Using a Gun in Whole or In Parts - The Meaning of Materials

_{In the previous post Boris Bally made a comment that is worth further consideration:}  

Biba Shutz response to Imagine Peace Now

"I am surprised how many metalsmiths have chosen to keep the gun as a whole, rather than to manipulate or reconfigure the gun’s materials. Certainly a big part of this was the barrier of working with a frighteningly ‘loaded’ (metaphorically) and often unfamiliar object."

I am thinking about Boris's statement. I see both sides now. 

When my gun arrived in the mail for this exhibition Imagine Peace Now I had never touched a gun before. I was definitely planning on taking it apart or cutting it apart. Both were easy options using my metalsmithing skills....but then taking the gun out of the box, even a small gun seemed threatening. I thought, maybe the gun was scarier, more frightening, more lethal,  if it was whole.

By putting the gun on the handle of my check writing machine, it meant that the viewer had to metaphorically grab the handle of the gun every time they were calculating or "Checking the Cost of Gun Violence."

Checking the Cost of Gun Violence by Harriete Estel Berman

But does using the entire gun in every artwork look or feel equally scary.

In the image right these guns by Sharron Massey  are decorated with enamel or paint. They say: "new normal," a powerful message, but do the guns look scary and threatening?  

Do you think you might have to grab these guns? or use them? Is this your "new normal?"

In the artwork shown (left and below) by Stacey Lee Webber the guns are cut lengthwise.  The colors of the different gun metals are very interesting.  The frame echos similar metallic colors. The photograph with grey sludge concrete on the wall seems far more poignant. I see the frame on the wall as a memorial to the victims of gun violence on the street. A memorial of death.

Despite the fact that the guns are cut in half, they still hold a powerful resonance.

So a whole gun really isn't the point. Half a gun can send a powerful message.

Here are two more examples in this discussion about guns whole or in parts and the meaning of materials.

A necklace by  LeeAnn Herreid is made from one gun trigger  with additional gun parts that were molded and cast to create duplicate parts. The necklace uses gun parts in an attractive decorative way. The photograph is neat and consistent with quality photographic standards but leaves me a little empty. It doesn't grab me with the threatening issues surrounding gun violence. Does the "pretty" perfection get in the way?

Contrast this to a necklace by Boris Bally made with gun triggers.  (right)   While very similar as a comparison it seems more "steely," harsh threatening.

 

Boris often photographed work in this Brave series on "gansta"  guys.  The message was clear. Jewelry from the street made from actual gun triggers.  The parts of the guns, the triggers themselves still carried powerful meaning.

In summary, my first assumption that the whole gun was scarier isn't really true. Parts of a gun, a slice or a trigger can still carry a powerful message.  

Creativity really is an art more than a science. One principle can not apply to all situations, and nuance can make all the difference between good and great interpretations.

Harriete

View the Kickstarter campaign for an exhibition catalog by Boris Bally. At the time of this post, 37% of the needed funds had been raised by 135 generous backers. Thank you to those who donated in the final 9 days, raising over $50,000 for this important project to be immortalized in print.

Stay tuned for updates about the upcoming exhibition locations for Imagine Peace Now. If you run a gallery or exhibition space, perhaps you might want to contact Boris Bally about the traveling show schedule. 

 

Checking the Cost of Gun Violence by Harriete Estel Berman

This post was updated on December 13th, 2021.

Honesty at Gun Point, Kickstarter a Shot in the Dark

In March 2016 Boris Bally invited me to participate in an upcoming exhibition titled, "Imagine, Peace Now."  All of the artists were to be given an inoperable handgun and asked to make an artwork addressing gun violence in America. A previous post shared my artwork.

I have known Boris for at least 28 years (maybe more) and am a big fan of his work with recycled traffic signs. The range of Bally's work is backed up by exquisite craftsmanship, sophisticated aesthetic, bravado, integrity, work ethic and sometimes even outspoken opinions. Go Boris!

 

Guernica by Pablo Picasso. 1937. Oil on canvas.

Obviously I have the utmost respect for Boris, but beyond that, I believe, I BELIEVE,  I BELIEVE that artists and makers can send a message with their work. Indeed, some of the most famous artworks of history resonate with political and social messages.

 

In this post, Boris Bally shares his experience putting together a show with a theme about gun violence. It is always enlightening to hear from the voice of experience. Boris enlightens all of us about the challenges of an invitational and juried show, the lessons learned from organizing an exhibition, finding exhibition locations, and mistakes made along the way.

Putting together a show is in itself a noble effort and a time intensive commitment powered by passion. Boris raised funds through Kickstarter for a print catalog for the show.  A Kickstarter campaign is kind of like a Sisyphus challenge -- it seems endless and always requiring more effort.  There are many successfully funded projects, but it requires a great deal of support. Boris tells more about this too.

 

Thank you to everyone who made a contribution for the catalog and the influential voice of artists and makers speaking out about a politically hot topic.  A dollar or five dollars may show the power of the arts to speak up about a life threatening issue.  If you can afford it, a larger donation gets a Kickstarter reward (left), but every dollar counts.  

Below my questions are in red bold followed by Boris Bally's responses. Included in this post are a selection of artworks to be exhibited in Imagine, Peace Now.

What have you learned from organizing this show?

Andrew Hayes

The show organization has lots of detail and complexity. An ongoing challenge has been to insist on following the original rules and guidelines initially set forth -- by treating all artists fairly and equally. Occasionally, this gets put to the test and it is a difficult decision. I am reminded that, by nature, artists don’t pay attention to the basic details: deadlines, artwork constraints and sometimes there is pressure to make exceptions to rules. This show is teaching me to be firm, yet diplomatic.

 

 

 

 

Did the work submitted for the show surprise you?

Hoss Haley

I am surprised by the amazing individuality and talent displayed in these pieces. So many angles -- the various approaches to the theme which is fairly narrow in scope but has so many strong opinions tied to it. However, the broad spectrum of quality astounds me.

Some of the better known artists have submitted what I consider a lazy stab at the topic and devoted little energy (I am withholding names -- it will become apparent when the show is on display). A few of the lesser known artists have given the project 150% and used their full creative arsenal with a lot of thought and energy in their pieces.

I am surprised how many METALsmiths have chosen to keep the gun as a whole, rather than to manipulate or reconfigure the gun’s materials. Certainly a big part of this was the barrier of working with a frighteningly ‘loaded’ (metaphorically) and often unfamiliar object.

Of course you love every entry, but did you hope that people would address one specific issue about gun violence rather than just use the gun parts for adornment or shapes?

Ka-Bloom by April Wood

I definitely do NOT love every entry. However, I was pleased by the range of topical involvement. Even adornment using gun components can make powerful statements with sensitivity, hopefully making people think about guns in a different way.

Surprisingly, no entry glorified guns despite the extreme range in severity of anti-violence statements. I did not want to censure anyone, rather hoping to engage and elicit conversations -- which hopefully lead to involvement and action. The work that spoke to me the most was that which worked off the actual statistics, or the specific gun laws and transformed these into art that helps viewers to comprehend the emotions, the flaws and the sheer magnitude of the issues at stake.

 

How did you find show venues?

Christine Clark

I wrote to many of the venues that hosted my first gun show. Several had changed leadership or were not able to meet a rapid deadline (my initial goal was to get this into a showing before election day). The first venue that signed on, The Society of Arts and Crafts, did so quickly, supportively, and without question. Fabio Fernández and Luiza deCamargo believed in my project given our history of working together in the past. After they signed on, Bob Ebendorf, Barbara McFadden and Gerald Weckesser made a strong case for the show at ECU despite the Director’s initial hesitations. I am so pleased to be able to open the show at the gallery and will be featured during the Materials Symposium where I initially made the big decision to move forward with IMAGINE.

 

What has been the hardest part about starting a Kickstarter Campaign to fund the catalog?
It took at least two months to prepare the incentives (which are required) and to produce the video (very helpful). I interviewed several successful KS campaign candidates for advice. It took lots of planning to lay the groundwork of what I was asking for, how I would ask, becoming familiar with the platform, the incentives, the up-loading process and the rules. The most worrisome component was that KS lists in the rules that weapons are not allowed.

They would not directly answer my questions when I asked them, in advance, if the project to go on. They said, "just apply and you will see if it gets accepted.” That was very nerve racking -- should I put all this into something that they will later not accept?

The amount of mail I receive has been daunting -- SO Much from various PR firms that promise funding help. Also I have been writing non-stop begging folks for support. It is an uncomfortable position to be in, but on the up-side, it does benefit the artists in the show.

What do you think is important about a print catalog as compared to just a digital version? 

Safe House by Stephen Yusko

Obviously, both have their place. I am old-fashioned in believing that a print catalog circulates in different ways than digital. It ‘sits’ on tables and can be easily browsed without batteries or glare. The essays will provide for some interesting reading that will lay the framework for the show and the publication. A book becomes a collectible, an ‘artifact’ just like the physical works in the show. Books have such a rich history and I believe, still a place in the libraries of our homes / offices. A book becomes a ‘presentation’ of the content -- like an exhibition . . . and a nice way to view an exhibition if you can’t be there in person to get the real time show. But, if we do not get the funding for a print catalog, we will try to get funding to do the downloaded one. (still a big expense)

How did you even estimate the cost of the print catalog?
I didn’t want to create a low-end catalog again, after having done this for my first show, ‘Artists of a Different Caliber’ back in ’97. Been there done that. Thought I would see if we can get a major, museum quality book going, to give the show some extra credibility in the high-end art world. I still believe we can do this. Of course, all the artists in the show get a complimentary catalog and also a discount on initial orders of future copies.

 

What is a Kickstarter Campaign financial picture?
The $50,000 estimate for the KS campaign breaks down as follows:

• $5,000   Kickstarter and Credit card fees lop off about 10% in fees, so now we are down to $45k
• $13,000 getting high and low actual print costs (based on 2,000 copies @ 100 pages @ 8.5 x 11” with neat binding)
• Roughly 1,100 catalogs would go to fulfill the donations on KS so we will have leftovers to give artists and to sell at the venues.
• Our high estimate was $26k - we did have one for $86k but threw that out -- and lowest was $11k.
• $6,000 our photographer gave us an estimate of $5k- $8k for reshooting the art (depending on the quality of what we receive -- all work -- or any work that needed to be reshot)
• $3,000 our designer gave us a cost of $3,000 for the whole project, including the logo. This is a steal considering she will also be working with the photographer.
• $1,000 video honorarium for KS/ advertising
• $20,000 incentives costs for the campaign range (depending on quantity of pledges) between $15k- $28k. These are for producing the keychains, pins and platters, etc.
• $2,000 padding-in case I screw up. (minimal payment for my time if I do not)

 
What are your regrets:

Linda Savineau

I wish I had not promised invited entrants would get their work included in the show, despite the jury process/ decisions. There were a few pieces that should not have been included due to major technical issues or minimal effort.

What are your hopes:
After the second venue, we regroup the show into a tighter, more focused grouping culling to perhaps 50 pieces to travel to a variety of venues. At that point, I would welcome new entries to ‘refresh’ the show while distilling the show to its most powerful examples.

To the readers of ASK Harriete, I ask, What is the power of art? Review the Kickstarter Campaign for Imagine Peace Now    It needed 31, 284 $1.00 donations. That is a lot.

But as an alternative, the catalog is fully funded with 6,257 $5.00 donations. That could happen in one day, with your help.  

What shocks me is the amount of money the NRA spends on lobbying and political campaigns. According to OpenSecrets, a site that tracks money in politics, the NRA spent $984,152 on campaign contributions during the 2014 election cycle. It also spent more than $3 million on lobbying in both 2013 and 2014. How much do you think the N.R.A.is spending on the upcoming election? 

So can you give the cost of a cup of coffee so the arts can raise it's voice about gun violence?

Harriete 
(P.S. I'd like to add more information about the images but didn't have the title for all the artworks. Please feel welcome to email me with the titles.)

This post was updated on December 13th, 2021.

Checking the Cost of Gun Violence by Harriete Estel Berman

 

 

Should Jewelry Display Include the Artist's Name?

During a recent visit to Patina Gallery in Sante Fe, I noticed that they did not include labels with the artists' names identifying the makers of the jewelry on display. I asked Ivan Barnett (the gallery owner) about this approach. The response was that labels created visual clutter. They wanted the visual impact of the work on display to be about the artistic impression of both the display and the objects themselves.

I must admit that their gallery does look very attractive. Each piece of jewelry in a case or on the wall creates a positive impression. The jewelry on display does not feel crowded.  I give them high marks on visual impact unequivocally.

In contrast, another gallery exhibiting jewelry placed labels everywhere with all kinds of information, e.g. names, materials, dimensions,  and prices -- and the overall appearance did look jumbled to horrendous with visual clutter in the displays or on the walls.

Labels or not labels is not a new debate, but I think a few issues come to the fore.

1) Should artist-made jewelry have a label with the artist name in an exhibition or gallery?

2 What is the solution to an attractive label?  

3) As a jewelry artist, would you express your opinion to the gallery or exhibition that displays your work? 

4) What is the value of discussing this issue? 

Let's look at the first question:
Should artist-made jewelry have a label with the artist's name?

I started to think about it like this. ...

Can you imagine going to a museum or gallery for other media and not seeing the artists' names with the artwork on display?   I can not recall ever seeing an exception. 

How about at an airport showing public art? Don't they always include the artist's name? Of course they do. Usually with just a couple of seconds to look around, there is always a placard or label. 

Did you ever go to a ceramics, glass or sculpture show and not see the artist's name near the artwork on display?  Never.

Is there any other art form in which the artist's name is considered optional?   At a minimum, artwork of any medium and the maker are identified with a label.  It establishes credibility for both the exhibition and the artists in the show.  

Further irony is that there are even brand name commercial jewelry brands commanding higher prices and better sales because they are associated with an individual's name. Examples like Paloma Picasso or David Yurman sell their boring jewelry with a name attached.

However. . . 

The visual and aesthetic impact of an exhibition must be part of the equation.    Seeing creative, innovative expression can be a magnificent engaging experience for the buyers and community.   Any opportunity to elevate a gallery visit into a sense of wonder should be a goal for everyone. Intrusive labels or poorly placed placards may interfere with that experience.

Let's compare some examples side by side of jewelry on display, with and without labels, before we consider the professional and practical issues.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It is clear that the artwork displays best when no distractions interfere with the visual experience.

But it is also essential that the artwork should not be displayed anonymously.

So, question two...
What is the solution to an attractive label?  How can the artist's name be clearly associated with the artist-made jewelry on display?

How can this be done effectively without visual pollution of labels and the cluttered effect?

Here are some  ideas:

1. Have one label discretely near but not in or on the jewelry. Ideally the label will be attractive (more attractive than a white piece of printer paper).
2. Keep the label below the display so that it can be found if desired but does not obstruct or is not included in the field of vision of the artwork.
3. Provide a printed handout or gallery guide with small images of the jewelry.
4. Use a small number in the display that corresponds to either a label to the side or the printed handout.

Can any readers of this post offer other suggestion or ideas? 

 What are your solutions or ideas?

 The third issue is....
As a jewelry artist, should you express your opinion to the gallery or exhibition that displays your work?
Did you ever ask the gallery that shows your work if they display your name? Do you think that the artist maker has a voice in this issue?

Question four is... 
 What is the value of discussing this issue?  The reason for this discussion is that it is time that artists and makers take responsibility and advocate for their work and how their work is displayed.  Surely, galleries and exhibitions are opportunities, but makers of artist-made jewelry should not simply remain quiet and anonymous.

What is your position? Do you have any power?

Next post: Should labels have any information other than the artist's name? How much information is TMI?

Harriete

P.S. I recognize the irony of not labeling all of these images with the artist's name and will try to create a key for this post identifying all the work in these images. 

Necklace by Helen Shirk
Steel with enamel

 

 

Necklaces by Arlene Fisch
Crochet wire

 

(Center) Necklace and jewelry by Mike and Maaike  - "Stolen Jewels" Digital printing on leather
(Front Center) Marjorie Simon  - Enamel rings
(Left edge) Rebecca Laskin  - Bracelets dyed 3-d printing
(Right edge) Rachelle Thiewes - Painted bracelets

Necklace and cuffs by Arlene Fisch Crochet Wire 

 

Exhibition at the Society of Arts and Crafts
Bracelets by Harriete Estel Berman

 

This post was updated on December 13th, 2021.

Jewelry Display and the Elephant in the Room

Recently, I viewed jewelry on display at multiple galleries all in one day.  Seeing so much jewelry in a short time allowed me to compare and contrast the quality and effectiveness of different display approaches.  

Some jewelry displays were elegant and inspired, while others were horrendous and highly questionable.  Trying to understand the cause of such disparities seemed to be a good subject for several posts and possibly an informative debate.

To add to the display confusion the various individuals responsible for the different display approaches (shown in this post) each considered themselves experts with years of experience.  How would one know they had jewelry display expertise?  They said so.   

The inconsistencies of the jewelry displays remind me of the ancient Indian tale of the blind men describing an elephant. Each man touching a different part of the elephant confidently extrapolated their vision of what the whole elephant must look like.  But their stories varied enormously, as you can imagine.  Ultimately, "When a sighted man walks by and sees the entire elephant all at once, the blind men also learn that while one's own experience is true, it may not be the totality of truth."

The elephant in the room -- or more specifically the "elephant" in this post -- is the lack of standards for quality jewelry display.

Putting all good intentions aside, there are some pretty clear display standards that merit universal implementation for the display of artist made jewelry.

 

SPACE applies to jewelry everywhere! 

Space defines value. Crowded jewelry displays scream lesser quality, lesser importance.   The more space around an object the more important it becomes. In the first photos, you see a crowded jewelry display photographed on the street. The attempt to squeeze in as much jewelry as possible diminishes the perceived value of the jewelry. The visual clutter reflected in the store window seems like an apt metaphor for the visual clutter of the merchandise. 

When a jewelry display has too many items (whether in a case or on the wall) the message of value or uniqueness has been diminished. For example, laying bracelets on top of each other or squeezing as much work into a case is reducing the perception of value. 

 

Compare the previous examples to how  jewelry is displayed in a top quality museum where there may be 12" or more between objects. One piece of jewelry may even be allowed to occupy the entire case or placed on a pedestal by itself.  

Space is a valuable resource. Space costs money. It doesn't matter whether it is a craft show booth or gallery or a museum.  Space is a luxury. Space needs to be a physical and metaphorical component of effective display.

Space in retail context is a definition of value. We see this all the time. The space principle is applied to items in retail stores of all kinds. Discount stores crowd their racks with merchandise. Top quality stores place an object on a shelf away from other distractions. When you are selling, you are selling more than just merchandise. You are selling a perception of value.

 

Apply this principle to your display whether at a craft show or gallery exhibition.   You want the work to look like it is worth buying.

 

Two more essential display attributes: 

Consistency in display props. Ask Harriete has featured this topic on numerous occasions. Inconsistent display materials create an unattractive and distracting display.  In the photo (left) there are two different commercial neck forms covered in brown textured linen, a clear Plexiglas support, black linen fabric, and a business card holder used as a prop. The wood framed case is awkwardly perched on top of a painted grey pedestal - not a good combination.

 

 

More awkward combinations (left)  include a wood frame case with brown linen commercial neck form on a grey painted cube. Add Plexiglas props and white paper labels. It doesn't work.

Adding business cards in the middle of a display may provide contact information but they are unnecessary distractions from the work whether this is a million dollar gallery or a craft show booth.  It looks bad.  Keeping focus entirely on the jewelry is essential for quality jewelry display.   

Avoid commercial display props. Commercial display props should not be used for artist made, hand crafted, handmade, or art jewelry. Purchased display props send the commercial jewelry message. No amputated fingers, collars, necks, or bracelet posts, ever. 

Your clients easily sense the difference between retail commercial  jewelry and art jewelry. Though I've heard some defense of commercial props after my previous post regarding "Purchased Racks and Props", it is my experienced opinion that purchased display props should be avoided.  Ordering commercial displays may be a convenient time saver, but I am not convinced that they are worth the loss of perceived care and uniqueness.  Display props are often necessary for jewelry display, but you have to make them. 

More posts are coming, and the line of "elephants" is way too long. Stay tuned for a circus of jewelry display issues that you won't want to miss. 

Harriete

P.S. Most of these photos are not great. I don't want the jewelry recognized as victims of the display sins. All photos taken inside a gallery were taken with permission. 

This post was updated on December 13th, 2021.

RELATED POSTS:

WANTED Better Display - Offender #3 TOO MUCH STUFF On Display

 

WANTED Better Display - Offender #4 Purchased Racks & Props

 

WANTED Better Display - Offender # 5 Inconsistent Display Materials

 

WANTED Better Display - Offender # 6 Pathetic Aesthetic

 Key: 
Image taken by Phil Renato at the Museum of Art & Design, NY
Jewelry by Harriete Estel Berman (Yellow Ruffle Bracelet) and Peter Chang (bracelet shown at the bottom of the photo.)

 

An Exuberance of Color in Studio Jewelry

I fly to Santa Fe, NM this August for an opening of an exhibition at Tansey Contemporary curated by Gail Brown. I am honored to have my work included in the show which is titled: An Exuberance of Color in Studio Jewelry.

The catalog is available online.  It is very well done and filled with exceptional work.

Participating jewelers include Julia Barello; Harriete Estel Berman, Jessica Calderwood; emiko oye; Arline Fisch; Donald Friedlich; Rebekah Laskin; Karen Massaro; Bruce Metcalf; Mike Simonian; Marjorie Schick; Joyce Scott; Barbara Seidenath; Helen Shirk; Marjorie Simon; Rachelle Thiewes; Linda Threadgill; Cynthia Toops; Dan Adams; Roberta & Dave Williamson; and Amy Lemaire.

Each jeweler is featured in the catalog. If you have the opportunity to see the show in person, I believe it will be worth your time. 

 

Do I go to many openings?

The time and effort to travel for an opening is not an easy option. I typically prefer to save money, keep expenses low, and stay home to work, but this invitation from Gail Brown to participate in this exhibition represents a long relationship of generous patronage. Going to Sante Fe is an adventure. 

After the show, I am taking two days off with my husband for a cultural history trip to Chaco Canyon in northwest New Mexico. Originally this was supposed to be just for an kind archaeological adventure, but it seems that this area was recently designated as a 'dark-sky preserve' so I have (sucked in my breath and) committed to camping under the stars. 

Will I see you in Santa Fe?  Thank you to everyone who made it to the opening on Friday evening, August 5, 2016.

Harriete

This post was updated on December 13th, 2021.

RELATED POSTS: 

Profit and Lost from Seth Godin 

Exhibition Opportunities For Finished Work? How to Find Them.

 

Never say, "Gosh ...I could have gotten into that." Guidance to Improve Juried Opportunities

As mentioned on the previous post, I am reconstructing an entirely new website. As a result I am reminded of all the useful content in the Professional Guidelines and in the ASK Harriete archives that may improve your success when submitting your work to a juried exhibition, show, book or magazine.

Even the smallest adjustment to your submission may make the difference between success and less than optimal outcomes. I've seem this over and over. Recently I was asked to select the award winning work for a juried exhibition. The $500 first price was a very generous award to stimulate entries. There were great 2nd and 3rd place awards as well, but the reality was that there not as many submissions as expected. What a missed opportunity for many, and a optimal opportunity for others!  

Never say, "Gosh ...I could have gotten into that." Try for every competition that fits your work using this information to improve your chances for success.

Juried Opportunities from the Professional Guidelines

 

What Is the Difference Between Curated and Juried?

 

 

 

CONTINUITY and CONSISTENCY, Photos Should Demonstrate Clear Focus

 

 

 

 

 

Zapplication: Behind the scenes by Craig Nutt

 

 

Opportunity vs. Vanity Scams

 

 

 

Photo Comparisons and Descriptions - Now Optimize Your Submission


Put lady luck on your side with a well planned entry.

Harriete

This post was updated on December 13th, 2021.