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32 episodes with metalwork
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I'm thrilled to welcome the incredibly talented craftsman, Matthew Edley, known as Ted. Sitting down at Highclere Castle, we delve into Ted's journey from a punk rocker with a distinct red Mohican to a renowned metalwork master. We talk about his meticulous work repairing and conserving the castle's historical candelabra and lamps, including converting them from candlelight to electric while maintaining their historical integrity. Ted also shares his experiences as a part of the TV series 'The Restorers,' where he showcases the art of craftsmanship and restoration. We discuss the importance of using traditional techniques and materials to preserve history and how these skills are transferred across various trades. Join us as we celebrate the blend of modern restoration with historical preservation at Highclere Castle.00:43 Ted's Craftsmanship and Metalworking01:20 Challenges of Restoring Highclere Castle03:17 Conservation vs. Restoration07:44 Ted's Television Career09:11 The Art of Traditional Techniques11:52 Future Projects and Collaborations14:53 Reflections on Highclere CastleYou can hear more episodes of Lady Carnarvon's Official Podcasts at https://www.ladycarnarvon.com/podcast/New episodes are published on the first day of every month.
In this episode, Jason sits down with Jake LeGrand to talk about everything from Fabtech networking to the realities of running a custom sign-making business. Jake shares his unique journey from structural testing and engineering into the world of metal art, highlighting the challenges of freight shipping, material sourcing, and the creative process behind his work. They dive into marketing strategies, shop setup, and the importance of staying connected with the maker community. Whether you're into fabrication, design, or building a business around your craft, this episode is packed with insight and inspiration. Follow Jake on Instagram Here Arc Junkies Podcast: Instagram: @Arcjunkiespodcast YouTube: https://www.youtube.com/@arcjunkiespodcast9253 Email: Show@arcjunkies.com LinkedIn: https://www.linkedin.com/in/jason-becker-45407b72?lipi=urn%3Ali%3Apage%3Ad_flagship3_profile_view_base_contact_details%3BKipEwR3uQXCmCjaEfNzo6w%3D%3D Arc Junkies Website: https://arcjunkies.com Arc junkies Merch: https://shop.threadmob.com/arcjunkie/shop/home Underground Metal Works: https://www.underground-metalworks.com/ Friends of the Show: American Welding Society Conferences Weld Summit https://www.aws.org/community-and-events/conferences-and-events/welding-summit/registration#regform Use ARCJUNKIES at Checkout and get a free gift at the event. Outlaw Leather LLC Outlawleather.com Instagram: @outlawleatherusa Use ARCJUNKIES for 15% off all in-stock leather goods International Welding Bureau Internationalweldingbureau.com Everlast Welders Instagram: @everlastwelders YouTube: Everlast Welders Online: https://bit.ly/37xJstI Use Codeword ARCJUNKIES at checkout to get upgraded to a free Nova Foot Pedal and TIG Torch with the purchase of any machine that comes with a stock foot pedal and TIG Torch. Walter Surface Technologies https://hubs.ly/Q034MdgX0 ISOTUNES: Instagram: @isotunesaudio Online: https://shop.isotunes.com/arcjunkies10. Use ARCJUNKIES10 at checkout and save $10 on your purchase
Blade and Leather:https://www.facebook.com/share/1KN4pSo8DC/ask.forgecast@gmail.comfind us at:https://www.instagram.com/the.forgecast/https://www.facebook.com/TheForgeCastPodcast/Sam Townshttps://www.instagram.com/samtownsbladesmith/https://www.facebook.com/SamTownsBladesmithhttps://www.youtube.com/channel/UCaJMbidCdie0rbmfN9ckkqwhttps://www.patreon.com/samtownsbladesmithZac Nesbitthttps://www.instagram.com/laughingfishforgehttps://www.facebook,com/laughingfishforgehttps://www.tiktok.com/@laughingfishforge3592https://youtube.com/@laughingfishforgehttps://www.etsy.com/au/shop/laughingfishforgeAUhttps://ko-fi.com/laughingfishforgehttps://www.patreon.com/laughingfishforge
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Episode 144 with Codie Aljets. A long awaited conversation between myself and Codie finally took place and we put it on the record for all you to hear. I've been online buddies with Codie for a few years now. We have shared stories, tips and just life updates. This man has a lot to share and we definitely didn't cover all of it. His life in art and Metalwork was our focus, but we also touch a little on some of his previous endeavors and life struggles. One thing I found very informative about this conversation was Codies explanation of using a wooden block to shape metal while still cold. He might have a forge and anvil, but to the surprise of many that see his art, most of his work is done cold. Many thanks to Codie for sharing his story with the world and many thanks to the listeners. I hope you all find this one to be informative and helpful. CanIron 2025 That's right ladies and gents. CanIron is coming to Manitoba! The Manitoba blacksmith guild has done it. They have secured a location in Austin, MB. They have set the date, August 7-10,2025. They have aligned catered food and places for people to stay. They have organized a line up of presenters that will be absolutely amazing. And of course the list of support is too notch as well. CanIron XIV is bound to be an event that will be spoken about for years and you don't want to miss it. Presentations will be provided by... are you ready for this! Noah Vachon @vachonknives Jake James @jakeblacksmith Pat Quinn @handforgedinvt Frank Annighofer @abanaorg Ryan Belanger @ryanbelanger_truenorthforge Leah Aripotch @leaharipotch Manitoba Blacksmith Guild @manitobasmiths Sponsered by Maritime Knife Supply @maritimeknifesupply Maritime Knife supply is the place to go for all your knife making needs. Literally everything for knife making supplies! www.maritimeknifesupply.ca Save on kilns !!!! with the code (ha go listen to the episode yah hosers)
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Kate Hawkesby and Tim Wilson joined Mike Hosking once more to Wrap the Week that was. They talked Mike's ventures in wood and metalwork in school, the Repair Shop, and Tim regaled listeners with an expert piano performance. LISTEN ABOVE See omnystudio.com/listener for privacy information.
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Project Humanity started as a theatre company, and grew into an organization with a larger community purpose. Priscilla Williams and Melissa Bleecker met through the Project Humanity 1:1 program, which pairs professional working artists with youth on the margins. Together they have explored and expanded their metalwork practice and look forward to bright shiny futures.See omnystudio.com/listener for privacy information.
Sponsors:• ◦ Visit Buildertrend to get a 60-day money-back guarantee on your Buildertrend account• ◦ Sub-Zero Wolf Cove Showroom PhoenixConnect with Cottingham Ltd.:https://cottingham.ltdConnect with Brad Leavitt:Website | Instagram | Facebook | Houzz | Pinterest | YouTube
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Today, you'll learn about a new tool that maps out our incredibly complex gut microbiome to tell you if it's healthy or… not so much, how metalworkers are taking lessons from insects to shape metal at room temperature, and the psychology behind our feelings toward unusually colored animals. Microbiome Map “Mayo researchers develop tool that measures health of a person's gut microbiome.” by Susan Murphy. 2024. “Gut Microbiome Wellness Index 2 enhances health status predictions from gut microbiome taxonomic profiles.” by Daniel Chang, et al. 2024. Insect Metalwork “Room temperature metalworking inspired by insects and crab shells.” by Michael Irving. 2024. “Shrimp shells to serve as the basis for new multi-protective coatings.” by David Szondy. 2020. “A Biological Approach to Metalworking Based on Chitinous Colloids and Composites.” by Shiwei Ng, et al. 2024. Animal Colors “How color shapes which animals we fear - and which we protect.” by Kara Manke. 2024. “Of Rarity and Symbolism: Understanding Human Perceptions of Charismatic Color Morphs.” by Tyus D. Williams, et al. 2024. Follow Curiosity Daily on your favorite podcast app to get smarter with Calli and Nate — for free! Still curious? Get exclusive science shows, nature documentaries, and more real-life entertainment on discovery+! Go to https://discoveryplus.com/curiosity to start your 7-day free trial. discovery+ is currently only available for US subscribers. Hosted on Acast. See acast.com/privacy for more information.
Kate Hawkesby and Tim Wilson joined Mike Hosking once more to Wrap the Week that was. They talked Mike's ventures in wood and metalwork in school, the Repair Shop, and Tim regaled listeners with an expert piano performance. LISTEN ABOVE See omnystudio.com/listener for privacy information.
A backyard initiative is keeping blokes busy in North Canterbury. The Cheviot MenzShed is a tooled-up workshop where men can tinker, talk and share their skills with the local community.
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Tyler Thomas Blaine joins the guys to discuss balancing creative passions with financial stability in the construction industry. Find our guest. https://www.moderncraftsman.com Modern Craftsman Partnerships Andersen Windows Buildertrend The Modern Craftsman: linktr.ee/moderncraftsmanpodcast Find Our Hosts: Nick Schiffer Tyler Grace Podcast Produced By: Motif Media Tyler's Top Blogs: How I Started My Business Books that Build Site Protection Principles My Preconstruction Process: Part 1 Becoming Proficient in Multiple Trades
In this episode of the Off-Road Racer Podcast, I sit down with off-road vehicle fabricator and designer Morgan Clark. Morgan stands out in the fabrication scene because of his dedication to a supercar level of design finish work in his vehicles, stemming from his ‘form follows function' philosophy. We talk about how he came to embody this philosophy, originally studying design, working through the fabrication industry, and eventually starting his own business. Morgan and I then dive into the importance of aesthetics in a vehicle, often seen in street cars, but often lost in off-road builds. Morgan then gives us some insight into his design process, and where he gets his inspiration. We also discuss how the art of design has progressed into the modern era, with computers taking over most of the design process, and lowering the barrier of entry for new designers and fabricators. Looking forward, Morgan talks about his future plans and builds, including a mid-engine, AWD Prerunner. I'm your host Matt Martelli, and this IS the Off-Road Racer Podcast.
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Joyce Kutty is an artist, musician, angler and knife maker out of Rhode Island. Growing up on the water with her family she spent time fishing with her family playing soccer, the violin and making art. She's just back from The New England School of Metalwork on a Maritime Knife Supply scholarship where she learned from Master Bladesmith Lin Rhea. We talked about the experience as well as her incredible sculpture installation in Thailand. Joyce rules and I cant wait to see what she comes up with next. Thanks again- GF Follow Joyce on Instagram https://www.instagram.com/kuttyknives/?hl=enGo to the Kutty Knives website:https://www.kuttyknives.com/ Feel free to submit more questions for future episodes at:Follow The Full Blast Podcast on Instagram:https://instagram.com/thefullblastpodcast?igshid=YmMyMTA2M2Y=If you want to support Full Blast Support Feder Knives - ( go buy a shirt )https://www.federknives.com/*******ARTICLES ON SECTION 230*******Is This the End of the Internet As We Know It? | ACLUInfographic: Why Section 230 Is So Important | Electronic Frontier FoundationInterpreting the ambiguities of Section 230 | BrookingsWTF is Section 230? - DigidayPlease subscribe, leave a review and tell your friends about the show. it helps me out a lot! Thank you Baker Forge & Tool for your beautiful Steel. Go to Bakerforge.com to see all the incredible steels they offer. ‘FullBlast' gets you 10% off your orderWelcome to our new Sponsor- EVENHEAT- Manufacturers of the best heat treating ovens available. To find your next oven go to Evenheat-kiln.comFollow them on Instagram: Brodbeck Ironworks Makers of an Incredibly versatile grinder, with Many different attachmentsLeather sewing equipment and even abrasives Check out Brodbeck Ironworks for yourself:https://brodbeckironworks.com/“Knifetalk10” gets you 10% off Follow Brodbeck Ironworks on Instagramhttps://www.instagram.com/brodbeck_ironworks/Trojan Horse Forge Get your THF Stabile Rail knife finishing vise at https://www.trojanhorseforge.com/And when you use the promo code “FULLBLAST10 you get 10%off everything on the site.Follow them on instagram:https://www.instagram.com/trojan_horse_forge/ TotalBoatAdhesives, paints, primers and polishing compounds.Go to http://totalboat.com/FULLBLASTTo support the podcastWelcome G.L.Hanson and SonsG.L. Hansen & Sons On Instagramhttps://instagram.com/g.l._hansenandsons?igshid=MzRlODBiNWFlZA== Gcarta.bigcartel.comG-Carta is unique composite of natural fibers and fabrics mixed with epoxy under pressure and heat Boofa, ripple cut, Tuxini, by Mikie, Mahi Mahi, Radio worm g-cartaPhesant by MikieColorama by MikieHoopla by MikeAmazing colors and razzle dazzle for your project. MARITIME KNIFE SUPPLIESMaritimeknifesupply.CAAll your knifemaking needs, belts abrasive, steals, kilns forges presses, heat treating ovens anvils and everything you need to get started or resupply. Including Dr. Thomas's book:“Knife Engineering”They're in Canada but ship to the US with ease and you can take advantage of the exchange rate The steel selection is always growing and Lawrence just got 3900 lbs. of steel in.10% off on abrasive belt packs of 10 get a hold of https://www.instagram.com/maritimeknifesupply/ and see what the fuss is about.Welcome Tormek as a sponsor to the show. Take your sharpening to a new level. I love these sharpening machines. Waterfed, easy to use. Jigs included. Definitely check out what they have to offer. If you need it sharpened, Tormek is definitely something for you:https://tormek.com/en/inspiration/woodworking--craftsGo look at the course curriculum at CMA:https://centerformetalarts.org/workshops/** Taking classes from some of the best in forging at one of the best facilities in the country is an excellent opportunity to propel yourself as a blacksmith. Not to be missed. And with housing on the campus it's a great way to get yourself to the next level. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
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Philip Lufolk is a blacksmith in Storvik, Sweden inspired by the archeology & mythology of Scandinavia. We begin on the role of the Viking blacksmith & how bog iron was processed. Philip describes objects & jewelry that he forges based on historical artifacts: the seeress' völva staff; a charm known as a Thor's hammer; a landowner's Viking key; and oath rings inscribed with law. We switch to mythology with the tale of Mjölnir [Thor's hammer] & the rest of the gods' treasures, fashioned by the industrious & highly-skilled dwarves. Then there's the vengeful blacksmith, Völund. We discuss burial mounds & rock art: picture stones, rune stones & a petroglyph just outside of Oslo's city center. Approaching the end Philip tells an archaic divination technique called Årsgång or "The Year Walk." Follow Lufolk on Instagram and check out his wares at Lufolk.com. Reading excerpts from The Viking Spirit: An Introduction to Norse Mythology & Religion by Daniel McCoyMusic provided by Lyre of the Crossroads"Sigurd and Fafnir'"Written & Performed by Lyre of the Crossroads"Bass Jouhikko / Basssharpa / Bass Tagelharpa"Written & Performed by Lyre of the Crossroads"Helm of Awe"Written & Performed by Lyre of the Crossroads"Talharpa/Tagelharpa/Stråkharpa"Written & Performed by Lyre of the CrossroadsSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com
What you'll learn in this episode: Which essential jewelry books you should have in your library Why books are so much more reliable than internet research when it comes to gemstones and jewelry Why the Renaissance opened up a new world of adornment An overview of the periods of jewelry and how they overlapped and influenced one another How cultural turning points, like World War II and the South African diamond rush, influenced what materials were used during different time periods About Jo Ellen Cole Jo Ellen Cole is the owner of Cole Appraisal Services and the director of fine jewelry at Abell Auctions. She earned her Graduate Gemologist Diploma at the Gemological Institute of America in Santa Monica and successfully passed the prestigious Gemological Association of Great Britain's FGA examinations. Additional resources: LinkedIn Gemological and Jewelry Books for a Professional Library: GEMOLOGICAL IDENTIFICATION BOOKS Gemstones: Their Sources, Descriptions and Identification, Webster, Robert Gem Testing, Anderson, Basil Handbook of Gemstone Identification, Liddicoat Jr., Richard T. Gem and Ornamental Materials of Organic Origin, Pedersen, Maggie Campbell Gemstones of the World, Schumann, Walter Photoatlas of Inclusions in Gemstones, Vols. 1, 2 and 3, Gubelin, Edward and Koivula, John Color Encyclopedia of Gemstones, Arem, Joel The Spectroscope and Gemmology, Anderson, Basil and Payne, James, edited by Mitchell, R. Keith GENERAL REFERENCE Gemology, An Annotated Bibliography, Sinkankas, John The Complete Handbook for Gemstone Weight Estimation, Carmona, Charles Dictionary of Gems and Gemology, Shipley, Robert The Jewelers Manual, Liddicoat Jr., Richard T. and Copeland, Lawrence L. Gemstone and Mineral Data Book, Sinkankas, John DIAMONDS Diamonds, Bruton, Eric Diamond Cutting: Complete Guide to Cutting Diamonds, Watermeyer, Basil Famous Diamonds, Balfour, Ian Hardness 10, Vleeschdrager, Eddy Diamond Handbook, Newman, Renee Laboratory Grown Diamonds, Simic, Dusan and Deljanin, Branko Fluorescence as a Tool for Diamond Origin Identification – A Guide, Chapman, John, Deljanin, Branko and Spyromilios, George PEARLS Book of the Pearl, Kunz, George F. and Stevenson, Charles Hugh Pearls, Strack, Elizabeth Beyond Price, Donkin, R.A. JADE Jade, A Gemmologist's Guide, Hughes, Richard Jade For You, Ng, John Y. and Root, Edmund COLORED STONES Ruby and Sapphire, Hughes, Richard Emerald and Other Beryls, Sinkankas, John Opal Identification and Value, Downing, Paul JEWELRY HISTORY Brilliant Effects, Pointon, Marcia Understanding Jewelry, Bennett, David, and Mascetti, Daniella Jewelry in America, Fales, Margha Gandy Victorian Jewellery, Flowers, Margaret Transcript: In appraiser Jo Ellen Cole's opinion, the best thing a jewelry lover can have is a well-stocked library. Information on gems and jewelry abounds online today, but much of that information is incorrect. For that reason, Jo Ellen—a Graduate Gemologist who also passed Gem-A's FGA examination—turns to books when she has a question about a specific piece, hallmark or stone. She joined the Jewelry Journey Podcast to share which books she recommends for every jewelry interest; how jewelry trends shifted over the years due to cultural forces; and how to quickly identify the characteristics of different jewelry periods. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I met Jo Ellen about six or seven years ago when I was studying for the GG, or the Graduate Gemology degree. In order to pass it, I needed to identify about 18 stones and get them all right, and I only had three chances to do that. This was daunting to me because I'm not a science person; I'm not a math person or anything. I wasn't working with the stones. I wasn't working in a jewelry store, so I really didn't have the opportunity to handle the stones. I called another appraiser, Charlie Carmona, whom we've had on this podcast, and asked him for a recommendation for a tutor. I thought it was a pretty weird recommendation that I was asking for, but he immediately recommended Jo Ellen, and I never looked back. She's been a great tutor. It was a few years ago, but she helped me a lot. She knows a lot about jewelry, and not just jewelry, but I find her extremely knowledgeable about vintage and antique pieces. I have talked to and been to enough appraisers to know that this is its own specialty. She's also been helpful when it comes to directing me to researchers for whatever I need. She pointed me in the right direction. Today, she's going to share with us the books that she thinks will help us with our jewelry journey. Jo Ellen, welcome to the program. Jo Ellen: Thank you so much for having me. I'm happy to be here. Sharon: I'm so glad that you deigned to be on. Now, tell us, with a GG, which is part of the GIA, you can do a lot of things. So, why did you go into appraisal as opposed to other things? Jo Ellen: Well, I found that I was lacking in salesmanship abilities, to say the least. I'm just not a salesperson, but I love to categorize; I love to research. Appraising seemed to fit that bill very well. Plus, when I realized that I was not good at sales, I met Charles Carmona, whom you mentioned before, at American Society of Appraisers—no, it was the AGA. I can't remember what that stands for, but it was a meeting. I met him, and a couple of years later, he asked me to work with him and I jumped on it. It was a wonderful experience. He's still my mentor. He's so knowledgeable and knows so much about appraising. I always feel comfortable talking to him about any problem I might encounter. He's been very instrumental. Sharon: And a big name in the L.A. market, I would say. Jo Ellen: He's really gone worldwide. He has three laboratories in China and Thailand as well. Sharon: I didn't realize that. Jo Ellen: Yeah, he's really opened up his market. He also leads a lot of traveling groups and things. He's very well-known. Sharon: I knew he was well-known in Los Angeles, but I didn't know he was that well-known around the world. Jo Ellen: Having factories in Africa, he's been around doing a lot of different things. Sharon: I've stopped purchasing books when it comes to novels or something like that. I just listen to them. Why should I purchase a book as opposed to listening online when it comes to jewelry? Why should I purchase a jewelry book? Jo Ellen: What I've noticed is that when I go online to research prices of jewelry, which I do often, I find that a lot of the information I find is not correct. I think part of the reason for that is because it's so easy to list something online. It gets your name out there, so people do that. However, they don't always double check their information. There's a lot of misinformation out there. Whereas in a book, it takes a lot longer to set it up, edit it, make sure everything's proper. I've been able to count on the information coming from books a lot better than I have been from online sources. However, I must say there is certainly a good reason to look online as well. Some of the information is very good. It's just that, personally, I feel more comfortable with a book form. Then, you can revisit that if you need to. It's easier to find. Sharon: Do you have to know if it's right or wrong before you look at a book? Jo Ellen: You have to figure that out on your own. But generally, if you have a good background in terms of knowledge of gems and gemology and antique jewelry from reading through books, a lot of times, you'll find that information is incorrect when you go online. Sharon: I know instances where I've found incorrect information about pearls or something like that. I wouldn't say I'm any kind of expert, but I know it's incorrect. Jo Ellen: Yeah. Sharon: Can you tell us quickly what you do every day? What does an appraiser do every day? Jo Ellen: If I'm not reviewing a book for a gemological publication like The Gemologist or Gems & Gemology, which doesn't do book reviews anymore—but a lot of times, I'm asked by people in the industry to review new books. So, I do that a lot, which involves going over the book line by line and figuring out what I think is proper and what isn't, or what is clear and what is not. I do that a lot. I also work at a local auctioneer two days a week, at Abell Auctions, as their fine jewelry director. I'm constantly cataloguing things and looking for prices on things, always encountering something unusual there. You get things from all over the world, and people like to use that venue as a way to sell their items. If I'm not doing that, I'm actually going to people's localities to appraise their jewelry for them, either for insurance purposes or for estate purposes if somebody has passed or wants to set up a trust. I do that a lot, but a lot of my days are spent doing what I love, which is reading. Sharon: You sound pretty conscientious to look at a book that closely when you're writing a book review. Jo Ellen: For me, it's really important to get it right. Generally, most books, even if I don't particularly like them, I can at least validate that their information is correct. I did have one book about a year-and-a-half ago that was just so egregious in its information I had to give it a bad review, which I've never done before. I called up the editor the week before it was due and said, “Why are you even covering this book? It's so awful.” He asked why, and I started pointing out little things. He was like, “Oh,” but he published the review anyhow. I didn't feel great about it because I don't like to slam people for things, but it was just so awful I had to point it out. Sharon: So, we should do our own reading, both online and with books. Jo Ellen: Absolutely. Sharon: Let's talk about a book or books and talk about the history. If you want to learn about the history of jewelry through the ages, what would you look at? Jo Ellen: There are a couple of really good books. When you write a book, it seems like the best formula is always to start at the beginning and take them through the ages. That's what they do with jewelry history. Usually, they'll start with prehistoric jewelry and how jewelry first came to be—it's one of the oldest things that humans have done that marks them as humans—and then it goes through medieval times and Renaissance, and then to Georgian and Victorian and Arts and Crafts or the Aesthetic Period, and then through Art Nouveau and Art Deco and Retro and on up to modern jewelry for today. That's usually how a book on jewelry history is set up. There are couple of really good ones out there that encapsulate what you need to know in terms of jewelry history. Sharon: Before you tell us that, I wanted to tell our listeners that we will have all this information on the website. Yes, take notes, but you don't have to write everything down; it'll be on our website. Jo Ellen: Yeah, I created a list of things that you can look for. One of the main books I recommend for overall jewelry history is a book called “Understanding Jewelry.” It's by David Bennett and Daniela Mascetti, who were both cataloguers at Sotheby's for many years and very knowledgeable in their field. It really helps to set up all those different ages of jewelry and gives wonderful examples and photographs. It's a picture book as well as an informative book, but all the information they offer has always been spot-on. I've learned so much from that book. It's one that I would definitely recommend. Sharon: I've probably seen it in every jewelry office that has books. I see that book. Jo Ellen: It's a great book. It really is. Another good one that's much simpler and has more pictures is a book called “Warman's Jewelry.” Sharon: Warman's? Jo Ellen: Yeah, W-A-R-M-A-N. The second edition was actually written by a good friend of mine, Christie Romero, who has since passed on. She used to be on the Antiques Roadshow. You'd see her on Antiques Roadshow a lot, a very knowledgeable woman. She had started her journey by traveling down to Mexico and learning all about Mexican silver and then just expanded from there. She used to give classes on jewelry at Valley College in Los Angeles. She just knew how to present things in such a way that it was very easy to assimilate that information. It has tons and tons of pictures. It also has a jewelry timeline. It's very thorough for being such an easily read book. There are even some prices in there, I think. It's now an older book, and I think there have been other editions that have been written since hers, but I always liked hers because I'm familiar with it. So, that's another good one that I would offer. Sharon: What about a book if we want to be more specific, like Georgian or Victorian jewelry? It's funny that when you say prehistoric, you could take many of the prehistoric pieces and wear them today and nobody would know the difference. But it seems to jump then to Renaissance. Jo Ellen: Because it has to do with the Dark Ages. A lot of it is about human history and civilization. During the Dark Ages, people were in such terrible shape as a civilization, they didn't have time to decorate themselves, so they usually used items from the past. There wasn't a lot of information coming out between, let's say, the 5th and 13th centuries. Then things started rolling again once society got more stabilized. Sharon: Is there a particular book we should look at if we want to pick up where society picked up? Let's say Georgian. Jo Ellen: There's a really good book on jewels of the Renaissance by Yvonne Hackenbroch. It's quite a tome. It's big, and it goes through the history of civilization as well as jewelry. It talks about the light occurring in the beginning of the Renaissance, when people started realizing there's more to life than just eating and sleeping and staying alive. You can decorate yourself. You can show your social status by what you wear, some of it being jewelry. That's a very good book for the Renaissance period. There's also another Renaissance book called “Renaissance Jewels and Jeweled Objects: From the Melvin Gutman Collection” by Parker Lesley. It shows wonderful examples of Renaissance-oriented jewelry. There's one called the Hope Pearl Jewel. It's this big, baroque pearl that's decorated as the body of a man. It's very well known. It demonstrates jewels like that. Sharon: From there, does it continue to Georgian and Victorian? Jo Ellen: Yeah, there's a really good book, “Georgian Jewelry 1714-1830,” by Ginny Redington and Tom Dawes with Olivia Collings. It's great because I had never seen a book specifically on Georgian jewelry. It's not glamorous jewelry because the techniques weren't there. It's just that people wanted to adorn themselves to help their social status. It's very collectable today. People collect Georgian jewelry all the time. It goes through the period before Queen Victoria took the throne and clarifies a lot of things. And, again, the information is spot-on. I've never had a problem with these books. When I go to confirm that information, I've never had a problem with it. Sharon: I don't collect Georgian jewelry, but I do know it's very hard to find. Jo Ellen: Yeah, it is, but it shows up at different auctions, sometimes in the most unusual places. Even at Abell Auctions you'll see it. People just hold onto these things. A lot of Georgian jewelry isn't available anymore because people would melt down those items to make new items in a newer fashion, such as a Victorian fashion. They would take the stones out, melt down the metals and then either recast them or remake them in some way into a newer-looking form. That's why you don't see a lot of Georgian jewelry anymore. Sharon: How about Victorian jewelry? There seems to be a lot of it. Jo Ellen: There's a lot of Victorian jewelry. Even though people also did it then, where they would melt things down and make a new piece out of older pieces, there is a lot of Victorian jewelry because Queen Victoria, whom that period is named after, wore a lot of jewelry. She was a big jewelry person. She loved jewelry and she used it for sentimental reasons to give imagery, to bestow favor on people. So, there's a lot of it around because people would want to copy her. Everybody started doing that. You'll have mourning jewelry from Victorian times. A lot of historical things happened during her reign, such as the finding of diamonds in South Africa, which changed the diamond market forever. Before then, there were diamonds from Brazil, primarily, or India, but they're very hard to come by and very, very expensive. Once they opened up the diamond fields in South Africa, you started getting a lot more diamond jewelry. Sharon: By mourning, you mean if somebody dies? Jo Ellen: Yeah. A lot of times, when someone would die, they would leave a certain amount of money in their will to make mourning rings or pendants for their friends and family to remember them by. So, you have this memento mori-type jewelry which has its own collecting base. People collect their little pendants, which are like little baskets with a little enamel skeleton inside, little rings that say the man or woman's name written around the inside of the band, all sorts of things like that. It's kind of sweet because, when you think about it, jewelry is one of the few art forms that's worn close to the body. It makes it more sentimental. Sharon: And the diamonds from South Africa, were they different than the other diamonds, besides being less expensive? Jo Ellen: The thing with Brazilian diamonds in particular is that they had what they call a lot of knots in them, where their crystals grow into crystals. You would have these harder-to-polish areas. With African diamonds, it's such a pure form that they're easier to polish. They didn't take as much time to polish, and they didn't break on the wheel the way that some of the Brazilian diamonds would break. Sharon: They used those diamonds in Victorian jewelry? Jo Ellen: They did. Sharon: What books should we look at if we want to learn about Victorian jewelry? Jo Ellen: There is a wonderful book—in fact, I used to know an antique dealer that used to give out these books to his clients because they were wonderfully organized. There's a book called “Victorian Jewelry” by Margaret Flower, and it goes through the different phases of Victorian jewelry. There's an early, a mid and a late phase. What she does is describe exactly what you can see during each of the phases, what types of jewelry. It's very interesting, and it gives you an overall picture of how things came to be during that time period. It's really nicely done. There's a much larger book I'm still reading because it's so big. It's called “Jewelry in the Age of Queen Victoria” by Charlotte Gere and Judy Rudoe. That also has a lot of very specific information on different types of jewelry, the makers during that time. What's interesting is you'll see the same authors over and over again because these people really use it. It's their way to express themselves as a lifestyle, almost. They're wonderful authors, and they do their research and know what they're talking about. So, those are two Victorian jewelry books I would highly recommend. I think they're wonderfully done. Then, if you want to go into French jewelry, there's another book called “French Jewelry of the Nineteenth Century” by Henri Vever. It's an enormously fat book. I'm still reading that one as well, but again, it's jewelry makers. It's huge. It gives makers' information and techniques, and it's beautifully done. That's a good book to have as well. Sharon: First of all, it strikes me that you seem to look at the pictures a lot more. You read. Most people don't read any of the book. They look at the pictures. That's different. Jo Ellen: They have pictures with jewelry; that's sure to entice you to continue looking. Sharon: Then what do you go into? Edwardian and Art Nouveau? Jo Ellen: Before that, there's actually a period called the Aesthetic Period, which is also covered in the “Jewelry in the Age of Queen Victoria” book. It was in the late 1870s through the 1900s. There were certain makers that specialized in it, like Child & Child of London. They would make these beautiful pieces that harkened back to classical times but using new techniques and materials. That was a specific period. It was a very small period, but all the jewelry that was done during that time is beautifully done. There's a book by Geoffrey Munn called “Castellani and Giuliano,” and it talks about that specific time period. For example, Castellani was known for taking antique or ancient jewelry and refiguring it for that time period around the 1900s. Sharon: He was a goldsmith? Jo Ellen: He was a goldsmith. It was actually two brothers who were goldsmiths. One of the brothers was very politically active and lost an arm when they were demonstrating or something. He got put in jail, but the other brother kept on, and then their children took over after them. In Giuliano's case, which was another manufacturer in Rome, he was known for his enamels. You will see jewelry specifically with black and white enamel accenting other colored enamels. The work is beautifully done, and it's very detailed. Sharon: We may be going back a few years. What was Berlin iron, and when was that popular? Jo Ellen: Berlin ironwork, I believe, was like 1840 through 1860. It was a result of people giving up their precious metals for the Prussian Wars that were happening at that time. They would make this Berlin ironwork, which is very delicate and lacey, but it was made out of iron because they didn't want to use precious metals for that; they wanted to use it for warfare. So, they would use ironwork as a substitute for precious metals. There are some beautifully intricate bracelets and necklaces. It looks like lace. It's really beautiful. Sharon: Is it wearable? Jo Ellen: It is wearable. It's kind of a Gothic look, so it's a heavier look. I don't know if you'd want to wear it every day because, again, it's kind of—I hate to say gloomy, but it is kind of a sober look because it's black and the tracery is so fine. But it's certainly wearable. Sharon: After the Aesthetic Period, we have Edwardian and Art Deco. What do we have? Jo Ellen: What we start with is Arts and Crafts, which is actually my favorite period. I have a lot of books on it, but there are a couple that were really good in terms of pushing forward the information I knew. One is a book called “Jewelry and Metalwork in the Arts and Crafts Tradition” by Elyse Zorn Karlin, who's a very active member of the jewelry industry. She gives lectures. It's this wonderful book on Arts and Crafts jewelry and metalwork and leads you through the making of it with the guilds. They tried to restart jewelry guilds in England where everything was made from first to last by the same person. The metal would be drawn and shaped by the person. If enamels were used, they would make the enamels themselves and apply them themselves. The stone setting was done by the same person. That was the beginning of Arts and Crafts, the person making the piece from beginning to end. Usually they're not terribly intricate, but they're beautifully fashioned with a lot of feeling. It's a very comfortable look, and it's infinitely wearable. The first part of Arts and Crafts started around 1883 through 1900. Then there was a repeat of it between around 1920 and 1935, around the same time as Art Deco. What I forgot to mention during the Aesthetic Period was Carl Fabergé from Russia. He did a lot of Aesthetic pieces. Sharon: He did the eggs, right? Jo Ellen: He did the eggs for the Russian monarchy, but he also did jewelry for everyday people. He would make little, miniature enameled eggs for the general Russian population. Those still come up today once in a while. I saw an entire necklace of Fabergé eggs, all in different enamel colors beautifully done. Everything is so beautifully fashioned. You can tell they really took time in every single aspect of the making of that jewel. That's what I love about it. It shows so much attention to detail. Sharon: We will have photos posted on the website. Please head to the JewelryJourney.com to check them out.
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Thanks for listening to Episode 21 of the Artisans of Steel interview series with Steve Culver, MS. I first met Steve when I took the Introduction to Bladesmithing Course over at the New England School of Metalwork. I took that class so that I could meet Steve, because I really admired his talent and skill, and I loved that he approached knifemaking from a very different perspective and approach than I did. Since then, I've become good friends with him, and we have had many great conversations about knifemaking, and damascus making. I look forward to sharing our conversation with everybody, today. You can see more of Steve's work on Facebook here: https://www.facebook.com/profile.php?id=100032362401859 Or on his website here: http://www.culverart.com/ Thanks so much to this month's Super Sponsors:
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Ask us a question at:ask.forgecast@gmail.comfind us at:https://www.instagram.com/the.forgecast/https://www.facebook.com/TheForgeCastPodcast/Sam Townshttps://www.instagram.com/samtownsbladesmith/https://www.facebook.com/SamTownsBladesmithhttps://www.youtube.com/channel/UCaJMbidCdie0rbmfN9ckkqwZac Nesbitthttps://www.instagram.com/laughingfishforgehttps://www.facebook,com/laughingfishforgehttps://www.tiktok.com/@laughingfishforgehttps://youtube.com/@laughingfishforge
Man-made gems are the subject of research being undertaken by jeweller Sofie Boons. She joins presenter Nandini Das alongside Matthew Winterbottom, the curator of an exhibition at the Ashmolean Museum in Oxford which explores the explosion of colour in design, textiles, paintings and jewellery in the Victorian period. Dinah Roe has been looking at the the way colour infuses the pages of Victorian literature and in 1773, Birmingham Assay Office was founded to provide testing and hallmarking of precious metal items - Chris Corker from the University of York has been researching that history. Colour Revolution at the Ashmolean Museum in Oxford runs until 18 Feb 2024 and Matthew Winterbottom is its co-curator and Assistant Keeper, Curator of Decorative Arts and Sculpture at the Ashmolean. You can find out more about "the alchemical jeweller" at https://sofieboons.com/ Dr Chris Corker lectures at the School for Business and Society at the University of York and you can hear more about his research in a previous episode of Free Thinking called Tin cans, cutlery and sewing https://www.bbc.co.uk/programmes/m001jcr0 Dinah Roe is Reader in Nineteenth Century Literature at Oxford Brookes University. You can hear her discussing the writing and artwork of the Rosetti family which was displayed in an exhibition at Tate Britain in a previous episode of Free Thinking. Nandini Das is a historian and New Generation Thinker based at the University of Oxford. She is the author of a book called Courting India and has presented Essays and Sunday Features for BBC Radio 3 including Rainsong in Five Senses and A Jig Into History about a bet undertaken by Shakespeare's former clown Will Kemp https://www.bbc.co.uk/programmes/m001j4rz
What you'll learn in this episode: How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions Why curiosity can help artists overcome shyness and fear About Kristin Beeler Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023. From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and Atelier Rudee, Bangkok, Thailand (2013). Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007). Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory Photos Available on TheJewelryjourney.com Transcript: After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. Welcome back. Did you have to do a lot of looking to find a school like that in the U.S.? Kristin: It was a school my mother went to, so I was second generation. Sharon: Wow! What are your thoughts about metalwork versus jewelry arts? I saw that you did some gloves in Tyvek. It was hard to pin down what you do because it's very esoteric. It has a lot of meaning. I kept asking, “Why this?” Kristin: The work I do is more driven by an idea and trying to build a full context for an idea. The jewelry is part of that context. It's a bit like going to the opera. I love opera, and I love it because it's a full context. The stage is opera. The music is opera. The singing is opera. The costuming is opera. It is all of those things, and those things come together to produce this one idea. I wouldn't say my work is theatrical, but I think it has some operatic qualities when it works well. It's not meant to follow one particular pathway because, as I said, not everything is a piece of jewelry. Some things are meant to manifest through other things, and jewelry is a part of that. Sharon: I see that you've been in a lot of competitions, where your jewelry is judged. Do you have trepidations? I can't imagine doing anything like that. Kristin: It's really hard at first. It's one of the hardest things to get my students to do because when you do it, the risk of failure is huge. You're going to be rejected, but it is such good practice. That's what being an artist is about: trying to find the place where your work fits, and if your work isn't fitting into the place you want to go and into the trajectory you want, figuring out how to make it go into that trajectory. It makes shifts to what you're working on. I haven't done it in quite a long time; most of what I do now is invitational work, but I do find it interesting to enter competitive exhibitions. It does a couple of things. Usually if I'm applying for a competitive exhibition, it could be because I want to get my work in front of a juror, or it's in a location where I want to go, where I have friends. Or it's a theme I like and I find interesting. But I had to go through a period of doing it and becoming O.K. with someone saying no and doing it anyway. When I was in graduate school, I was told, “Be prepared to wallpaper your room with rejection letters. Get rejected as much and as often as you can because it is a skill to build up and not let that stop you.” Sharon: Are you ever rejected if it's invitational? Kristin: If it's invitational, it's because they've seen my work and they want something in particular. Sharon: That must have been a big hurdle in the beginning. To be rejected must have been a big hurdle. Kristin: It probably was. Looking back on it now, it's funny. I was silly to be so worried about that. I think I was lucky that my work was pretty readily accepted. I think I did quite well. Even going into this new career—I'm basically going into a second career—there are moments when I think, “I don't know if I can do this. What was I thinking?” and I can go back to those moments previously where I tried to do something where uncertainty was guaranteed, or I didn't know how it was going to work out. I can say, “Well, I did that, and it worked out O.K.” Sharon: Did SNAG help you? You were on the board of SNAG. Why don't you tell us what it is? Kristin: The Society of North American Goldsmiths is the organization for the field. I have worked with SNAG since 1999 or 1998. That was when I first started volunteering for them. I started working with SNAG because I would go to the conferences at the encouragement of my graduate faculty, and I was kind of terrified. There were a lot of people there whose work I would see in publications or I'd hear about them. I was quite shy, so the easiest thing for me to do was offer to volunteer for something. If I don't know what to do, I'll work, so volunteering was a perfect thing to do. It was intuitive. It wasn't planned at all, but I met so many interesting people by volunteering at the conferences. They would say, “Oh, would you be able to do this?” and I would say, “Well, yeah,” and then I would meet more interesting people. I don't know that it was a great expansion time for my work because there are only so many hours in the day. When you're putting your energy out for one thing, it's not necessarily going in the other direction. So, I don't know that I was accomplishing as much in my studio, but I was meeting really, really interesting people and having some really interesting conversations. I think that that was one of the most valuable things about being involved with SNAG, just getting to know the community in a deep way. I served on the board of SNAG for five years between 2001 and 2005. I've had some job with SNAG almost every year since then, some small thing, helping with exhibitions. I have worked with the Diversity, Equity, Access and Inclusion Committee. I have worked with the Educational Endowment Committee. Currently I serve as trustee for the SNAG Educational Endowment Scholarship Trust. That is my primary role with SNAG at this point. Sharon: Do you recommend it to your students as a way to learn about the field? Kristin: Always, yeah. That and listening to Jewelry Journey. Sharon: I don't know about that. I was thinking about you listening to other people's opinions. I once heard someone say that they felt they had to know who the artist was before they could wear the piece of jewelry. I just felt like, “Well, is it pretty? Do I like it?” and that sort of thing. That's why I would be intimidated. Kristin: It was interesting to humanize all of those things. Often the work can be much richer once you have a better idea of the person who made it. It can alter your perspective on pieces to know who made it. Sometimes you might not want to know, but I think one of the great blessings of this field is that it is full of generous and warmhearted people who are so willing to share what they know. Sharon: Do you consider yourself one of those people willing to share what you know? Kristin: I hope to be, yeah. Sharon: I'm struck by the fact that you say you were shy, because you don't come across that way at all. Does that present itself in your reluctance in going abroad and when you started teaching? Was that a concern? Kristin: Yes, I was pathologically shy, but more than that I was curious. I think curiosity trumps those reluctances if you allow it to. Being curious takes you outside of yourself. You can become involved in other people's stories and other people's interests. When you change that reflection, then it's much easier to get to know people and enjoy them. As I said, my go-to was to do some work and find other people who are doing work and just help them. Carrying the load together is always a good way of lifting yourself up as well. When I started teaching full-time, I spent probably the first several years pretending to be someone who is comfortable in front of a classroom. I don't know that I was, but I could pretend to be someone who was. I think going to Scotland, now that the challenge is there, it's exciting and terrifying by turns, but I'm so curious. I always want to know what happens when you do this or what happens when I do this. Pulling into that curiosity is a life raft. Sharon: Do you have a history with the country? Did your family come from there? Did you visit it a few times? Kristin: No, I had never been to Scotland before I interviewed, but my family has lived in Appalachia for about 400 years. Sharon: Where? Kristin: Appalachia. Sharon: Oh, 400 years, wow! Kristin: Yes, so they have been there for a very long time. Many people from that area came from Scotland, England, Wales, Ireland, so Scottish history was something we grew up with because of this strong connection to Scottland and Ireland. The music that was local to where I grew up came straight from Scottland. The local dances, the crafts in particular. Things that had been brought 400 years earlier were still practiced, and a lot of those skills came from Scottland. Sharon: Do you lie in bed at night, or are you grocery shopping and an idea comes to you and you start on it? Kristin: For my studio practice? Sharon: Yeah. Kristin: There are probably two tracks to that. One is that it's all a long inquiry that never stops. It‘s one little thing that leads to the next. It doesn't have a beginning or an end. It's kind of all in the middle and ideas roll in one direction or another. Pieces may not finish, but I'm committed to finishing bodies of work. I'm really terrible about it, actually. In terms of solutions—I think maybe what you're asking about is solutions to particular problems—those are things that revolve as well. Sometimes I'll see something, or I'll be making something that doesn't make sense in the moment, but I'll just hold onto it. It's like I'm looking for an answer to a problem. It's like, “Oh, there it is in this book or in this drawer of samples I made.” If I waited for ideas to come to me, I'd be waiting a really long time. I have to go out and hunt for them. They're constantly generating, but the solutions to problems plug in at different locations on a very long timeline. Sharon: For instance, on some of the projects, whether you're invited or you decide to enter a competitive situation, once that's done, do you say, “O.K., that's nice. That's done. Now, I'm on to the next thing,” or is it done? Kristin: These pieces often cycle in and out. Unless a piece is purchased, they all belong to this collection of pieces that are shown in different iterations. For group exhibitions, there may be between two and four pieces that are shown together, but for solo exhibitions, there's a larger body of work. Every time I show that body of work, it may have different pieces in that collection that are shown. Sharon: What happened to the gloves that are made of Tyvek? How did you come up with the idea of Tyvek? Kristin: Oh, I love Tyvek. It is such a fun material. Certain materials just didn't appeal to me, and I have all of these Tyvek mailers. I would get things in the mail, and they come in those Tyvek mailers. I saved all these mailers for years and thought, “I'm going to do something with them.” Then I realized you could just buy it. I had kept it because it has this beautiful, papery, silky quality to it which is really nice. It's virtually indestructible until it's not, so it has this strength but this vulnerability as well. I like that about it. From time to time, I have made gloves over the years because I think they're interesting objects. There's such a strong relationship to the body and what we do with our hands. Those gloves in particular were designed with this young woman in mind who had this scarf. I already said I love opera, so having these opera-length gloves, I used a vintage pattern for that. I had her scarf embroidered on these very delicate but strong gloves that were kind of ethereal. That was perfect for my purpose. Sharon: That's interesting. I saw the pictures, but I wasn't sure what it was. That's very interesting. Thank you very much for being with us today. Good luck in Scotland. We'll be reading about you. Kristin: Thank you so much, Sharon. This was so fun. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
What you'll learn in this episode: How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions Why curiosity can help artists overcome shyness and fear About Kristin Beeler Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023. From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and Atelier Rudee, Bangkok, Thailand (2013). Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007). Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory Photos Available on TheJewelryjourney.com Transcript: After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here. Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. She has been at the college for at least seven years, and this is her last term there. She is not afraid to put herself and her work out there, as evidenced by the many exhibitions and jury situations she has been in. She's not afraid for others to judge her work, but her biggest risk is upcoming. That is to be a lecturer in the metal arts department at the University of Dundee in Scotland. We'll hear more about this today. Kristin, I'm glad to have you on the podcast. Kristin: I'm so glad to be here, Sharon. Thank you. Sharon: It's great to have you. First, what are your trepidations about going across the world? Kristin: It is an adventure for sure. I've actually been at Long Beach City College for 21 years. This was my 21st year, so it's been quite an adventure. It's been an amazing time to spend with the students and an impressive faculty at the school. It's been an incredible privilege, and it's also given me the opportunity to develop a really strong program. Our jewelry entrepreneurship program is only a few years old, but we've been able to grow exponentially because of it. It's interesting going to Scotland. I'll be joining the faculty of Duncan of Jordanstone College of Art & Design and the Jewelry and Metal Design Program. It's an amazing faculty there. They're one of the top design schools in the U.K. They have an amazing track record, and the faculty has also been working together for a long time. Here, I know where the funders are. I know where the suppliers are. I know where the galleries are. There, it's all going to be new. I don't know the funders. I don't know the suppliers. I don't know the metrics well enough. All these things are going to be so sparkly and new, so I hope they're patient with me. Sharon: Did they come to you, or did you go to them? Kristin: It's an interesting story. I have put quite a lot of time into the program at Long Beach City College. As I said, it had grown exponentially, and a lot of that growth happened during the pandemic. There was a lot of extra work that had to be done, and last fall, I took a term off to recover. I was a bit worn out. I was really burned out. So, I took a term off and had some time to think about what I wanted to do with myself after teaching for 20 years. I realized that what I wanted to do was go back to school. I was a bit jealous of my students because they were having such a good time. I'd always wanted to get a Ph.D., so I started talking to programs in the U.K. and EU because there are no practice-based Ph.D.s in our field in the U.S. I was looking for programs that I might be able to start either while I was still teaching and going into semi-retirement or after I retired. I had had a wonderful conversation with Sandra Wilson at the University of Dundee. They have a wonderful Ph.D. program in jewelry. There are a number of programs they have practice-based Ph.D.s in, and I had a wonderful conversation with her. She was very supportive. I was getting ready to start putting together an application when they posted a full-time lecturer research position, so I thought, “Well, maybe I'll try that.” I applied for the position and didn't hear anything back for quite a long time. The university processes have their own pace. I think it was a Friday when I got an email saying, “Can you come and interview next Thursday?” There wasn't even time to ask if I could do a Zoom interview. I talked to my family, and they said, “Just go.” I left on Tuesday, interviewed on Thursday, and they made their first offer on Friday and I accepted it. It was serendipitous that I happened to be looking at Sandra Wilson's Instagram. I'd go for days and weeks, months without looking at Instagram, and I happened to look on the right day and see the post about the position opening. Now I'm surrounded by packing boxes. Sharon: Wow! When you say a practice-based Ph.D. or a practice applied Ph.D., what does that mean and how is it different? Kristin: Normally we think of Ph.D.s as being text-based. You present a dissertation that is all textual, and you have a verbal defense of the Ph.D. A practice-based Ph.D. can have other formats. Mine will likely have a text component, but also the practice, the work we do in the studio is part of the work for the Ph.D. That is a huge portion of the research. It requires very particular methodologies for approaching that research, but it's an approach that isn't very common in the U.S. It's much more common in the EU, U.K., Australia. I can't remember if there are any in Asia, but it's not found that much in the U.S., a practice-based Ph.D. Sharon: Yeah, you think of a Ph.D., at least the way I know it from the U.S., as “piled higher and deeper.” You're going to be in a big city. It's mostly what happens. Kristin: It's a wonderful acknowledgement of the actual work and contribution that artists make as opposed to, “Anybody can do that.” When you start to follow a line of inquiry to a very deep level, it allows so much more to unfold. You are able to connect with people who are doing similar work in different fields. I will be talking to people in the life sciences department. They have one of the top life sciences departments in the U.K., so I'll be able to work with them to do some overlap. It provides some really interesting opportunities for study, which I'm very excited about. Sharon: How long would it be if you walked in the door and were accepted? How long of a program is it? Kristin: It's difficult to say. Three to five years would be normal, I think. As I'm teaching, it's actually a part of my job to do that research. I'd be similar to someone who's in the lab doing research for a research lecture. So, I don't know how long. We'll see. Sharon: I had trouble pinning it down because you're described as professor of metal arts and jewelry arts, applied design and an artist, so I didn't know. What are you, in a sense? Kristin: I would hate to have to pick one of those things. We're very multilayered creatures, aren't we? I love making tacos, but I'm not someone who only makes tacos. I think that as makers we have our preferences, but just depending on what someone's interests, inclinations or curiosities are. I primarily work in jewelry because it is a method of approach, a method of inquiry, but what is interesting to me is the relationship to the body, and I particularly enjoy the history of it, its attachments. It has a lot of layering that I find really interesting, but when I get bored or stuck on a problem, I'll make a garment or I'll do drawings. It's not part of my practice to only do one thing. Not everything is a piece of jewelry, even though that's what I am primarily known for. Sharon: How does that fit with metal arts? Kristin: My training is in metal. Understanding both the properties and the way metal works is an interesting challenge. It's what I teach the most; working with metal and how to master it and develop skill bases. In my own practice, metal is a part that is foundational, but not complete. Sharon: Do you see a difference in the way the mind works for the students who are more interested in jewelry versus those who are interested in metal? For instance, how do you differentiate? Is there a way the mind works that's drawn to metal versus a different mind for somebody drawn to jewelry arts or a different area? Kristin: A teacher that I had a long time ago said, “People who are drawn to metal are people that like a little pushback. They like a little resistance.” Metal has its own logic, and you have to understand and follow that logic. Clay, for example, has a lot of process. It's very technology driven, but it also can be very intuitive. Painting can be very intuitive. You can go backwards and forwards. With jewelry, there's a massive skill base that is required technically, so the students who like the idea of working with metal in particular love that challenge. They are turned on by that challenge. They light up when something goes right, and sometimes they even light up when things go wrong because now they have more information. For students who are attracted specifically to jewelry, often that is a gateway. They're attracted to the idea of jewelry. Sometimes they're attracted to the idea of being able to actually make a living in the arts. One of the important things that jewelry has to offer is that you can actually support yourself with your design and art skills. Sometimes, once they get to know the properties of working with metal, they may love it or they may not. Often, they do. Often, they're really compelled by it. Sometimes they have to find their own way to work with materials that have more flexibility in the processing. You're right. They are different mindsets in that way. Sharon: It seems like there would be. Kristin: You're absolutely right. Sharon: You've been there for 21 years at the college. Did you pick up your master's and your Ph.D. while you were teaching, even though some of it's an applied Ph.D.? Kristin: I will be starting my Ph.D. in Scotland. That's part of that plan. I did my Master of Fine Arts at the University of Arizona. That program has closed now. Michael Croft was my primary graduate advisor. Michael is a very gifted educator, fierce when we were in graduate school, but incredibly knowledgeable. He's not someone whose work you're going to hear a ton about because he doesn't aim for the spotlight. He's a quiet guy, but he made a name for himself in the 70s. He's a very highly respected jeweler and educator. His partner is Eleanor Moty, who you may know of. Eleanor Moty was a consistent presence. Even though she was at the University of Wisconsin, Madison, she was a consistent presence in Tucson, where our graduate program was, so she had an influence there. Arizona at the time had four graduate programs in jewelry and metalwork. There was a very strong jewelry and metalwork community in Arizona up until the early 2000s. All of those have either changed or closed in the meantime. So, my inculturation to the jewelry and metalwork community was formed inside, literally, a crucible of the desert of Arizona. There was a very strong community. In some ways, my undergraduate education was equally or possibly even more formative than my graduate education. I went to Berea College in Berea, Kentucky. It was a small, private, liberal arts college that is one of the very few work colleges in the U.S. That means every student who goes there works for the school and, in exchange, pays little or no tuition. It is one of the top schools in that region, particularly in the south. It's an amazing place. There are a couple of things about it. It was founded by abolitionists in 1856 and since that time has had a history of coeducation. It was the first coeducational college in the south. Since that time, that has been its mission: to educate everyone equally. It has also been one of the very few schools that has its own crafts program. The students actually work in college-run craft industries. There is a huge ceramics industry; there's a huge weaving industry. They closed the jewelry industry right before I got there. The work is made by students, produced by the school and sold by the school, and it's sold nationally. It has a new designer residence program. Stephen Burks has been the first designer in residence. He is connected to Berea through Design Within Reach and a chair manufacturing company— Sharon: Herman Miller. Kristin: Herman Miller, thank you. The program has a tremendous amount of reach, and that program had a huge influence on how I think about craft and community. Sharon: We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.
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