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ThinkingJewellery. On the way towards a theory

Book  /  SchoolsArnoldsche
Published: 22.11.2011
ThinkingJewellery. On the way towards a theory.
Editor:
Wilhelm Lindemann
Edited by:
Arnoldsche
Edited at:
Stuttgart
Technical data:
352 pages, hardback, 110 illustrations in colour and 230 in black & white, text in English, 16.5 x 25 cm
ISBN / ISSN:
978-3-89790-326-5
Price: 
from $ 49
Order: 
Amazon
DEBORAH RUDOLPH
. Object, 2008 (6th sem.)
. Balsa wood
. Foto: Hartmut Becker .
DEBORAH RUDOLPH
Object, 2008 (6th sem.)
Balsa wood
Foto: Hartmut Becker

© By the author. Read Klimt02.net Copyright.

Intro
The search for a theory of jewellery is still in its early days. This essential book delivers the foundation for the continuing challenges and at the same time also reveals its confines. A standard reference work for teaching and for lovers of jewellery!
What is jewellery?

Why does man design objects that form his individual appearance? In which traditions are these practices established? What function does jewellery have in different sociological contexts? And what position does it take on within the current realm of design? These and similar questions have been the focus of the interdisciplinary series of symposia SchmuckDenken [ThinkingJewellery], in which, for the first time since 2005, renowned ethnologists, philosophers, psychologists, cultural and natural scientists as well as jewellery designers and tutors have carried out a thorough determination of the position of the phenomenon of ‘jewellery’. The long-term goal: the development of an as yet outstanding ‘theory of jewellery.’

There is indeed still a way to go until a final conclusion is found but a significant cornerstone has, however, now been laid: Shortly before the seventh symposium - hosted by the gemstone and jewellery design course at the Fachhochschule Trier (in Idar-Oberstein) together with the town of Idar-Oberstein – ARNOLDSCHE Art Publishers is releasing a book, concisely summarising the results from the first six years. A selection of the most important contributions introduces diverse approaches over 352 pages, which at the same time illustrate the focus of the symposium: Beyond the usual art historical approaches, above all, the philosophical, cultural-anthropological, psychological and sociological principles of jewellery are taken into consideration.

The fact that with contributors like Bernhard Schobinger, Suska Mackert und Jivan Astfalck, three contemporary jewellery designers also have their say, is down to the will to bring concrete aesthetic reflections to the debate. The division of the individual texts with illustrations showing the work from jewellery design graduates also makes clear the tangible influence of the symposia’s conclusions on teaching and artistic practice: the seeds of theoretical reflections and practical realisation are sown here in fascinating ways.

The content of the book is also reflected in its design: here ‘Alverata’ the newly designed font from the renowned typographer Dr. Gerard Unger is used for the very first time – thanks to its unusual profile it is itself a commentary on the question of the origin and function of the ornamental. 


W. Lindemann (Ed.) & FH Trier | Idar-Oberstein

Text in English

Remarks

Contents


7 ThinkingJewellery – a process: Lothar Brügel, Ute Eitzenhöfer, Theo Smeets

11 ThinkingJewellery. A theory of jewellery: Wilhelm Lindemann

41 MakingJewellery 1

73 Against method in the applied arts: Bernhard Schobinger

81 Head jewellery – a theory of the theory of jewellery: Stefanie Voigt / Uwe Voigt

95 ‘Diamonds are a girl’s best friend’ – the psychology of jewellery as beloved objects: Tilmann Habermas

109 Lifelines: myth and meaning – learning and teaching: Jivan Astfalck

121 Bananas of all things: how Adolf Loos handled ornamentation or the evolution of culture: Christina Threuther

135 The magic object in modernism – an anthropological constant?: Viola Altrichter

153 MakingJewellery 2

185 Pimp my black! Black death jewellery in youth subcultures: Birgit Richard / Jan Grünwald

197 An object of beauty: Suska Mackert

219 West African fetish cult and European fetishism: Karl-Heinz Kohl

237 Jewellery from the Orient as a source of inspiration: Wolf-Dieter Seiwert

249 MakingJewellery 3

281 Educating the costumer aesthetic: Wolfgang Ullrich

295 Jewellery as an indicator of gender subjectivity: Elisabeth G. Sledziewski

303 Temptation: Marjan Unger

321 Recycling forms: Gerard Unger

Appendix

328 MakingJewellery 1–3
337 ThinkingJewellery 1–7
347 Author biographies
352 Photo credits
352 Imprint
PENKA ARABOVA 
. Brooch, 2008 (2nd sem.) 
. Latex, silver, rockchristal 
. Foto: Hartmut Becker .
PENKA ARABOVA
Brooch, 2008 (2nd sem.)
Latex, silver, rockchristal
Foto: Hartmut Becker

© By the author. Read Klimt02.net Copyright.
ANTJE STOLZ 
. Necklace, as light as a stone, 2009 (graduation) 
. Slate veneer , enamel laquer 
. Foto: Lichtblick-Fotodesign, Schwollen .
ANTJE STOLZ
Necklace, as light as a stone, 2009 (graduation)
Slate veneer , enamel laquer
Foto: Lichtblick-Fotodesign, Schwollen

© By the author. Read Klimt02.net Copyright.
DEBORAH RUDOLPH 
. Necklace Bergsteiger – Kette, 2010 (Diplomarbeit) 
. Rock crystal, silver, kevlar 
. Foto: Deborah Rudolph .
DEBORAH RUDOLPH
Necklace Bergsteiger – Kette, 2010 (Diplomarbeit)
Rock crystal, silver, kevlar
Foto: Deborah Rudolph

© By the author. Read Klimt02.net Copyright.
DANIELA SCHWAAG 
. Necklace Nichtfeilnagelcollier, 2008 (graduation work) 
. Wood, copper, enamel, silver 
. Foto: Hartmut Becker .
DANIELA SCHWAAG
Necklace Nichtfeilnagelcollier, 2008 (graduation work)
Wood, copper, enamel, silver
Foto: Hartmut Becker

© By the author. Read Klimt02.net Copyright.
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