Gallery Loupe: Three Important Acquisitions by the Newark Museum

Published: 10.07.2013

Montclair, NJ -- Gallery Loupe is pleased to announce the acquisition of three important pieces by the Newark Museum, Newark, NJ. Jennifer Trask's Acanthus neckpiece, 2010, Esther Knobel's Swimmers neckpiece, 2012, and The Opulent Project's Digital Ring, 2011, will become part of the Newark Museum's permanent collection.

The Acanthus neckpiece is a seminal part of Jennifer Trask's Vestige series. The idea for the Acanthus neckpiece was borne out of a nineteenth-century Italian frame that the artist used for Intrinsecus, 2010, a monumental, wall-mounted sculpture, specifically made for curator David McFadden's 2010 exhibition Dead or Alive at the Museum of Arts and Design in New York. That piece later became part of MAD's permanent collection. Trask admired this frame for its "perfect Acanthus leaf forms" and was inspired to create the Acanthus neckpiece, made of found seventeenth-century frame, antler, 18K gold wire and 23k gold leaf. The antler bone compliments the curvilinear forms of the frame, thereby creating a harmonious composition where the two materials appear to organically blend together.

Esther Knobel's Swimmers neckpiece, 2012, is a continuation of the series Wreaths, Athletes, Warriors that began in 1982. The bright and whimsical neckpiece, depicting synchronized swimmers in red bathing suits, was inspired by the 1930's films of Hollywood director Busby Berkeley, who was famous for his choreographed scenes of synchronized swimmers, dancers, and acrobats. Of this series, Knobel has said "I wanted to create a circle of motion consisting of a string of replicated figures." The neckpiece made of painted and decorated tin, presents these figures in motion.

The Opulent Project's Digital Ring 2011, is based on the designs of three different 3-D digital ring models. According to the artists, "Many of the digital files are interesting because they often display an almost comical disregard for the making process. Because they exist in the digital domain they can do so with no structural integrity. For instance, some rings have no prongs to hold the stone in place-the base of the stone seems to just merge into the ring band with none of the traditional mechanisms related to function. A diamond might be crammed right through the band with the sharp point extending well into where the finger should go. They demonstrate the most archetypal concept of what the object is by including only those visual indicators that are immediately associated with a ring. In this way they become symbols for what they mimic. By combining these three symbolic images into one ring we further emphasize the caricature of what this object is in our collective mind." The Digital Ring is part of an ongoing series called Costume Costume which was started in 2008."


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