Photography and jewelry. Lately I've been thinking about how jewelry is on the

crux between "art" and "craft" because it is not directly functional but it is made through craft techniques.

When I was working with Ursula Neuman, the jewelry curator at the Museum of Arts and Design, I realized

that most of the jewelry that becomes art needs photography. Jewelry becomes art when it loses its

three-dimensionality because the photograph strips it of all "craft". Because of this, much contemporary jewelry is ephemeral and photographs become the primary way to show the work. As jewelry becomes more ephemeral, it distances itself from craft even

more because, often, craft is defined by its permanence.

How has this transition through photography changed the field?

• The act of photographing jewelry itself

Photograph: J. Gold & Co.

Joe Gold, J. Gold and Co.; photograph for the International Art Jewelry exhibition at the Forbes Gallery October 29, 2011 - March 17, 2012

Photograph: J. Gold & Co.

“Mood” piece for advertisement

Photograph: J. Gold & Co.

“Mood” piece

Photograph: J. Gold & Co.

“Mood” piece

Photograph: J. Gold & Co.

“Mood” piece

Photograph: J. Gold & Co.

“Mood” piece – The background was not put in with photoshop. He lit a torch and photographed its reflection behind the rings. Creating a still life with the work

• Photographs for scale – giving them context by referencing the body

Alidra Alic, Hyacinth 01; Sterling silver, plastic strawberry quartz

Allison Geremia, Tree of Life; Copper, enamel, steel

Left: Allison Geremia, Fade Neckpiece, 2011, Opaque enamel on copper, fine silver connections, sterling chain and catch

Joshua DeMonte, Architectural Bracelet

Colleen Baran, Cloud Ring #4, silver, 2005

Dukno Yoon, from the Wings series, (Wings move as you shift your finger)

• Photography to show how non-traditional forms are worn – still uses body as main referent

Top left: Bjorg, Holy Smoke Finger Ring, 2012Top right: Kiwon Wang, Forms for the Body, sterling and pearlsBottom right: Jo Pond Brooch: Buttonhole 2 2005 Vellum, silver, boot button, 18ct, paper, leather

Elke Munkert, Earring (left)

Jennifer Crupi "ornamental hand" - sterling silver, acrylic, inkjet print on vellum (right)

Sun Kyoung Kim, For Two; silver

• Photography used within the jewelry itself

Top left: Gijs Bakker, Adam, laminated photograph, gold

Bottom: Sarah J.G. Wauzynski, 'Small Demands' - brooch - sterling silver, egg tempera pigment, gold

Gijs Bakker, Embrace; laminated photograph

Mary Hallam Pearse

Bettina Speckner

Bettina Speckner

Pixelated Leather Jewelry by Mike and Maaike

Uli Rapp, Necklace

• Using photography to showcase jewelry

Kayla Lael - hand made enamel cloisonne pendent set in copper with antique pearls. hair and makeup by nikki noir. photo by cannibalized.

Tanel Veenre, Necklace: Pärt; resin, nylon wire, silver, white gold

Tanel Veenre Piece: Head jewellery 2011 Plastic Photo by Tanel Veenre

Marie Pendariès – Bread necklace

Imme van der Haak

Lesley Vik Waddell

Tzuri Gueta - expose deux Parures

Colleen Corinne Terry - "lock down"

Heng Lee, Adorned with Over Expression III

Kathleen Nowak Tucci Collection 2012F W, Recycled Rubber Jewelry

Abbey Lee Kershaw: The Most Important Thing About Dreams Is Having One - i-D by Richard Bush,

Fall 2011

Kelly Robinson, My Mustache, 6 1/4 x 7 3/4 x 1

Dianne Reilly

Dianne Reilly

Dianne Reilly

• Photography and NOT the body used as a referent – Photography as the source itself

Caroline Gore, Micro/Macro Brooch 24K gold leaf, oxidized sterling silver, leather, bone, glass, thread 8 x 10.5 x 2.5 cm 2010 Along River Tay, Dundee, Scotland, United Kingdom photographic reference to site observation, 2007

Caroline Gore, Via della Bella Donne Brooch: Sourced from, on Via della Bella Donne 24k gold, oxidized sterling silver 5.7 x 5.7 x 0.6 cm 2007 On Via della Bella Donne Selected environment, 24k gold - Florence, Italy Photographic reference to site- specific

intervention 2006

Caroline Gore, The Shape of Absence, Necklace 18K gold, silk ribbon, thread 71cm in length 2010 Absence: by Train & on foot, Dundee, Scotland, United Kingdom photographic reference to site observation, 2007

Caroline Gore, Shadowpants Brooch; oxidized sterling silver, gold solder, cotton, silk, thread; Photographic reference to site observation at Palazzo Acciaiuoli, Certosa of Galluzzo, Florence, Italy

Caroline Gore, on Canto de' Rondinelli, Sourced from, on Canto de’ Rondinelli Brooches: 18K gold, sterling silver, concrete 5 x 5 cm each 2007 On Canto de’ Rondinelli Selected environment, fine silver - Florence, Italy photographic reference to site- specific intervention 2006

Caroline Gore, Sourced from, at Piazza della Repubblica Brooches: oxidized sterling silver largest 7.6 x 4 x .5 cm 2007 At Piazza della Repubblica Florence, Italy photographic reference to site observation 2006

Arthur Hash, Coffee Stain Brooch

Miriam Rowe, Teacup Brooch, 2010

Photographs as the piece – the jeweler becomes photographer. The photographs literally stand in place

of the piece.

• What happens when a photograph becomes the piece?

• What happens when the photograph is more important than the physical aspect of jewelry?

• What happens when we are removed from the three-dimensionality of it and are presented with a two-dimensional version?

• What happens to the jeweler when they become a photographer?

Julia Barello, Vascular Studies II: Lung, 1996

Stephanie Voegele, Skin Adornment, Silcone Rubber and pigment. 2010

Sarah Renshaw, Disconnected; suction cups, plastic tubing

Monika Brugger- bijou dématérialisé en expérience de lumière

Kyeok Kim - Aurora

Kyeok Kim – Laced Trace

Kyeok Kim – Like Your Voice

Lauren Kalman, Pearly Whites

Burcu Buyukunal

Lucy McRae

Lucy McRae and Bart Hess

Rickson, In the Moment; hair

Rickson, Fountain of tears

Lauren Kalman, Blooms, Efflorescence, and Other Dermatological Embellishments (Nevus Comedonicus); Inkjet Print

Lauren Kalman, Necklace, 2006, 16x6’Laminated digital images, digital video, portable DVD player, audio, glass jar, peeled skin

Lauren KalmanHard Wear (Tongue Gilding)200623x35”Digital print, laminated on acrylic

Lauren Kalman

Hard Wear (main space OSU)2006Installation in three spacesShown: images, mirror, surveillance camera, 10 rolling stainless steel tables, adornment objects

Kelly Jean Conroy, Diamond Seed; robin, strawberries, cubic zirconium