The Art of Gold: Works by Contemporary Goldsmiths September 2 to October 19, 2003 Lora Robins Gallery of Design from Nature, University of Richmond Museums On September 2, 2003, the Lora Robins Gallery of Design from Nature opened The Art of Gold: Works by Contemporary Goldsmiths. While there have been several notable exhibitions in recent decades where gold, primarily ancient gold, has figured prominently, twentieth-century American goldsmithing has been largely overlooked. The exhibition features some of the finest work being made by contemporary studio goldsmiths and is the first major exhibition of its kind in twenty-five years.
The exhibition includes objects by 79 artists; eleven of the pieces are holloware, vessels, small sculptures, and other non-jewelry items. Although some of the works incorporate stones and precious gems in their designs, they are not objects in which gold is merely a backdrop, or frame for other elements. In all the pieces, gold is the essential focus. The Art of Gold features a cross section of goldsmith artists and demonstrates a variety of techniques and wide array of innovative, high quality work being produced today. The artists include Lisa Gralnick, who creates poetic objects often based upon literary text; Gary Nofke, who specializes in surface embellishment using chasing (working metal from its front side with special tools and hammers) and repoussé (a process of working metal from its back side, creating a low-relief design); and Mary Lee Hu, a pioneer in the use of textile techniques in metals such as woven gold wire. Studio goldsmithing in North America — that is, designing and fabricating objects by hand in a small studio setting — is a recent phenomenon. At the end of World War II, there were only a handful of educational programs where a student could learn the craft of jewelry making, outside of the traditional trade. These programs have gradually increased over the years and now number more than five hundred in North America. Most are affiliated with art schools and university art departments; as a result, contemporary metalsmithing has forged a strong connection with the fine arts. Goldsmithing has developed into a rich and diverse field, showing influences from Pop Art, Minimalism, Neo-Expressionism, and even Conceptual Art. Even so, contemporary goldsmithing maintains its own sense of craft and unique historical lineage. Curated by Michael W. Monroe, an independent curator and former Curator-in-Charge of the Renwick Gallery of the Smithsonian American Art Museum, the exhibition is organized by the Society of North American Goldsmiths and toured by ExhibitsUSA. The accompanying exhibition catalogue, published by ExhibitsUSA, includes an essay by Bruce Metcalf, Exhibitions Chair (1997-2002), Society of North American Goldsmiths. The catalogue is available at the museum.