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. 

Nov 7, 2009

the residue of art: Clegg and Guttman


“There is an increasing prevalence of exhibitions comprising documentation and the residue of art that has happened elsewhere, rather than self-contained art objects. This `elsewhere' might be another museum or gallery. More likely it is a site defined to some degree by it not being a gallery. When placed in a gallery these artefacts undergo some presentational grooming to make them look more at home - that is, to look more like art. The Open Public Library began with three bookcases placed in selected locations in the suburbs of Graz, stuffed with books to be freely borrowed, and inviting additional donations from interested users. Contrary to pessimistic expectations, these small-scale unpoliced institutions thrived. Two years after the project ended the artists returned to conduct interviews with residents about their response.”


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