Gilded, Bejeweled, and Plugged-in: Photo-Jewelry Hybrids for This Millennium

Jordan Doner’s Surveillance Pendant seems to be like a daily necklace, nevertheless it has an uncommon perform. Made of smoky quartz, sterling sliver, and leather-based, it incorporates a tiny HD digital camera that transmits what it sees to an identical silver Display Cuff, outfitted with an LED display. The James Bond–like items flip the wearer’s physique right into a type of closed-circuit TV: anybody who comes into view turns into a part of the paintings, elevating questions on consent and surveillance. The set is a part of “Multiple Exposures: Jewelry and Photography,” an exhibition opening May thirteen on the Museum of Arts and Design that appears on the quirky and shocking intersections of those historic and trendy crafts. Close to one hundred seventy objects use sources starting from ambrotypes to photocopies, gluing, etching, stitching, and encasing them in glass, enamel, and aluminum to make items that mirror altering concepts about magnificence verses adornment and know-how in relation to the human physique.

Left: Gijs Bakker, Waterman, 1991, copy of a postcard, diamonds, white gold 585, PVC. Right: Lauren Kalman, Tongue Gilding, 2009, digital video, 12 minutes. LEFT: COLLECTION OF ANGELA SCHAEFER. PHOTO: ©THOMAS VON DER HEIDEN. RIGHT: COURTESY THE ARTIST AND SIENNA PATTI. PHOTO: SIENNA PATTIA.

Left: Gijs Bakker, Waterman, 1991, copy of a postcard, diamonds, white gold 585, PVC. Right: Lauren Kalman, Tongue Gilding, 2009, digital video, 12 minutes.

LEFT: COLLECTION OF ANGELA SCHAEFER. PHOTO: ©THOMAS VON DER HEIDEN. RIGHT: COURTESY THE ARTIST AND SIENNA PATTI. PHOTO: SIENNA PATTI.

There are mom-daughter daguerreotype earrings from the 1850s and Gijs Bakker’s 1991 diamond encrusted pin made out of a postcard of a Bruce Weber nude, however the present’s focus is on items from the flip of the millennium to the digital current, when images underwent its most up-to-date set of sweeping modifications.

Sarah C. Turner, If One Could Wear a Marching Band, 2004, digital projections. COLLECTION OF THE ARTIST. PHOTO: SARAH C. TURNER.

Sarah H. Turner, If One Could Wear a Marching Band, 2004, digital projections.

COLLECTION OF THE ARTIST. PHOTO: SARAH H. TURNER.

Among probably the most radical are Sarah A. Turner’s disembodied necklace, which is projected onto the wearer’s pores and skin, and Wafaa Bilal’s 3rdi, a silver digital camera that was implanted on the again of the artist’s cranium. For a yr it transmitted pictures to an internet site the place his new life in New York might be watched by these he left behind in Iraq.

Wafaa Bilal, 3rdi, 2010, silver, ABS, high-speed USB cable. COLLECTION OF THE ARTIST. PHOTO: BRYAN DERBALLA.

Wafaa Bilal, 3rdi, 2010, silver, ABS, excessive-velocity USB cable.

COLLECTION OF THE ARTIST. PHOTO: BRYAN DERBALLA.

Some artists mix the previous and current in a single piece, utilizing previous pictures to make new jewellery. Bettina Speckner’s brooches set classic ferrotypes with jasper and rubies; others etch her personal pictures on zinc or enamel them on silver. Bernhard Schobinger’s necklace strings collectively torn nineteenth-century silver prints on a gold chain. In these, the mysterious or tragic previous is reworked right into a valuable object.

Left: Jiro Kamata, Arboresque Brooch, 2010, camera lenses, acrylic paint, blackened silver. Right: Bettina Speckner, Untitled, 2004, artist’s photograph enameled on silver, cowrie shells, amethysts. LEFT: COLLECTION THE ARTIST. PHOTO: JIRO KAMATA. RIGHT: COURTESY PRIVATE COLLECTION. PHOTO: BETTINA SPECKNER.

Left: Jiro Kamata, Arboresque Brooch, 2010, digital camera lenses, acrylic paint, blackened silver. Right: Bettina Speckner, Untitled, 2004, artist’s photograph enameled on silver, cowrie shells, amethysts.

LEFT: COLLECTION THE ARTIST. PHOTO: JIRO KAMATA. RIGHT: COURTESY PRIVATE COLLECTION. PHOTO: BETTINA SPECKNER.

As the strong glass, metallic, and paper of analog images are changed by pixels and screens, different artists use getting older and out of date photograph supplies to make poignant associations. Jaimie Macdonald’s Wave Goodbye Ring is constructed from the acquainted white plastic of a movie canister, the as soon as ubiquitous by-product of opening a recent roll of movie. The interesting blue jewels in Sandy Johanson’s silver wire neckpiece are classic 1960 Sylvania flashbulbs, unfired and repurposed.

Left: Jaimie MacDonald, Wave Goodbye Ring, 2005, plastic film containers, metal. Right: Sandy Johanson, Flash Bulb Neckpiece, 2011, unfired Sylvania FP 26 Blue Dot flashbulbs ca. 1960, patinated sterling silver wire. BOTH: COLLECTION THE ARTIST.

Left: Jaimie MacDonald, Wave Goodbye Ring, 2005, plastic movie containers, metallic. Right: Sandy Johanson, Flash Bulb Neckpiece, 2011, unfired Sylvania FP 26 Blue Dot flashbulbs ca. 1960, patinated sterling silver wire.

BOTH: COLLECTION THE ARTIST.

thirteen P:00 pm – Source: artnews.com
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