And & Both: Is It Jewelry or Sculpture?

The Intersection of Art and Adornment
The above quote begins the final chapter of Your Brain on Art by Susan Magsamen and Ivy Ross, a groundbreaking bestseller exploring how the arts transform us. Ross and I have been friends and colleagues for about 15 years. Like many of you, she began her career as an artist and jewelry maker. Within a few years of graduating from art school, her jewelry works were in the collections of ten international museums, including the Smithsonian American Art Museum in Washington, D.C., and she had launched her own gallery in New York’s Greenwich Village.

So often in my writings and past articles, I talk about the power of great mentorship in life and career. I have been blessed with extraordinary mentors—individuals with minds that one only reads about in books. Most of these influential figures came early in my career, but my brilliant father remains my preeminent mentor. However, it was not until I met Ivy Ross that a new mentor changed how I viewed the world and, more importantly, my creative ideations for Patina Gallery.

During one of Ivy’s monthly visits to Santa Fe, early in our friendship, I was brainstorming an innovative exhibition concept. I wanted to juxtapose two very different kinds of art: world-class images of rare automobiles and small-scale, wearable jewelry art. One could say it was an exhibition of two forms of sculpture. Michael Furman, the most talented artist in the world at capturing the essence of four-wheeled sculpture, was my chosen automotive photographer. But I struggled to connect the dots between a 2490-pound Alfa Romeo and a 12-ounce piece of art jewelry

This was when Ivy introduced me to the concept of And & Both. As I hesitated, fearing the vast difference between the two artistic forms, she simply said, Ivan, your exhibition can be And & Both. Your two diverse objects can exist simultaneously in the same space. The key will be for you to connect the dots and make sense of it for the viewer.

There isn’t a week that goes by where I don’t use And & Both. It has become a mantra for so much of what I do, from business strategies to being a father to a 20-year-old college student. Just last week, my daughter confided, Dad, I don’t know what to choose for my major in college. I love being with children, yet I love medicine. I told her the story of my discovery of And & Both. She listened, then said, Dad, if Ivy says And & Both, then I can find a way.


The Power of Creative Duality


Ivy Ross, Portrait, 2019.  Courtesy of Surface Magazine.


Few artists and makers straddle both worlds of art and business like Ivy does, particularly at the high levels she has navigated throughout her career. She spent years as Head of Product Design for prestigious organizations such as Calvin Klein, Swatch, Coach, and The Gap. In 2017, she was appointed Vice President of Design for Hardware Products at Google, charged with developing an entire collection of hardware for the retail marketplace, ultimately branded Pixel.

I first met Ivy while I was the creative director and co-founder of Patina Gallery in Santa Fe, New Mexico. Our bond formed quickly and remains strong today. We frequently exchange ideas, discuss trends, and share observations about textures in nature. The same year she joined Google, I invited her to co-curate A Tension of Opposites at Patina. Ivy immediately conducted deep research, seeking out jewelry makers worldwide. If Ivy Ross invites you to create a jewelry piece for an exhibition, the answer is always yes.

Over time, we discovered profound parallels in our upbringings. We were both raised by artist parents—renowned creatives in their respective fields. Ivy’s father was an industrial designer who worked for the Raymond Loewy studio, while my father, Isa Barnett, was an acclaimed magazine illustrator.


(c) 2017. Genevieve Howard Jewelry. Photograph by Peter Ogilvie.


The And & Both of Creative Relationships
During this time, another artist entered both of our lives: Claire Kahn. A true renaissance artist, Claire found her way to Patina Gallery. None of us knew then that we would become lifelong friends and colleagues. Claire’s father, Matt Kahn, was a distinguished artist and professor at Stanford University. Like Ivy and me, Claire was also a perfect embodiment of And & Both—a consummate artist and a jeweler.

From the beginning, Ivy became one of Claire’s most devoted collectors. As their relationship deepened, I found myself breaking my own rules. Conventionally, I avoided introducing two artists in a commercial setting, fearing conflicts of interest. But I trusted my instincts. I saw the “like-minded” nature of their lives and knew they had to meet. Their relationship, which lasted over a decade, strengthened not only their friendship but also Claire’s commercial success. This article serves as an homage to Ivy Ross—a mentor who gave me the confidence to selectively, yet successfully, break rules.


Jewelry vs. Sculpture: A Perennial Debate


William Harper, Brooch Dubu Boner, 2018.
Gold cloisonné enamel on fine gold and fine silver; pearls; brown diamonds; citrine; tooth; moonstones; opal; glass; plastic. 10.8 × 11.4 cm.
Unique piece

The question of whether jewelry is sculpture has been debated for over a century. The key distinction often comes down to context. An unknown sculptor attempting to position their jewelry as sculpture faces a challenge. Likewise, an unknown jeweler claiming to be a sculptor must overcome substantial hurdles.

However, when an artist deliberately blurs these lines, the results can be extraordinary. Many Patina Gallery exhibitions began as And & Both ideas—concepts that walked the lines of nuance and risked failure but ultimately thrived. Ivy Ross has built her career on this delicate balance. She consistently reminded me that the story must always support the idea.

Historically, renowned sculptors such as Alexander Calder, Man Ray, and Salvador Dalí experimented with jewelry. By the time they did, they were already established as fine artists. Their jewelry was not a primary studio practice but an extension of their creative exploration. The fine art world accepted their wearable pieces because they were already embedded in the larger artistic canon.

Conversely, very few jewelry artists have successfully crossed over into sculpture while maintaining credibility in both realms. William Harper is one of the rare exceptions. As one of America’s preeminent sculptors, his works are both wearable and three-dimensional masterpieces. His work is included in museum collections worldwide, alongside notable makers like Robert Ebendorf, Kiff Slemmons, Bruce Metcalf, and Earl and Tod Pardon.
Sculpture is inherently designed to be seen in the round, while jewelry is made to be worn against the body. This fundamental difference informs perception. A brooch may be an exquisite sculptural form, but once pinned to fabric, its context shifts.


The Future of And & Both
Ivy Ross, Bracelet, 1979, woven tantalum, 2 x 2 ¹⁄₂ x 2 in. (5.1 x 6.4 x 5.0 cm.), Smithsonian American Art Museum, Gift of an anonymous donor, 1981.13.1


As I reflect on my journey with Ivy Ross and the lessons of And & Both, I can’t help but wonder—will she return to making jewelry? Will the artist in her call her back to the bench? If she does, it will be another chapter in the ever-evolving conversation between jewelry and sculpture, where creative duality thrives and artistic possibilities remain endless.


© Ivan Barnett 2025, All rights reserved.

 

About the author

Ivan Barnett
I stir souls. And I know, from decades of experience, how to scale an art business from good to great. I live and work in the oldest capital city in America - “the City Different.” After 25 years, I have stepped down from being the founder and creative director of Santa Fe’s world-renowned Patina Gallery, best known for its soul-stirring works and “Beauty over Time” exhibitions. In my 25 years, I grew Patina from an unknown brand to a global storyteller, exhibiting the works of the most talented artisans in the world.
Here’s what I’d like you to know about me: - I’m a man of my word. - I deliver on my promises. - I’ve produced and directed exhibitions and events that have never been done before. - I have collaborated with some of the world’s most famous opera stars. - I love the Pareto 80/20 principle created by Italian economist, Vilfredo Pareto. - My favorite quote is “Less is more.” - I’m an INTJ. - My favorite movie is Zorba the Greek with Anthony Quinn. - My best ideas come at 3 am. - I like taking the long way around and do not believe in shortcuts. - I was taught to arrive at all meetings seven minutes early. - I make friends for life. - My forte is connecting dots and telling stories about artists.

creativemornings.com/individuals/ivanbarnett
seriousplaysf@gmail.com