Art jewelry is made in relation to the body – yet is often presented in formats that do not have a physical relationship to the viewer. With this exhibition, the Museum questions how art jewelry is presented for the public to experience. How is the distance from the viewer negotiated between objects appearing on a printed page vs. those installed in a Museum setting?

The genesis of this exhibition comes from Metalsmith’s Exhibition in Print (EiP) 2007, which was curated by the internationally known design curator Ellen Lupton and published by the Society of North American Goldsmiths. Ellen Lupton will deliver a lecture on March 20 at Pacific Northwest College of Art as part of the Museum’s Excellence in Craft lecture series.

Major Support for this exhibition provided by:

Images (top to bottom):

Maria Nuutinen, The Best Days of My Life pincushions, 2005; Cotton wool, elastic band, fabric, pins, plaster, plastic, printed fabric; photo courtesy of the artist

Harriete Estel Berman, Yellow & Orange UPC Identity BEAD Necklace, (detail) 2001; Post consumer recycled tin cans, plexiglas, brass tubing, polymer clay, colored electrical wire cords; sterling silver, 10k gold rivets; photo by Philip Cohen

Sharon Portelance, Wreath for Maeve and Liam (Bracelet), 2004-06; Sterling silver, 22k gold; photo by Robert Diamante

Steven and William Ladd, Fire Tower, 2004; archival board, ultra suede, silk, glass; 25 x 5.5 x 30.25 inches; photo by Andrew Zuckerman