exceptional acquisitions made over more than five decades by Susan Grant Lewin, an influential and passionate collector of art jewelry.
SCAD MUSEUM OF ART
This book accompanies an exhibition at the SCAD Museum of Art of
The collection includes rings dating from the 1950s to the present by international luminaries alongside young and emerging talent. Notable artists include Claire Falkenstein and Arline Fisch (USA); Wendy Ramshaw (UK); Bruno Martinazzi, Giampaolo Babetto, and Annamaria Zanella (Italy); Friedrich Becker, Karl Fritsch, and Daniel Kruger (Germany); David Bielander (Switzerland); Emmy van Deganit Stern Schocken (Israel); and Tone Vigeland (Norway). The author, internationally recognized
Ring Redux: The Susan Grant Lewin Collection presents more than one hundred avant-garde rings by international artists who have reinvented this age-old jewelry form with renewed vitality and relevance for society today.
jewelry curator Ursula Ilse-Neuman, has chosen an innovative approach to the subject that reveals the profound and subtle differences in design, materials, and workmanship that underlie each artist’s improvisations on the ring form. The creative energy inherent in these intimate sculptural forms is captured in stunning, full-page color photographs. In the “Artists’ Voices” section, the jewelers provide valuable perspectives on their work in the collection.
US $60
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RING REDUX
Leersum and Ted Noten (the Netherlands); Peter Skubic (Austria);
The Susan Grant Lewin Collection URSULA ILSE-NEUMAN
SCAD MUSEUM OF ART
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STEFANIA LUCCHETTA (56)
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GEOMETRY DEVOLVES 22 DRAWINGS IN SPACE 44 DARKNESS TO LIGHT 60
Foreword 8 by Paula Wallace, SCAD President & Founder
A Note from the Collector 10 by Susan Grant Lewin
Riffs on Rings 14 by Ursula Ilse-Neuman
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ALL ABOUT COLOR 82 TENDER TO TOUGH 102 REAL TO SURREAL 124
Artists’ Voices 156 by Sarah Davis
In Conversation 194 Interview with Adam Grinovich, SCAD Professor of Jewelry
SCAD Jewelry 199 Contributors 200 Acknowledgments 202 Selected Bibliography 206 Image Index 208
by Ursula Ilse-Neuman
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DANIEL JOCZ (91)
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COLLECTOR
A NOTE FROM THE Ring-Redux.indb 11
I confess, I am obsessed with rings!
was on my way to attend the Milan
Although I collect all forms of con-
Furniture Fair (Salone Internazionale
temporary art jewelry, rings hold a
del Mobile), one of the most important
special place in my collection. I find it
in the design world.
fun and fashionable to combine several
Both rings, the Torun Bülow-Hübe
rings on one hand. After all, rings are
and the Fuchi, although separated
jewelry the wearer can constantly see.
by almost fifty years, have the same
Necklaces and earrings are meant to
appeal to me. They are graceful, glow-
be seen by others, and the wearer only
ing, organic, and timeless. Both rings
experiences them through touch or
demonstrate a quality that fascinates
with the aid of a mirror, but the ring is
me: rings are a window into a jewelry
equally observable by all and perhaps
artist’s larger body of work. They are
the most joyful piece for the wearer,
miniature fragments that reveal the
which is certainly true for me.
thinking of the artist.
My collection started with a ring.
Travel played a large role in building
During my years as a furniture reporter
the collection. A ring is easy to trans-
for a leading trade newspaper, I made
port when one is on the move. But the
a yearly visit to Copenhagen to report
most important aspect of collecting
on the Scandinavian Furniture Fair. It
while traveling is the visits with my
was during those trips that I became
favorite jewelers, many of whom have
fascinated with the jewelry of Vivianna
become friends. A visit to Vienna a
Torun Bülow-Hübe. In this book, that
few years ago resulted in a studio visit
first ring that I acquired (76) is pictured
and preview of new work with Petra
next to one of the last rings I bought.
Zimmermann (64, 78).
Made by Arata Fuchi (77), it was pur-
Two years ago, a trip to Tokyo gave
chased on a stop in Florence when I
me the opportunity to spend time with
11
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FABRIZIO TRIDENTI
b. 1962, San Giovanni Teatino, Chieti, Italy Untitled, 2010 Titanium 2 ¼ x 1 x 1 ½ in. 57.15 x 25.4 x 38.1 mm
22
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to complement the finger. Bettina
concerned with geometric shape,
Dittlmann and Michael Jank are also
structure, and spatial relationships.
interested in the effect of their rings
Inherent in the choice of structure
on the wearer, although their aes-
is the perception of order and pure
thetic strives to connect the wearer
geometry versus fragmentation and
with the physical substance of the
the absence of harmony, continuity, or
material (27). The couple has worked
symmetry. The rings range from decep-
for more than twenty years on their
tively simple examples that adhere to
jewelry project Foreverrings, which
the tenets of geometry and treatment
involves center punching, forging, and
of pure forms—the circle and sphere,
hammering rings of pure, unalloyed
the square and cube, the cylinder and
gold, silver, copper, or iron, purposely
the cone—to more complex permuta-
showing the marks of their tools and
tions and combinations and, finally, to
methods. Through these ancient pro-
rings that celebrate breaking down
cesses, their rings take on an archaic
geometrical components in order to
reconstruct and rearrange them in highly inventive variations.
Since the dawn of mankind, the sun
has been at the center of the universe, and the circle has served as the most archetypal symbol for the giver of light and sustenance. While the circle has no
beginning or end and represents infinity
and the eternal, it also signifies change
through revolution and repetitive cycles. For the ring maker, the circle becomes the center for creativity and ingenious technical feats. Emmy van Leersum’s ring (26) is a deceptively simple and harmonious
fusion of rational, almost weightless form with the organic fragility of the human body. While free of any trace of sentiment or ornament in its embrace of modernist tenets, the form is graceful, nuanced, and shaped
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DEVOLVES
GEOMETRY
Artists in this group are primarily
quality that aligns with the circle as a
symbol of eternity while adding unexpected sophistication by integrating
the different densities, colors, and
surface characteristics of their mate-
23
rials into the final form. Warwick
Freeman focused on a similarly simple challenge: to create a series of rings composed of two spherical elements
made of different materials (28). This example of his work incorporates a cast
silver band and a hand-shaped sphere of black volcanic basalt from his native
New Zealand. The circle is also central to Betty
Cooke’s concept. She interposed matte and glossy circular surfaces of gold and silver at different angles to create an intricate composition that relies on
the interplay of shadows and light (Fig.
11). Since the late 1970s, sculptor and jeweler Peter Skubic has exerted a
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LELLA VIGNELLI & MASSIMO VIGNELLI
b. 1934, Udine, Italy, d. 2016; b. 1931, Milan, Italy, d. 2014 Parallele Ring, made by San Lorenzo, 1992, design c. 1972 Sterling silver ¾ x 1¼ x ½ in. 19.05 x 31.75 x 12.7 mm
30
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PETER SKUBIC
b. 1935, Gornji Milanovac, Serbia Ring (New Rings series), 2018, after a 1976 design Stainless steel 1 ¾ x 1 x ½ in. 44.45 x 25.4 x 12.7 mm
31
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40
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41
LISA GRALNICK
b. 1956, New York, NY, USA Zinnia (Studies of Buildings and Flowers series), 1997 Gold 1 ¾ x ¾ x ¾ in. 44.45 x 19.05 x 19.05 mm
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80
JULIA MARIA KÜNNAP
b. 1979, Tallinn, Estonia Bubblegum Gem Ring III (series), 2018 Hand-cut light smoky quartz, white gold 1 ½ x 1 ¼ x ¾ in. 38.1 x 31.75 x 19.05 mm
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ADAM GRINOVICH
b. 1981, Beverly, MA, USA Double Ring (Untitled series), 2015 Steel, found cast-brass objects, cubic zirconia 1 ½ x 2 x 1 in. 38.1 x 50.8 x 25.4 mm
81
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82
VANIA RUIZ (101)
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The oldest means that jewelers
Although we see colors when
In this section, rings that feature
use to introduce color starts with
light hits them, we interpret them
audacious chunks of glass and
gemstones—blue sapphires, green
when light receptors within the eye
amethyst contrast with those marked
emeralds, red rubies—and a number of
transmit messages to the brain. An
with restraint featuring synthetic ruby
rings in the collection rely on the color
intriguing question is the extent to
slivers and tumbling garnet fragments.
of natural stones, from subtle hues to
which color is something that can be
Colorful blown glass admirably
vibrant color, for visual effect.
measured in the physical world, and
co m p e te s w i t h t h e c r ysta l l i n e
the extent to which it is created in
translucence of quartz.
In nature, color depends on how
Ring-Redux.indb 83
matter physically interacts with light
our individual minds. Precise studies
Georg Dobler has used polished
and also how we interpret it with
have shown that color affects brain
pale violet amethysts with elegance
our eyes and brain. When
in many pieces, but there
we see a certain color,
is nothing subtle about the
we are responding to specific
impressive size of the ame-
wavelengths of light that
thyst or the gothic strength
are more strongly reflected
of the four prongs that hold it
than others. The color we
in place in his ring (87). Karl
see in jewelry depends on
Fritsch also endowed his
how light is reflected (by
ring with an archaic charac-
metals), refracted (by glass/
ter using only a restrained
crystal), absorbed (by opaque
touch of color in the syn-
materials), or transmitted
thetic ruby that breaks free
(by transparent/translucent
from the metal that encloses
materials). If all the wave-
it (89). Two rings by Herman
lengths of light pass through
Hermsen take very different
an object, it will appear
approaches to introducing
colorless, but if an object
color. In one, he presents a
absorbs all the light, it will
large piece of faceted glass
appear black. If a stone
that stands in for a gem-
absorbs all wavelengths except those
waves, the autonomic nervous system,
stone (86), while in his Motion Ring he
in the red part of the spectrum, the
and hormonal activity, and stimulates
encases a loose assortment of garnets
gem will appear red. The characteristic
various emotions so that we react both
beneath a glass cover so that the ges-
color of most gemstones depends on
physiologically and psychologically
tures of the hand creates a glittering avalanche (88).
impurities or trace elements in their
to color. In addition, colors change
crystal structure. For example, a pure
alpha brain waves differently in
The color blue is rare in nature but
corundum crystal is colorless, but traces
men and women, so we should not
a common thread in the collection.
of chromium create a red ruby while
be surprised by their very different
Studies of ancient manuscripts from
titanium and iron make a blue sapphire.
reactions to the same colorful ring.
Greece (Homer’s Iliad and Odyssey),22
83
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ESTHER KNOBEL
b. 1949, Bielawa, Poland Untitled (Wool Ball series), c. late 1990s Enamel on knitted copper 2 ½ x 1 ¾ x 1 ¾ in. 63.5 x 44.45 x 44.45 mm
96
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97
RIAN DE JONG
b. 1951, Zoeterwoude, Netherlands Untitled (Vaar-wel (Sail-well) series), 2006 Electroformed copper, gold, semi-precious stones 1.57 x 1.18 x 0.79 in. 40 x 30 x 20 mm The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum
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JAY SONG
b. Daejeon, Korea Hand Lantern Ring (Longing series), 2015 Sterling silver, fresh water pearls, hanji (mulberry paper), cotton thread 4 ½ x 2 ½ x 2 in. 114.3 x 63.5 x 50.8 mm
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111
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PAOLO MARCOLONGO
b. 1956, Padua, Italy Grass, 2015 Silver 2 x 1 ¾ x 1 ½ in. 50.8 x 44.45 x 38.1 mm
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PAOLO MARCOLONGO
b. 1956, Padua, Italy Untitled, 2013 Bronze, Murano glass 2 ½ x 1 ½ x 1 ½ in. 63.5 x 38.1 x 38.1 mm
123
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156
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ARTISTS’ VOICES
SARAH DAVIS SARA BORGEGÅRD ÄLGÅ “I grew up in a pink house,” explained Sara Borgegård Älgå. “This pink is one of the most personal colors for me in my jewelry.” Her work explores architectural volumes often made with iron. Typically considered an industrial material, painted with the pink that symbolizes home to Älgå, it creates an unusual juxtaposition of the personal DEBORAH AGUADO Active since the 1960s, Deborah Aguado creates work concerned with geometry, perspective, and the effects of light on spatial perception. She calls herself a Constructivist, and she said, “It became a handle by which I described what I was doing before I was completely familiar with Constructivism’s influence on other people, places, and times . . . I wanted to rest my tech-
and the machine in her work. She starts her design process with lively charcoal drawings, then creates the simple shapes in iron. Once the piece is painted, she purposefully removes part of the decorative covering to reveal the blackened iron below. The reason: “I wanted to keep the sense of life in the charcoal drawing, which is the reason why I started to chip off the paint on the rings.” (Studio: Stockholm, Sweden)
nical skills by developing geometric formalisms.” This ring is a massing of geometric shapes, with a high polish to strongly reflect light. Aguado explains, “For me, it’s architecture for the body.”1 (Studio: New York, NY, USA)
Unless otherwise noted, quotes came from submitted statements and personal communication with each artist.
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VERED BABAI Through her work, Vered Babai explores the human experience of nature and memory and how both change over time. Babai said, “I have borrowed the technique of cross-stitch from the many needlepoint pictures that my grandmother embroidered. I transformed these two-dimensional, figurative, hanging pictures into three-dimensional, wearMARIANNE ANSELIN Although she works with many metals and materials, Marianne Anselin most often creates jewelry in iron and steel blackened or rusted by the elements. The natural forms in her pieces are taken from leaves, shells, and other shapes she finds on her walks. Anselin said, “J’empreinte (I take, but also, I imprint) refers to the very essence of my work: I take/borrow from nature, and as well I take/mold from what I gather. It’s a long work process. I start with a
able rings. Rigid metal connections replace the soft threads in a circular form that, unlike the needlepoint, has no beginning and no end. The process of making was carefully planned, with a design on gridded paper that was transferred to a flat sheet of metal perforated in an exact pattern. After building the structure of this ring, which was inspired by a traditional solitaire, I used silver and copper wire to create woven geometry.” (Studio: Tel Aviv, Israel)
GIAMPAOLO BABETTO Since the late 1960s, Giampaolo Babetto has been a major protagonist of the Padua School and one of the foremost goldsmiths in the world. He creates jewelry and sometimes objects or sculptures with a simple shape but difficult construction. He strives for technical perfection, typically using malleable gold, often combined with plastic, glass, enamel, or niello. His abstract constructions are based on modular geometric units such as the cubes seen in these rings.
plaster mold, then I make it in bees-
Babetto said of these pieces, “My
wax. The volumes are shaped by hand
rings are usually constructed for the
before being cast in iron. Rain and
little finger to provide a clear lateral
winds slowly patinate the piece over
view. They resemble small structures
time. Then, I make a silver plug and
that have geometric organization from
hammer it in inside the ring.” (Studio:
any point of view. Internally they are
Paris, France)
157
empty, so they enclose the space just like architecture.” (Studio: Padua, Italy)
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194
ANNAMARIA ZANELLA (94)
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