From Non-precious to Precious

    MA Curating Contemporary Design

From Non-precious to Precious: A proposal for Klimt02, Barcelona

Module Code ------- CD7102 Module Title --------- Professional Practice Course Leader ------ Donna Loveday Course Tutor -------- Susan Holder Submitted by -------- Moski Yuwen Huang K1337078 Submission date --- 5st June 2015

 

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Table of Content Introduction -------------------------------------------------------------------------------------------- 2 Methodology ------------------------------------------------------------------------------------------- 4 A brief introduction of jewellery material reform from 1900 to 1995 --------------------- 6 Modern Handmade Jewellery – Museum of Modern Art -- New York ------------------ 10 Unexpected Pleasures: The Art and Design of Contemporary Jewellery – Design Museum – London ------------------------------------------------------------------------ 10 From Non-precious to Precious: A proposal for Klimt02, Barcelona ------------------- 13 List of Illustration ------------------------------------------------------------------------------------- 19 Reference ---------------------------------------------------------------------------------------------- 19 Bibliography ------------------------------------------------------------------------------------------- 21 Appendix ----------------------------------------------------------------------------------------------- 22

 

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Introduction “In its new exhibition Modern Handmade Jewelry, opening Wednesday, September 18, 1946, the Museum of Modern Art shows that today’s jewelry need be neither the princely luxury of precious stones and metals nor the dubious glitter of production-line gadgets sometimes appropriately referred to as “junk jewelry.” In addition to silver, the variety of materials used by the twenty-five craftsmen-designers whose work is shown in the exhibition includes brass, chrome-nickel steel, plastic, native stones, marbles, pebbles, red, yellow and green jacks, hardware and even safety pins… It is the individual craftsman or artist, less restricted by commercial standards, who makes a contribution to the art… [By] those designs which showed that the artist had considered the characteristics of the materials used… in contemporary terms. (Newmeyer, 1946)”1

It could be said that art jewellery began at this moment. More than 50 years have passed since these ideas were first used in a jewellery exhibition within a world-class museum. Since then, with the help of many advances, especially in technology, jewellery designers have been liberated by this expansion of possibilities described by Newmeyer.

People who have not followed developments in jewellery may be surprised at the variety of design and materials now in use. Jewellery is categorised in decorative art, but how we choose to categorise it is less important than whether or not it gives pleasure to the wearer and viewer. Hugh Tait, formerly Deputy Keeper of Medieval and Later Antiquities at the British Museum, (1986, pp.11) states that

“Jewellery was man’s answer to the profound human need for self-adornment and, consequently, is one of the oldest forms of decorative art. For the past seven thousand years its history – albeit interrupted and incomplete – can be traced from the centres of the earliest known civilisations in Mesopotamia (Iraq) and Egypt to its universality in modern times.”

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Sarah Newmeyer, ‘Exhibition of Modern Handmade Jewelry Opens at Museum of Modern Art,’ September 11, 1946. Department of Circulating Exhibitions Records, 11.1.79.5.1 The Museum of Modern Art Archives, New York. See Appendix 1.

 

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Indeed, humankind has been obsessed by jewellery since prehistorical times. Nowadays, in our evolving civilisation, jewellery encompasses art, design, and philosophy. Susan Cohn, the curator of “Unexpected Pleasures: The Art and Design of Contemporary Jewellery” expressed her surprise in an interview “… really not many people in the world know about contemporary jewelry.” (Art Jewelry Forum, 2013) The publication of this exhibition from the London Design Museum also states “Contemporary jewellers shift the expected values in jewellery. Their inventive ideas find starting points in unusual materials, the joys of making real or imagined scenarios in which jewellery is worn and comes alive.” (Cohn, 2012)

“Exhibitions have the intent to advance the institutional mission by exposing collections to pubic view, providing enlightening and educational experiences, and proving the public trust… involve the desire to change attitudes, modify behavior, and increase the availability of knowledge.” (Dean, 1994)

In recent years, exhibitions have been playing an important role for many institutions. They can be an event for gathering information and a platform for communication. Visitors may come from the same or different backgrounds and still appreciate the messages which artists, designers and curators are willing to share.

 

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Methodology This essay will begin with investigating the material reform in jewellery industry from 19th Century to present, especially when jewellery start composed with non-precious materials, such as glass, horn and enamel in 1920s; plastics, paper and textiles after 1960s, for exploring the creation of contemporary jewellery combining the reasons that occurred this change, which cultural and social factors affected the jewellery industry. Particularly focus on the "New Jewellery Movement"2 in North-West Europe and North America between the early 1960s and the late 1980s.

Considering jewellery as a medium to express artistic concept instead of actual price of the material. Two of the exhibitions will be considered in further details, Modern Hand Made Jewellery launched by the Museum of Modern Art, New York, 1946 and Unexpected Pleasures: The Art and Design of Contemporary Jewellery organised by The Design Museum, London, 2012. Through exhibition archives and publications, allowing for various opinions and creative thinking to be highlight and taken into account when comparing the exhibitions’ narratives. This will also lead to discussion of how curators can approach the possibilities of creating contemporary jewellery exhibitions. In the end, this essay will propose a project to Klimt02 Gallery. It is an idea on a curatorial theme, which could be developed further.

Through this essay, non-precious material that used in jewellery design and be selected for the exhibitions in the modern age will be discussed as the same topic. The essay will not investigate or examine the first use of non-precious material in jewellery creation. Although non-precious material, such as clay beads, apparently made in imitation of the obsidian, and in Egypt the attractive green glazed steatite beads of the Badarian culture (c. 4000 BC) have been found in the graves of men (Tait, 1986). Therefore assuming that the reader has a basic level of understanding of how the New Jewellery Movement started in the 20th Century. (English & Dormer, 1995)

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Peter Domer and Ralph Turner, 1994. The New Jewelry: Trends + Traditions. London: Thames & Hudson. In this essay adopts the phrase ‘the New Jewellry’ as a reference to Domer and Turner.

 

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Furthermore, with the lengthy history of jewellery, it will not discuss non-precious material used in jewellery that happened before 19th century. Lastly, the abovementioned issues will be explored in the context of curatorial themes for temporary exhibitions, and not permanent collections or collecting policy.

 

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A brief introduction of jewellery material reform from 1900 to 1995

When examining how the alternative material has been composed in contemporary jewellery history, two period are initially noted: Art Nouveau (1900) and New Jewellery Movement (1960-1995). Arguably, ‘new painting’ was formed in Europe between 1880 and 1910 (Weisberg and Menon, 1998), as we know the age of Art Nouveau. Art Nouveau is considered an art style, embracing architecture, interior design, graphic and most of the decorative arts including furniture, textiles, lighting and jewellery.

“Art nouveau jewellers like Reńe Lalique also distanced themselves from conventional precious stones and put greater emphasis on the subtle effects of materials such as glass, horn and enamel (V&A, 2015)”. Reńe Lalique only used the typical valuable gemstones of the period for what they brought to the piece artistically and not for their value as gems. Therefore his jewellery creations were not just holders for high value stones, they were artwork in their own right, creating a worldwide interests and a huge demand. (Becker, 1985, P.48) Therefore this tendency of using alternative materials was spreading to other jewellers who wished to upsurge their creations. In addition, both world wars seemed to change the thinking and behavior of most societies in Europe.

“In the years between the two world wars, more and more inhabitants of the western industrialized world began to engage with modernity in a multitude of ways.” (Sparke, 2013) The early 20th Century saw the rise and fall of economic power as well as considerable social and political change and devastation of the First World War. It saw designers breaking free from many traditions of the past, responding to a new world affected by the growth of industralisation, machine production, new technology, transportation, urbanization and the development of new ideas and philosophies including Modernism.

Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th Centuries. According to Greenhalgh (1990), the images of

 

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Modernism are simple clean forms, clarity of line, and an absence of elaborate detailing, except for the detailing that occurs through the repetition of elements required through the function of the design (such as the rivets, bolts or welds required to hold together a plane, ship, building or piece of metalware). These images of the early 20th century also shared an unfolding materials usage at that period. Particular including acrylics, aluminum, glass and concrete. Inevitably it flowed into jewellery design.

The impact of new materials and technology development also created major opportunities for the design industry to blossom in the USA. A revolutionary jewellery movement began to emerge in the United States beginning about 1940. American jewellery historian Toni Greenaum (1996) cited “A new coterie of American artisans chose to express their frustration with society’s conventions through the most intimate art form: jewelry.” Between the early 1960s and the late 1980s, it became possible and acceptable within the metals and jewellery world for artists to use jewellery as a means for making individualistic art. (English and Domer, 1995) They continued to state:

“Traditionally, it is the role of the art historian and critic to recognise and preserve the work of their age; the independent observer, free from politics and board restrictions, also affords the artist freedom from oblivion.”

When the founding of the Philadelphia Council of Professional Craftsmen in 1967 and the development of a Modern Craft History Course in 1973, the founder of Helen Drutt Gallery3 contacted a large number of artists and acquired significant works. Gradually the “New Jewellery Movement” in the USA took shape.

Whilst this flow was spreading in the North America, at another side of Atlantic Ocean the “New Jewellery Movement” also rose in North-West Europe. Great Britain had virtually invented industrialisation in the early 19th century, as we know it; the lack of material caused by World War II and post-war rationing was a brutally specific blow to its national identity. Yet the later 1950s and 1960s were a time of prosperity for the UK. By the 1960s, with rebuilt and flourishing economies, increasing affluence,

                                                                                                                3

Helen William Drutt was a pioneering scholar, gallery director and professor in the modern and contemporary craft movement. (Strauss, 2007)

 

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a fast expanding mass media, the increase in choice, there was a shift in emphasis from production to consumption and post war austerity was over. (Sparke, 2004) Domer and Turner coined ‘New Jewelry’ in their book, which published in 1994, indicates jewellery has come alive again. There were a mere handful of designers in Europe who were fighting the clichés of conventional design back to 1960s. Especially in the UK, Dutch and German. (den Besten, 2014)

Indeed, as in the curriculum of legendary design school Bauhaus, material study has been an important part in design education (see figure 1). Like wise, it is also an influential study in art jewellery, both in fighting the clichés of traditional concepts and pushing the boundaries of what is a piece of jewellery.

Figure 1.

Today there has been, in Ralph Turner’s words, “burgeoning of many kinds of ornament.” Contemporary jewellery has evolved into a new era with a new definition. Art Jewelry Forum 4 has just published a new book, titled “Shows and tales: On jewellery exhibition-making”, which records exhibitions focused on contemporary jewellery from 1946 to 2004.

In 1961, Graham Hughes, director of the Worshipful Company of Goldsmiths, organised the first International Exhibition of Modern Jewellery 1890 - 1961, at Goldsmiths’ Hall in London. Dominated by artists who enjoyed a greater reputation in

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Art Jewelry Forum is a non-profit organization established in 1997 to advocate for the field of contemporary art jewellery: http://www.artjewelryforum.org/

 

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the fine arts, the inclusion of goldsmiths made it a landmark exhibition. (Lignel, 2015) According to Archer, there were over 28,000 visitors went to see this exhibition in its two-month run.

“The exhibition helped constituted jewellery today, which was neither wedded to precious materials nor crafted under the imprimatur of a luxury brand name.” (Lignel, 2015)

When examining how the early material reform has been incorporated within exhibition narratives in the USA and UK in the past decades, two shows are initially noted: Modern Handmade Jewellery 1946, hosted by Museum of Modern Art, New York, as a milestone in contemporary jewellery history and Unexpected Pleasures: The Art and Design of contemporary Jewellery 2012, organised by the London Design Museum, an exhibition truly for everyone.

 

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Modern Handmade Jewellery – Museum of Modern Art - New York

When the Museum of Modern Art launched its first exhibition dedicated to contemporary jewellery in 1946. The title of the exhibition was changed from “Modern Jewelry Design to Modern Handmade Jewelry. Although the reason cannot be proved, arguably, the supervisor of the museum’s circulating exhibitions, the organiser, Jane Sabersky wished to use a more definite title to underline the contrast between studio made and manufactured costume jewellery.

In the introductory wall text for the exhibition, Sabersky made a clear distinction between craftsmen and artists “profound technical knowledge… and sober carefulness of approach… execution carried out with exactitude in every detail.”5 In fact, Sabersky seems to have welcomed unusual materials “…non-professional designer… sometimes awkward in craftsmanship…(but) carried by his enthusiasm and imagination to create designs of… greater freedom.” and proud that some pieces from 25 craftsmen-designers were made from chrome nickel steel, brass, plastic, native stones, glass marbles, pebbles, colored jacks, hardware and safety pins.

The Museum of Modern Art set the standard for contemporary jewellery exhibitions in American museums. The Walker Art Center in Minneapolis, Minnesota, followed in 1948, the exhibition “Modern Jewelry Under Fifty Dollars”6 occupied their Every Day Art Gallery. With an installation inspired by its predecessor, the Walker Art Center presented a more inclusive view of the discipline; nonetheless, Modern Jewelry Under Fifty Dollars demonstrated the legacy of Modern Handmade Jewelry.

Unexpected Pleasures: The Art and Design of Contemporary Jewellery – Design Museum - London

The 1960s had celebrated youth, in the 1970s the cult of the body had emerged; and by the 1980s “body beautiful” cultures was in full swing. (Turner, 1992) “ While

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“Statistics and Information on circulating Exhibitions,” 20th December, 1947 – Museum of Modern Art. CE, 1.4.2.12 MoMA Archives, New York. [online] https://www.moma.org/learn/resources/archives/EAD/CEf.html [Accessed at 4th June 2015] 6 Information from an online article by Schon, M., [online] Available at: http://www.modernsilver.com/Walkerarticle.htm [Accessed at 1st June 2015]

 

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diversity in jewellery expression reigned, experimentation with adorning the body took new directions.” (Cohn, 2012) The Design Museum in London inaugurated an exhibition “Unexpected Pleasures: The Art and Design of Contemporary Jewellery” in 2012.

The exhibition was laid out in three sections. First was Worn Out, it discussed the ways contemporary jewellery is worn. For contemporary jewellers, it is part of the creative process to illustrate how jewellery adorns the body. Wearer may be surprising how carefully wearing has been considered in making. The works in the ‘Worn Out: Photography’ section also highlighted how photography is used as an element of the work – where to locate the piece (Body) tell its story (Propositions) or as the work itself (Jewellery as Object).

The second part, Linking Links, was subdivided into Creative Systems, Singles, and Social Expressions. Here, Cohn placed work into themed clusters, with brief statements and fairly self-explanatory titles such as ‘Second Life’ using recycling as a symbolic expression of anxiety about overconsumption; ‘Industrial Views’ offers a perspective of thinking about how jewellery connects to popular culture. These themes aimed to aid in the reading of the work and highlight the methods, conceptual approaches and materials that jewellers adopt in their practice.

The third sector was titled ‘A Fine Line” featured jewellery from various origins – art, design, fashion, and craft – alongside pieces by makers of the New Jewellery Movement such as Anni Albers, Charlotte Perriand, Pierre Cardin. Unexpected Pleasures took this as the origin of the medium as it is today and understanding the ongoing relationship between jewellery and design.

Arguably, taking jewellery as a medium for artistic expression, “this history is too recent and too complicated.” (English and Domer, 1995) In 2013, there were some voices appeared, some claimed that this field is like a bubble, which does not engage wider audiences. (den Besten, 2014) Furthermore, the curator Susan Cohn expressed her opinion “The first ‘lessen’ I learned from the project is that really not many people in the world know about contemporary jewellery. I realised how important it is that we change the way we engage with people outside the

 

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community.” after curated the exhibition Unexpected Pleasures in an interview with writer Lignel on Art Jewelry Forum. (2013) Nevertheless, she also found:

“the new technologies and new materials enabled different ways of working and many makers developed an interest in semi-mass-produced work, playing with the idea as motivation and materials as the means. Some extended the modernist approach into postmodern terrain, exploring tensions between the unique and multiple through both exhibition and production work.” (Cohn, 2012)

Having explored how the Unexpected Pleasures is being communicated through the exhibition in the Design Museum. It is clear that contemporary Jewellery has evolved to a phase, which combines art, design, technology and living philosophy. Moreover, it shows the importance of creating a bridge for artists and audience has emerged.

 

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From Non-precious to Precious: A project proposal to Klimt02, Barcelona

“Exhibitions are strategically located at the nexus where artists, their work, the arts institution, and many different publics intersect.” (Marincola, 2006)

Every historical period, every social group and class and every culture had different views on jewellery, its meaning and suitability for rituals and daily use. In Oxford dictionary, it defines jewellery as “Jewellers’ work; gems or ornaments made or sold by jewellers; esp. precious stones in mountings; jewels collectively, or as a form of adornment.” From this point of view, it is a combination of precious materials through manmade process and became a decoration for human body. When it evolved to the present days, artists and designers have cultivated another layer of meaning for it. Meanwhile, the importance of a curator for contemporary jewellery also appeared with this movement.

“Objects of adornment have been a significant part of cultures around the world since the earliest recorded history. Whether imbued with power, bestowed as a trophy of social status and wealth, or worn as personal decoration, jewelry communicates basic messages about who we are and for what we stand. In contemporary times, jewelry has moved beyond its ornamental roots – even beyond its role as a signifier – to become an art form that is no longer associated solely with any one defining characteristic, be it the material, technique, or design.” (Strauss and others, 2007)

Research initiative for the Klimt02 Gallery

From Non-precious to Precious is a research initiative proposal to Klimt02. It would enable the institution to become a repository to foster innovative ideas about the concepts of contemporary jewellery. The From Non-precious to Precious will be a laboratory on display and open to everyone. Inasmuch as it is intended to be a programme for the public, it is primarily a research project initiated and developed from within the website through a collaborative process. In essence, the From Nonprecious to Precious aims to create a platform where novelty will be scientifically, but at the same time, publicly exhibited and tested. To that end, it will require a complex

 

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programme, that will include a open-call, workshops, an exhibition, lectures, publications, etc. that would run throughout the duration of the project.

Who is it for?

One of the most important questions that arises in the very beginning of an exhibition project is ‘who is it for?’. The target audience will define the requirements of the brief and design of the exhibition. This question will not be asked only once, but at the beginning of each of the three stages of the project, as its unique nature demands.

How does it align with the mission of Klimt02?

The philosophy of Klimt02, since its birth in 2002, has been to act as a hub for knowledge, information, debate and exchange within the context of contemporary jewellery. In 2007 the inauguration of the Klimt02 Gallery brought the work of many fine international artists, previously featured on their website, to Barcelona. As an innovative institution, Klimt02 already has the capacity to reinvent itself and acquire additional characteristics. It could promote research in contemporary jewellery and provide an international hub for newcomers and professionals alike to share their ideas before producing them. (The Klimt02 ought to take this opportunity and enter a new era in jewellery history by generating new artists and exhibitions, which contain sociocultural and life-long learning purposes. To that end, the Non-precious to Precious will facilitate and enrich the archives of the gallery towards museum standard.)

Open Call Brief

The Non-precious to Precious will be officially inaugurated through an open call for submission in partnership with JOYA: Barcelona Art Jewellery Fair7 that the gallery will announce on Klimt02 and other art jewellery websites. The project will invite jewellery artists to design two dimensional proposals, developing new concepts and materials, with the aim of creating innovative contemporary jewellery. While material innovation drives much of today’s jewellery design, the Non-precious to Precious will

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JOYA is annual Art jewellery fair in Barcelona, every October. http://www.joyabarcelona.com

 

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host activities that have the potential to develop the profile of this project. The selection process will be carried out by a committee, which will be picked by the trustees of the gallery. The best design ideas will be developed further within the gallery by the artists themselves in collaboration with professionals, such as material researchers, manufacturers, and digital designers. This could possibly take the form of workshops and research clusters ultimately leading to the production of the pieces. Every stage of this process can be documented and displayed as part of the exhibition.

Research Cluster and Artists in residence

After the selection process, the key is to turn the gallery into an incubator where the selected artists can start conversing with professionals from other disciplines in order to develop further step of initial proposals, ideas and assumptions. Klimt02 shall invite artists who have been selected into this project as residences in the gallery. Interactive designers, jewellers, material developers, artists, researchers and theorists will be gathered together to collaborate on developing ideas about chance, possibility, interactivity and intelligence of concept and material innovation. Aligned with Klimt02’s values, the incubator will serve as a controlled environment for experimental thinking and testing, leading towards to the next stage of the project.

Exhibition Design

The Non-precious to Precious is a project that at the current moment has no specific or definite stylistic end. There’s no certainty about wither what the exhibition will look like or who will be exhibiting. The exhibition design however, will be informed by principles that align with the Klimt02’s culture that has been defining the concept of all past exhibitions. The design of the exhibition space will be intellectually and visually clear and memorable. The content and its interpretation will be resonant and meaningful, appropriate, conversational, and questioning, while, providing context and connecting ideas, and also connecting people at the same time. Specifically focus on gaining knowledge and further ability to assess and recongnise creativity.8

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Klimt02 website: http://klimt02.net/about

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The use of new materials alongside concepts, towards creating new ways in engaging with the public and new tools for providing learning outcomes, will be the most important novelty in the exhibition.

The exhibition will be divided in two parts. The first part will be an introduction, where a video projection will show phases of the project within the incubator and the origins of its conception. The second part of the exhibition will feature the actual jewellery object solutions for From Non-precious to Precious.

Curatorial Brief

The aim of the Non-precious to Precious as an exhibition is to reinvent contemporary jewellery through new and developing materials and concepts, creating new meaning, connections and ways of jewellery. Its focus lies on engaging wider audiences through concept and new value of jewellery objects, developing new ways for people to interactive with jewellery objects and one another. The audience is expected to vary, from jewellery designers, artists, to anyone interested in experiencing a new annotation of jewellery.

“… exhibitions ought to offer answers to the questions visitors want answered. Questions about how things work, how events occurred, and what people and the world were like long ago. Exhibitions offer the chance to look at and experience the ‘real thing.’ They arouse and satisfy curiosity, leading to continued and growing interests.” (Dean, 1994)

Taking “an incubator of contemporary jewellery” as a principal, how artist and designers combine their education and applied to a piece of jewellery. The exhibition shows all the processes from ideas generating to materials gathering, and the exhibition is the result of this evolution and probably will be a movement in 21st century.

Furthermore, the exhibition will provide an ‘accessible to all’ way of navigating through and understanding the intelligent jewellery artists displayed, not only explaining the programmatic function of each piece but also the processes of its conception, design and making. In order to record and evaluate the experience of

 

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visitors, smart phone apps will be designed, an additional aspect that feeds back both to the research component of the project and the visitor engagement strategy. Finally, a public programme and publications will accompany the Non-precious to Precious and its exhibition.

Contribution

Its contribution can be evaluated by looking at the three different aspects of the project separately; the first being the curatorial; the second, the experimental in terms of content and production; and the third, the research potential it presents. Therefore, considering the curatorial aspect, the exhibition will serve as a laboratory of contemporary jewellery experience and visitor engagement. It will allow a completely new and different gallery experience to take place.

Whereas the contribution of the incubator and its exhibition apart from developing and displaying From Non-precious to Precious is to rationalise the process, through which new sensorial and concept are generated. Furthermore, this initiative will generate novel jewellery discourses that can be placed within a broader theoretical discussion in jewellery institutions and practices. More importantly, it will provide a new platform dedicated to finding new material for designing jewellery that are up to date in terms of the technological advances of our time. The incubator concept could potentially contribute to a shift that jewellery has an important role within art and design field, and therefore education.

Finally, it is important to consider the interest that this initiative will spur to institutions that focus on innovative materials and its application to jewellery design, research centres and University departments of jewellery and established studios. The data collection will serve as a source of entirely new information from which all the above types of organisations could benefit greatly. A possibility would be that the project would be combined with masters and postdoctoral research projects funded by the institutions, such as JOYA, Design Museum of Barcelona… etc.9

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Other institutions, which list on the Klimt02 website: http://klimt02.net/institutions/schools

 

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Schedule and Delivery

1 month

Define brief, selection criteria, selection committee and schedule.

3 months

Open call entries to be submitted, app designers invitation

1 month

Selection process, app development

3 months

Incubator, app development

6 months

Production of selected jewellery objects, exhibition design, publication

3-5 months

Exhibition, public programme, data collection.

5 months

Data analysis and publication as masters and postdoctoral research project.

Funding

There are many organisations that could possibly fund partially or fully the project. Some of them might be: •

Schmuck10

•

JOYA

•

SIERRA11

•

ElTaller de joyería de Barcelona12

•

Escola d’Art La Industrial13

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Annual Art jewellery contest, organised by Bavarian Crafts Council: http://www.ihm-handwerk-design.com/en/visitors/highlights/ 11 Annual International Jewellery Art Fair, Amsterdam: http://www.sieraadartfair.com/cms/ 12 Jewellery institution, Barcelona: http://www.escuela-joyeriabarcelona.com/en_GB/presentacion.php 13 The school of Industrial Art, Barcelona: http://www.artlaindustrial.cat/ca/page.asp?id=1    

 

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List of Illustrations

Fig. 1 Bauhaus Online, Museum of Design, Berlin, 1992. Retrieved from: http://bauhaus-online.de/en/atlas/werke/diagram-for-the-structure-of-teaching-at-thebauhaus

Reference

Art Jewelery Forum, 2013. On Curating Unexpected pleasures – the art and design of contemporary jewellery: Susan Cohn in Conversation. [online] Available at: http://www.artjewelryforum.org/museum-profiles/on-curating-unexpected-pleasuresthe-art-and-design-of-contemporary-jewellery-susan- [Accessed 30 May 2015].

Becker, V., 1985. Art Nouveau Jewellery. London: Thames & Hudson.

Bernabei, R., 2011. Contemporary Jewellers: Interviews with European Artists. Oxford: Berg.

Cohn, S., National Gallery of Victoria, Design Museum (London, England) 2012. Unexpected pleasure: the art and design of contemporary jewellery. New York: Rizzoli

Dean, D., 1994. Museum Exhibition: Theory and Practice. London: Routledge.

den Besten, L. 2014 ‘The golden standard of Schmuckashau’ [online] available at: http://www.jewellersguildofgreatersandringham.com/overview-16-mar-2014.html Accessed at 29.11.2014 Domer, P. and Turner, R., 1994. The new jewelry: trends and traditions. London: Thanes and Hudson.

English, H.W.D. and Dormer, P., 1995. Jewellery of our time: art, ornament and obsession. London: Thames & Hudson.

Greenhalgh, P., 1990. Modernism in design. London: Reaktion.

 

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Greenbaum, P., Musée des arts décoratifs de Montréal and Eidelberg, M., 1996. Messengers of modernism: American studio jewelry 1940 – 1960. Paris: Flammarion.

Lignel, B. ed., 2015. Shows and tales: on jewelry exhibition-making. California: Art Jewelry Forum.

Massey, A., 1995. The Independent Group: Modern and Mass Culture in Britain 1945-1959. Manchester: Manchester University Press.

Marincola, P., 2006. What makes a great exhibition?. Philadelphia: Philadelphia Exhibitions Initiative.

Newmeyer, S., 1946. Exhibit Modern Handmade Jewelry. [online] [manuscript] Available at: https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1064/releases/M OMA_1946-1947_0047_1946-09-16_46916-45.pdf?2010 [Accessed at 30th May 2015] Spark, P., 2013. An introduction to Design and Culture: 1900 to the Present. 3rd ed. Hoboken: Taylor and Francis.

Strauss, C., English, H.W.D., Burrows, K.M. and Wetzel, K., 2007. Ornament as Art: Avant-garde jewelry from the Helen Williams Drutt Collection, The Museum of Fine Arts, Houston. Stuttgart: Arnonldsche Art Publishers in association with the Museum of Fine Arts, Houston.

Tait, H., 1986. 7000 Years of Jewellery. London: Published for the Trustees of the British Museum by British Museum Publications.

Turner, B., 1992. Regulating Bodies: Essays in Medical Sociology. London: Routledge.

V&A, 2015. A History of Jewellery. [online] available at: http://www.vam.ac.uk/content/articles/h/history-jewellery/ [Accessed 29 May 2015]

 

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Appendix 1 Newmeyer, S., 1946. Exhibit Modern Handmade Jewelry. [manuscript] New York: MoMA Archive.

 

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