by Monica Moses, American Craft Council
Thank you to American Craft Council, who wrote and posted this article on their website and gave us permission to repost it here!
The annual conference of the Society of North American Goldsmiths took place in Boston May 20-23. The theme was “Impact: Looking Back, Forging Forward.” Here are eight lessons we took away from it.
Metalsmiths welcome other points of view. Main conference speakers Ruudt Peters, Liesbeth den Besten, and Helen Carnac are all from across the Atlantic. Michael Strand is American, but a ceramist. Joyce J. Scott from Baltimore often works with beads, but let’s face it, her sardonic, earthy, perspective (“I want to be in the stanky part of my art”) is not the mainstream. All were warmly, if not effusively, received. There were several standing ovations.
Many artists approach their work from a place of protest. Strand, who calls himself a “conceptual production artist,” brings together communities for social change. “We are constantly pressed down to be efficient,” he said in his dynamic talk, “and I can’t effing take it. Good things come from inefficiency.” Said Scott, who has explored sexual brutality in her work, “Now that men are being raped, maybe they’ll do something.”
Craft as an object is overrated, and, as a practice in the world, underrated. “Craft is far more meaningful than the anesthetized potential I was trained in,” said Strand. Another nugget from him: “It’s a false premise that people will care more if we make a better object.” Sam Aquillano of the Design Museum Boston, Jason Talbott of Artists for Humanity, and Gabriel Craig of The Rehabilitation Project all spoke to the potential of craft to change lives.
Making a living as a metalsmith may require herculean determination. There were two 90-minute Professional Development Seminars. “A unique, well-made body of work is just the beginning, just the baseline,” SNAG board member Brigitte Martin said in her introduction to the first. Goldsmith Ezra Satok-Wolman spoke convincingly of his tireless efforts over years to perfect his craft, promote his work, and establish his brand. “I learned how to deal with rejection,” he said, “an incredibly important part of my development.” His parting advice to jewelers: “Don’t worry about what others think of you. Unless they’re standing in front of you asking the price of something, it doesn’t matter.” Veteran jeweler Jim Binnion was equally sobering. Running a jewelry small business “is going to take every waking moment of your life if you’re going to make it.”
Metalsmiths, like so many artists, often have to overcome themselves to do their best work. Early-career artist Yong Joo Kim said she struggles frequently to “overcome the limitations of my own imagination.” In the same vein, mid-career metalsmith Hoss Haley reflected, “As makers we can get stifled by our own crap.” Avery Lucas has “learned my work does not need to be confined by what I thought I was capable of making.” Boris Bally, who stressed planning and networking, urged metalsmiths to keep their eyes wide open for opportunities. “The next worthy pursuit will appear in your periphery,” he said.
The public lacks an educated eye, but there is no consensus about how to fix that. “Society is uneducated,” said Dutch jeweler Ruudt Peters in his keynote. “Jewelry could be different.” But Binnion, always trying to make a living, was philosophical about the problem: “You can’t educate your customer into liking your work,” he said.
The display of jewelry in galleries and museums is problematic. Early in his career, Peters had male models wear his pieces at an exhibition opening. For the subsequent month, the jewelry was visible on jackets hung up in the gallery. Jewelry is challenging for curators because it is small relative to other objects. Emily Zilber and Emily Stoehrer of the Museum of Fine Arts, Boston, summed up the challenge: In a museum gallery with 18-foot ceilings and large paintings and sculpture, “How do you show small, intimate works and have them have the same power?” Liesbeth den Besten’s talk, “Lonely Objects: Jewelry in the Museum,” was focused on the challenges of jewelry display. “Human hands once made these objects,” she said, but “in a museum they become isolated….There is nothing enchanting about a piece of jewelry in a showcase,” she said. “We simply don’t know the best way to present jewelry.”
Artists are idiosyncratic, and that’s what makes them so fascinating. “When I make something, it’s not linear,” said Peters. Yeah, no kidding. His talk was a whirlwind, recounting the different phases of his career, connected by a logic only he could explain, which he did, in an unaffected, almost sweet way.
The Halstead Grant Call for Entries
Halstead is calling for entries to its 9th annual grant competition. The Halstead Grant is awarded each year to a promising new jewelry designer working primarily in silver. The winner receives a $5,000 cash start-up grant plus $1,000 in supplies and recognition in the industry. Deadline June 9, 2014.
Qualified applicants should be US jewelers who recently launched independent studios with the intention of selling to a national audience. To apply, candidates must submit a portfolio and answers to specific business questions. The rigorous application is designed to encourage strategic planning and sound management practices amongst new jewelers in the industry.
“When selecting a winner we weigh the portfolio and business portions of the application equally. We are looking for quality craftsmanship and innovation in design in the jewelry photographs. The application answers should show a holistic approach to developing a brand and managing production to meet changing demand as the business grows,” said Hilary Halstead Scott, the program coordinator.
For more information on eligibility and to download an application please visit www.halsteadbead.com/grant. Visitors to the website will also find a retrospective on past grant winners and the evolution of the grant program over the years.
Halstead supplies wholesale chain, findings, metals and tools to thousands of makers around the world. The firm is proud to still be family owned and operated after 41 years of service to the trade.
SNAG would like to take this opportunity to recognize Halstead as a Corporate Member and thank them for their support.
From natural disasters to other kinds of catastrophes, jewelers need to be prepared.
North Americans have witnessed a variety of natural disasters in the past few years, from last year’s Hurricane Sandy in the northeastern United States to Oklahoma’s devastating tornadoes in May and catastrophic flooding in Canada’s Alberta province in June. Such events should trigger a desire in every jeweler — no matter how large or small — to create disaster preparedness and business continuity plans.
The 3D revolution is bringing about changes to our world by spawning new start ups, innovative products, and jobs in new markets that did not exist a few years ago, as well as connecting people from different disciplines in ways that one could never imagine. This exciting technology creates opportunities that will reinvigorate our field.
Why The Kimberley Certification Process For “Conflict Free Diamonds” Must Be Abandoned (Part Two of Two)
As outlined in my first post, the Kimberley Process Certification is failing to ensure the conflict-free status of the diamonds it certifies. I believe it was destined to fail because, in context to the blood diamond issue, there has not been, in the jewelry sector, significant or meaningful public accountability.