Course Description

This course is meant to be a space for you to examine and deepen your relationship to the field and your own practice through readings, discussions, and presentations.  The readings are meant to expand your perspective on the field of jewelry and metalsmithing, to define its particularities and concerns in relation to the discourses of the contemporary art world.

Together we will explore a series of seminal theoretical texts, seeking ways to relate them to our own practice.  Through these texts we will encounter a series of themes and historical perspectives that are crucial to the field of jewelry, while also delving into fields and areas of inquiry, that have not commonly been related to our field, but perhaps should or could be.  Our aim is to get a historical and interdisciplinary perspective on where we are as artists/makers today, how we got here and where we could go from here. The course aims to bring up critical questions on why we make, whom we make for and the meaning of our practice beyond the studio and the jewelry and metals world.

This is a chance to practice your skills in connecting theory, reading and writing to your work and to build a vocabulary and ground of reference around your ideas, interests and intentions. It’s a chance to take part in an intense discourse around your field, which you might be asked to do many times in the future of your career.

The Wednesday meetings will adopt the form of a reading/talking circle. Your role in the group is important and the success of our conversations will be based on your participation and engagement. We will all take turns in presenting and leading the discussion and also examine what “research through practice” might mean for us, by exploring some ways of connecting theory and making. 

Oct 5, 2009



Design by William Morris (wallpaper)



The Arts and Crafts of to day (1889) William Morris


Picking up on the styles and philosophies of William Morris and Charles Renie Macintosh, the American Arts & Crafts movement offered a total way of life-grounded first and foremost in the design of the home and its furnishings.

The Arts & Crafts ideal stressed simplicity, natural materials like wood and brass, and a return to individual craftsmanship-as opposed to the newly dominant methods of mass production. Ornament in Arts & Crafts pieces is limited, and when present, it is meant to echo the function and construction techniques of the piece.

Arts & Crafts pieces were made between about 1895 to 1915 in the U.S. They are based on heavy, rectilinear forms balanced by exquisite details that serve to visually lighten their lines. Visible tenons connect parts of a chair, and Corbel brackets reinforce joints to create graceful profiles. Open parallel slats abound, and stained glass is a staple of Arts & Crafts lamps and home design, contrasting the stability of wood with the soothing presence of air and light.

Early Arts & Crafts doors were often of plain plank construction, fitted with elaborate hinges and latches, rather than knobs, inspired by medieval forms. Later in the movement, painted motifs became popular--either freehand or stenciled--and were supported visually by the use of stained glass.

Furniture: A strong design element of the Arts & Crafts movement was the regular use of built-in furniture. It was practical and minimized the clutter that was common in the Victorian era. A window seat beneath a bay window or a bench and sideboard against a wall in the dining room might be incorporated into the house design, for example.

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