Nov/Dec 2009

Join us for a Biennial Reception on Thur, Nov 19, from 6:00 to 7:30 PM in the gallery at The Frances Anderson Center, 700 Main Street, Edmonds.2009 Biennial Show hours are Nov 3 - Dec 15, Mon-Fri 9 to 9, Sat 10 to 3.For more information call (425) 771-1984 or (425) 771-0228 or at www.seattlemetalsguild.org.

celebrating 20 years!

sMg Has a neW aDDress

seattle Metals guildP O box 70407seattle, Wa 98127

The SeaT Tle MeTalS Guild

09 Biennial Show

Zebra Cuff, Carolina Anderson

Byzantine Wave BraceletJulia Lowther

Tiny Medusa, Andy Cooporman

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The last two years have been very exciting for me. As you may know this will be my last letter as president. The Seattle Metals Guild has come a long way these last two years. First, we maintained all of the programs that were started before my presidency. We also restructured the board’s responsibilities to enable more members to get involved in committees without being on the board. This means that all of you can be passionate about an area, so get involved. Second, our new Treasurer Mary Dingacci has built in a better bookkeeping system. This means that you will get faster service and a quicker turn around when registering for a program. We also have continued to offer clock hours for the educators in the Guild. Third, thru the efforts of many members we are adding new, talented faces to the board. We are, however, looking for a person to record our meetings so if you are that person call Dana. All in all I hope more of you get involved so we will grow as a metal community.

Our ongoing programs have grown stronger. Aaron is still growing the lecture series. ET will continue on the board as an inspiration to us all. Dana is moving into the leadership role to carry us onward. The exhibition committee, with Kiraya, is working to put together an outstanding show opening in November. I would also thank Jacob Mann and Sharon Chapman for their untiring work on our Biannual show catalog which will be available Nov. 15th. The Guild is still collecting donations for TAM’s display. To date we have collected $1,695. If you wish to mail in your donation, see the attached donation form at the end of the newsletter on page 13.

Andy Cooperman will host this year’s Ornament Party. Our Newsletter, the lifeline of the Guild, owes a big thanks to Cynthia and all of the individuals who have spent hours upon hours keeping you informed, but we need more people helping to find interesting info and to write for it. We are at a pivotal point in the Guild. This year’s general meeting will be held in January; thanks to the Lifetime Achievement Committee it will be an honor to introduce Karen Lorene. The Guild is only as strong as you the members make it. Get involved. Thank you for your support.

John Caster, President

SMG EventsDate /Event PageNov 3 - Dec 15: Biennial Exhibition . . . . . . . . . . . . . . 9Nov 11 - 12: SMG Workshop – Painting Enamels. . . . .11Dec 5: SMG Ornament Exchange Party . . . . . . . . . . . 3Jan 15, 2010 : General Meeting . . . . . . . . . . . . . . . . . 3

ContentsBoard News:President’s Letter . . . . . . . . . . . . . . . . . . . . . . . . . . 2Seriously Folks… Volunteer . . . . . . . . . . . . . . . . . . . 2SMG Ornament Exchange Party . . . . . . . . . . . . . . . . 3Reminder!! General Meeting . . . . . . . . . . . . . . . . . . . 32010 Lecture Series . . . . . . . . . . . . . . . . . . . . . . . . . 3Upcoming SMG Scholarship Deadlines . . . . . . . . . . . . 3

Member News:Amy Reeves, Instructor of the Year . . . . . . . . . . . . . . 3Meet the Metalsmith – Julia Heineccius . . . . . . . . . . . 4Joan Tenenbaum: Fifty Years of Jewelry Making . . . . . 52010 SMG Necklace: Past, Present, and Future . . . . . 5

Reviews:Symposium 2009 – A Viewers Perspective. . . . . . . . . 6Working with Gold – A day with Lisa Gralnick . . . . . . 8Four Curators, Four Visions . . . . . . . . . . . . . . . . . . . 9Three Exhibitions at Tacoma Art Museum . . . . . . . . 10

Events:Danaca Design Metal Crafting Center is hosting two events this fall . . . . . . . . . . . . . . . . .11SMG Workshop: Painting Enamels . . . . . . . . . . . . . .11

Thumbnail Scetches. . . . . . . . . . . . . . . . . . . . . . . . 12

TAM Case Endowment Donation Form . . . . . . . . . . . 13

Marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Membership Form . . . . . . . . . . . . . . . . . . . . . . . . . 13

Board News

President’s letter November 2009

seriously Folks… VolunteerThe Seattle Metals Guild is in need of individuals from within its membership to step into leadership rolls. Workshops do not schedule themselves, newsletters and email blasts do not miraculously appear in your

mailbox, and events like the Symposium do not come together because everyone just happened to pick that day for a visit to MOHI.

If you have enjoyed any of the above mentioned services or events over the course of the past year please consider becoming more intimately involved with the organization. Truly, being involved is the most satisfying way to be a member.

Right now we are still seeking new board members as well as a leader, (or leaders, this could be a co-chair position) to chair Passing the Torch, the statewide high school competition and award ceremony. Please email membership@seattlemetalsguild.org …and volunteer!I WANT YOUI WANT YOU

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REMINDER!!general MeetingJanuary 15, 2010, Friday, 7:00 p.m., North Seattle Community College

2010 lecture seriesAs 2009 comes to a close, I know what you’re thinking - “Boy, I can’t WAIT for that 2010 SMG Lecture Series! I wonder when it will be?” Well, wait no more! Set your calendars now for Jan. 14, Feb. 11, Mar. 11 and Apr. 8 at 7pm in Otto Miller Hall at Seattle Pacific University (SPU). I won’t tell you who’s speaking, yet, but watch for your postcard later this year! It’s going to be another great series!!!

-Aaron Barr

Upcoming sMg scholarship DeadlinesThe Seattle Metals Guild has a suite of scholarships available for all levels of skill, from the newly matriculated student to the top level artisan looking for an educational experience or partnership on a new project. Scholarships deadlines revolve around the calendar so please refer to our website for descriptions and application details: www.SeattleMetalsGuild.org

The following scholarships have an upcoming deadline of Jan 1, 2010:

The Ruth Pennington Teaching • Grant

The Sharon Boardway • SMG Matriculated Student Scholarship Grant

Board News

seattle Metals guild Ornament exchange PartySaturday, December 5, 6:30 p.m. Graciously hosted by Andy and Kim Cooperman

What could be sweeter than an evening of smiles, cheer and beautiful ornaments? The annual SMG Ornament Exchange Party is always a much anticipated event and a highlight on the Guild calendar. A members-only function, the party is potluck—so bring your favorite beverage. This is a great opportunity to try out that idea that’s been tugging at your mind but just hasn’t gotten built—just test it out in ornament form first: it could be the start of fantastic new direction! Come join your friends and colleagues in Ballard for what is sure to be a great time.

Andy and Kim’s address is available in the member directory located on the website, www.seattlemetalsGuild.org. This directory is available to all members with current security codes. The address will also be emailed to all members.

Member News

amy reeves, instructor of the year!One of Seattle Metals Guilds top young artisans, Amy is a part time instructor at North Seattle Community College and at Pratt Fine Arts Center. Well, we’ve always known she was the cream of the crop but now it’s official! Amy was selected as one of six instructors at Pratt presented with Instructor of the Year

recognition for 2009-2010. Pratt annually acknowledges their top instructors for their dedication, hard work and commitment to teaching. Congratulations Amy!

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Member News

Julia Heineccius (formerly Henscheid) successfully combines precious objects (gold, pearls, gems) with the everyday (erasers, resins) to create quirkily beautiful, wearable items.

One of the newest recipients of the ArtBridge Fellowship, awarded to an emerging artist in any media, Julia describes her own work as being “about relative comparative value, and the

gorgeous physicality of raw materials and found objects.” She compares the relative values of both natural and manufactured resources in her work, contrasting such things as precious metals, ‘perfect’ gemstones, found objects and even human resources.

Her series of wearable art utilizing erasers stems from a time she spent working in office management and bookkeeping. She says,

“these pieces explore my thoughts about hierarchy and gender roles in the workplace and society, and questions I have about the value of labor and handwork, and the hierarchy of material value in adornment - pearls versus erasers.” A brooch formed from a pink pearl eraser adorned with real pearls becomes a metaphor for her comparisons.

In another piece she contrasts the natural state of a chunk of coral with society’s view of a more desirable form of the material: polished and dyed coral beads. Julia makes her statement by combining the two into one small sculpture. She says “it’s funny that we have these natural things but then we turn them into something different, like a ‘perfect’ piece of coral; one made into what we think it should be instead.”

Julia graduated from the University of Washington’s well known (but unfortunately, now-closed) metals program in 2006, and has

had pieces at the Tacoma Art Museum shop, Kobo at Higo and Pacini Lubel gallery. She currently shares studio space with several other metalsmiths on South Jackson Street in Seattle.

Her ArtBridge Fellowship includes a stipend which can be used to explore other forms of making art.

“I’m looking forward to expanding my vocabulary of being able to use different materials,” she says, and has already begun taking classes in different media, such as painting and glass. As a fellow, she will also participate in the Artist Trust EDGE Professional Development Program and will show in a culminating exhibition.

Given her success in combining disparate items, it will be interesting to see what she comes up with in the future.

To see more of Julia’s work visit: www.jthstudio.com

Meet the Metalsmith – Julia HeinecciusBy Lisa Farin

Untitled Coral

Caught Up

the artbridge FellowshipThe ArtBridge Fellowship provides educational and professional support to emerging artists from Washington State. The Fellow-ship includes educational experiences including gaining technical expertise, professional training, access to equipment, and an op-portunity to engage with Pratt’s artistic community. It also includes participation in Artist Trust’s EDGE Program. Designed for visual art-ists, writers and filmmakers, the EDGE Professional Development Program is a comprehensive survey of professional arts practices offered through a hands-on, interactive curriculum that includes instruction by professionals in the field, specialized presentations, panel discussions and assignments. The EDGE Program provides artists with the relevant and necessary entrepreneurial skills to achieve their personal career goals and the opportunity to build community through peer support and exchange.

Recipients, who demonstrates artistic merit, receive awards in the amount of $2500. In addition, they receive a studio supply stipend of $1000 and Professional photography (up to $275). Participation in Artist Trust’s EDGE program is included at no extra cost to the recipient. The fellowship will culminate in a public component, including an exhibition of present work and discussion of accom-plishments while in residence at Pratt Fine Arts Center. (from Pratt and Artist Trust web sites)

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Member News

Exhibit Dates: November 5 – 29, 2009 Artist’s Opening Reception: First Thursday, November 5th, 6-8 pm FREE

Come celebrate in November with Stonington Gallery as we mark Joan Tenenbaum’s 50th anniversary of making jewelry. Joan will present a new body of work reprising all the themes that are dear to her heart: Alaska, the landscapes, animals and environment within which Joan lived for so many years and which has informed her work with a depth of vision; and Alaska’s Native peoples, some of the last remaining hunting societies, with whom Joan lived as an Anthropological Linguist and who are honored by her in her work celebrating their material culture, stories and spiritual values. Her beginning work from 1959 and the early 1960’s will be juxtaposed with stunning new creations. From the debut of new wedding ring designs to abstract landscapes and cuff bracelets, from spiritual figurines to elegant necklaces and bold one-of-a-kind rings, those who have followed Joan’s work for the past several decades will find familiar themes treated in an entirely new manner. And each piece will be graced by her unique artistic vision and impeccable craftsmanship, both honed over the last fifty years.

Sunday, November 15th, 2pm

Joan Tenenbaum will talk informally about her jewelry work and how it has developed over the years. She will talk about her creative process, how she develops her ideas, how she selects gemstones and materials for her designs, will answer questions, and she will share tales of some of the experiences, teachers, and other jewelry artists who have influenced her.

Stonington Gallery119 South Jackson StreetSeattle, WA 98104

206-405-4040 • 866-405-4485

Gallery Hours: Mon.-Fri. 10-6; Sat. 10-5:30; Sun. 12-5

art@stoningtongallery.com

Joan tenenbaum: Fifty years of Jewelry MakingThe Depth and Breadth of a Fifty Year Passion Joan Tenenbaum Gallery Talk

It`s time again to plan for your contribution to the exquisite tradition of the Seattle Metals Guild neckpiece for the Pratt Fine Arts Center auction. These beautiful annual works of art show the diversity of talent and technique among Seattle Metals Guild members in a way that celebrates both individual and collective creativity. As we head into the

completion of the first decade of the new millennium, a fitting theme seems to be “Past, Present, and Future”. Craft a bead that reflects your appreciation for SMG’s valuable history, rich current environment, or it`s promising future!

To that end, we are coming to you with plenty of time to prepare for a due date of February 1st, 2010. Whether you are a long time contributor, someone who promises yourself that next year will be the year to be among the great names, or you are an emerging artist who wants to begin being noticed, we need your bead! Make a wonderful piece to help us make a wonderful necklace!

A few essentials so that we can coordinate your beautiful pieces:

Materials can be varied as long as durability is excellent •and weight isn`t too great

Have an unobstructed channel to pass through the bead •for stringing – 2 mm hole minimum

Bead size should be approximately an inch square•

Delivered by Feb 1, 2010 so we can assemble and •photograph in time for the Pratt due date. Donation form on the SMG web site.

Please find more details and the SMG Bead Necklace Donation Form on the SMG web site. The donation form along with your bead may be mailed to Anne Randall, 3341 257th Ct. SE, Sammamish, WA 98075 anne.randall@comcast.net or (425) 442-0576. We`ll keep you posted on reminders and the finished product.

2010 sMg necklace: Past, Present, and Future

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symposium 2009 – a Viewers PerspectiveBy Molly Epstein

This was the 4th Northwest Symposium that I have been so fortunate to attend. My first was in 2006 when visiting Seattle for the first time. That experience was part of what made my decision to attend graduate school at the University of Washington so easy. I knew I had a built-in metals community that would be there once I graduated.

Fast forward…I’m out of school, working in my studio and, like many, alone a lot. There is no better way to reignite someone’s passions than to throw them into a day filled with inspiring people, lectures, and art. We are all so extremely lucky that we live in (or near) a city that offers such an incredible gift to its metalsmiths and artists. We are one of the few cities that has such a well organized and exciting annual symposium.

This year (like every year!) feels like it was the best symposium ever. From John Grade’s accidental tumble into a deep crevasse to Felieke van der Leest’s animal planet, it’s like we have taken a trip of our own around the world. The energy surrounding the work and the fervor of learning exudes from all of us. We’re all yearning and squirming for new information, a new opportunity, or a new friend. I want to take this moment to say “thank you” to all of the volunteers that helped to make this happen. I value it tremendously.

October 17, 2009 8am- Starts off the morning with a great spread of coffee, breads, cheeses and fruit, chatting, scanning the auction tables, and waking up. 9am- We’re ready to go, seated in the auditorium at the Museum of History and Industry right here in our home town.

John Grade begins the day with his lecture titled Impermanence. In the metals and jewelry world impermanence seems to be a topic that people feel very strongly about one way or the other. Either way you lean; there is no doubt that John Grade handles impermanence with grace and respect, even and especially at such a large scale. I think having him speak at the Symposium this year was healthy for our general population to witness and be exposed. The travel experiences that influence and drive his work coupled by the very physical exertion needed to create, place, and move the work is astounding. Grade’s interest in remnants and his ability to anticipate and want, yet be able to let go and allow, is an interesting challenge for an artist and quite possibly one of the hardest for a metalsmith. His most recently completed piece, the Elephant Bed originally exhibited at Fabrica in Brighton, UK, will be displayed again at the Whatcom Museum in Bellingham, WA, on November 14th starting at 11am. Also don’t miss his piece “Mantel” at the Bitter Lake Reservoir here in Seattle.

Lynne Hull’s A Brief History of the Seattle Metals Guild really hit home as each piece of paper drifted to the ground. This was a signifier that if we don’t step up, document, and remember our past, our future will be bleak. As a fairly new member of the Seattle metals community, the Guild is extremely important to me and it is my responsibility to help keep it going. We need the young and new members to step up, to shadow and learn, then take control and continue the legacy…with new energy and some minor changes along the way. Lynne delivered an emotional speech that needs to be taken seriously. The information Lynne presented will be available to any member of the Seattle Metals Guild and can be added to as new memories arise. Please take the time to recall your experiences, gather your photographs and document any and all experiences you have in the future relating to your life as a metalsmith.

“A Survey of Contemporary Chasing and Repousse” by Nancy Megan Corwin was not only a celebration of her book, it was a celebration of this traditional and meditative technique. Corwin’s sweet delivery of the history, process, and practice deserves a second applause. The list of artists that Megan covered showed us the broad range of work that has been and is still being done using this technique. From Bill Reid to Catherine Gilbertson to our own Candace Beardslee, I found myself wide eyed and energized the whole time. Often during survey lectures, names and works get jumbled together and it is hard to remember who did what. Having this information presented along with the list of artists to follow along allowed more of the information to be retained. We are so lucky to have Nancy Megan Corwin as a part of our NW community

-congratulations to you on your book.

Jim Wallace’s How to Build a Museum on $12 a Day- and Live to Tell About It had me laughing from the very beginning. Wally’s attitude toward getting things done is as honest and straight forward as you can get. As he said, “a great line of bullshit will get you somewhere” but nothing he said in his talk was bullshit. He got right down in and did it…with no money at all. I find myself wondering if starting a museum like that is still possible today, and if it is still possible to really drink whiskey out of Thomas Jefferson’s cup! I enjoyed seeing the old pictures and hearing how important loyal workers are. I had the opportunity to attend the SNAG conference in Memphis, in 2007 and was able to walk through the rooms that Wally and his two unpaid interns built. I hope everyone gets a chance to visit the Ornamental Metal Museum so they, too, can personally understand what Wally meant when he said that building had “potential”. While you make plans to go, the metals museum has a great website, check it out: www.metalmuseum.org

Reviews

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The Gold Standard, Lisa Gralnick’s lecture basically caused me to attach myself to her hip for the entire weekend. Wherever Lisa went, I went. I went to her workshop, went out to dinner with her and I loved every minute of it. Looking over my notes from the symposium all I have written down is panoply. The Invisible Dragon by David Hickey, and Art and Objecthood by Michael Fried. I was listening so intently that I could not write for fear of missing something. Lisa’s work is heavily conceptual, influenced by art history and the value and the life of an object.

I’d say Lisa has set the gold standard. Kitti deLong, a fairly new member of the Guild, graciously video-taped the Symposium and it is available for viewing by any current member. If anyone is interested, please contact Dana Cassara. Thank you Kitti!

All the way from Norway, Dutch artist Felieke van der Leest came to share her colorful world of lions and tigers and Prima Ballerina Hippo-Lolita… Felieke graced us with her easy talking and super fun subject matter. I am inspired by how it pours out of her so naturally. Living with a Beasty Heart, the title of her talk encompassed not only Felieke’s artwork but her life as well. I really appreciate hearing and seeing how other artists work. Felieke was open and honest about her process and how she resolves design issues. Without a doubt, at the end of a long day, Felieke kept everyone at attention.

Thank you to all of our speakers, for traveling so far and for coming to share your work and lives with us!

thank you, symposium Volunteers!A big thank you to this year’s Symposium Committee: Candace Beardslee, Andy Cooperman, Nancy Megan Corwin, Lynne Hull, Micki Lippe, Jessie Wylie, Molly Epstein, John Caster and Gina Pankowski.

We would also like to thank the following people: Aaron Barr for his outstanding work on the Guild web site; Dana Cassara for helping with a number of things including registration, organizing volunteers and securing the coffee and treats; Todd Hughes for his exceptional graphic work on the newsletter, Save the Date card and poster; newsletter editor Cynthia Wood for her help with the newsletter and throughout the planning of the Symposium; Kitty DeLong for filming the Symposium and Mary Dignacci for stepping in as bookkeeper and helping with registration.

This Symposium was truly a group effort and couldn’t have taken place without the hard work and dedication of all those who volunteered.

Symposium day-of Volunteers 2009Registration and Welcoming CommitteeHellyn Pawula, Ronda Miller and Reed Schilbach

Coffee and Food ServiceJen Malley, Geoffrey Barker, John Caster and Sharon Chapman

Silent auction ContributorsGreen Lake Jewelry Works, Ron Ho, Micki Lippe, Jane Martin, Nancy Worden, Joan Tenenbaum, Andy Cooperman, Banya5 / Venik, Seattle Laundry Service, Tarya Cameron, Greg Wilbur, Tisha Abrahamsen, Ronna Sarvas Weltman, Lloyd Herman, Larry Matheson, Dana Cassara and Jessie Wylie

Silent auctionKristin Holden, Lisa Kerr, Tisha Abrahamsen, Tarya Cameron, Connie Jan and Lotta Gustafson

VideographerKitty DeLong

Volunteer CoordinatorDana Cassara

Reviews

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Working with gold A priceless day with Lisa Gralnickby Dana Cassara

For those of you who had the opportunity to hear Lisa present at this year’s SMG Jewelry and Metals Symposium, it became clear Lisa Gralnick has a lot to say and what she has to say is very interesting and often funny. These qualities combined with her sincere personality made the day we spent learning from Lisa simply wonderful!

Lisa’s workshop was packed with practical information, theoretical perusals and heartfelt stories. The morning began with lecture and opened with a critically reassuring concept. I felt years of “gold fear” drift away as she explained why all the worry we experience when anticipating working with this precious material is misplaced. Although it is expensive, especially in today’s market, it is a particularly straightforward material to rework so even if you destroy your project it is relatively easy to start over, much more so than with silver. This simple opening remark freed my mind to take in more from the day than I might have otherwise.

Lisa’s comfort level with gold and her understanding of its properties poured forth as she explained, in detail, various gold alloys and important aspects about gold solders, as well as the relatively limited conductivity of gold and the role this plays in the soldering process. She then proceeded to build us a small hinged gold box, just like the ones currently on display at Facèré Art Jewelry Gallery. In the process of constructing this little box she demonstrated a variety of metalworking techniques including precise measuring, score and bending to form the box and best of all, raising stitches to hold elements in place for soldering. While each of these techniques may or may not have been familiar to the students in class, I myself was familiar with them all; however, seeing them put together by a master hand was riveting and invigorating.

By special request Lisa showed us how to construct a delicate gold rose. And, with great anticipation building throughout the second half of the day, she closed the class demonstrating her,

“famous toilet paper roll” hinge. Lisa explained that for most of her career she introduced the hinge trick as Bob Ebendorf ’s

“famous toilet paper roll” hinge. It was only just a few years ago, when, at a conference she ran into Bob and thanked him for the trick that she was corrected. According to Bob she, in fact, taught him the trick! She says she’s still not sure if that is true. Either way it’s a pretty darn good trick, worth the price of admission.

Lisa’s workshop, Working with Gold, was a great lesson in the finer details of goldsmithing as well as a fabulous way to spend a Sunday. Lisa has a show opening at the Bellevue Art Museum next March. If time allows, she may teach again when she comes out to set up the show. If we are so lucky I’m pretty sure everyone in this past class will be back. I know I will!

Reviews

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Four curators, Four Visions by Susan KunimatsuAs metalsmiths in the Northwest we are fortunate to be part of a vigorous cultural community with a wealth of museums varying in size, mission, and geographic reach. Several of these institutions emphasize studio crafts: metals as well as glass, ceramics, textiles, and wood. Curators are the point people in determining what museums exhibit and collect. But when every place from shoe stores to wine bars claims to ‘curate’ their wares, what does a curator actually do? As artists, how can we converse with curators about their work and how it influences ours?

“Contemporary Craft in Northwest Museums,” a panel discussion on August 23 at the Tacoma Art Museum, was held in conjunction with two important jewelry exhibitions “Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection” and “Loud Bones: The Jewelry of Nancy Worden.” The museum convened curators from four of the region’s leading venues for fine craft with artist, arts advocate, and Metals Guild member Micki Lippe as moderator. Each curator outlined the significance of craft to their museum, their history of exhibitions and accomplishments in the field. They spoke of their professional goals and personal passion for the future of craft at their institutions.

Bellevue Arts Museum Curator Stephano Catalani views “craft as a cultural signifier.” Culture can be specific to a country or ethnicity, as in the museum’s retrospective of jewelry artist Ron Ho, whose work derives from his family’s Chinese heritage. Vietnamese American artist Dinh Q. Le’s tapestries woven of photographs juxtaposed imagery from Vietnamese and American cultures, combining a traditional craft technique with non-traditional materials. While focused on craft and design, the Bellevue Arts Museum does not maintain a permanent collection. Catalani’s interest is in living artists: established masters of national and international significance, and emerging artists giving innovative form to traditional craft media.

Namita Wiggers, curator of Portland’s Museum of Contemporary Craft also views craft as a signifier of cultural identity. In pursuit of her museum’s mission to “advance the conversation and role of craft and design in contemporary culture,” she produces exhibits intended to stimulate dialog between themselves and with their audience. Work by artists with contrasting philosophical or technical approaches to the same medium, or from different time periods may be shown simultaneously.

“Touching Warms the Art” (2008) commissioned art jewelry that viewers could handle and try on. A current show, “Call and Response” pairs artists with writers whose commentary is exhibited on the gallery walls alongside the artworks, to jump-start the conversation with viewers.

The Museum of Northwest Art, the youngest and smallest of the museums represented, and the only one located outside a major metropolitan area, has as its mission “to collect, preserve, exhibit, and interpret art by Northwest artists.” Built entirely from donations, its collection includes works by internationally recognized artists in all media. It is strong in craft, particularly glass, due to the regional significance of those media. Curator Kathleen Moles always has work from the permanent collection

on view and features established and emerging Northwest artists in her temporary exhibits.

The Tacoma Art Museum, largest of the four institutions in floor area and collection size, focuses on the art and artists of the Northwest. It has in recent years made a commitment to contemporary jewelry, establishing an endowment dedicated to expanding its collection in this area. In his multiple roles as Director of Curatorial Administration and Curator of Contemporary and Northwest Art, Rock Hushka tries to frame Northwest art in the context of national art movements by showing them concurrently. These aspects of the museum’s mission were evident in the exhibits on display at the time of this panel. The Drutt Collection is one of world’s the premier collections of studio jewelry. The Worden retrospective, originated at TAM, is a mid-career survey of one of the Northwest’s best-known jewelry artists.

During the question-and-answer session that followed, the curators encouraged artists to actively engage with them and their institutions. As experts in their field, artists have the capacity to influence and educate curators and audiences. However it was also made clear that museums must maintain an objective relationship with artists and collectors. Decisions on what a museum collects or exhibits are based on institutional mission and curatorial vision, not donations of art or funds.

A question about publications spurred an animated discussion of their importance as well as the demands they place on a curator. All four museums are committed to documenting the exhibits that they originate, but publishing a catalog doubles the production cost of an exhibit. Catalogs enhance the prestige of artists and institutions and provide the only permanent record of temporary exhibits, an important consideration, particularly for a non-collecting institution like the Bellevue Arts Museum.

“They are our legacy,” said Catalani.

Stefano Catalani

Rock HushkaKathleen Moles

Namita Wiggers

Reviews

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three exhibitions at tacoma art Museum by Joan Tenenbaum

Ornament as Art: Avant Garde Jewelry from the Helen Williams Drutt Collection

Loud Bones: The Jewelry of Nancy Worden

Selections from Portals, Animates and Hymenoptera: Work by Andy Cooperman

If you examine the work of artists through the centuries, you will see reflected in their work their times, their cultures, trends, hot political issues, mores, taboos and more. As jewelry artists, our work is no different. The three exhibitions on view at TAM this past summer provided a wonderful view into our life and times.

No matter from what angle you chose to view the Ornament as Art exhibition, you were rewarded with a treat. Finely crafted gold—you got it. Edgy work with alternative materials—you got it. Experiments with new techniques, political statements, humor, early work by some of today’s leading jewelers, historical pieces from artists no longer with us, wearable, unwearable, Helen Williams Drutt English collected it all.

I visited the show three times and each time discovered something new—a clever use of materials, a masterful technique, or just a piece of beauty. It is always amazing to me to see large assemblages of work collected by an individual and later donated to a museum. The focus and dedication, even obsession necessary to amass such a comprehensive collection is admirable. I am grateful to these persistent collectors as they provide a valuable service to our community, supporting artists and providing us with an array of work we otherwise would have no opportunity to see in one place.

Loud Bones, the companion show to the Helen Drutt collection, encompasses Nancy Worden’s work from the last thirty years. The work in this exhibit is mostly large neckpieces, each one telling a story. I was happy to see the stories printed along with the work as it deepened my understanding of both the individual pieces and the statements they make. Nancy Worden’s work is daring, clever, outspoken, sometimes funny, often sad. Her juxtaposition of found objects is bold and brilliant. The work is evocative and many-layered and speaks of both her personal stories and struggles as a late 20th century woman as well as all of our stories as late 20th century/early 21st century people. In preliterate societies storytellers passed on the myths which made their world understandable. As Nancy said in her lecture:”Artists are the new mythmakers, the cartographers for the new cultural maps.”

A third concomitant exhibit at TAM was a small but wonderful display of work by Andy Cooperman, including some of his sketches. Andy’s work is so creative it often transports me to another time or place. His pieces could be artifacts or implements from some unknown past or future culture.

The lecture by Ornament co-editor Carolyn Benesh, “Transformative Visions in Northwest Contemporary Jewelry” was icing on the cake, as she gave a brief overview of nine contemporary Washington jewelers: Mary Lee Hu, Kiff Slemmons, Ron Ho, Ramona Solberg, Micki Lippe, Flora Book, Andy Cooperman, Ken Cory and Nancy Worden. I am grateful also to Carolyn and her co-editor Robert Liu, for their magazine showcasing personal adornment.

These days as I mark my own 50th year making jewelry I am honored to be part of this vibrant artistic community.

Reviews

11 www.seattlemetalsguild.org

Saturday, November 21, Danaca Design will host an artist reception for a group show titled, “The House Rules!” This show, running November 14- December 10, will feature work by members of the in-house volunteer crew at Danaca Design. Concurrent with the opening reception Danaca Design will raffle a necklace composed of fabricated beads made and donated by the show participants. In addition, a number of other donated art works will be sold in silent auction. Proceeds from the auction and raffle will be used to endow the Danaca Design Jewelry Art Stimulus Fund.

The Danaca Design Jewelry Art Stimulus Fund is an exciting new component of the Metal Crafting Center. The fund will be available to metal-working and jewelry design students of Danaca Design in the form of scholarships to help defray the cost of classes at the Center. This innovative collaboration intends to increase accessibility to classes in the studio during challenging economics times. The premise of the fundraising event is, “artists helping other artists make more art!” Scholarship applications will be available on the Danaca Design website.

The annual Teacher/Student show and anniversary party will be held Saturday, December 12. Celebrating six years, this show will include select student work as well as the work of participating instructors at the center including Andy Cooperman, Cynthia Toops, Jennifer Stenhouse, Micki Lippe and Suzette O’Dell. This well loved event is sure to be a great time and an excellent opportunity to meet teachers and other students of the center.

Both events will run 6-10pm and will be catered by Café Paloma.

Danaca Design Metal Crafting Center is a small scale metal fabrication studio located at 5619 University Way NE in the University District of Seattle. The Center is a combined workshop, classroom, jewelry art gallery, and retail supply space. The Metal Crafting Center features a full schedule of classes each quarter employing local and national instructors, and a gallery exhibiting both student and professional work. Details can be found on line at www.danacadesign.com.

Date: Wed and Thur, Nov 11 and 12, 2009Time: 9:30am-5:00pm This workshop filled up before we hardly publicized it! It will be a unique opportunity for the fortunate attendees to work with Jamie Bennett, whose drawings, paintings and enameled pieces are exhibited, featured in various publications and collected internationally. Professor Bennett is the head of the metals department at the State University of New York in New Paltz. He has traveled widely to draw inspiration from traditional non-western ornamentation. The workshop will explore various methods and processes in the Limoges technique of enameling. Painting enameling is a process where the finely ground enamel or overglaze is applied by brush or pen to the prepared enamel surface. Each student will work on an enamel element or panel using this versatile and expressive technique. The use of various oils and binders will also be discussed.

Danaca Design Metal crafting center is hosting two events this fall:Saturday, November 21 - Artist reception and Jewelry Art Stimulus Fund fundraiser. Saturday, December 12 - Teacher/student show and 6th year anniversary Party!

sMg Workshop: Painting enamelsFine Painting Techniques with Enamel with Jamie Bennett.

Events

12 www.seattlemetalsguild.org

Seattle Metals Guild Fall Sorting for the Women’s Shelter Jewelry ProjectYou are invited to the Seattle Metals Guild Fall Jewelry Sorting for the Women’s Shelter Jewelry Project. You cannot imagine how much fun it is to go through PILES of jewelry. You NEVER know what you will find. (You don’t have to stay all day...just rsvp with the hours that you can work) All sorting will be held at the home of Micki Lippe 1129 21st Ave East - between Prospect and Highland. Join us for a very rewarding experience.

Please RSVP to: mickilippe@comcast.net

If you have jewelry to donate, that can be dropped off any time. November 22, 10:00 am - 4:00 pm.

Artists: Be A Part of Pratt’s Holiday Sale!Pratt Fine Arts Center is looking for artists and artisans to participate in our famous Holiday Art Sale. This year, our sale will take place in a beautiful new space right next door to Pratt – Legacy at Pratt Park. It will be a fantastic opportunity to show your work in a high-traffic location with an entrance right on Jackson Street! Want to know more?

Go to www.pratt.org to download the form or call Brandi Clark at 206.328.2200, ext 267.Art drop off is November 16-20th.

2010 Saul Bell Design Award Emerging Artist CompetitionOpen to emerging artists, 18 or younger. Deadline is December 3. www.saulbellaward.com/emerging.html

SNAG’s Annual Juried Student Exhibition – “No Boundaries”will have a strong emphasis on student works that push the limits, play with extreme contrasts and provoke intense reactions. Jurors are Brigitte Martin and Lena Vigna. The exhibition will be on display at The Museum of Fine Arts, Houston’s Glassell School of Art during the SNAG 2010 conference. Deadline to receive entries is November 6. See www.snagmetalsmith.org/ProgramsResources/Student_Services for more information and entry form.

SNAG’s Juried Student Work Presentation – “A Presence of Thought”will be a digital presentation at the SNAG 2010 conference. Student artists will submit images of their artwork in the context of its intended use/environment as well as utilizing a typical formal backdrop. Jurors are Janna Gregonis, Veleta Vancza, and Jonathan Wahl. Deadline to receive entries is November 6. See www.snagmetalsmith.org/ProgramsResources/Student_Services for more information and entry form.

SNAG Educational Endowment ScholarshipsA new, improved digital application is available on the SNAG website. Three scholarships are awarded. At least one will be given to an undergraduate applicant. Next deadline is March 15, 2010. Each student receives $1,000 and a one-year SNAG membership. These are SNAG’s most prestigious student awards. A selection committee of three independent jurors determines the awards.

w w w . s n a g m e t a l s m i t h . o r g /ProgramsResources/grantsawards.

METAL Inclinations2 2010-11Is an International Online Jewelry Exhibition. Sponsored by Hauser & Miller and presented by The Society for Midwest Metalsmiths, this exhibition will include selections of the most exemplary fine metal art jewelry created by metalsmiths, silversmiths, goldsmiths and jewelers from all over the world. Jurors: Jamie Bennett, Klaus Brügel, John Cogswell, and Sydney Lynch. Deadline June 30, 2010. Debut date October 31, 2010. Exhibition will remain online until October 31, 2011.

www.smm-metalinclinations.org/enter.htm

Mort Abelson Scholarship 2010Honor ing Mor t Abe lson , who was instrumental in promoting the American designer jewelry movement. The winner receives all expenses paid (tuition, fees, transportation and lodging) in San Francisco for any class during Revere Academy’s annual Masters Symposium, April 2010. Deadline is December 1. Application can be found at http://callforentry.org/

Artist Trust: I Am an Artist: Professional Development Weekend for ArtistsNov 7-8, 2009 : Yakima. Coming shortly to Tacoma.

Spend the weekend jumpstarting or refreshing your artist career with essential resources, funding opportunities, peer-to peer evaluation, networking and hands-on feedback. http://www.artisttrust.org/events/artist_workshops/weekend.

This two-day workshop includes:The Basics: Learning the Artist • LandscapeFinding Funding and Other • OpportunitiesUsing the Internet as a Tool for • PromotionFollow Up: What’s Next. Get practical • and professional advice in person from Artist Trust staff after the workshop.

Artists can choose to bring either their portfolio or a grant proposal for review.

Special Presentation unique to location.• Networking Event. Not exclusive • to artist participants. Get to know the artists and resources in your community.Hosted by a local community resource • or member.

Cost: Artist Rate: $95 (includes Artist Trust Membership) Artist Trust Member Rate: $50

Lark Books seeks images……to publish in 500 Silver Jewelry Designs. Juried by Talya Baharal, it is a 420-page, full color survey of contemporary jewelers prominently featuring silver in their designs. Postmark deadline December 4.

www.larkbooks.com/submissions/artist-submissions

The Artist Clinic @ Country Doctor Expands Its Subsidies Reminder: The Artist Clinic at Seattle’s Country Doctor Community Clinic expanded its subsidy program this Fall! No longer are there any income requirements to qualify for a subsidy to help cover clinic bills. Thanks to a coalition of arts supporters, uninsured artists can request $75 vouchers (maximum of two per year) which can be applied as a credit to help cover expenses incurred at the Country Doctor. Subsidies may also be applied to prescription drugs purchased at the Country Doctor pharmacy.

This is great news if you’ve been considering getting a flu shot this year and/or finally having that annoying pain checked out. The Artist Clinic offers artist-focused hours every Wednesday from 5:30-8:30pm or other times by appointment. Make an appointment today by calling 206/299-1600.

metals events & information

To network more information and future entries for this column, please contact newsletter@seattlemetalsGuild.org

13 www.seattlemetalsguild.org

Today’s Date ❑ New Member ❑ Renewing Member ❑ Check if contact info has changed

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Check the box only if you want to receive a paper copy of the newsletter in addition to the electronic version ❑(Help the guild save money and resources by viewing your newsletter online. You will receive email notification when each newsletter is available.)

Enclosed is: ❑ $45 Individual membership (1/1/2010 – 12/31/2010) ❑ $20 Student w/copy of student ID

❑ $60 Membership for any number of adults at same address (1/1/2010 – 12/31/2010)Memberships paid on or after September 15, 2009 will extend through December 31, 2010.

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please contact membership @seattlemetalsguild.org.

MEMBERSHIP FORM

MARKETPLACELooking for Studio Assistance?I am a recent graduate of the Cleveland Institute of Art with a BFA in Jewelry and Metals and new to the Seattle area and SMG. I am fluent in most traditional and contemporary metalsmithing techniques. Please visit http://www.flickr.com/photos/amandabristow/sets/ to see images of my work. Also published in Lark Books 500 Enameled Objects, 2009. I may be reached at amandaRbristow@gmail.com or by telephoning (312) 354-0203.

Getting busy for the holi-days? Need Assistance?Skilled metalsmith and jewelry artist new to Seattle seeking position as part-time studio assistant. Hours flexible and open to a seasonal engagement. If interested, please contact Katherine Williams at KLWilliams86@gmail.com.

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Please return this form to:Seattle Metals Guild

PO Box 70407Seattle, WA 98127

P O Box 70407Seattle, WA 98127

Nov/Dec 2009

www.seattlemetalsGuild.org

The Seattle Metals Guild is a non-profit organization made up of people with vary-ing interests and involvement in traditional and contemporary jewelry and metal arts.

The Guild was founded in 1989 to provide for the exchange of ideas and information, as well as to offer affordable educational op-portunities to its members and the public.

Our activities include: a web site, bimonthly newsletter, exhibitions and a series of aes-thetic, technical and business workshops and lectures.

The skills, energy and enthusiasm of the Se-attle Metals Guild members promote and sustain its successful programs.

We welcome new members and encourage participation by everyone.

The Seattle Metals Guild Newsletter is published bimonthly. Comments, announcements and ads are welcome from all SMG members.

Please contribute to your NewsletterWe encourage participation and welcome information about upcoming shows and events, articles about safety and bench tips you would like to share. If you have comments or something to contribute, please submit your information, generated in a word processing program, via e-mail.

Include photos or logo artwork in JPEG format, if available. Remember to provide who, what, when, where, why and how.

Cynthia Wood: newsletter@seattlemetalsGuild.org

Deadline for Jan/Feb is Dec 10. Articles received after that date may be published in the following newsletter.

2009-2010 SMG Board of DirectorsAll addresses are suffixed with “@seattlemetalsGuild.org”

President . . . . . . . . . . . . John Caster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . president@Vice President . . . . . . . . ET Kessler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vicepresident@Secretary . . . . . . . . . . . . Jessie Wylie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . secretary@Treasurer . . . . . . . . . . . . Mary Dingacci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . treasurer@General Board . . . . . . . . Aaron Barr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . board2@General Board . . . . . . . . Dana Cassara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . board3@General Board . . . . . . . . Kiraya Kestin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . board6@General Board . . . . . . . . Lotta Gustafsson . . . . . . . . . . . . . . . . . . . . . . . . . . board8@

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