Author jewelry

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As author jewelry is jewelry called, which was made with artistic intent. These are often unique pieces , unless the serial is part of the artistic statement. Other possible names for this type of jewelery are "author jewelery", "new jewelery", "jewelery art", "contemporary jewelery", "gioiello d ́autore" or "bijou d ́auteur".

history

Author jewelry is a relatively new phenomenon that blurs and transcends the line between art and non-art that has existed since the Renaissance . At the interface between fine arts and handicrafts or goldsmithing, it developed in Europe over the course of the 1960s. For the USA, the 1940s are given as the time of creation of the designer jewelry. Works like that of the Art Nouveau goldsmith René Lalique are considered to be forerunners.

The 1960s were a time in which many artists practiced their art as crossing borders, for example in Land Art , Conceptual Art or Body Art . In this climate of creative freedom, some goldsmiths began to reformulate their design goals. In Europe, centers of designer jewelry emerged in the Netherlands, Great Britain and German-speaking countries, such as at the Gerrit Rietveld Academy in Amsterdam, the Royal College of Art in London and the Munich Academy of Fine Arts . Outside of Europe, the Hiko Mizuno College of Jewelry in Tokyo should be mentioned.

The general aim of this jewelry conception is creative freedom. Among other things, suggestions are sought from other art genres such as painting, sculpture and conceptual art. As a result, the author's jewelery is shaped by the individual creative handwriting. The author's jewelry serves as an artistic medium to visually express "personal motives, ideas and fascinations".

Author's jewelery can mainly be found in specialized galleries, less often within art galleries, otherwise also in museums. The position of the author's jewelry between art and handicraft is shown, among other things, in the fact that it is presented at the annual arts and crafts fair in Munich in spring .

shape

Designer jewelry often has unusual shapes, some of which are bulky and not wearable in everyday life. The materials used are typical jewelery such as precious metals and gemstones, but also base or atypical jewelery such as rubber, plastic, slate, recycled materials or breast milk. The processing techniques differ accordingly from the traditional goldsmith's trade.

The formal and symbolic aesthetics of these pieces of jewelery mean that they are received like works of art. The author's jewelery also tries to research the relationship between the jewelery object and the human body. Instead of underlining the social status of the wearer as a decorative accessory, the author's jewelery enables an aesthetic experience that oscillates between being "art" and "remaining jewelery".

Collections (selection)

Representative

literature

  • Lisbeth the best: On Jewelery. A Compendium of International Contemporary Art Jewelery, Arnoldsche: 2011
  • Sylvia Stephan: The body-resistant jewelry object. Author jewelry in Europe since the 1960s, University of Tübingen, 2009
  • Ralph Turner: Jewelry in Europe and America. New Times, New Thinking, London 1996
  • Barbara Cartlidge: Twentieth-Century Jewelry, New York 1985
  • Peter Dormer, Helen Drutt: Jewelry of our Time: Art, Ornament and Obsession, New York 1995
  • Susan Cohn (Ed.): Unexpected Pleasures: The Art and Design of Contemporary Jewelry, Rizzoli: New York, 2012
  • Roberta Bernabei: Contemporary Jewelers: Interviews with European Artists, Berg: Oxford, New York, 2011
  • Rebecca Ross Russel: Gender and Jewelry: A Feminist Analysis, 2010
  • Anne-Barbara Knerr, Schmuck Und Sinn: Questions and answers on the jewelry phenomenon, Norderstedt, 2009

Individual evidence

  1. ↑ Sylvia Stephan: The body-resistant jewelry object. Author jewelry in Europe since the 1960s . University of Tübingen, Tübingen 2009, p. 7-9 .
  2. ^ Ralph Turner: Jewelry in Europe and America. New Times, New Thinking . Thames & Hudson, London 1996, pp. 9 .
  3. ^ Liesbeth the best: Display: The Dilemma of Contemporary Jewelery . Stedelijk Museum, Amsterdam 2002, p. without side .
  4. ↑ see e.g. B. Stefan Heuser . In: Unleashed. Jewelry without limits . Museum voor Moderne Kunst Arnhem in collaboration with Museum Belleriv (exhibition catalog), Zurich 2012, p. 17 .
  5. ↑ Sylvia Stephan: The body-resistant jewelry object. Author jewelry in Europe since the 1960s . University of Tübingen, Tübingen 2009, p. 21 u. a .