I see that Marcus Westbury has been linking up all his recent articles on arts policy (which I blogged about earlier this week) and pointing out some of the attention he’s been getting from other quarters. On that, I feel obliged to note that I was wrong in saying that Richard Gill’s article was in response to Westbury’s blog post, it was more in response to a whole bunch of things that Westbury has been getting out there of late. (The dates I mentioned then do hold true, as in the two pieces of writing I mentioned, Gill’s article was out before Westbury’s post.) But Westbury has been busy on that subject of late, as is much better explained in the aforementioned arts policy post.
In some completely unrelated news, there’s been a major theft of works by Michael Berger at Joya in Barcelona. A whopping thirty-eight rings were stolen in a pickpocket attack. My heart really goes out to Michael, as it is a completely awful thing to have happen.
The reason why I’m even posting about this is because I’ve been ruminating on it ever since I read about it a couple of days ago. I saw Berger’s rings in the flesh at Courtesy of the Artist (COTA) while in Sydney last year, and was amazed. They are stunning. And incredibly crafted. I was not surprised to be told that he worked under Friedrich Becker, the pioneer of tension settings and moving jewellery (and the author of an amazing monograph of the subject).
I feel bad for Berger’s loss of his rings, not just in an artist-to-artist, or even human-to-human sense. I feel bad because the tiny-yet-bold objects he created touched me in the brief minutes I spent with them. I hate to think of them lost in the world. Or worse, dismantled for the value of their constituent parts.