KEITH LEWIS
selected works: 1988-1995
I am honored to present a group of important works by artist Keith Lewis, created between 1988 and 1995. This collection was carefully chosen by artist Heidi Endemann and her husband, Don, who were deeply moved by the profound themes embodied in Lewis's jewelry.
The late 1980s and early 1990s were an extremely intense and heart-wrenching time, marked by the AIDS crisis, which affected countless lives and sparked endless conversations about identity and resilience. During this period, Heidi and her husband were introduced to Keith Lewis's work at the former Susan Cummins Gallery in Mill Valley, California, and were struck by the strength both the artist and gallerist displayed in showcasing these works. As Heidi stated, “I was amazed by the courage it took.”
Each piece in this collection speaks to the power of Lewis’s artistic expression and its capacity to reflect the human experience. Although created to address a specific time, their message continues to resonate today.
Patti Bleicher Director, Gallery Loupe
SEX AND SENSIBILITY
In the mid-1990s I was invited by Paris-based publisher Éditions du Regarde to write seventy entries on American studio jewelers for the Dictionnaire International Bijou, a comprehensive encyclopedia of jewelry, ancient to modern. I was to cover the 1940s to the current day, which was a daunting assignment due to the large number of capable men and women in the United States making jewelry over that sixty-year period. I had to be judicious in my choices, including only those jewelers who had shown themselves to be exceptionally innovative and/or influential. Consequently, my inclination was to focus on makers with distin such as Alexander Calder, Sam Kramer, Margaret De Patta, Ram Ronald Hayes Pearson, Bruce Metcalf, and Thomas Gentille. At was being planned, we were still in the throes of the AIDS epide particularly sensitive as two of my husband’s brothers were am who had already died of the disease. I had recently become aw metalsmith living in Washington state, who addressed this trag passionate jewelry that blatantly extolled the gay lifestyle whil victims. I knew of no precedent for the unabashed love cum an Lewis’ brooches and neckpieces featuring vulnerable yet resilie There was no question, I had to include this timely, uniquely con beautifully crafted work in the French dictionary, even if it mean someone more seasoned. Keith Lewis has since gone on to esta career as both a jeweler and educator; therefore, I’m gratified b nity to bring this
of Lewis’ oeuvre and tive years of his career. tals, from 1988. Lewis sheartened by the fact attack gay sex. In this a Goldman’s quote, in If I can’t dance, I don’t ly validate homosexual s e
slang term for penis, which defines the male sexual organ, as context, homophobic individuals who have inflicted untold d population. Lewis’ message is multifaceted, speaking of pain ecstasy
Just a Few Pricks loaded with his typical mix of con By way of illuminating the convoluted emotions that are a re against the queer community, Lewis states: “Gay men have c identity — to our glory and detriment — out of the negative m dominant culture provides.” To that end, he has hidden a sma soft silicon caulk beneath the torso, tempting a finger to “pri inside, though, the finger encounters a sharp sewing needle, a potential source of pain, as well as pleasure. Just a Few Pric Incubus (1987), a neckpiece incorporating deliberately sealed infectious semen, by Simon Costin (in the collection of the M Art), as it implies infection by serial “pricks” of the needle by
Lewis’ 35 Dead Sou necklace consistin dedicated wire ca are more equivoca acquaintances wh organizers of the F weighty (both phy page color image the brooch, Well D Doug DeSimone w was truly in love w regarding romanti
dom success at eluding the AIDS virus, ow wreath hangs heavily upon this success but of survivor’s guilt.
perfection painfully d excessive bulk inspired at his own physique. At the ike figures informed by ward the elegance of classical An extremely attractive man, y Guy is one of my favorite ges my own mild body
managing to send an upbeat ss of AIDS. Again, Lewis uses ke creature who “enticingly ouse…looking like Diogenes… for something…” Lewis designates it as one of his personal favorites, “not only because it is funny to imagine this long-in-the-tooth fellow hornily trolling for sex… but because it advocates for sex and pleasure regardless of disease…” Bath Time is an amusing but honest appraisal of gay male identity, sex, love, and loneliness, against the backdrop of AIDS.
Thirty years have gone by since Bath Time was created. AIDS still exists, but the immediacy of the epidemic, as such, has passed. Treatments for the disease have been discovered and developed, and people who are HIV-positive are living long and productive lives. Lewis, himself, is tackling other concerns in his jewelry, although I doubt that sexuality and the hypocrisy so often surrounding it will ever be far from his heart, mind, and han sentiment, and memory, but his ou early works still relevant? Because “everyman” (and every woman). Re intention may have been saturated made; nonetheless, the fear, hope, and acceptance expressed so plain humans. Keith Lewis’ works from th the Roman sculpture he so ardentl
-- Toni Greenbaum, Brooklyn, New
Angry Sun, pin (1988)
Sterling Silver, 18K Gold, Liver-of-Sulfur Patina; 5 x 5 cm
Hermaphrodite, pin (1988)
Sterling Silver, 12 x 7 cm
Melancholy Face, pin (1988)
Sterling Silver, Sterling Silver/18K Gold Laminate, Cubic Zirconium; 6 x 3 cm
Dancing Man With Dancing Genitals, pin (1988)
Sterling Silver; 6x8 cm
Gee Bruce; What's That?, pin (1990)
Sterling Silver, 24K Plate, Nickel Silver, Copper, Liver-of-Sulfur Patina; 7x4 cm
Self Portrait With Sharp Hair, pin (1990) Brass, Sterling Silver, Copper, 24K Plate; 9x5 cm
,
Editing: Heart
pin (1991) Brass, Sterling Silver, Silver Plate, Liver-of-Sulfur Patina, Electrical Wires, Electrical Tape; 12x7 cm
Self Portrait With Things Not Holding, pin (1991)
Sterling Silver, Brass, 24K Gold Plate, 18K Gold, Plexiglass, Garnets, Cubic Zirconia; 9x5 cm
Filling in the Broad Outlines; pin (1991) Brass, Silver Plate, Epoxy, Hair (human (pubic and head), dog), Copper/Brass Shavings, Sawblades, Dirt; 18 x 8 cm
Just A Few Pricks, pin (1992) Brass, Copper, Silver Plate, Nickle Silver, Paint, Silicon Caulk, Sewing Needle, Bronze Powder; 7x5 cm
For Chris McManus, pin (1992) Copper, Brass, Sterling Silver, Nickel Silver, 24K Gold Plate, Paint, Glass, 24K Gold Leaf, Beach Stones, Jet Mourning Bead; 12.50x3cm
Naked Blue Pimply Fat Guy, neckpiece (1993)
Electroformed Copper, Sterling Silver, Patina, Steel; 25 cm diameter
Triumphant Figure With Willow Wreath, pendant (1994)
Electroformed Copper, Sterling Silver, 24K Gold Plate, Steel; 25 cm diameter
Well Doug, It's 36 Now... (Self Portrait in Memory of Doug DeSimone), pin (1994) Sterling Silver, Steel, Willow, Pigment, Epoxy Resin; 5x7 cm
Bath Time, pin (1995)
Sterling Silver, Fine Silver, 24K Gold Plate; 5 x 7 cm
