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SNAG Celebrates

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SNAG Celebrates: Hilary Halstead Scott

SNAG Celebrates

SNAG celebrated its 50th anniversary in 2019 and is honoring its membership by highlighting different people on the SNAG website.

Hilary Halstead Scott Headshot

Please introduce yourself.
I am the President of Halstead and the founder of the Halstead Grant. I have an MBA in Marketing and Masters of International Management. I am the second generation of Halsteads to lead our company. I’m proud to continue the work that my parents began to support jewelry artists and build an organization on our own terms. I’ve experienced first-hand the transformative power of small businesses for clients, suppliers, employees, owners, and all of their families. I firmly believe that entrepreneurship is one of the most effective paths to positive change in communities. I am passionate about both jewelry and small businesses. I’m so lucky to have this dream job.

Halstead Logo lowercase

How did Halstead begin and how has it progressed or changed over the years?
My father loved anthropology and archaeology. In the 70s, he bought a hank of antique trade beads on a whim. When he showed them to friends at work, they all asked to buy some. Both my parents then began making and selling jewelry at local festivals as a hobby. Over time, the business evolved to sell components instead of finished jewelry. It steadily moved into metals, findings, and chain in addition to beads. The annual printed catalog morphed into a website and full set of resources for the thousands of small jewelry studios we supply around the world.

Our team has grown from that young couple to about 30 employees. We are committed to professional development and personal growth for our entire staff. Many on our leadership team have grown with us from entry-level positions. Everyone who works at Halstead takes free metalsmithing classes in our in-house studio. We set high standards for performance and we achieve results. We offer medical coverage, profit sharing, continuing education, generous paid-time off, and an awesome work environment. Working for a family-owned business is different and we couldn’t be happier about that.

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SNAG Celebrates: Lisa Koenigsberg

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SNAG celebrated its 50th anniversary in 2019 and is honoring its membership by highlighting different people on the SNAG website.

 

Lisa Koenigsberg

Please introduce yourself.
I am Lisa Koenigsberg and I’m the founder and President of Initiatives in Art and Culture (IAC). My own areas of expertise would be the history of American art and culture, with a deep commitment to contemporary jewelers and metalsmiths both here and abroad. My focus is on visual culture and all the projects we undertake have a dual commitment.

Our conferences explore visual culture and champion individuals, institutions, and organizations in varied media and materials. We bring together makers, growers, miners, retailers, journalists, financiers, regulators, and environmentalists both to trace the ties that bind individuals and communities along the continuum from extraction through fabrication to sale or investment using a cross-disciplinary approach, and to illumine the importance of each link in these remarkable chains.

Respect for materials, craft, and authentic expression are at the core for us. We’re particularly concerned with ethical practice and responsible sourcing, whether in textiles, gemstones, or precious metals, as in the annual International Gold Conference.

IAC crowd

How did Initiatives in Art and Culture begin and how has the organization progressed or changed over the years? Can you tell our membership about what your position with the IAC entails and what the goals of the organization are?
When I was at NYU as Director of Programs in the Arts, I had developed a variety of annual multidisciplinary conferences. After watching the launch and development of a number of these programs, my then dean suggested that that this was a significant body of work which should exist as a separate organization. Fifteen years ago, I founded IAC with his help. We focus on visual culture, heritage and preservation—we bring together every sector or discipline under consideration. My goal has always been to bring together cutting-edge authorities, practitioners and artists and thought leaders to pursue fresh approaches to the world of visual culture with the ultimate goal of changing the culture.

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SNAG Celebrates: Emily Culver

SNAG Celebrates

SNAG celebrated its 50th anniversary in 2019 and is honoring its membership by highlighting different artists on the SNAG website.

Emily Culver_Headshot_PhotoByArtist

 

Please introduce yourself.
My name is Emily Culver and I identify as an object maker. I am originally from rural Pennsylvania and the daughter of a carpenter and former midwife now turned nursing professor. I mention these details because I think it reflects in my work, however intentional or unintentional that may be.

I attended the Tyler School of Art and Architecture, Temple University in Philadelphia, where I received my Bachelor of Fine Arts in Metals/Jewelry/CAD-CAM in 2012. In 2017, I received my Master of Fine Arts in Metalsmithing from Cranbrook Academy of Art.

My current work situates itself broadly across forms and scales, ranging from body sized sculptures to hand-held objects, as well as between Fine Art, Craft and Design disciplines. I employ a vast variety of materials such as wood, ceramic, metal and rubbers while implementing both digital fabrication methods and traditional making processes in a holistic manner. While diverse in approach and method, at the foundation of my work is a sensitive and highly intended relationship between objects and the body; a quality which I feel comes from my strong background and interest in Jewelry.

Flails, 2019

Flails, 2019


What are some goals that you have while creating your work? Are there any concepts that you are particularly interested in?

I strive to create works that are a productive space of ambiguity — a space in which the work is not flat in its directiveness but also feeds the viewer enough to keep them engaged. The works which interest me the most are ones where I feel I’ve entered into a conversation with an object, but this is actually a conversation with myself. These relational conversations I create do not have a clear resolution per say, rather my goal is to create something in which I am engaged, satisfied, and sustained.

For this reason I’m particularly interested in the object and the body as concepts and all the topics that are stirred up as a result: function/non-function, identity, desire, the corporeal, sexuality, and touch to list a few. With my most recent body of work I’ve been considering more metaphysical qualities of these things such as what they are made of, how they have come to be and what potential they hold.

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SNAG Celebrates: Tanya Crane

SNAG Celebrates

SNAG celebrated its 50th anniversary in 2019 and is honoring its membership by highlighting different artists on the SNAG website.

Tanya Crane

photo credit Laura Jamison


Please introduce yourself.
My name is Tanya Crane. I’m a California native. I’ve moved roughly 25 times, and am currently living in Boston, Massachusetts where I am a Professor of the Practice in Metals at the School of the Museum of Fine Arts at Tufts. I have a BFA in Metal from SUNY New Paltz and an MFA in Metal/Jewelry from the University of Wisconsin Madison. I create both jewelry and sculptural objects. My medium of choice is copper and enamel, but I also use materials that support my research, such as various grasses for weaving, raw stones, decaying steel, wrought iron and detritus from my immediate landscape. My black and white sgraffito work is something that I repeat a lot in my compositions as I feel it’s a way for me to continue my story from piece to piece.

What are some goals that you have while creating your work? Are there any concepts that you are particularly interested in?
I like to keep my designs simple and to the point. There’s usually a bit of nostalgia paired with a response to my current landscape in most of my pieces. I feel it is important to make sure my voice is seen in every piece I create, which references both black history and my history.

Tanya Crane_RainBrooch_2018

Rain Brooch


What does your work mean to you? Why create these objects?

Jewelry is one the oldest forms of self-expression. It is a way to show your individuality and your link to a certain group or culture. Jewelry is constantly evolving as cultures evolve. Cultures are analyzed and studied through material objects. These objects, which tell a story about a single moment ultimately link me and the people who wear my creations to that moment.

How has the field of metalsmithing and jewelry evolved since you began your career?
I’ve noticed stylistic changes in the field of jewelry as particular movements linked to social change occur. For instance, in the early 2000’s “found object” jewelry and “assemblage” jewelry was very popular to create. This movement lead to the DIY movement in which people who wanted to try their hand at the lucrative side of creativity could link up to this assemblage concept and create jewelry which became know as Steam Punk. This is just one instance I’ve noticed, and there are many more.

Tanya Crane_Continued Decay_2019

Continued Decay

 

What are your plans for the future? Is there anything specific that you hope to accomplish in the next year?
I’d love to work more collaboratively with other jewelry artists. As jewelry artists, we often work alone with limited contact beyond social media with our cohorts. There was a great show at NYC Jewelry Week called Borrow/Copy/Steal in which three artists (Isabelle Busnel, Nikki Couppee, Anna Talbot) did a kind of exquisite corpse mash-up where each artist used each other’s material and process. I think what it accomplished most was an understanding among the participating artists the amount of care and regard for material each artist uses to create their work. I think working in this way allows us to slow down a bit and consider what we are creating and what it means to appropriate material, ideas and process. I think some very meaningful work can emerge from this way of working.

Tanya Crane_Lil Pimp_2019

Lil Pimp

 

How and when did first gain a membership with SNAG?
I became a member my first year as a grad student. I wanted to participate in some of the shows and I was planning on attending my first SNAG conference, so I became a member!

More about Tanya: www.tanyamoniquejewelry.com


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SNAG Celebrates: Carissa Hussong

SNAG Celebrates

SNAG is celebrating its 50th anniversary in 2019 and is honoring its membership by highlighting different artists on the SNAG website.

Photo courtesy of StyleBlueprint

Photo courtesy of StyleBlueprint


Please introduce yourself.
My name is Carissa Hussong and I am the Executive Director of the Metal Museum in Memphis, TN. I did not follow a logical path to my current position. In college, I thought I wanted to be a magazine editor and majored in English Literature. Immediately after graduating, I went back to school to get a second degree in Art History, followed by a curatorial fellowship at the Whitney Museum of American Art (New York, NY) and a series of internships and paid positions with various arts organizations, including ArtFair/Seattle (Seattle, WA), Gagosian Gallery (New York, NY) and the Dixon Gallery and Gardens (Memphis, TN). While overseeing the UrbanArt Commission, I earned my final degree, an MBA, which, along with the writing skills my first degree drilled into me, has proved invaluable in running a non-profit arts organization.

Metal Museum_Blacksmith Demo_ Ann Klicka

Blacksmithing apprentice Ann Klicka gives a forging demonstration for a group of seniors. Photo courtesy of the Metal Museum.

 

Prior to joining the Metal Museum, I was the founding director of the UrbanArt Commission, which was created to develop and oversee the City of Memphis’s percent for art program. Although I had worked with the former director of the Museum, commissioning several projects, I was definitely an outsider. My background was deeply rooted in “contemporary fine art” – and there was a rumor that I would throw a pile of rebar into a corner and call it art. I was careful and absorbed as much as I could about metalworking, making sure I understood how objects were made and what constituted good craftsmanship. As we have developed our exhibitions and collections policies over the past few years, we have clearly defined this commitment to both the process and the object, making sure that anything we collect or exhibit illustrates fine craftsmanship and aesthetics. Sometimes this means acknowledging our limited knowledge and relying on the expertise of others.

I am not sure what my area of expertise is. It is certainly not metalsmithing. While taking my first blacksmithing class after joining the Museum, the staff joked that I better be “a better fundraiser than blacksmith or we were all in trouble.”  I think we have done pretty well together.

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