An undergraduate assignment at LDSOA Georgia given by Anya Kavarkis aimed at investigating the body as site:
http://art.uga.edu/index.php?pt=1&id=475
and http://onlineathens.com/stories/020808/living_20080208006.shtml
Caroline Gore, a Kalamazoo, Michigan artist working with photography and street-scape to create objects of jewelry- see specifically her Florence series:
http://www.carolinegore.com/site_interventions.html
and http://www.klimt02.net/jewellers/index.php?item_id=9939
I located an exhibition titled, "Site Specific/Jewelry from the Metal Arts Guild" that opened on 10/6/1999 at The Collector's Gallery at the Oakland Museum of Art- but unfortunately there is no on-line list of artists who participated, nor was there a catalog printed.
Here is Tiffany Parbs a Melbourne, Australia Jeweler who uses the idea of jewelry cosmetically- a link to her exhibition at Craft Act Gallery in March 2009 with installation views:
http://www.craftact.org.au/exhibitions/2009EX2G1
and http://www.klimt02.net/jewellers/index.php?item_id=13287
Caroline Broadhead is a multidisciplinary artist. She instructs at Jewellery and Textiles at Middlesex University. Here is a link to a site-specific work titled Breathing-Space that the artist created for a medieval church in North Yorkshire, UK in 2005:
http://www.bbc.co.uk/northyorkshire/content/articles/2005/09/16/breathing_space_feature.shtml
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 28, 2009
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