Global Enamel News

Seeking enamel stories. Does not need to be an exhibition notice, but definitely can be!

Brace yourselves Team Enamel.

It’s Global Enamel News time once again. My deadline for copy is next Wednesday and I’m running a little late on the round-up, so if you have an enamel story to tell, I’ll take it right up to midday of that date.

Is Wondernamel happening at RMIT? I can find nothing on the web this far out, but someone must know? Will your end-of-year student shows have enamel in them, Australia? In fact, do you have a Christmas/holiday exhibition in the works, Canada? If so, please drop me a line – blog@melissacameron.net

This won’t publish until October, and as I’ve complained before, finding venue and date info of practically anything more than 2 months out is tough (except maybe airline, or Hamilton, tickets,) so I’ll take conjecture.

At this stage I have a document that has the second set of dates added to the With Other Eyes exhibition, so I’m faced with the possibility that this will become a creative writing exercise about the chipped enamelled butter dish that well-known feminist enamel person Marissa Saneholtz sent me last month. There’s a lot to say there, sure, in fact it could be quite a story, but maybe the Enamelist Society Newsletter is not the best audience for that.

You know what to do.

Monday – Gun day

Even I thought we were done with gun-days…

1.1.2017

The last post was all about the impending photo shoot of the above-titled work, which took place without a hitch just over two weeks ago. A huge ovation and a raucous Hip-Hip-Hooray! for my 56 intrepid volunteers, who modeled the 73 pieces that I had made in the previous month like absolute professionals. We worked basically by city, so we managed to get the works arrayed across our models.

I then took all the wearable works back into the studio to photograph them with the 73 containers from which they had come. After that I packed up the whole of 1.1.2017 and sent it to Contemporary Craft in Pittsburgh, and emailed a batch of the finished photos of the piece by the deadline, as per our contract. Then I reclaimed my weekends!

Contemporary Craft are now assembling the works of the 26 artists juried into Transformation 10: Contemporary Works in Found Materials in preparation for opening the exhibition and  awarding the Elizabeth R. Raphael Founder’s Prize on the 14th of September.

Now I’m working towards other deadlines. Have I mentioned that I’ll be in an exhibition With Other Eyes starting at the Ruthin Craft Centre in Wales on the 29th of September? I’m currently waiting on my first ever order of enamel decals (don’t worry, you’ll hear about it) while slowly slicing some 2mm shipping container steel.

So that’s why I regretfully don’t have any images to share of the work, or the shoot, just yet. But if you seek them out on Facebook, a few of my volunteers posted their images and thoughts. And yes, I’m still doing the editing on the pictures that I didn’t send (we shot about 680 images on the Saturday in Fremont, and I took about that many again in the studio), so I will be able to share images of everyone involved, and the whole work, very soon.

In the mean time, there was some positive gun news on The Guardian recently-there’s been more sales slumps for one of my favourite brands << you’ll be sure to shovel on the sarcasm for those last 2 words, won’t you? >>

TES Newsletter

The Enamelist Society wants your new news, stat. Published in 2 months

Work in progress by Sarah Perkins at Ghost Ranch, NM, 2018

The deadline for the Enamelist Society Newsletter is hurtling towards me, and thus far, I have nothing. Nada. Niente. Nil. OK, so there’s actually Jane, exhibiting some works at SNAG (image, Jane?), but aside from that…

Please see my last post on being the purveyor of Global Enamel News for all the important details. The one thing I will remind y’all of is that I have to hand in my copy about 2 months before publication, so next Tuesday I’ll hand over stuff that will appear in print in early July. So if you have anything for July/August/September, please hit me up now.

And fair warning, I’m on holiday/vacation in Australia right now, so if you send something, I will receive but just not respond until the deadline is nigh, so please include all the details and images that you can as there won’t be time for me to cross-check details.

And now, to Busselton!

DANGERR

A Design Competition with Designs Aiming for a New #GunSense Emphasis on Regulations & Reform

And while we’re on the subject of Boris Bally, he’s organising a design competition to raise money for the The Rhode Island Coalition Against Gun Violence (RICAGV), which was founded in 2013 after the Sandy Hook Shooting. If you’re nowhere near being able to see Boris speak, perhaps you’d like to help out his cause by getting involved with this.

From the website:
(for the full competition details, click through)

The Competition:
We are looking for bold, affordable works of wearable, useable or decorative art to further an awareness of the gun violence epidemic we still face.  We hope to promote conversations that spark debate while providing needed resources to support real action including a planned gun amnesty/buy-back organized by artist Scott Lapham.  The competition will also support the RICAGV’s continued advocacy for responsible gun laws.

Designers, artists and metalsmiths are intrigued by material, technique and the challenges presented by engineering obstacles. Not only do they shape objects for wear, use and decoration but also for political commentary. The goal of this competition is to showcase, promote and sell the best designs which may employ an arsenal of wit and skill to transform weapon imagery beyond its deadly intent.  The winning entries will ultimately support the entrants as well as the efforts of the RICAGV.

Criteria for selected work:
Jury will consider overall design originality, skill, impact and production feasibility.  The design’s ability to convey the mission of the RICAGV will be crucial.

Jury:
A group of nationally recognized Jurors will select the final pieces to be placed into production:

Emily Zilber                Editor, Metalsmith magazine, Independent Curator
Dominic Molon         Richard Brown Baker Curator of Contemporary Art,
RISD Museum
Linda Finn                    Executive Director, RICAGV
Peter Diepenbrock    Sculptor, Designer
Boris Bally                    Metalsmith, Organizer

First Place Award:
The Top Award will receive a purchase order from RICAGV for the purchase of twenty units at their maximum wholesale cost of $100 (value up to $2,000).

Finalist Awards:
The RICAGV will initially purchase the original prototype entries from each of the finalist’s jury-selected designs.  The designs will remain the property of the designer with the stipulation that the RICAGV may promote and sell these designs. These top designs will be professionally photographed and promoted on the RICAGV website, in mailings and at events using the designer’s name in all promotions. These selected designs will be offered for retail sale to the public by the RICAGV and their affiliated locations.  As orders are received, they will be turned over to the artist for timely production.  The RICAGV will in turn fulfill orders directly to the customer. Artists will receive their wholesale price and RICAGV will receive the balance to support their ongoing work.

The Jury reserves the right to pick as many design finalists as they wish.

 

Get to it, creative activists!

One month residency opportunity

Residency opportunity: iAir 2018: Montana State University International Artist in residence

I know, the publicity department here gave up a while back, but I promised a friend. Plus this one looks so good I’m finding it hard to resist applying multiple times under pseudonyms and never telling a soul. Gabbing about it here is just insurance against my own worst nature. You’re (kinda) welcome.

Application fee $35 US, due March 10th.

https://hecgallery.submittable.com/submit/104212/iair-2018-montana-state-university-international-artist-in-residence

 

Some highlights:

iAIR 2018: Montana State University School of Art International Artist in Residence

Mission:

To foster an environment of international artistic exchange while providing a rich working experience for the artist to practice and grow.  The School of Art strives to cultivate a dialogue between the national and international art community and the community of Bozeman, Montana.  The iAIR program at the School of Art is supported in part by the Beulah Glaze Waller Endowment.

Residency Details:

Residency Dates: Monday, October 1, 2018 – Monday, November 5, 2018

Exhibition Venue: Helen E. Copeland Gallery, 213 Haynes Hall, Bozeman, MT 59718

Exhibition Dates: Install will be Saturday and Sunday, October 27th and 28th

The incoming flight will be scheduled for arrival in Bozeman on Monday October 1, 2018; departure flight will be scheduled on Monday, November 5, 2018.

MSU School of Art provides:

Roundtrip airfare to Bozeman, pick-up and drop-off at the airport, housing/utilities, office space, materials assistance (up to $250.00 USD), program administration, and a general stipend of $1000.00 USD ($900.00 upon arrival and $100.00 as room deposit will be given to the iAIR upon completion of the residency.)

Enamel me

Seeking enamel news – please!

Corporeal Body, 2017

Oh no, Freudian slip – email me!

(I’m just repeating myself to the German speakers…)

The Enamelist Society (TES) would like to know what’s going on in the wider world of enamel, and somehow Anne Havel has roped me in to write a little something for their newsletter. That’s where you come in, with the whole email-me shenanigans.

If you in an upcoming enamel exhibition, or have enamel works in an upcoming show that you don’t think I’m familiar with; if you have you seen a cool collection that you’d like to share with the greater world of enamelists; or if you are leading a workshop, or doing a residency, or are in the know about some enamel event that needs more media coverage, then…

Drop me an email!

Include details, dates, images (with artist and photographer captions at the very least) and other relevant info, and I’ll personally add your secret spices to the gumbo that is the TES newsletter. And I’ll email you back, though probably not until within a week of the next first-of-the-month deadline.

enamel (at) melissacameron (dot) net

☝ add the @ and the . and lose the spaces. obviously.

1 book and 3 deadlines

Melissa is in Narrative Jewelry: tales from the toolbox, edited by Mark Fenn. Are you in it too?

I’ve got to sell you this book that’s launching very soon:

like everyone – I’m in it!!

Narrative Jewelry: tales from the toolbox, edited by Mark Fenn, is now available for pre-order via www.narrative-jewellery.com and www.markfenn.co.uk  or via the usual.

And since I’m here (and only if you’re really, really quick – two expire in a matter of hours), let me sell you on entering these 3 things:

Craft Forms 2017

Snag Jams 2017

and one for the 18th – China time:

Beijing International Jewelry Art Exhibition – a biennial

in the spirit of repair…

Repair and Renewal: Making Things Whole Again – the 2017 Curated “Exhibition in Print” for Metalsmith wants YOU!

19C Caltrop, 2015. Part of the Escalation Series.

A spot of promo for Metalsmith:

2017 Curated “Exhibition in Print” – Call for Related Work
Repair and Renewal: Making Things Whole Again
Guest Curator, Stuart Kestenbaum
Deadline: January 15

  

Besides prolonging the life of an object, repair also speaks to our yearning to make things right again, to make things whole. Repairing is more than fixing–it’s a metaphorical way to look at the role of makers. When we repair things, are we also fixing ourselves?  Can giving renewed life to objects and materials-perhaps ones that have had other functions-renew us as well?  How does the world look when we say that what is broken can be made whole again, using ingenuity and imagination?

For the 2017 “Exhibition in Print” Repair and Renewal: Making Things Whole Again, curator Stuart Kestenbaum is seeking work that addresses these questions.  While the work does not need to have been repaired, it should have the spirit of repair, and be fueled by a desire to extend an object’s value and usefulness.

Deadline is this Sunday, January 15, 2017.

Ever made something that fits this description? Then perhaps you might share it with us – it’s really simple – email some photos/links to the email address listed in the post.

Being in the world

Auction for Aid – contemporary jewellery to help the current refugee crisis, and Alliages, with their new calendar page for jewellery events.

I’ve found a couple of things:

1/ Auction for Aid – raising funds for the Refugee/Migrant Crisis

Like their About page on Facebook says, they are an “Auction For Aid – Contemporary Jewellery Auction to benefit the refugee crisis.” A bunch of UK based jewellers, (amounts are in GBP) are auctioning off some pretty great looking work on Facebook (yes, you do seem to need an account to bid) that will post/ship internationally.

Welcome to the 2016 Auction For Aid. All money raised will be going to two charities, MOAS (Migrant Offshore Aid Station) and SALAM LADC (‘Salam: LADC’ stands for ‘Peace: Lebanese Association for Development and Communication’), both charities doing wonderful work to help with the current refugee crisis.

2/ Alliages – The contemporary art jewelery agenda

Finally! An interactive calendar for jewellery events! Look out for deadline info there, and add your own to boot.

The jewelery agenda, the place you can see the contemporary art jewelery events : exhibitions, openings, lectures, awards, etc … You can propose your event to be published in the agenda by clicking in the “Add Event” blue button

Have at it, my sistren.

#Deadline

When is a Deadline not a Deadline? Well, this is not a post full of them, but it is still a post about a #Deadline…

EIP-2016-banner

Notice this is a #deadline post..!

The Society of North American Goldsmiths magazine, Metalsmith, has an annual juried ‘Exhibition in Print’. Appearing as Issue 4 of the 5 it publishes each year, the EIP alternates between being led by a guest curator (as in Issue 4 of Volume 35 last year, which was curated by Wendy Steiner) and juried by a small and influential team, who this year consists of Eva Eisler (designer and jeweler), Lauren Fensterstock (artist  and curator) and native Seattleite, Lori Talcott (jeweler and educator).

The 2016 SNAG Juried Exhibition in Print the theme is “Shifting Sites.” (and the deadline has just been extended to Monday the 22nd of Feb!)

Now here’s a couple of insights into how at least I envisioned the Shifting Sites concept when we (the Metalsmith Advisory Committee of  last May, Suzanne Pugh, Biba Schutz, Cindi Strauss, Angela Bubash, myself and of course our fearless editor Suzanne Ramljak) came up with the central theme for this issue. I have a page of notes from our conversation, but here’s just a couple of ideas that I hope might resonate with people looking to apply to this call out:

From my perspective, as an ex-interior architect, the term site is really loaded with notions of physical space – locations, landscapes and environments. So the works might address architecture and the environment in some way – be that in an external sense, like objects that invoke or reflect the built environment, or more in terms of the body – how the site of jewellery is permanently a shifting site, or even more internally, how the wearing of a jewel may change the context of the wearer, or even that of the actual jewel as it is re-positioned or re-contextualised, in some way when in its worn state.

Another way of looking at it that we wanted to address by choosing this theme, was that of sites of production. That the shifting could be part of the craft of the object, and movement invoked in its evolution could be felt or even be expressed its final form.

The word shifting is itself a moving target, when used in its sense of evolution, change, movement or transfer, it can itself mutate. A work that speaks to any of these shifts, be they so small as to be almost imperceptible, or the opposite, big and grand gestures of transformation, are all able to come together under this banner. In fact it even covers an object that has adopted a shifting as its ‘mission in potentia’, for example when the intention that guided its creation and adoption is to help to promote a shifting site/state within the owner/user/wearer/viewer, the prime example of this being an amulet or talisman.

The diversity of meanings we hope would enable many makers to find a way to align what they do with this theme, to allow our jurors a rich and diverse array of makers to work with in piecing together the final exhibition. I hope that you might think of gathering some images of your works together to show to our jury, and I wish you luck in finding your pieces exhibited in that eternally shifting site, the Metalsmith Magazine August edition.