smith.
“As a metalsmith, art instructor, and arts writer, I’ve been a member of SNAG for over a decade,” said Dalton. “SNAG is incredibly important to our community, as are Metalsmith Magazine and Metalsmith Tech, and I’m excited about the opportunity to contribute during this time of transition.”
We are sorry to hear that former SNAG member Elise Winters passed away on January 1, 2019 after a long struggle with cancer. Winters, recognized as one of the nation’s leading polymer artists and jewelry designers, grew up in Rochester, New York. Her formal education includes an initial arts degree from Syracuse University, and advanced degrees from Montclair and the New School Universities.
Her life as an art professional began in the 1970s with work as a potter and then turned to photography. Time spent in Japan allowed her to enrich her understanding of both ceramics and sumi-e brush painting. The Japanese influence, in both its reverence for nature and its respect for subtlety of design, has informed her work with luminous polymer clay jewelry.
Winters’ work can be found in the permanent collections of 6 major museums. She and her work have been featured in more than a dozen of the most widely selling books on polymer art and in numerous arts magazines, the most recent being the Oct/Nov 2011 issue of American Craft magazine. and the June 2012 issue of Metalsmith magazine. An artist profile also appears in the Spring 2009 issue of Ornament magazine.
Information and images taken from www.elisewinters.com ; photo of artist by Barbara Bordnick.
In the spring of 1950, after finishing her formal studies, Imogene “Tex” Gieling moved to San Francisco where she worked as a scientific illustrator in order to support her jewelry making. She took night classes with the great Israeli goldsmith, Victor Reis who stressed technique and taught her everything she needed to know about hammering.
The art community in San Francisco in the ’50s was easily accessible and included painters, sculptors and craftsman, but also architects, photographers and industrial designers. It was not only an open society, it was also open handed. There was plenty of work to be had and any work that was offered to Tex, she always took, whether she knew how to do it or not. If it was something she was not comfortable with, she had a wide range of artist-friends to call upon for help.
She was hired to make the trademark for the Diamond National Company and executed it in bronze, copper and enamel for their corporate office building on Market Street in San Francisco.
In 1955 Tex was invited to join the faculty of at UC Berkeley to teach design in the Department of Decorative Art. She had never taught before and had no credentials to teach so was reluctant to take the job. The university saw this as a plus and felt this would be good for the students since she wouldn’t be inhibited. At the same time, Tex finished her graduate degree in metal arts.
This job lasted until 1962 when the university phased out the department. She then dedicated herself full time to her jewelry, developing some new techniques. These experiments lead to receiving a commission from Objects USA, as well as representation in the Lee Nordness Gallery in New York City. She also worked with local architects fabricating fireplaces and memorial plaques among other commissions.
In 1965 Tex was invited to set up a Metal Arts Program at San Francisco State College (now University). She taught at SF State until her retirement in 1990.
But while teaching at SF State in the ’60s, sit-ins and demonstrations brought police to the campus, which made teaching very difficult (with armed police in riot gear in the classroom). Tex went out on strike to show her strong opposition to this police presence. This led to the formation of a co-op with her students, off campus, where they could work without fear.
In 1971, Tex was able to buy a complex of old buildings where artists could live and work and which would become a real home for the co-op. The co-op was name Truesilver Union.
Thank you to SNAG Board Member Elizabeth Shypertt for providing this information. Elizabeth curated “Tex Gieling: Sixty Years” at the Museum of Craft and Design in San Francisco, on view November 17, 2018 – February 24, 2019.