Transformation 8: Contemporary Works in Small Metals, the 2011 Elizabeth R. Raphael Founder’s Prize, was made possible by Alexandra, Catherine and Margaret Raphael, the Elizabeth R. Raphael Fund of the Pittsburgh Foundation, the Allegheny Regional Asset District, The Fine Foundation, the Pennsylvania Council on the Arts and the Society of North American Goldsmiths. Our mother’s passion for art influenced everything she did in her life. She was committed to bringing art to her community. She was particularly interested in supporting emerging artists. The Society for Contemporary Craft reflects this commitment. Our mother passed her interest and enthusiasm for the arts along to the three of us and impacted our life choices significantly. This award allows us to honor her andshare her legacy. Alexandra Raphael Cathy Raphael Margaret Raphael Trans formation Contemporary Works in Small Metals The Elizabeth R. Raphael Founder’s Prize Exhibition February 3 – June 30, 2012 Society for Contemporary Craft 2100 Smallman Street Pittsburgh, Pennsylvania 15222 www.contemporarycraft.org 412.261.7003
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Transcript
Transformation 8: Contemporary Works in Small Metals, the 2011
Elizabeth R. Raphael Founder’s Prize, was made possible by Alexandra, Catherine
and Margaret Raphael, the Elizabeth R. Raphael Fund of the Pittsburgh
Foundation, the Allegheny Regional Asset District, The Fine Foundation, the
Pennsylvania Council on the Arts and the Society of North American Goldsmiths.
Our mother’s passion for art influenced everything she did in her life.
She was committed to bringing art to her community. She was particularly interested in supporting emerging artists. The Society for Contemporary Craft reflects this commitment.
Our mother passed her interest andenthusiasm for the arts along to the three of us and impacted our life choicessignificantly.
This award allows us to honor her andshare her legacy.
Alexandra RaphaelCathy RaphaelMargaret Raphael
TransformationContemporary Works in Small Metals
The Elizabeth R. Raphael Founder’s Prize Exhibition
February 3–June 30, 2012
Society for Contemporary Craft
2100 Smallman Street
Pittsburgh, Pennsylvania 15222
www.contemporarycraft.org
412.261.7003
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Acknowledgements
With this exhibition, Transformation 8: Contemporary Works in Jewelry andSmall Metals, we present the 2011 edition of the Elizabeth R. Raphael Founder’sPrize series, which recognizes excellence in the field of contemporary craft. This series was inaugurated in 1997 in honor of Elizabeth Rockwell Raphael,founder of the Society for Contemporary Craft and a longtime figure on thenational craft scene. We are deeply grateful to Elizabeth Raphael’s daughters—Alexandra, Cathy and Margaret—for suggesting and funding this importantprize in honor of their mother. As with the previous shows, this exhibition continues the theme of Transformation, an appropriate focus for an exhibitionhonoring Elizabeth Raphael, a woman who believed passionately in the transformative power of art to change lives.
This year’s exhibition is dedicated to the memory of Margaret, ElizabethRaphael’s youngest daughter, who passed away on December 19, 2011.Margaret had an indomitable spirit, a “can do” attitude, and a deep desire tobring about positive change in the world. The arts were always an importantpart of Margaret’s life (she trained as an actress and also worked as a film producer) but she also had a deep and abiding passion for the environment and the welfare of animals. Margaret launched many ambitious enterprisesover her lifetime, such as Ooh Mah Nee Farm, a sanctuary in WestmorelandCounty for abused, abandoned and neglected farm animals that she co-foundedwith her daughter in 1996. She also opened two vegan restaurants namedMaggie’s Mercantile, one in Stahlstown, Pennsylvnia, and one in Pittsburgh,and later launched Maggie’s Organics, selling healthy food products from herorganic farm. She truly lived her values and was always focused on trying to make the world a better place.
Along with her sisters, Margaret had served on every Raphael Prize jury sincethe inception of the prize 15 years ago, and had a hand in selecting this year’sfinalists. Her lively engagement as a juror added richness to our discussions,something our guest jurors particularly enjoyed and often commented on.Margaret had a creative mind, a zany sense of humor, and a strong aestheticinfluenced by growing up with Betty Raphael as her mother. We celebrate thegood work, light and inspiration that Margaret brought to our organization, and to the world through her life. She will truly be missed.
Transformation 8 features outstanding examples of contemporary small metals and jewelry created within the last year by 33 finalists selected by thesix-member jury following an initial slide screening process. In choosing theprizewinners, the jurors were looking for innovative approaches by artists whoare pushing the envelope with techniques and fresh experimentation withmetal. In particular, they wanted pieces that would challenge or surprise viewers, moving them beyond their own frames of reference for small metalsand jewelry. They were concerned with high quality execution that would help raise standards of excellence in the field, and with how the theme of transformation had been addressed. Additionally, this year’s guest jurorsencouraged the panel to consider which artists they felt should be supportedfinancially to encourage them to go forward with their work.
Margaret RaphaelNov. 8, 1948 –Dec. 19, 2011
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Since the inaugural 1997 Raphael Prize was awarded to German glass artistSibylle Peretti, international artists have maintained a strong presence amongthe Raphael Prize finalists. In 2001, Susan Rezac, a Czech Republic-born metalsmith currently living in Chicago, Illinois, won for her necklace, OpusTessellatum, a technical tour-de-force in married metals. In this year’s edition,eight of the 33 finalists are international, providing an expanded look at someof the work being done in the metals field beyond the US, and reflecting theincreasingly global perspective in the field. The $5,000 Raphael Prize wasawarded to Meghan Patrice Riley for Interstitial, a necklace that juror BrucePepich described as “a line drawing in space that floats on the body.” Thejurors also felt so strongly about the entry by Mari Ishikawa, a Japanese-bornartist currently working in Germany, that they added a second-place $1,000cash prize for her entry, Parallel World, a deeply expressive brooch in silver and Japanese kozo paper. Honorable mentions were awarded to seminal metalsartist Bob Ebendorf and Daniel DiCaprio.
An exhibition like this requires months of behind-the-scenes preparation andgroundwork from the dedicated staff at Contemporary Craft and I gratefullyacknowledge their countless contributions to this year’s show. I especially wantto recognize Director of Exhibitions Kate Lydon for her leadership and dedicatedprofessionalism in coordinating this exhibition and for her insightful participation as a member of the jury panel; our veteran Raphael Prize volunteer Suzie Scott, who once again flew back and forth between Californiaand Pittsburgh to provide countless hours of support throughout all phases of the exhibition development; and Paul Schifino, for another beautifullydesigned book in our series of Raphael Prize publications.
We acknowledge with thanks the additional support of the Allegheny RegionalAsset District, the Pennsylvania Council on the Arts, The Fine Foundation, theSociety for North American Goldsmiths and the many other foundations, corporations, and individuals whose belief in us, supported by their financialgenerosity, make it possible for us to carry out our mission of engaging thepublic in the creative experience through contemporary craft. We also thank thejurors for their commitment to selecting a show that provides an exciting lookat current trends in the field—Alex Raphael, who joined us by Skype fromLondon to participate in the final prize selection, Cathy Raphael, and guestjurors Bruce Pepich and Natalya Pinchuk, whose suggestion of a dialogue format rather than a traditional essay for the catalogue resulted in a thought-provoking and lively conversation in print.
We hope you enjoy the show as much as we have enjoyed bringing it together.
Janet L. McCallExecutive Director
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A conversationbetween the Elizabeth R. Raphael Founder’s Prize Competition Jurors Natalya Pinchuk and Bruce W. Pepich
Bruce W. Pepich: Natalya, in general what do you look for when you jury anartists’ competition?
Natalya Pinchuk: I have to confess that I have very limited experience with jurying. But walking into the first round of jurying, I was both excited to get afresh glimpse of the metals field and at the same time to choose diverse points of view within it.
Pepich: I think it can sometimes be a challenge for a studio artist to serve as ajuror. They are required to balance their personal commitment to their own aesthetic with widening their point of view when making selections, while notover-compensating in the process. As someone who teaches, you have a broadbackground in looking at different kinds of aesthetic statements within themedium and you brought this experience to the jurying.
Pinchuk: I actually stopped teaching a year and a half ago. By the end of fiveyears of full-time teaching I definitely learned to embrace and appreciate opinions and strategies other than my own. So, yes, I believe my teaching background has certainly contributed to an organic and balanced juryingprocess, despite having my own strong opinions and, I am sure, not failing to express them.
Bruce, what do you look for when you jury an exhibition? You have considerably more experience than I do in this area.
Pepich: As the two guest jurors, I think we made an interesting pair because werepresent two different generations. I jury one or two shows a year and I havejudged over 60 competitions, not just in metals but in most craft media, as wellas works on paper. In selecting work, I look for diversity because there is noone style in any medium right now that is overwhelmingly the anointed methodof expression. I’m seeking two things that are sometimes difficult for artists todeliver on: a unique voice that an artist is expressing in his/her work and consistency. If I am looking at five or six examples within one submission, Idon’t want to see six different, unique ideas because it looks as if the artist hasnot settled on the statement he/she wishes to make. We both looked for thisfrom different points of view. As we juried, I could see us tap-dancing back andforth with each other to where we could both find this same quality. We mighthave had different criteria in our minds, but there was a dialogue that tookplace and this was not a cold incommunicative voting process.
Natalya, we have touched upon the first round of the jurying process. I am curious to know your thoughts about the final selection of the Raphael Prizefinalists from the work that was submitted for the exhibition. Everyone on thejury panel gravitated to the works of the four finalists for the prize very quickly.Why do you think these four pieces stood out to everyone on the jury?
Pinchuk: Obviously, there are individual qualities that make each piece delightful but all four finalists’ pieces felt complete and yet effortless. These twoqualities are actually very difficult to achieve. At the end of the day, great workis not necessarily about the amount of labor exposed and paraded in a piece,
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but rather in the amount of visual delight and mental sparks it creates for theviewer. I think all four finalists achieved this.
Bruce, why did these four pieces stand out for you?
Pepich: As we were beginning the final jurying process, we spoke about someof the criteria for selecting the winner. This included seeking high quality work, a consideration of the concept of transformation, and acknowledgingworks that were fresh and had a sense of experimentation. You also spokeabout us remembering to look for works that we really enjoyed—pieces thatspoke to our heads and our hearts. I think each of these four works met thesecriteria for the six members of the panel. We came to a consensus on the four finalists very quickly.
Natalya, what were the individual qualities of the finalists’ pieces that youfound engaging?
Pinchuk: Well, I thought that the necklace by Meghan Riley was refreshing. In the images, her necklace looked very simple but what a delight it was to lookat it in person and hold it in my hands! It was both a lively and ever so slightlyshifting drawing, a whimsical object and a piece of very wearable andapproachable jewelry all at the same time. Mari Ishikawa’s brooch is the kind of work you can look at for hours and discover something new. She is able tocreate a really complex interplay of surfaces and organic forms that in a delicate way reference moments where beauty and decay coexist in nature. Bob Ebendorf continues to kick ass. So many people try to do this kind of work,transforming the value of found materials, but fail miserably. While all the elements in the brooch are found objects, everything comes together into aneffortless composition and at no point do you question that they are meant tobe together. Daniel DiCaprio’s necklace balances the classical role of a necklacewith the quirky, mysterious, organic forms. The surface that he is able to create through the repetitive tiny silver dots in the wood is gratifying.
Bruce, what stood out for you in the finalists’ pieces?
Pepich: I admired the way that Ishikawa and DiCaprio both referenced elementsof nature in their pieces, but in different ways. They are both organic works, but DiCaprio’s forms are more structured and constrained as if his “specimen”from nature were captured in a bell jar for examination. Ishikawa’s brooch isevolving in front of our eyes as if we have just come upon it during a walk outdoors. Ebendorf just keeps pulling something new out of his hat each timehe comes out of the studio. This brooch talks about the nature of preciousness,beauty, and value on multiple levels. It is difficult to categorize this stage of his career, for some might consider this his “late” work. However, there is nothing late about Ebendorf’s work—it is totally current with conversations inthe field and still leading some of them as in this piece. As for Riley’s neckpiece,I also looked at it as a three-dimensional drawing, at first. She has created a relatively large and, at the same time, delicate structure that constantly changesas you look at it, handle it and wear it. It is intellectually engaging, but alsoplayful in a serious way. It’s like a jazz riff on the concept of a beaded necklace,as the small gold beads move in space along a thin wire.
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Pinchuk: Outside of this exhibition, what types of work and statements do you specifically look for when curating an exhibition?
Pepich: In art jewelry, I like to combine artists working in both precious andnon-precious materials. I’m very interested in the dialogue about value and worth in jewelry, narration, and the idea of the body as the place on whichthe jewelry is sited. Curating a show is like organizing an intellectual dinnerparty or a panel for a symposium. You want artists who create different kinds of work and you want their works to engage in a conversation or dialogue with each other and with the viewer. When I curate, I get to pick the pool I’mselecting from and when you serve on a jury, you’re dealing with the entries as a closed set.
Natalya, what kinds of work or statements do you find intriguing?
Pinchuk: In the last couple of years, I find myself attracted to work that reflectsand connects to contemporary life more than the insular dialogue that oftenhappens within academic arts. So I am drawn to work that has authenticity anda relationship to concerns of everyday life, to what we listen to on the news, towhat we see on the street, something that I can actually make sense of andconnect to, but in a new and fresh way.
Pepich: I think freshness or immediacy was something that we both soughtthroughout this process. Even when I was looking at some of the more “traditional” pieces, I was still looking for work with a fresh point of view. Thecompetition and exhibition incorporate small-scale metal sculpture and thishelps move the conversation outside the “adornment only” category. We sawbodies of work that pushed the medium beyond its usual association withadornment. However, the vast majority of the pieces we saw were wearable in some way or related to the wearable concept.
Natalya, how did the entries coincide with your views of the issues that artistsare currently addressing in the larger contemporary metals field?
Pinchuk: I noticed that some trends were not reflected in the submissions. I didn’t think that, for example, the performative or installation work wasexpressed in the submissions at all. I expected to see more work dealing withcomputer technologies, as well as ethical sourcing of materials as a topic andtrend in itself. What I did see reflected in the submissions was a split betweenthose who value excellent, solid craftsmanship and skill above anything elseand those who were more interested in expressive ways of working, whetherthat fulfills the traditional conception of craftsmanship or not. The large numberof jewelry submissions definitely surprised me. If I were to judge the state of affairs of the metals field by these submissions alone, I would think that thesmall metal object today has gone out of style.
Pepich: Someone could walk into the show and their initial comment might be,“Well, the judges obviously were more interested in jewelry than in sculpturalwork.” This could happen because I’m not picking it or because it wasn’tentered. If that kind of work was not represented by an entry, it cannot beincluded in the exhibition. Some of the ways of working you’ve mentionedwould lend themselves beautifully to the concept of transformation, especially
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installation or performative works. However, one has to remember that jurorspick from what is submitted. I don’t want this to sound like we’re denigratingthe entries in any way. It’s just interesting to look at submissions and to try to determine what this says about the metals field in general. The prominenceof jewelry in this competition strikes me as being similar to the level of visibilityit has in a lot of shows that incorporate art jewelry with other craft media. Part of the reason for this is that there is a lot of incredibly well-crafted jewelrybeing created right now in this country and internationally and there’s an audience for it. The market for art jewelry can also be somewhat recession-proof when compared to other media because of some of the emotional andsymbolic ways we have come to use jewelry in our society.
Pinchuk: What I find interesting is that the trend within art jewelry, for a whilenow, has been to move away from precious materials. More and more thevalue is put on the creative, artistic vision of the artist and his/her ability tomanipulate materials, precious or not, into a unique expression—a special kind of object that allows us to see beauty that is somehow innate yet revealedto us by the artist. I find that fascinating in relation to what you just mentioned,about how jewelry is a recession-proof object. Increasingly, I find that experimental jewelry puts its bet on the art market and the mythology of theartist able to create something unique. And, as we saw in the submissions, a large number of small metals makers have moved beyond the metal itself as the primary focus of their work.
Pepich: Yes, it ties in with what we’re seeing across the board in other media.Younger artists don’t necessarily want to be affiliated with a specific medium.They want to move from material to material, to work with any media that willallow them to execute their ideas. They don’t necessarily see themselves asmetalsmiths, but as artists who make personal adornment or small-scale sculptures. I think these artists will bring new concepts to craft media. Then, the next generation will say, “I want to be a silversmith and fully explore thismaterial.” This is how things change over time. I think that’s how a fieldadvances—by those different points of view coming to the forefront and thenmoving on. I think this exhibition does reflect that, not just in what we selected, but in what was submitted, as well.
Natalya, has the process of serving as a juror changed you in any way?
Pinchuk: It was a wonderful experience during which I got to see new work byartists whom I know very well and fresh artwork, unknown to me, but at thispoint I am not yet aware of how it has changed me.
Pepich: I find every jurying is a unique experience. You know the rules and how it’s going to function from a logistical standpoint, but each jurying hasalways been a surprise to me. You find something that you didn’t think ofbefore you walked in the door. You’re exposed to work that takes your head offyour shoulders and puts it back on in just a slightly different angle—it’s an educational experience. Plus you meet other jurors and share ideas during theprocess. All of this is part of how an artistic community connects on an intellectual and an emotional basis. I think both of those things are an important part of how a field develops.
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10 FARRAH AL-DUJAILI
12 TALYA BAHARAL
14 MELISSA CAMERON
16 DAVID CHOI
18 CAPPY COUNARD
20 KIM CRIDLER
22 LISA & SCOTT CYLINDER
24 DANIEL DICAPRIOHonorable Mention
26 ROBERT EBENDORFHonorable Mention
28 SANDRA ENTERLINE
30 DIANE FALKENHAGEN
32 JULIA HEINECCIUS
34 CAROLINA HORNAUER OLIVARES
36 HEEJIN HWANG
38 MARI ISHIKAWA Second Prize
40 LINDA KINDLER PRIEST
42 CLAIRE LAVENDHOMME
44 SEUNG-HEE LEE
46 ROBERT LONGYEAR
48 JILLIAN MOORE
50 EMANUELLA DEYANOVA RAMJULY
52 MEGHAN PATRICE RILEYThe Elizabeth R. Raphael Founder’s Prize Winner
54 DEBORAH RUDOLPH
56 BIBA SCHUTZ
58 VICKIE SEDMAN
60 SAMANTHA SKELTON
62 ANIKA SMULOVITZ
64 LIN STANIONIS
66 AMY TAVERN
68 ANDREA WAGNER
70 STACEY LEE WEBBER
72 LISA WILSON
74 STEPHEN YUSKO
The Artists
Untitled
For me, drawing is an intuitive and subconscious process. The pairing of
forms in this brooch suggest the before and the after, balanced in a state
of delicate tension, prior to the act of complete transformation. The quality
of line conveys an organic rhythm, while negative space implies as much
in gluttonous form, as the visible wire. I apply pencil, crayon and watercolor
markings to the surface of the enamel paint, and use these color gradients
to enhance the proposition of an inanimate form coming to life.
FARRAH AL-DUJA
ILI
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SOURCE : Concept sketch for Untitled
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Untitled, 2010
Copper, enamel paint, watercolor, pencil, thread
3 1/8'' × 4'' × 3''
Photo: Farrah Al Dujaili
Aura #10
Shifting qualities of beauty transform the landscape that I make my own.
I capture the light and the mystery of fleeting shadows; cropping the
setting with the eye of a black-and-white photographer. Dodging and
burning the grainy print; revealing the striations of the earth; pulling out
the lens to expose the division of the land; zooming in to show the
texture of the ground.
Staking a claim to this patch of land. I evoke the qualities of that ethereal
silver gelatin black-and-white print in metal. The bezel is my fence,
containing and transforming this precious landscape, marking the
boundaries and making it my “jewel.”
TALYA BAHARAL
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SOURCE : Concept sketch for Aura #10
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Aura #10, 2010
Sterling silver, stainless steel, bronze
3 5/8'' × 1 5/8'' × 3/4''
Photo: Gene Gnida
Internalised
This work highlights the decorative band that encircles this mid-20th
century, Indonesian, silver plate. Aside from an aesthetic role, the rim of
any plate functions to guard its contents. By altering the plate, the rim’s
function changes from edge or border to focal point; drawing attention to
the artistry and artisanship that gave rise to these iterations of familiar
patterns. Envisioning the plate’s likely origins in Southeast Asia, one can
contemplate transmission of pattern motif—like pomegranate and
acanthus leaf—to distant lands far from the subject’s origins.
MELISSA CAMERON
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SOURCE : Process photos for Internalised
Photos: Melissa Cameron
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Internalised, 2011
Silver, stainless steel
1'' × 10 1/2'' × 7''
Photo: Melissa Cameron
Untitled
I create forms according to a particular material, format and function,
and to the laws of structural economy. The basic surface of steel sheet when
joined to others like it gives these structures their particular form; just as
theoretically a mineral could take on an infinite number of forms while
at the same time remaining recognizably itself, classifiable according to its
particular kind. The nerve of a leaf, or the geometric elements of a mineral,
quartz crystal or cubic pyrite, are the natural structures of matter. The
work makes apparent that I am subconsciously drawn to geometry and its
mathematical arrangement.
DAVID CHOI
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SOURCE : Concept sketch for Untitled
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Untitled, 2010
Silver, aquamarine
2 1/2'' × 3 3/4'' × 3''
Photo: David Choi
Perceptions
Life can only be viewed through a personal lens of experience. We make
conclusions based upon our available knowledge. Often we assume our
perspective is true, only to later learn something that completely shifts our
perception.
Perceptions offers a metaphor for these layers of knowledge and the
constantly changing landscape of our interactions. When closed, interior
elements are both partially revealed and partially obscured. This allows
our imaginations to make assumptive connections about the unseen. Once
the outer layer is removed, the true nature of the piece becomes clear.
The pearl inside represents the sometimes surprising and elusive truth.CAPPY COUNARD
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SOURCE : Concept photo for Peceptions
Photo: Cappy Counard
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Peceptions, 2011
14k gold, sterling silver, meerschaum stone, pearl
1 1/4'' × 2 1/4'' × 2 1/4''
Photo: Robert Mullen
Bittersweet
I believe in the power of objects to record and extend our lives. My practice
is concerned with the humanity that exists in acts of containment and
collection, and in the generative potential of ornamentation. One of the
ways in which I have framed these interests is through the vessel’s format.
Urn and vase forms serve as icons of continuity; symbolizing collection
as well as abundance and ceremony. Bittersweet uses structure, pattern
and ornamentation to address the dynamic and endlessly transformative
2009 Postgraduate Student Bursary, The WilliamDudley Trust, Birmingham, England
TALYA BAHARAL
Born: Tel-Aviv, Israel, 1955
Lives: Rifton, NY
Education
Self-taught, full-time studio jeweler and sculptor
Selected Solo Exhibitions
2010Solo Exhibition, The Works Gallery, Philadelphia, PA
2008Solo Exhibition, Jewelerswerk Galerie, Washington, DC
2006Solo Exhibition, Velvet da Vinci, San Francisco, CA
2005Big Steel, Little Steel, Solo Exhibition, Society forContemporary Craft, Pittsburgh, PA
2002Solo Exhibition, Obsidian Gallery, Tucson AZ
Selected Grants and Awards
2011 Juror/Panelist, Sculpture and CraftsFellowships, New York Foundation for the Arts,Brooklyn, NY
2007 Fellowship in Crafts, New York Foundation forthe Arts, Brooklyn, NY
2006 Best of Show, Crafts at the Castle, Boston, MA
2004 Best of Show, Jewelry, American Craft Council,San Francisco, CA
2004 Artist in Residence, Mid Atlantic ArtsFoundation, Society for Contemporary Craft,Pittsburgh, PA
Selected Publications
Baharal, Talya, and Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling Publishing Co.,Inc., 2011.
_____. “Review.” Metalsmith, 2009
MELISSA CAMERON
Born: Perth, WA, Australia, 1978
Lives: Balaclava, VIC, Australia
Education
M.F.A., Jewellery and Metals, Monash University,Melbourne, VIC, Australia, 2009
Postgraduate Diploma of Jewellery Production,Curtin University, Perth, WA, Australia, 2006
B.S., Art, University of Wisconsin, Madison,Wisconsin, 1992
Selected Exhibitions
2012The Art of Influence, Wellington B. Gray Gallery, EastCarolina University, Greenville, NC
2011Torch Song, Nazareth College Arts Center Gallery,Rochester, NY
2010–12Metal Inclinations 2, Online Exhibition,Society of Midwest Metalsmiths<www.smm-metalinclinations.org>
2010Art of the State, The State Museum of Pennsylvania,Harrisburg, PA
Contain: Vessels and the Art of Containment, Luke &Eloy Gallery, Pittsburgh, PA
Seeking/Holding, Two-Person Exhibition, One Bausch& Lomb, Rochester, NY
The Things We Hold, Solo Exhibition, Ronald E. HolsteinGallery, Erie Art Museum, Erie, PA
Topography of Metal, Tap Studios/Gallery M,Cleveland, OH
2006Challenging the Châtelaine!, DesignMuseo, Helsinki,Finland (Traveling, catalogue)
Metalisms: Signature Works in Jewelry &Metalsmithing, Center for Visual Art, MetropolitanState College, Denver, CO
Reinterpreting the Vessel, Perimeter Gallery,Chicago, IL
Selected Grants and Awards
2007, 2003 Individual Artist Fellowship, PennsylvaniaCouncil on the Arts, Harrisburg, PA
KIM CRIDLER
Born: Grand Rapids, MI, 1968
Lives: Rockford, MI
Education
M.F.A., Metals, State University of New York, NewPaltz, NY, 1993
B.F.A., Fine Arts, University of Michigan School of Art,Ann Arbor, MI, 1989
Selected Exhibitions
2011Kim Cridler: My Wisconsin Home, Racine ArtMuseum, Racine, WI
2004Iron Work: Kim Cridler & Cyril Colnik, NorthwesternMutual Gallery, Cardinal Stritch University,Milwaukee, WI
2001Kim Cridler: Persistence & Impossibility, JohnMichael Kohler Arts Center, Sheboygan, WI
Selected Grants and Awards
2010 Commission, University of Wisconsin, NewAcademic Building, Oshkosh, WI
2010 Vilas Associates Award, The Graduate School,University of Wisconsin, Madison, WI
2004 Visual Arts Fellowship, Wisconsin Arts Board,Madison, WI
1999 Visual Arts Fellowship, Arizona Commission onthe Arts, Phoenix, AZ
1992 Educational Endowment Scholarship, Society ofNorth American Goldsmiths, Philadelphia, PA
Selected Collections
The Arkansas Art Center Decorative Museum of Art,Little Rock, AR
Chazen Museum of Art, Madison, WI
Museum of Fine Arts, Houston, TX
Scottsdale Contemporary Museum of Art,Scottsdale, AZ
LISA CYLINDER
Born: Ft. Chaffee, AR, 1963
Lives: Oley, PA
Education
B.F.A., Jewelry & Metalsmithing, Tyler School of Art,Temple University, Philadelphia, PA, 1985
SCOTT CYLINDER
Born: Allentown, PA, 1964
Lives: Oley, PA
Education
M.F.A., State University of New York, College at NewPaltz, New Paltz, NY, 1988
B.F.A., Jewelry & Metalsmithing, Tyler School of Art,Temple University, Philadelphia, PA, 1985
Selected Exhibitions
2011From Minimal to Bling: Survey of ContemporaryStudio Jewelry, Society of Arts & Crafts, Boston, MA
Sculptural Objects, Functional Art (SOFA),Snyderman/The Works Gallery, Navy Pier, Chicago, IL
2010Lisa and Scott Cylinder: Transpositions, Velvet daVinci Gallery, San Francisco, CA
2009From Minimal to Bling: Survey of ContemporaryStudio Jewelry, Society of Arts & Crafts, Boston, MA
2007Sculptural Objects, Functional Art (SOFA),Snyderman/The Works Gallery, Park Avenue Armory,New York, NY
The Art of Tools, Society of Arts & Crafts, Boston, MA
2005The Forest for the Trees, Two-Person Exhibition,Snyderman/The Works Gallery, Philadelphia, PA
Transformation 5: Contemporary Works in FoundMaterials, The Elizabeth R. Raphael Founder’s PrizeExhibition, Society for Contemporary Craft,Pittsburgh, PA
Trashformations East, Fuller Craft Museum,Brockton, MA
Selected Grants and Awards
2007, 2005 Individual Artist Fellowship, PennsylvaniaCouncil on the Arts, Harrisburgh, PA
Selected Collections
Racine Art Museum, Racine, WI
Museum of Arts and Design, New York, NY
The Gregg Museum of Art & Design, North CarolinaState University, Raleigh, NC
DANIEL DI CAPRIO
Born: Albany, NY, 1984
Lives: Richmond, VA
Education
M.F.A., Metal Design, East Carolina University.Greenville, NC, 2009
B.S., Art Education, Nazareth College, Rochester, NY,2006
Selected Exhibitions
2011Sculpture Objects & Functional Art (SOFA), ParkAvenue Armory, New York, NY
Sculpture Objects & Functional Art (SOFA), Santa FeConvention Center, Santa Fe, NM
Sparkle Plenty 7, Quirk Gallery, Richmond, VA
2010ITAMI International Craft Exhibition, Museum of Arts& Crafts—ITAMI, Itami, Japan
JOYA: Barcelona Contemporary Jewellery Week,Convent dels Angels, Barcelona, Spain
Lucca Preziosa Young, Villa Bottini, Florence, Italy
Miami International Art Fair, Seafair, Miami Beach, FL
Sculpture Objects & Functional Art (SOFA), Navy Pier,Chicago, IL
Selected Grants and Awards
2008 Society of North American Goldsmiths (SNAG)“Emerging Artist” guest lecturer, Sculpture Objects &Functional Art (SOFA), Chicago, IL
In Line/In Metal, Aaron Faber Gallery, New York, NY
LES Runway Show, Grand Opening, New York, NY
MoVEMENT, 724 Studio, San Francisco, CA
2010Capacity, Solo Exhibition, Lireille Gallery, Oakland, CA
Nexus, Lireille Gallery, Oakland, CA
Retro-Futurism, Society of North AmericanGoldsmiths’ Conference (SNAG), HoustonCommunity College, Houston, TX
2009Urban Rennaissance, ACCI Gallery, Berkeley, CA
Selected Grants and Awards
2011 Second Prize in Mixed Media Jewelry, DesignerJewelry Showcase, Santa Barbara, CA
2011 Semi-finalist, Ecco Domani Fashion Foundation,Healdsburg, CA
Selected Publications
Baharal, Talya, and, Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling PublicationsCo., Inc., 2011.
DEBORAH RUDOLPH
Born: Halle/Saale, Germany, 1980
Lives: Offenbach, Germany
Education
Gemstone and Jewelry Design, University of AppliedSciences, Trier, Germany, 2010
Technical College for Design of Jewelry and Objects,Pforzheim, Germany, 2003
Selected Exhibitions
2011Geography, Society of North American Goldsmiths’Conference (SNAG), Seattle, WA
Masala, Eckegalerie, Augsburg, Germany
Schmuck Wander, Gallery Medium Bratislava,Slovakia (Traveling)
Talente, International Trade Fair Centre, Munich,Germany
The Spirit of Stone, South-Karelia Museum,Lappeenranta, Finland
UtraMarine, Noblessner Foundry, Tallinn, Estonia
2010Inhorgenta, The School of Jewellery, InternationalTrade Fair Centre, Munich, Germany
Sculpture Objects & Functional Art Exposition (SOFA),Charon Kranson, Park Avenue Armory, New York, NY
Sculpture Objects & Functional Art Exposition (SOFA),Charon Kranson, Santa Fe Convention Center, SantaFe, NM
Es Lässt Mich Nicht Los, Solo Exhibition, Idar-Oberstein, Germany
Le Van, Marthe. 21st Century Jewelry: The Best of500 Series. Lark Books. New York: Sterling PublishingCo., Inc., 2011.
Le Van, Marthe. 500 Necklaces: ContemporaryInterpretations of a Timeless Form. Lark Books.Sterling Publishing Co., Inc., 2006.
LIN STANIONIS
Born: Long Island, NY, 1954
Lives: Lawrence, KS
Education
M.F.A., Indiana University, Bloomington, IN, 1981
B.F.A., Iowa State University, Ames, IA, 1976
Selected Exhibitions
2010Transmutations: Material Reborn, Houston Center forContemporary Craft, Houston, TX
2009Decorative Resurgence, Rowan University ArtGallery, Rowan University, Glassboro, NJ
2007New Traditional Jewellery: Symbols of Faith, CODAMuseum, Apelldorn, Netherlands
2006The Edges of Grace: Provocative Uncommon Craft,Fuller Craft Museum, Brockton, MA
2005Flatware: Function + Fantasy, Sculptural Objects,Functional Art (SOFA), Chicago, IL
2002Bridge 7: Xenobia Bailey, Lin Stanionis, DanaZáme�niková, Society for Contemporary Craft,Pittsburgh, PA
2001OBJECTS FOR USE: Handmade by Design, AmericanCraft Museum, New York, NY
1996American Revelations: A Survey of ContemporaryNorth American Jewelry, Shipley Art Gallery,Gateshead, England (Traveling)
Selected Grants and Awards
1998 Individual Artist Fellowship, Kansas ArtsCommission, Topeka, KS
1993 Individual Artist Fellowship, Mid-America ArtsAlliance/NEA Fellowship, Baltimore, MD
Selected Collections
Indiana University Fine Arts Museum,Bloomington, IN
Selected Publications
Le Van, Marthe. 21st Century Jewelry: The Best ofthe 500 Series. Lark Books. New York: SterlingPublishing, 2011.
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AMY TAVERN
Born: Cooperstown, NY, 1974
Lives: Penland, NC
Education
B.F.A. Metal Design, Post Baccalaureate,University of Washington, Seattle, WA, 2002
B.A. Arts Administration, State University ofNew York, Fredonia, NY, 1996
Selected Exhibitions
2011Fresh: Exhibition in Print, Metalsmith Magazine,National Ornamental Metal Museum, Memphis, TN
In Line/In Metal, Aaron Faber Gallery, New York, NY
This is How I Remember It, Solo Exhibition, Velvet daVinci, San Francisco, CA
2010Metal Inclinations 2, Online Exhibition, Society ofMidwest Metalsmiths <www.smm-metalinclinations.org>
2009The Stimulus Project, Sienna Gallery, Lenox, MA
Selected Grants and Awards
2011 United States Artists Fellowship, United StatesArtists <unitedstatesartists.org>
2009 American Craft Council Searchlight Artist
2009-2012 Resident Artist, Penland School of Crafts,Penland, NC
Selected Publications
Baharal, Talya, and Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling Publishing Co.,Inc., 2011.
Kasson Sloan, Susan, and Marthe Le Van. 500 PlasticJewelry Designs: A Groundbreaking Survey of AModern Material. Lark Books. New York: SterlingPublishing Co., Inc., 2009
Snyder, Jeffrey B. Art Jewelry Today 3. Atglen, PA:Schiffer Publishing, Ltd., 2011
ANDREA WAGNER
Born: Freiburg, Germany
Lives: Amsterdam, Netherlands
Education
Diploma Gerrit Rietveld Academy Amsterdam,Netherlands, 1997
Selected Exhibitions
2011Subset Synergism—Tales of Migration, GalleryLoupe, Montclair, NJ
2010The Architect Who Faced His ‘Jardin Interieur,Gallery Noel Guyomarc'h, Montreal, Quebec, Canada
2007The Architect Who Faced His ‘Jardin Interieur,Galeria Reverso, Lisbon, Portugal
Selected Grants and Awards
2009 Artist in Residence, Jakob Bengel Foundation,Idar-Oberstein, Germany
2009, 2002, 2000, 1998 Artist Grant, The NetherlandsFoundation for Visual Arts, Amsterdam, Netherlands
B.F.A., Metalsmithing and Jewelry Design; Theaterand Drama, Indiana University, Bloomington, IN, 2007
Selected Exhibitions
201142nd Mid-States Craft Competition, EvansvilleMuseum of Arts, History & Science, Evansville, IN
Best of 2011, Ohio Craft Museum, Columbus, OH(Traveling)
In Residence 2011, Houston Center for ContemporaryCraft, Houston, TX
2010Best of 2010, Ohio Craft Museum, Columbus, OH(Traveling)
Form, Fabricate, Forge, Southern Illinois UniversityMuseum, Carbondale, IL
Magnitude Seven, Manifest Drawing and CreativeResearch Center, Cincinnati, OH
Refined VI: Back to Basics, The Cole Art Center atThe Old Opera House, Nacogdoches, TX
2009Backyard, Manifest Creative Research Gallery andDrawing Center, Cincinnati, OH
Pandora’s Box, Torpedo Factory Art Center,Alexandria, PA
Selected Grants and Awards
2011 NICHE Awards Winner, Niche Magazine, TheRosen Group and The Philadelphia Buyers Market ofAmerican Craft, Baltimore, MD
2010 Artist Residency, Houston Center forContemporary Craft, Houston, TX
2010 Ruth Arden Memorial Award for Excellence inFine Craft, Ohio Designer Craftsmen, Columbus, OH
2009 Pamela Morris Thomford Award for Excellencein Metals, Ohio Designer Craftsmen, Columbus, OH
2006 The Alma R. Eikerman Scholarship forOutstanding Achievement in Metalsmithing andJewelry Design, Indiana University, Bloomington, IN
2006 Women’s Jewelry Association Scholarship,Women’s Jewelry Association, Chicago Ridge, IL
STEPHEN YUSKO
Born: Dover, DE, 1965
Lives: Cleveland, OH
Education
M.F.A., Metalsmithing, Southern Illinois University,Carbondale, IL, 1999
B.F.A., Sculpture, Minors in Metalsmithing and ArtHistory, University of Akron, Akron, OH, 1990
Selected Recent Exhibitions
2011–2012Cast, Cut, Forged and Crushed: Selections in Metalfrom the John and Robyn Horn Collection, ArkansasArts Center, Little Rock, AR
2011Re-new, Solo Exhibition, William Busta Gallery,Cleveland, OH
2010–2011Craft Forms 2010, Wayne Art Center, Wayne, PA
2010–2012Iron: 2010, National Ornamental Metal Museum,Memphis, TN (Traveling)
Iron: Forged Tempered Quenched, Houston Center forContemporary Craft, Houston, TX
Modes of Making: Contemporary Studio Furniture,Society of Arts and Crafts, Boston, MA
2007Crossover: Combining Traditions, Emily Davis Gallery,University of Akron, Akron, OH
200627th Annual Contemporary Crafts Exhibition, MesaContemporary Arts, Mesa, AZ
2001Ancient Futures: The Art of the Blacksmith at the 3rdMillennium, Nova Scotia Centre for Craft + Design,Halifax, NS, Canada
Selected Publications
Snyder, Jeffery B. Ironwork Today 3, Inside Out.Atglen, PA: Schiffer Publishing, Ltd., 2011. McCreight,Tim. The Metalsmith’s Book of Boxes and Lockets.Madison, WI:GUILD Publishing, 2011.
Selected Awards/Honors
2011 Creative Workforce Fellowship, CommunityPartnership for Arts and Culture, Cuyahoga County,OH
2011 Finalist, NICHE Awards, Niche Magazine, TheRosen Group and the Philadelphia Market ofAmerican Craft, Baltimore, MD
2005 Best of Show, Resources: Coal, Steel, Rubberand Salt