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



FLW view the machine as a grea help to human progress and evolution, Adolf Loose calls for degation of the ornament, Less is More says Miles Van der Rohe.
In return Robert Venturi says- Less is bore. Are we constantly over doing one style to just move over to the next which is actually repeating principles in design? as Hal Foster suggests.


Also, I can't help but wonder, If the machine that eased the work of artists and manufactors only made us lazy and so lead to the clean plane lines of the minmalizm? Is the reduction of detailed decor a result of the lazy craftsman?
Simplicity- is not only a negation of detail but a well thought purpose, claims FLW.


Tel Aviv- "The White City" (-Bauhaus)

www.white-city.co.il/english/index.htm

Asia House (Ben Horin Architects)Tel Aviv
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