Ring Redux

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

9 783897 906259

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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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10

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

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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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122

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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