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In Remembrance

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In Remembrance: Marjan Unger

Marjan Unger

Marjan Unger wearing Sketch for Sleeping Beauty II necklace, by Robert Smit, photo: Michael Ferron, Rijksmuseum Amsterdam, 1991

On June 27, 2018, Marianne Unger-de Boer passed away at home in Bussum, the Netherlands, after a rich, yet too-short life. Marjan was 72 years old. As she liked to remind her audiences in lectures, she was born in February 1946, exactly nine months after the liberation of the Netherlands in May 1945. People who knew her will immediately recall her voice, way of speaking, and grinning laugh when she related this fact. Most people today will know her as “the” jewelry specialist, but she was much more than that. In fact, she engaged with the full breadth of design and likewise worked in all design sectors.

The full homage to Marjan, written by Liesbeth Den Besten, can be found on the Art Jewelry Forum website.

AJF logoThank you to Art Jewelry forum for sharing this article with the SNAG community.


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In Remembrance: Marjorie Schick

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Written by Harriete Estel Berman

It is with deep sadness that we mourn the passing of Marjorie Schick. This is a devastating loss to the craft and metal arts community. My memories of Marjorie are, in every sense, colorful. I’m sure that many others would agree. She wouldn’t have wanted it any other way.

You might remember Marjorie from her bold and colorful attire with bright fuchsia hair or gigantic jewelry. While it might seem superficial to mention this first, Marjorie’s appearance was simply her first statement. When she walked into a room, she and her artwork were seen.

Marjorie Schick_Rainbow Riot jewelry and displayAt right: Marjorie Schick, Rainbow Riot, necklace and wall relief; necklace: 2008, wood, waxed linen, paint; wall relief: 2011, wood, paint; photo: Gary Pollmiller

The jewelry and objects Marjorie created were statements of visually large proportions. The display of the jewelry was often integral to the work, not unlike the person herself. Placing Schick jewelry in the average display case was out of the question. It could not be contained within normal definitions or expectations for jewelry, either literally or figuratively.

Marjorie did not follow conventions or fashion or dictates of shifting trends. She followed her own singular path. Nothing was quickly thrown together or thoughtless. Her creative expressions of paper mache or fabric were painted, and painted over and over again with layers of nuance. The color palette was developed with an eye for combinations, hues, and tones that could not be rushed.

Marjorie Schick SNAG pinsEach year for the SNAG conference, Marjorie would create a small group of about 12 “pins” to give away. If you have one of those pins, you will always know that it came from Marjorie Schick. Each year they were different, reinvented, and always memorable. A photo of a few of these pins accompanies this post to share them again with everyone.

Marjorie represents a piece of history within the jewelry metal arts community. She was a font of knowledge going back to the 1970s. She traveled the world and exhibited her work internationally. A few years ago I was wearing a piece of jewelry that my parents had found in an East Coast antique store. They knew that I would love it, and I did, but when Marjorie saw it, she identified it as an example of Caroline Broadhead’s production work from the 1980s.

Sculpture-to-Wear-Schick-jewelry-designWhat happens when we lose a person that is such a significant presence in jewelry history? We have lost much. You can read an Oral History Interview with Marjorie Schick or listen to an audio excerpt with Tacey A. Rosolowski in the Smithsonian Archives. Another option is to purchase her book The Jewelry of Marjorie Schick which contains an entire Oeuvre Catalog of everything she ever made. I recommend doing both.

Thank goodness that these resources exist, but it won’t be the same going forward without Marjorie.

Marjorie you will be missed.

marjorie-schick-collar

Marjorie Schick, Spiraling Over the Line, 2008; photo: Gary Pollmiller


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In Remembrance: Ron Ho

Ron HoWe regret to announce the passing of Ron Ho on September 7, 2017. Ho was a long-time SNAG member. He was a world-renowned jewelry artist and celebrated teacher. His work is in the permanent collections of several museums, including the Houston Museum of Fine Arts and the Tacoma Art Museum. An oral history of Ho’s life is at the Smithsonian Institution.

In 2006, the Bellevue Arts Museum honored Ho by presenting 51 of his pieces in the exhibition and catalog Dim Sum at the On-On Tea Room – The Jewelry of Ron Ho.

Among other awards, Northwest Designer Craftsmen named him a Lifetime Award Member in 2006 and in 2007 he was given a Lifetime Achievement Award from the Seattle Metals Guild. In 2010 Ho was elected to the College of Fellows of the American Craft Council.

Read more about Ho’s life in the Seattle Times.

Northwest Designer Craftsmen are producing a video about Ho for their Living Treasures Project.


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In Remembrance: Lee Marshall

Lee MarshallLee Marshall, of Santa Cruz, CA passed away June 25, 2017. Marshall, a former SNAG member, was the founder of both Bonny Doon Engineering and Knew Concepts. Bonny Doon Engineering developed a series of hydraulic presses and tooling for shaping and forming jewelry. Knew Concepts sells saws designed by Marshall.

A full account of Marshall’s remarkable life can be found here.


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In Remembrance: Betsy Douglas

Betsy Douglas Metal and BeyondWe are saddened to announce that long-time SNAG member Betsy Douglas passed away on September 2, 2016. Douglas was an Arizona icon in the metals field with an illustrious career. Her work ranged from modern designs in silver, gold, pewter and titanium to more recent work with lead computer frames, Chinese coins, aluminum, brass and copper. Douglas served on the SNAG board from 1992 to 1994. In 2014 her art was featured in the exhibition Betsy Douglas: Metal and Beyond at the Mesa Contemporary Art Museum in Mesa, Arizona. As a maker, her strength was in the excellence of design and elegance of form.