Search results for ""Arnoldsche""

Documents on Contemporary Crafts is a book series published by Norwegian Crafts in collaboration with Arnoldsche Art Publishers. The series provides a critical reflection of contemporary crafts in a wider context and in doing so asks questions about the ties between contemporary craft, fine art and design, thus helping to redefine the concept of crafts as such. The five volumes discuss such topics as skills, materiality, curating, collecting, perception and New Materialism. The more than thirty contributors range from leading craft theorists, such as Jorunn Veiteberg, Glenn Adamson and Liesbeth den Besten, via academics outside the craft tradition, such as Roger L. Kneebone, professor of surgical education, Trevor Marchand, professor of social anthropology, and Margaret Wasz, consultant psychological therapist, to emerging voices like Sarah R. Gilbert, Marianne Zamecznik and Stephen Knott. No. 1: Museum for Skills. Skills are esse

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Attesting to the high standard attained by the Polytechnic, the new "Yearbook 2008" presents a cross-section of the top end-of-year performances in the following design-related disciplines: photography, the graphic arts, object and space design as well as camera training. "The Yearbook 2008" is structured to elucidate student degree and diploma work in conceptual texts and talks with the students themselves to reveal the objectives and content of the projects. A selection of accompanying texts deals with design, assignments and aims as well as the trend towards interdisciplinary approaches. A chapter entitled 'Looking back' is about intramural activities at the Polytechnic: events, exhibitions and symposiums. Essays by designers and art historians provide more glimpses into the exciting field of design theory and practice.Readers are treated to a vibrant presentation of the design department and its activities at Dortmund Polytechnic in this cross-section of the events organised by teams of students.

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Since 1965, the Association for Goldsmiths’ Art and the German Goldsmiths’ House Hanau have been organising the Silver Triennial International to promote contemporary silversmithing. The 20th competition demonstrates the variety of works at a high level: 121 silversmiths from 21 countries submitted hollow- and flatware or free-formed works. The focus is not only on technical and artistic aspects; a large number of the entries also have a socio-critical and contemporary historical background. An expert jury was again assembled this year: Dirk Allgaier, head of Arnoldsche Art Publishers, Stuttgart; Dr. Claudia Banz, curator for design at the Kunstgewerbemuseum Berlin; and JaKyung Shin, silversmith and assistant professor at Seoul National University, Korea, selected 67 impressive silver works. Text in English and German.

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Gisbert Stach's (b. 1963) monograph Jewellery and Experiment presents a multifaceted opus from twenty-five years of gold- and silversmithing. In his oeuvre the primarily conceptual artist combines jewellery with video, photography and performance. One focus of his work deals with processes of transformation and experiment - pieces disappear through chemical dissolution, and form is determined by agencies of growth in nature. Stach works with means of alienation and irritation. Ground amber serves as pigment, which he works into jewellery pieces in the form of fish fingers, sliced bread or schnitzel. A further characteristic of his work is the performative act, for example when brooches are pelted with knives. Gisbert Stach is represented in numerous museums and collections, including Die Neue Sammlung - The Design Museum, Munich (DE); Fondazione Cominelli, Brescia (IT); Museo de Arte Moderno, Tarragona (ES); Museum of Arts & Crafts, Itami (JP); Gallery of Art, Legnica (PL); Museum of Bohemian Paradise, Turnov (CZ); Amber Museum, Gdansk (PL). Published to accompany exhibitions at Arnoldsche Art Publishers, Stuttgart (DE), 9-11 November 2018, and Bayerischer Kunstgewerbeverein (BKV), Munich (DE) 28 February-24 March 2019. Text in English and German.

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In 1924, five young Italians founded the Studio Ars et Labor Industrie Riunite (S.A.L.I.R.) with the aim of modernising the ancient art of glass-decorating: Giuseppe D’Alpaos, Decio Toso, Guglielmo Barbini, Dino Martens, and Gino Francesconi. In 1928, the emergence of Franz Pelzel, a Bohemian glass engraver, and Guido Balsamo Stella, an all-round artist, marked the start of the production for which S.A.L.I.R. is most remembered today: contemporary glass-engraving. After Balsamo Stella’s departure in 1932, Franz Pelzel took the lead role of designer, occasionally also executing designs by other reputed artists. Based on the factory’s archives, Marc Heiremans illustrates the artistic evolution of S.A.L.I.R. through numerous drawings and period photographs. As well as being a catalogue raisonné, it is also an in-depth study shedding light on paramount developments in Murano’s glass-making history.

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The leaping deer from the range of wooden toys from the Seiffen region is an international symbol in the gleaming eyes of children and collectors alike. It was designed by Max Schanz (1895–1953), who as a teacher and director of the Spielwarenfachschule [Technical College for Toys] informed the production of toys in the Erz Mountains. His designs were implemented through the division of labour in family-oriented cottage industries, achieving the standards set by the Werkbund [German Work Federation] for attractive aesthetic and professional production: from small carol singers to six-meter-high Christmas pyramids, all basic components were turned on the lathe and thus display the design idiom typical of Seiffen. Spielzeug Gestalten im Erzgebirge portrays a significant chapter in German design history, from the late Empire, through the Weimar Republic and National Socialist rule, to the early GDR. Text in German.

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Jewellery and object artist Anton Cepka (1936) is one of the most important jewellery artists of the twentieth century and a protagonist of the so-called studio jewellery movement, which arose after the Second World War. Today he is considered the doyen of Slovakian and Czech jewellery designers. Whitened silver, optical glass, stones and modern acrylic glass are Anton Cepka's preferred materials. His jewellery and his objects as he himself says 'bear all the signs of today. At the same time they express the reflection of today's over-engineered world.' Movement and light unexpectedly come into play in these pieces; thus kinetic art enters jewellery art for the first time in a conceptual way. Aerotechnical, fragile futuristic forms, the colour of the whitened silver and titles such as Radar, Antenna, Airplane, Satellite and Planet reflect the current, technological advancement and reference of our times. The execution of the objects bears witness to a great craftsmanship that is essential to Cepka's objects. Text in English and German.

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'Serene pleasure' was what Johann Wolfgang von Goethe felt with regard to his collection of Italian majolica, tin-glazed earthenware, painted with vibrant high-fire colours and reflecting biblical, mythological and historical themes. Therefore his extensive art collections include a total of 97 majolicas, which have been kept at his former home at Frauenplan in Weimar until today. After the first unpublished compilation of the collection in 1958, this publication provides the first comprehensive art historical study of the individual objects, based on the most recent research findings. Furthermore, it details the provenance of the majolica that Goethe purchased between c. 1800 and 1830, especially from Nuremberg. The relations between Venice and the southern German trade centres play an important role here, opening up new insights into the majolica trade. Text in German.

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Hollow goose eggs, natural sponges, packaging, balloons featuring smileys, shoe soles, scientific gauges, or even his mother's gallstones the repertoire of things elevated to jewellery objects knows no bounds for the Norwegian artist Sigurd Bronger. His portable objects are turned into wearables by means of artful hanging mechanisms. For Bronger, jewellery is a means of communication. The questions he poses with his works relate to function and use, decoration, aesthetic, and beauty, and his works invite us to see things anew: does the beautiful really have to be useless and the practical aesthetically uninteresting? Through the witty yet subtle cosmos of this extraordinary artist, our own world of things is becoming a good deal greater.Text in English and German.

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Daniel Kruger’s (b. 1951) new monograph Jewellery – The unexpected meaning of curious things presents his jewellery art of the last ten years. Kruger, who grew up in South Africa, studied at the Academy of Fine Arts in Munich and taught at the University of Art and Design at Burg Giebichenstein in Halle. He gives things an unexpected meaning. Inspired by movement and his fascination with the visual quality of materials and objects, shapes, and colours, he creates a synthesis of supposed opposites, and it is this new context that elevates these connections into something precious. Through his freedom of thought, he creates a world of objects to be contemplated, but above all to adorn the body and the human being. Text in English and German.

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From Jewellery to Contextual Art presents the work of the artist and professor Elisabeth Holder and showcases her unique evolution. Coming from a classical goldsmithing background, she placed jewellery in relation to ancient signs and the ornamentation that emerged from them, pursuing the examination of materials in the charged arena between mastery and dialogue, and posing the fundamental question of what jewellery is and can be. This led to a paradigm shift. Jewellery was recontextualised. Illustrated with examples from fields such as architecture and nature, it becomes clear that such jewellery forms are never excessive and are at once Contextual art.Text in English and German.

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Flourishing in East Java, Indonesia, between the late 13th and the early 16th centuries, art from Majapahit had a decisive influence on the development of Southeast Asian culture: its highly distinctive style was characterised by the subtle balance between form and decoration and by a rich iconography strongly influenced by Sivaism and Buddhism. Today, these Majapahit artworks still constitute a highly interesting field of research, but they have been surprisingly far too little studied or published worldwide. This volume presents an exceptional selection of 86 Majapahit terracotta sculptures covering a wide range of sophisticated iconography - animals, images of motherhood, divinities - all drawn from popular legends of the period and part of a broader narrative series waiting to be discovered.

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William Underhill (1933–2022) was one of the great talents and enigmas of the modern American studio craft movement. He became an acclaimed master of lost-wax casting, pursuing the sculptural potential of bronze vessels with unrivalled persistence and virtuosity. He “molded and scratched the wax until the final bronze surface embodied all of the mystical connotations of a ritualistic object,” said Lee Nordness in his ground-breaking Objects USA (1969) survey of modern studio crafts. But Underhill then left the limelight and went on to ceaselessly explore both the power of beauty and form-making as a way to shape the spirit.

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In the form of The Glove Deutsches Ledermuseum is tracing the varied cultural history of an accessory whose importance is often underestimated. The sheer diversity of this article of clothing is demonstrated by means of selected exhibits, from warming Inuit mittens, boxing gloves, disposable rubber or latex gloves, and Pontifical gloves, to models by renowned designers such as Marc Jacobs and Dries Van Noten. As a love token, a gauntlet in a duel, or as the insignia of royalty, this highly symbolic accessory and firm component of first courtly, then bourgeois etiquette looks back on a longstanding tradition. Gloves, for centuries an indispensable part of any elegant wardrobe, are currently experiencing a comeback. Text in English and German.

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A hundred years after the fall of the Ottoman Empire, the Museum Fünf Kontinente is showing the special exhibition In trockenen Tüchern! Gewebtes und Besticktes aus dem Osmanischen Reich [A Stitch in Time! Woven and Embroidered Textiles from the Ottoman Empire]. The accompanying publication provides an insight into the different aspects of inhabitants’ life during the Late Ottoman Empire, based on selected textiles and everyday items from the collections of the Museum Fünf Kontinente as well as the private collections of Ther and Middendorf. Together with their rural counterparts featuring woven red and blue patterns, the napkins and hand towels from the 18th to 20th century, artistically embroidered with blossom, fruits, or architectural elements, accompanied people from cradle to grave and bear impressive witness to their craftsmanship. Today these textile objects are a significant part of the cultural legacy of Turkey. Text in German with partial Turkish translation.

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In 1955 seventy-four original plasters recording sculptures by Edgar Degas (1834–1917) were moved to the old Valsuani foundry in Paris only to reappear in France in 2004. These plasters are now being published for the first time, presenting new documentary and physical evidence regarding their dating following an in-depth analysis into the condition of Degas’s waxes at the time of his death. Technical and documentary evidence now proves that as many as half of the serialised “Hébrard” Degas bronzes now held in museum and private collections around the world were in fact cast at the Valsuani foundry in the 1950s and 1960s - long after the Hébrard foundry closed in 1935/36. All of the now cleaned 74 Degas plasters are recorded in full colour illustrations. The detailed appendix, which can be accessed via a QR code, provides additional information on the objects and is designed as a scholarly catalogue raisonné.

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The work of Esther Brinkmann is characterised by the meaning she bestows on the ring, its relationship to the hand and, perhaps most surprisingly, to its case. The Swiss artist prefers processed and textured materials, which now also include new component forms, techniques, and substances since her time living in China and India. She established a further education training program in jewellery design — a unique undertaking in Switzerland — at the Haute École d’Art et de Design (HEAD) in Geneva. Here, her knowledge and autonomy in her work have already shaped several other artistic careers. This publication presents Esther Brinkman’s oeuvre from the past 30 years and highlights for the first time the remarkable strength and the freedom that distinguish the artist’s rich career. Text in English and French.

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For over 142,000 years, beads have played an important role around the world as the oldest form of personal adornment. Joyce J. Scott has revolutionised and transformed the potential of the ubiquitous bead as a relevant, contemporary art form. For over 51 years, wielding beads as a vision, she has devoted her aesthetic practice to waking up the world, expanding beadwork’s boundaries, with powerful in-your-face social commentary. While addressing society’s ills, her visual and performance conversations on cultural stereotypes and racial injustices, elucidate her vibrant brilliant works of art. The publication Messages features Joyce J. Scott’s dynamic images with scholarly essays from experts in their field, as well as museum curator’s comments. Each individual provides deeper insights into the influences and extraordinary work of Joyce J. Scott, astutely capturing the essence and spirit of this icon of contemporary art. With contributions by Jacqueline Copeland, Henry John Drewal, Valerie Hector, and Joyce J. Scott, and a foreword by Libby Cooper & Joanne Cooper.

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Inspired by the Dutch sculptor Joseph Mendes da Costa (1863–1939) and Ernst Barlach (1870–1938), Hans Wewerka (1888–1915) conquered the realm of figurative sculpture while he was still a student in Höhr, an unusual discipline among the area’s vernacular ceramics. He observed society outside [draußen in German], in all realms of public life, with great sensibility: gossip mongers, potato sellers, a dancing couple. Wewerka created likenesses taken from real life. His artistic approach and his acute awareness of form made him an exceptional creator of modern earthenware who had already gained international recognition during his lifetime. This first, comprehensive monograph featuring a catalogue of works documents Hans Wewerka’s previously unknown career and traces his connections to modernist art, such as the Berlin Secession and artists like Rudolf Bosselt, Käthe Kollwitz, and Ernst Barlach. Text in English and German.

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Rare stones have fascinated people for thousands of years. Their extraction is never free of conflict, but at the same time the trading and processing of stones brings together people from the most remote regions of the world. In Germany, the town of Idar-Oberstein is considered a hub for gemstone trading and processing, and students come from all over the world to study and work here with rare materials. In LithoMania, part of the Design Lab exhibition series at the Kunstgewerbemuseum in Berlin, students from the Idar-Oberstein campus of the Trier University of Applied Sciences explore the complex ambivalence of gemstones, going beyond their use in jewellery design through objects, drawings, photographs, and texts. Since 2019 the exhibition series Design Lab has invited various design labs, organisations, and students to present their current projects and to enter into a dialogue with the Kunstgewerbemuseum collection. Text in English and German.

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In a country known for its lively azulejos (tiles) and clay crafts, local studio pottery in Portugal has remained practically unknown, yet throughout the last century, a considerable number of potters and visual artists – from Portugal as well as Germany, Hungary, and Mozambique, among other countries – have created an original corpus of work. Based on what is probably the most comprehensive collection of local ceramic art, this publication discusses with greater detail 30 potters’ work and is illustrated with over 300 ceramics. It covers the entire 20th century, but gives particular emphasis to the 1950s and 1960s, when there was a boom in interest for the discipline and when both state and private patrons commissioned significant artworks. This is the first seminal study of such an eclectic production, aiming to become a standard reference for the general public, collectors, and museum curators. Text in Portuguese.

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In a country known for its lively azulejos (tiles) and clay crafts, local studio pottery in Portugal has remained practically unknown, yet throughout the last century, a considerable number of potters and visual artists — from Portugal as well as Germany, Hungary, and Mozambique, among other countries — have created an original corpus of work. Based on what is probably the most comprehensive collection of local ceramic art, this publication discusses with greater detail 30 potters’ work and is illustrated with over 300 ceramics. It covers the entire 20th century, but gives particular emphasis to the 1950s and 1960s, when there was a boom in interest for the discipline, and when both state and private patrons commissioned significant artworks. This is the first seminal study of such an eclectic production, aiming to become a standard reference for the general public, collectors, and museum curators.

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This is the first comprehensive presentation of the Danish furniture designer Jakob Berg (1958–2008) and his work. As a designer, he was ahead of his time and not only continued the story of the golden age of Danish Design but, building on this legacy, fundamentally rethought the approach to seating and rest, sustainability, and the role of different wood types. Today, his furniture designs, which have enhanced home interiors around the world, are as current and relevant as ever. The reader is invited on a panoramic tour of Jakob Berg’s wonderful furniture universe, from his early one-offs, presented in art and design exhibitions during the 1980s, to his indoor/outdoor furniture and his many projects around the world. The publication is authored by leading Danish design experts and lavishly illustrated throughout, with 300 photos, as well as drawings and digital sketches. In addition to portraying Jakob Berg’s inspiring body of work, the book is in itself a piece of Danish Design — a unique experience that is not to be missed.

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The intention of Reinhold Ziegler's jewellery objects is to move the attention of the wearer or onlooker from themselves onto something greater - a radical strategy within a field that is strongly occupied with emphasising the individuality of the wearer. Ziegler's art is influenced by the French philosopher Georges Bataille, who in his work Eroticism identifies a strong dilemma in humanity in which, on one hand, we want to fight for our individuality yet, at the same time, have a strong desire to be united with what he calls 'everything that is'. In this book, Ziegler deals with this topic from many angles - gravitation, vibration, meteorites, fossils, and general aspects of humanity such as tools (from the Stone Age), talismans, spirituality, and consciousness.

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The uniqueness of Silke Trekel (*1969) lies in the melding of artisan skills and awareness with a particular sensibility for the character and texture of the inherent quality of her materials. Whether industrial or organic, they play a crucial role in her designs. The many travels of the Halle-educated artist broadened her perspectives, validating them in a concept of jewellery fed by universal symbolic metaphors of form. The publication gives a first in-depth account of her development, of this dialogue between abstraction and ornamental tradition. In fact Trekel invites us to rethink, for her work unites motifs and guiding concepts, which galvanised 20th century art - between sculptural spatial configurations and signs held in suspension. Trekel takes an active part in this story. Text in English and German. Published to accompany exhibitions at Bayerischer Kunstgewerbeverein, Munich, from 5 March-17 April 2021, at Deutsches Goldschmiedehaus Hanau from 12 September-10 November 2021, and Galerie Viceversa, Lausanne from February 12–March 12, 2022.

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If ceramics, glass, and metals are inextricably linked to earth and fire, textiles are arguably linked with wind and water. In truth, craft practices are all deeply connected to the elements and to nature. Seven distinguished writers and thinkers living in the Nordic region endeavour to flesh out concepts such as material interaction and material agency, Posthumanism, site-responsiveness, and symbiotic thinking in the field of crafts. How do artists explore the potential of materials and the four natural elements? What does a human-material interaction look like, and how might one approach a material, not from the position of a master but from that of a collaborator? Features essays by Randi Grov Berger, Nicolas Cheng, Camilla Groth, Jessica Hemmings, Jenni Nurmenniemi, Æsa Sigurjónsdóttir and Nina Wöhlk. Text in English and Swedish, Danish, Norwegian, Finnish, Icelandic, and Northern Sámi.

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Thorvald Hellesen (1888-1937) was a Norwegian avant-garde artist who lived and worked in Paris in the 1910s and 1920s. He and his wife, the French artist Hélène Perdriat, were part of a circle of artists that included Pablo Picasso, Fernand Léger, Constantin Brâncuși, Piet Mondrian, Theo van Doesburg, and many others. In his short yet intense life, Thorvald Hellesen created an impressive unique oeuvre, oriented on Modernism, consisting of oil paintings, watercolours, gouaches, drawings, design projects, and textiles. Nevertheless, even in Norway he is only known to a few. With this publication the authors Dag Blakkisrud, Matthew Drutt, and Hilde Mørch have created a written portrait of Hellesen. In addition to classifying him within the history of art, they try to find explanations as to why his artistic practice is only now being considered important and interesting for Norwegian and international art history. Text in Norwegian.

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A Passion for Porcelain brings together papers delivered at an international symposium held in 2018 at the Gardiner Museum, Toronto, Canada, in honour of Meredith Chilton, C.M., one of the foremost scholars and curators of 18th century European porcelain. Authored by leading scholars in the field, the essays take us on a journey from Sèvres, France to Japan via Boston, US, where we encounter both revered artists and anonymous makers, together with passionate collectors past and present. The contributions also explore the medium of porcelain in the context of artistic rivalry and gift exchange, as an object of fashion and scientific curiosity and as a symbol of status and power. Together they reveal the versatility of the medium, changing perceptions and endless possibilities for porcelain scholarship.

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In his artistic jewellery work, Jiro Kamata (b. 1978) deals with optical phenomena in connection with the perception of values. In doing so he also thematises traditional production methods. He processes found and sometimes used materials into rings, brooches and pendants. Kamata's works are generated in respect of an 'experienced memory'; only through experience and interaction with them do they attain their value. Kamata keeps the entire process in view at the same time: from manufacture to performance as worn on the wearers' bodies. Lenses, mirrors, even adhesive tapes offer insights, outlooks and perspectives, link wearers with their environments and query the assumed positions at the same time: How do we see the world and how does the world see us? Text in English, Chinese and Japanese.

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Despite being one of the most influential - and indeed most eccentric - of the American modernist jewellers, Sam Kramer (1913-1964) has received little recognition. His expressive, organic work and surreal workshop, located on West 8th Street in New York's Greenwich Village, paved the way for other mid-twentieth century metalsmiths, and for many more working today. Sam Kramer: Jeweler on the Edge investigates Kramer as both a seminal artist and a cult personality. Through lavish colour photographs of rarely seen works as well as newly discovered archival material, the story of this unique individual is told against a backdrop of post-Second World War America, from the late 1940s to the early 1960s. Mirroring both the existential angst and quirky humour of the Beat Generation, Sam Kramer embodied the iconoclastic spirit of his era.

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The ceramicist Theres Stampfli (b. 1952) and the musician Peter K Frey (b. 1941) have been working together under the name TONundTON since 1990. The artist duo always operate in terms of location, frequently searching for deserted buildings robbed of their function, such as a former reservoir or a transformer tower dependent on a power supply. The artists successfully revitalise the abandoned locations with sensitive, often anthropomorphic ceramics and sounds that fill the entire room. Even when intervening in museums, their installations alter the overall perception of space. In doing so, the two artistic disciplines come together to form a collective project, both audibly and visually. TONundTON is the first major documentation of their work. A soundtrack belonging to each of the images can be played by accessing QR codes in order to unite the acoustic and visual performances. Text in English and German.

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30 members of the international studio jewellery scene present their latest works. A valuable contribution to the positioning of jewellery in the arts. Karen Pontoppidan (b. 1968), Curator and Professor of Jewellery and Devices at the Munich Academy of Fine Arts, invites 30 international artists to the annual jewellery exhibition at Die Neue Sammlung - The Design Museum to present contemporary positions in studio jewellery. The publication SCHMUCKISMUS reveals that artists of this medium of expression no longer start from the mere decoration of individuals. Instead jewellery becomes a platform for discourse on cultural norms and values. Reflecting less on themselves as individuals, this new generation of artists is concentrating more on issues affecting society as a whole, such as ecology, consumer society or feminism. ARTISTS: T. Alm (SE), Y. Aydin (TR/SE), D. Bernadisiute (LT/SE), B. Brovia (IT/SE), C. Castiajo (PT), N. Cheng (HK/SE), E. Chun (KR/DE), S. Cohen (IL), I. Eichenberg (DE/US), C. Gimeno (AR), D. Hakim (IL), S. Hanagarth (FR), S. Heuser (DE), H. Hedman (SE), M. Iwamoto (JP/DE), H. Joris (BE/US), S. Khalil (LB), M. Klein (DE), G. Kling (SE), N. Kuffner (DE), B. Lignel (FR), J. Matzakow (DE), N. Melland (NO), N. Scholz (DE), K. Spranger (DE/GB), G. Stach (DE), V. Touloumidi (GR/DE), T. Tuupanen (FI), J. Yang (CN/DE), P. Zimmermann (AT) Text in English and German.

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Annelies Strba (b. 1947) portrays the Blessed Mary not as the mother of God but as an ideal representative of her gender. The photo artist depicts an image of womanhood that elevates erstwhile religious intention to an abstract realm. Digital disengagement and the almost rhapsodic colouration set the stage for a surface on which to project emotions. Strba embraces the Madonnas, dismissing the transcendental and concentrating on the empathetic accent of the mother-child relationship. In choosing Maria, Strba creates the role of woman versed in pain and loss, but also one informed by purity and benevolence. Although these features were originally conceived in the composition and facial expression, the artist defamiliarises them through colour filters and the removal of contours - the dissipating figures lose themselves in their own luminosity.

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The techniques used to forge iron and precious metal are a key theme in the work of Viennese artist Gabriele Kutschera (b. 1950). Starting out with jewellery creations related to the body, she turned to spatially related, forged iron sculptures from the 1990s. The rhythmical process of altering the cross-section of an industrially prefabricated iron rod is a defining factor of her metalsmithing: by hammering and annealing - the creation and release of the metal's stresses - she is able to shape the material. Kutschera translates this sequential processing into her expressive works. The perception of time and change is her chief motif, which she also addresses in her paper works Timelines. Gabriele Kutschera documents the distinguished Austrian artist's works in iron sculpture, jewellery and paper from 2000 to 2018. Text in English and German.

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A sphere encrusted with reindeer antler tines, an intricate bone-laden tapestry and sculptural flora integrating domestic textiles are only three of the many works unveiled in this first ever comprehensive look at tactile works by Norwegian artist Aslaug M. Juliussen (b. 1953). Self-reflections upon her life and everyday experiences with the Arctic landscape shape the imagery in her work, as evidenced by her choice of materials and techniques. Juliussen explores materials that speak to culture and tradition in Northern Norway, and the Sami culture in particular. The publication comprises engaging cross-disciplinary essays that illustrate the multifaceted aspects of Juliussen as an artist. Scholars from such diverse fields as biology, philosophy, gender studies and art history look at Juliussen's art from multiple perspectives and thus enable a new dialogue on art in the context of a European indigenous culture. Published to accompany the exhibitions at Nordnorsk Kunstmuseum, Tromsø (NO), 20 October 2018-31 March 2019 and at Blaafarveværket, Modum (NO), Summer 2019 and at Anchorage Museum, Alaska (USA), Autumn/Winter 2019.

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Caroline Broadhead (b. 1950) is a highly versatile artist who started in jewellery in the late 1970s. Since then she has extended her practice from "wearable objects" and textile works to dance collaborations and installations in historic buildings. Broadhead's work is concerned with the boundaries of an individual and the interface of inside and outside, public and private, including a sense of territory and personal space, presence and absence and a balance between substance and image. It has explored outer extents of the body as seen through light, shadows, reflections and movement. Published to accompany the Exhibition at CODA Museum Apeldoorn (NL), 4 February - 15 April 2018 and the Exhibition at Lethaby Gallery, Central Saint Martins, London, 11 January - 2 February 2019.

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The consummate Susan Grant Lewin Collection - recently donated to Cooper Hewitt - captures the diversity and achievements of contemporary art jewellery with nearly 150 significant works from the last 15 years by designers from the United States, Europe, Asia and Australia. The brooches, necklaces and rings reveal how these contemporary jewellers have revolutionised the medium in transforming jewellery conventions as expressions of our time. Descriptions of specific works demonstrate that while the mastery of materials and techniques is critical to the creative process, it is not an end in itself, but only the means to accomplish an aesthetic vision. Process statements from each designer and a full gallery of the jewellery accompany the narrative sequence of extraordinary, stirring, unique pieces. Published to accompany the Exhibition at Cooper Hewitt, Smithsonian Design Museum, New York (US), 17 November 2017-28 May 2018.

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Doris Betz (b. 1960) is devoted to exploring linear form in her work. In her drawings she fathoms the depths of the potential of the line and the possibilities of the material silver, which she then contorts, turns, rolls and turns again, finally lacquering, oxidising or patinating with a flame to create the final jewel. Unforeseen fragile-looking and poetic formations emerge as Betz overlaps, knots and layers her material, rendering visible her jewellery's relationship to the vegetal language of natural forms - a source of inspiration for the artist. This book presents a selection of her jewellery works together with drawings from 2009 to 2016 for the very first time.With essays by: Monika Fahn, Pravu Mazumdar, Ira Mazzoni and Olga Zobel.

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The graphic work by Wolfgang Gäfgen (born 1936 in Hamburg) encompasses more than fifty years. From the very beginning it combined the meticulous observation skills of his contemporaries with a virtuosity in drawing, something exemplary in contemporary art and still rarely seen today. His interest in superficies transforms quite unremarkable everyday things into exquisite precious items, which have set aside their original functional purpose to develop a defiantly ironic life of their own. Here, Gäfgen's drawings, along with his printed graphics and photography, which form the core of his artistic oeuvre, will be extensively acknowledged for the very first time. After studying in Hamburg and Stuttgart (1956-1961) Wolfgang Gäfgen moved to Paris. In 1977 he participated with a block of drawings in documenta 6. From 1983 to 2002 he held a professorship at the State Academy of Art and Design in Stuttgart. Text in German and French.

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The work of the Norwegian artist Bård Breivik unfolds over more than 1,000 pages in a stunning presentation of a career in sculpture and Conceptual art encompassing more than forty years. Thematically arranged source material, including interviews, sketches, anecdotes and reviews, elucidate the phenomenon that is Bård Breivik. The sheer volume of his oeuvre is also reflected in his choice of materials: he switches as if by sleight of hand between sand and snow, wood, rock and steel. In a series that has continued to evolve since 1986, he has persisted in working on vertically arranged forms 120 cm in length, which have been designed with the means of differing cultural traditions, thus retaining their uniqueness. Volume I: I'd Love the Key to the Master Lock Volume II: The Life and Art of Bård Breivik

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With passion and expert insight, Frank Nievergelt compiled an impressive collection over forty-five years of more than 900 pieces of contemporary ceramics, ranging from vessels and sculptures via display pieces to monumental works. Over one hundred leading figures of the international ceramic scene from 1970 to 2015 are represented in the collection, the emphasis of which is on newer objects. In this publication, the most significant pieces of this renowned collection are presented in a selection of forty-one artists, hence impressively highlighting the unaffected beauty and diversity of contemporary ceramic art. Moreover, Nievergelt introduces the artists individually, enhanced with reflections from Anne-Claire Schumacher (curator of the Musee Ariana) and Prof. Volker Ellwanger. The catalogue documents the latest inventory of the Musee Ariana in Geneva.

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Gemstones have always been, since time immemorial, heavily charged with meaning and have even been regarded as magical objects. For that reason they have also been an art medium since the early modern age and have shaped as art symbols - in the form of the crystal - both Romanticism and Modernism, for example in the works of Caspar David Friedrich, Lyonel Feininger and many more. In the latter half of the twentieth century, not only have such artists as Bernd Munsteiner, Ute Eitzenhofer and Bernhard Schobinger rediscovered the gemstone; through the Hochschule fur Edelstein und Schmuck Trier/Idar-Oberstein and other similar specialist institutions it is also undergoing a revival in today's art production - right up to Damien Hirst.

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This book grants unexpected, beautiful and provoking insights into the diversity of the collection of treasures held in Leipzig's GRASSI Museum of Applied Arts. Focusing on the joy of contemplating the works, its hope is to awaken the desire for a personal encounter with them. The sequence of illustrations highlights exciting connections, diversions and views between the objects. Chronological records or even the stringent arrangement of the collections and materials play no role here, allowing surprisingly novel, latent qualities that are frequently otherwise hidden, to be revealed. In this publication the works meet face to face and present a wonderful survey of the diverse forms of applied art and design.

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Ever since the 1970s the Austrian couple Heidi and Karl Bollmann have been assembling a highly respected collection of international art jewellery. In this survey exciting artistic approaches as well as trends and developments of the genre are brought before our very eyes with the aid of selected works. The illustrations of the objects are complemented by a series of portraits, for it is only when worn by man that the pieces unfold their performative potential - and a subtle dialogue with the individual develops. Moreover, each piece is accompanied by a definition by the collector or the person who is being portrayed as to what jewellery is or could be, thereby stimulating thought about the meaning of art jewellery for the individual as well as for society as a whole. A particular focus lies in the work of the Austrian Fritz Maierhofer, one of the most significant jewellery artists in the world.

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Is fashion that is out of order and doesn't seem to follow any obvious rules truly accidental? Or has dissonance in fashion always been a guiding principle? Can coincidence therefore be predictable and controllable? A publication which defies all boundaries of categorisation has been created out of the workings of fashion that almost inevitably has to be out of order, so as to increase its attractive power and generate attention with its interruptions of the ordinary. The contributions, on the border between art and fashion and residing within the realms of literary theory, design theory, cultural history and technology, demonstrate in manifold ways processes, images and ideas that are striving for innovation and transgressing established parameters. The publication is dedicated to the constructive side of the development of fashion, whereby the theme of Out of Order is combined with the concept of dissonance as a creative formula. If one starts from the premise that fashion is no longer fashion when it can be generalised, categorised, repeated and described, then the process of dissonance constitutes the significant impulse for everything new. With contributions from: Pamela Church Gibson, Annette Geiger, Judith Gerdsen, Hanna Heilmann on Vibskov & Emenius, Iris Maria vom Hof in conversation with Oliver Sieber, Verena Kuni, Isabell Lizardi & Matt Johnson, Thomas Oláh, Andrea Sick, Bitten Stetter & Daniel Späi, Terre Thaemlitz, Barbara Vinken, Harry Walter and Gundula Wolter.

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From sumptuously embellished glass vessels by Emile Gallé, Daum Frères and Louis Comfort Tiffany, subtly decorated pieces of the famous porcelain manufactories in Rozenburg, Copenhagen, Nymphenburg and Meissen, hair pins richly adorned with blossoms and other extravagant jewellery pieces by the Parisian jeweller René Lalique to individually designed furniture by August Endell, Richard Riemerschmid and Henry van de Velde. The visitor to the collection of the Bayerisches National Museum in Munich has the pleasure of strolling through the fascinating, diverse collection of Art Nouveau pieces. These works comprise one of the most outstanding collections in a German museum that contains works in the artistic style of around 1900. The core consists of the collections, acquired by the Munich museum in 1983, assembled with the great expertise of Professor Siegfried Wichmann and Duke Franz von Bayern. From the more than 500 individual items, this richly illustrated publication presents 150 of the most beautiful and important works accompanied by insightful texts and magnificent reproductions. Text in German.

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The Viennese gallery Slavik has been exhibiting international contemporary jewellery art of the highest quality for 20 years. The rotating bronze disc above the entrance beckons the visitor to enter into a unique universe and into a singular architectonic design concept. As a meeting place for artists, collectors and museum professionals from all over the world, it is the goal of the gallery owner Renate Slavik to provide a deeper understanding of the fascinating nature of contemporary jewellery art. Since 1990 the former antique dealer has supported unique, handcrafted jewellery with her enthusiasm and vision. "Art on the body" made of paper, synthetic material, tin as well as traditional "ingredients" like gold, pearls and diamonds are displayed in her changing exhibitions. In the gallery artistic impetus has been provided by Annelies Planteydt and Gijs Bakker from Holland; from international masters of studio jewellery such as Giampaolo Babetto or from the Padua School of Francesco Pavan. The gallery's repertoire includes avant-garde jewellery by Annamaria Zanella, Jacqueline Ryan, Stefano Marchetti and Giovanni Corvaja as well as the geometrical creations of David Watkins or the golden bracelet discs by Okinari Kurokawa. The Catalan Massana School of Joaquim Capdevila and Ramon Puig Cuyas with their colourful, narrative style; Helfried Kodre's brooches and ring sculptures as a three-dimensional, spatially-extended implementation of geometry; Michael Becker's clear, architectonic language of form; or the works with moving surfaces by Yasuki Hiramatsu represent different expressions of contemporary jewellery work. The doors stand wide open to the up-and-coming generation of craftsmen - one of the gallery owner's favourite tasks is to scout out young talent such as Miriam Hiller or Isabell Schaupp.

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The eruption of the absurd into normality: since he studied drawing, the easy option for Valentin Magaro would have been to represent people and objects naturalistically. However, he has chosen to go a different way in his drawings and paintings. Whereas he always depicts human beings schematically, for example in the form of lay figures, his grotesque architecture seems to have sprung from self-organising growth. Born in Switzerland in 1972, Magaro seems unwilling to distinguish between inanimate matter and animate living beings in his work. Doll-like figures in his pictures are often placed in excruciating contexts. Nevertheless, Valentin Magaro is not concerned with creating gruesome effects. Far from it. He succeeds in engaging our empathy and stimulating our imagination through the very stringency of his draughtsmanship. What the viewer sees in his mind's eye are new, monstrous images of unpleasant hybrids created from neutral, precise forms. Reality is deconstructed, only to be recombined in nightmarish scenes. References to the surreal illustrations of a Max Ernst are linked in this pictorial cosmos with associations of M. C. Escher's impossible perspectives as well as narrative approaches borrowed from twentieth-century comics. And even though Valentin Magaro's pictorial inventions may seem at first sight both under control and calculated, closer scrutiny reveals the exact opposite: the images born of his feverish imagination tend to take matters into their own hands and their content goes out of control.

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