Search results for ""Author Jorunn Veiteberg""

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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Kim Buck is partial to using well-known jewellery motifs such as hearts, daisies, signet rings, and crosses as a point of departure, but the materials can be anything from precious metals to found objects and ready-mades. With surprising combinations, wordplay, and a touch of irony, he questions the conventions of the jewellery business as well as the way national and religious symbols are used and abused. Even Denmark’s national jewellery piece, the daisy brooch, is up for scrutiny. To a conceptual artist, raising questions and prompting reflection is of utmost importance. The questions raised by Kim Buck through his jewellery and objects touch upon values, ethics, and social status and reach far beyond the jewellery field itself, disrupting our cultural habits and understanding of the self. Text in English, Danish and Chinese.

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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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A portrait of an eminent jewellery artist and her unique creations! Inspired by the Arte Povera movement, the Italian jewellery artist Annamaria Zanella (b. 1966) uses base materials, which only gain meaning through their context. Corroded metal or found objects convey statements that can be both political and personal in nature. Zanella wants to bring the soul of the material to light through the work of her own hands. The colour used is intended to evoke feelings and reactions. To this end Zanella studied the history of colours and their production, especially that of her unmistakable blue. She produced a blue pigment according to a recipe from the fourteenth century, invoking in its modern use pioneering artists such as Giotto, Wassily Kandinsky and Yves Klein. Annamaria Zanella is represented in numerous museums, including Musee des Arts Decoratifs, Paris (FR); Kunstgewerbemuseum Berlin (DE); Die Neue Sammlung The Design Museum, Munich (DE); Museum of Arts and Design, New York (US); Schmuckmuseum Pforzheim (DE); Museo degli Argenti, Florence (IT); Victoria and Albert Museum, London (GB); Palazzo Fortuny, Venice (IT); Cooper Hewitt, Smithsonian Design Museum, New York (US); Swiss National Museum, Zurich (CH). Text in English and Italian.

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Comprehensive monograph on this internationally-renowned metal artist, featuring work from across nearly 50 years. Explore the most precisely and stringently crafted metal art of Pal Vigeland. Photography by Guri Dahl offers many close-ups to zoom in on the production process. Pal Vigeland has worked as a metal artist for nearly 50 years. Everything he has ever made, from jewellery and plates to public commissions and sculptures, has always been characterised by precision and stringency. This book shows the continuities between Vigeland's earliest years and the present, while also exploring many of the surprising changes that have taken place along the way. The intricate production methods that underlie Pal Vigeland's latest works in tin are difficult to comprehend when standing in front of the finished pieces. Consequently, one major contribution to this book are Guri Dahl's photographs of the artist at work. Her many close-ups allow us to zoom in on the constructive processes and appreciate how exacting and time-consuming they really are. Text in English and Norwegian.

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"When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child." (Felieke van der Leest). The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.

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Nina Malterud is one of Norway’s most prominent ceramics artists. Over the course of her five-decade-long career, she has developed a unique artistic oeuvre with references to traditional ceramic objects like plates, bowls, and tiles, but the emphasis is more on expression than on function. She explores the possibilities of clay and glazes in a free and undogmatic way, and is open to the visual results that can arise through controlled coincidences. The traces of the process are an essential part of her visual language. Sometimes the motifs are recognizable, but for the most part, she works with abstraction. The pieces radiate both tenderness and fragility, strength, and power. Combined with the materiality and weight of ceramics, the results are artworks with a strong sensory appeal.

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Since her debut in 1995, the Danish ceramist Gitte Jungersen (b. 1967) has gained much attention for her innovative work with ceramic glazes. She experiments with extremely active glazes that melt and run during firing, and form individual masses and cracks in a way that is reminiscent of geological processes. After cooling, the works appear as congealed traces, balancing on the edge between chaos and control. Whether we can expect an imminent dissolution, or a new narrative is taking shape is open to question. The objects give rise to a feeling of something uncontrollable and catastrophic, yet at the same time her ceramics have a sensually enticing feel to them as well as great visual appeal. For the first time, an overview is being presented of Gitte Jungersen's work from 1995 to 2017, with comprehensive illustrated documentation of around sixty pieces.

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The Norwegian Torbjorn Kvasbo (b. 1953) is considered a leading figure in the field of contemporary ceramic art. He exhibits regularly in Asia, Europe and the US and achieved a unique status as an artist and pioneer, and also as a teacher with widespread influence having been actively engaged in restructuring the art schools where he taught. The art historian Jorunn Veiteberg analyses in this publication Kvasbo's works from 1977 to the present day. Most critics have described his objects as forms inspired by nature, by lava eruptions or landscapes. Veiteberg is critical of this and sees them more as bodily expressions. Kerstin Wickmann, design historian and former professor at Konstfack in Stockholm, discusses Kvasbo's twelve years as teacher in Stockholm and his influence on his students and the educational system. Torbjorn Kvasbo's work is represented in numerous international museums and private collections, such as the National Museum, Stockholm/SE, Designmuseum Danmark, Copenhagen/DK, The National Museum of Art, Architecture and Design, Oslo/NO, Auckland Institute and Museum/NZ, Museum of Modern Ceramic Art, Gifu Ceramics-Park Mino, Gifu/JP, World Ceramic Exposition/KOR, Daum Museum of Contemporary Art, Sedalia MO/US.

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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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A key, a safety pin, a balloon, a propeller, a voltmeter - these unexpected objects in art jewellery rewrite the world of the Norwegian "jewellery engineer" Sigurd Bronger. He carries over his fascination for machines and instruments in humorously constructed jewellery pieces, and transforms natural materials and everyday objects into meticulously executed, complex and ingenious constructions. In his Oslo "Laboratorium Mechanum", Bronger works on his witty "carrying devices" - brooches, pendants, and rings with balloons, sponges, eggs, even his mother's gallstones, or with medical equipment, which have a greater positive effect on the mind than on the physical well-being. An established feature of his work, which symbolically marks the entrance into Bronger's world, is the key. This current publication offers such a key; a review of over thirty years of his creative work: from Bronger's experiments with materials and constructions in the struggle with the avant-garde Dutch art jewellery to his attempts in fathoming out states of expansion and emptiness in jewellery. He revolutionised contemporary creative jewellery work in such a way, not just in Norway, where to this day he still finds new forms of expression at the interface of jewellery, art, design and engineering. With works from the 1980s to the present day, this book will carry you off into the humorous world of the decorative engineering art of Sigurd Bronger, one of the most significant Norwegian jewellery artists today. Text in English, German & Norwegian.

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Very rarely does a jewellery artist manage to find new pictorial worlds of such a personal nature during the course of their creative work so freely and unencumbered as Daniel Kruger (born 1951, South Africa). His experiments with the most diverse materials, decoration, forms and structures testify to an exuberant creativity for which he was honoured with the renowned Herbert Hoffmann Award for Art Jewellery in 1987 and 2005. Daniel Kruger uses found objects of every kind, or quotes historical forms and decoration. The unusual combinations of materials as well as new interpretations of techniques used in handcraft and textile work unexpectedly, yet invariably, lend his jewellery pieces new perspectives and aesthetic pleasure as well as a decidedly erotic quality, as he himself says. The works illustrate Daniel Kruger's curiosity with unconventional techniques and materials; they are also an expression of his awareness of nature and artificiality, history and tales, tradition and the present: sometimes ironic, at times restrained, but frequently also opulent and sensual. Text in English and German.

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The Swiss artist David Bielander (b.1968) is one of the most significant proponents of contemporary art jewellery in the world. With him, nothing is what it seems: corrugated cardboard is actually silver or gold, Wiener sausages are a chair in a coffee house, shapely lips are made of rubber...This ambiguity distinguishes his work as much as his exceptional knowledge of materials and artisanal skill. Created with the support of Pro Helvetia, Schweizer Kulturstiftung, David Bielander offers the first, comprehensive review of this multi-award-winning artist, who with his conceptual reflection and power of imagination creates works full of wit and sensuality. With essays by: Gijs Bakker, Maria Cristina Bergesio, Rutger Emmelkamp, Karl Fritsch, Toni Greenbaum, Florian Hufnagl, Bernhard Schobinger, Marjan Unger, Jorunn Veiteberg et al. David Bielander is represented in numerous museums worldwide. His art is on permanent loan at the Danner Foundation, Munich (DE), and can also be found at Die Neue Sammlung - The Design Museum, Schmuckmuseum Pforzheim (DE), Bundesamt fur Kultur Schweiz at mudac, Lausanne (CH), CODA Museum, Apeldoorn (NL), the National Gallery of Australia, Canberra (AU), Musee des Arts decoratifs, Paris (FR), FNAC, Paris (FR), Middlesbrough Institute of Modern Art (UK), Hiko Mizuno College of Jewelry, Tokyo (JP), Dallas Museum of Art, Rose-Asenbaum Collection (US), Los Angeles County Museum of Art (US), and The Metropolitan Museum of Art, New York (US).

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Mari Ishikawa sees a parallel world off the beaten track of everyday living that she wants to make visible with her art. Such counter-worlds are discovered in photographs with long exposures, which are taken up in art jewellery. Together these pairings result in an overall picture that is almost mystical. Silver casts taken from nature are reborn as jewellery in combination with diamonds, pieces of charcoal, or paper. Thus Mari Ishikawa interrupts for a brief moment the flow of transience; a precious object is created that has been wrenched from the cycle of life and death to stand for itself and for the moment.

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Since the mid-1990s, Annette and Caroline Kierulf have practiced what they themselves call “woodcut as cultural critique”. Drawing on the medium's rich history as a means of communication and protest, the Norwegian artists strive to revive woodcut as a discursive tool. With subtle humor, the sisters use the visual reductiveness of the low-tech medium to critically reflect on the social, economic, and cultural changes shaping our high-tech societies. Incorporating references to pop culture and folk art, Caroline Kierulf's work explores the often overlooked aspects of everyday life, Annette Kierulf focuses on a feminist reinterpretation of the landscape genre. The publication provides insights into the artists' production and working methods, as well as their longstanding collaboration.

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