Relevant bibliographies by topics / Contemporary Jewellery

Academic literature on the topic 'Contemporary Jewellery'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Contemporary Jewellery"

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Galanin, Sergey I., and Kirill N. Kolupaev. "TITANIUM IN JEWELLERY AND COSTUME JEWELLERY." Technologies & Quality 55, no. 1 (April 20, 2022): 59–64. http://dx.doi.org/10.34216/2587-6147-2022-1-55-59-64.

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The article deals with the peculiarities of the use of titanium in jewellery and costume jewellery. It is shown, under what conditions products, where titanium is used, are jewellery, and under what conditions, costume jewellery. Advantages and disadvantages of titanium jewellery and peculiarities of its design, production and operation are considered. It is shown that for several years leading jewellery brands have been successfully using titanium for production of advanced collections. Some examples are given. Contemporary Russian jewellers also keep up with the leading jewellery brands, demonstrating pieces made of titanium of advanced design. It is shown that though fashion for titanium products is not widespread, but unique items of titanium jewellery are more often gaining their admirers.
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Yan, Siyu. "Exploring the muti-dimensional characteristic artistic expression of jewellery function under the contemporary aesthetic background." SHS Web of Conferences 158 (2023): 01003. http://dx.doi.org/10.1051/shsconf/202315801003.

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From the aesthetic point of view, the function of contemporary art jewellery is a muti-dimensional form of expression, which goes beyond the definition of traditional jewellery and is displayed through visual, auditory, tactile sense and other artistic forms. As an intuitive art symbol, the paper conveys the attitude of contemporary art jewellery from the aspects of emotion, attitude, national culture, etc., and expounds the manifestations of the diversified functional characteristics of contemporary art jewellery, aiming to explore the multi-dimensional manifestations of contemporary art jewellery under the aesthetic background, and explore the diversified material forms of art jewellery. It provides more theoretical reference for contemporary art jewellery design and injects new inspiration.
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Beningfield, Karen. "Contemporary geometric beaded jewellery." Journal of Mathematics and the Arts 14, no. 1-2 (April 2, 2020): 15–18. http://dx.doi.org/10.1080/17513472.2020.1729455.

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Rani, Punam, and Vivek Singh. "Traditional to Contemporary Indian Jewellery: A Review." Global Journal For Research Analysis 2, no. 1 (June 15, 2012): 87–88. http://dx.doi.org/10.15373/22778160/january2013/52.

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Peng, Xinyu. "“A Bird’s Eye View” in Jewellery Design." Learning & Education 9, no. 3 (December 29, 2020): 139. http://dx.doi.org/10.18282/l-e.v9i3.1600.

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The article focuses on exploring “bird’s eye view” theme in jewellery design. Writer describes the progress of how to get inspiration from the works of temari ball artist Tatiana Vigdorova and Korean contemporary jewellery artist Mi-sook Hur, and using those ideas to create personal jewellery series with “bird’s eye view” theme.
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O’Hana, S., A. J. Pinkerton, K. Shoba, A. W. Gale, and L. Li. "Laser surface colouring of titanium for contemporary jewellery." Surface Engineering 24, no. 2 (March 2008): 147–53. http://dx.doi.org/10.1179/174329408x315607.

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Vones, Katharina. "Foreign Bodies – The Creation of Symbiotic Jewellery through the Development and Application of Stimulus-Responsive Smart Materials and Microelectromechanical Systems." Advances in Science and Technology 81 (September 2012): 49–54. http://dx.doi.org/10.4028/www.scientific.net/ast.81.49.

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With the increased prevalence of digital technologies in our everyday lives, the questions posed to the contemporary craft practitioner regarding creation of an emotionally resonant interaction between the digitally enhanced object and its wearer have become progressively more prominent in the applied arts. Through examining the notion that human biology is a part of material culture, where the body can be shaped, customised or altered through surgical intervention and scientific innovation, this extended abstract explores how recent developments in material science and wearable technologies can be viewed as contiguous rather than oppositional to the organic processes of the human body and how to bridge the gap between the craft practitioner and scientific discovery. More immediately however, this research project challenges the perception of smart materials and their application within the field of contemporary jewellery in both an artistic and scientific context through proposing the development of symbiotic stimulus-reactive jewellery organisms. Potential practical applications of these jewellery objects exist in the areas of human–computer interaction, transplant technology, identity management and artificial body modification including prosthetics, where such symbiotic jewellery organisms could be used to develop visually engaging yet multifunctional enhancements of the body.
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Wrześniak, Małgorzata. "Historia jednego motywu – rzecz o związkach biżuterii z architekturą." Załącznik Kulturoznawczy, no. 4 (2017): 221–49. http://dx.doi.org/10.21697/zk.2017.4.10.

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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).
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Wrześniak, Małgorzata. "The Story of One Theme – on the Relationship Between Jewellery and Archi." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 379–404. http://dx.doi.org/10.21697/zk.2019ee.01.20.

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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).
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Hayward, John. "VIII. The Arnold Lulls Book of Jewels and the Court Jewellers of Queen Anne of Denmark." Archaeologia 108 (1986): 227–37. http://dx.doi.org/10.1017/s0261340900011760.

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While few surviving jewels can be identified with any certainty as English work of the sixteenth or early seventeenth centuries, much descriptive evidence exists in the form of inventories and lists of gifts of jewels and plate exchanged between the sovereign and the courtiers each year on New Year's Day. A further fruitful source of information lies in the many contemporary portraits, those of ladies usually showing them with a lavish display of jewellery. Such jewels cannot, however, be claimed as certainly of English make; jewellery was an article of international commerce and much was imported.
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Dissertations / Theses on the topic "Contemporary Jewellery"

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Shaw, Elizabeth. "Recycled Narratives: Contemporary Jewellery - Material Culture - Praxis." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376858.

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This exegesis outlines research undertaken in the studio in tandem with the study of theoretical texts along with analysis of work by contemporary artists and metalsmiths. My studio approach is framed within ethical approaches to use of material and sustainable practices in production. The use of non-precious materials in contemporary jewellery is well established as a method to critique preciousness and question value, as is the reuse and repair of component parts of existing jewellery part of a global recycle movement across many disciplines. The work created in this project aims to investigate a wider use of humble materials and broken or discarded consumer objects by investigating the potential for exploiting their symbolic power and functional possibilities through reimagining as well as repurposing as jewellery. In demonstrating that jewellery can offer a critical reflection on contemporary society this project aims to also reinvigorate the important role jewellery has played as a key conveyance at the intersection of materials, the symbolic order and social, economic and environmental values.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.

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Thesis (MA)--University of Stellenbosch, 2000.
ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
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Huusko, Källman Rebecka. "Social participation in contemporary art jewellery : An investigation of contemporary art jewellery’s ability to discuss complex questions within western society." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4666.

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On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?” As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat. This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay: -          Is it possible to discuss complex questions within society though the media of contemporary art jewellery?  Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion.
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Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.

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The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.
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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.

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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
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Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.

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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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LE, BA AN. "Evening Flash in the Dusking of the Sun." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20117.

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Ward, Vanessa. "An interrogation of the translation of ideas from architecture to jewellery through the design and production of contemporary jewellery." Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4937/.

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This research interrogates the translation of ideas from architecture to jewellery, through the design and production of contemporary jewellery. Necessarily this interdisciplinary focus has two contexts; contemporary jewellery and the architectural world from which ideas are translated. The practitioner comprises the third element, determining the way in which ideas are interpreted and expressed. The aims of this research are to define and locate architectonic jewellery and through practice to contribute to this field. The Rationale and contextual review (chapter2), locates architectonic jewellery as a sub-genre of contemporary or studio jewellery; positioned as a strand of Modernist jewellery emergent from a Constructivist tradition, parallels are drawn to the American Modernist movement. The identification of three strands (abstract, interpretive and figurative), within architectonic jewellery explore this translation of ideas from one discipline to another. The contextual review was instrumental in the identification of the positioning of the practice-based research. The method decided upon for the design of jewellery was through response to a selected architectural exemplar. The Role of architectural theory (chapter3), details the architectural context and understanding gained of the main exemplar, Therme Vals, Graubunden, Switzerland by architect Peter Zumthor. Associated with the Swiss Essentialists and continuing in a Modernist tradition, the origins and philosophical underpinning of this architecture were established. An investigation into Phenomenology provided a fundamental understanding of architecture, a means to observe and articulate the act of experiencing (in responding to an architectural site) and altered the dimensions of material consideration in the design process. Idea development (chapter4), documents the development of ideas in the self-reflexive practice. The design process is explained in chronological order. The establishment of selection criteria for architecture initiated this iterative development. The three phases of response to the architectural exemplar are discussed, each phase resulting in the analysis of design and the alteration of the selection criteria. Phase one responded to Juha Leiviska’s Myyrmaki Church through secondary sources. Phase two, to the Burrell collection and Phase three to Therme Vals. All three investigations responded purely to the visual language of the architecture. Phase three comprises of two site visits to Therme Vals, the second of which was preceeded by research into the architectural theory and Phenomenology as discussed in Chapter 3. The research process culminated in the design of works in response to the second visit to Therme Vals. This practice-based research positions architectonic jewellery and through the design process establishes a new paradigm that uses phenomenology as an interpretive tool.
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Sirivesmas, Veerawat. "A new model of instruction and learning in contemporary jewellery education." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423072.

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Burger, Idane. "Contemporary jewellery practices and the dialogic interpretation of African material culture." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80080.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.
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Books on the topic "Contemporary Jewellery"

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Crafts Council Gallery (London, England), Leicester City Gallery, and University College of Wales (Aberystwyth, Wales). Arts Centre., eds. Contemporary Japanese jewellery. London: Merrell, 2001.

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Santerio, Maria del Rosario González y. Unexpected thoughts: Contemporary jewellery. Amsterdam: The Pepin Press, 2010.

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Bella, Carlsson, ed. Contemporary Swedish art jewellery. Stockholm: Arvinius + Orfeus Publishing, 2013.

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Contemporary jewellery making techniques. Tunbridge Wells: Search, 2009.

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Besten, Liesbeth den. On jewellery: A compendium of international contemporary art jewellery. Stuttgart, Germany: Arnoldsche Art Publishers, 2011.

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David, Watkins. The best in contemporary jewellery. Mies, Switzerland: Rotovision SA, 1993.

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Ravenna, Daniele. Australia Puzzle: Contemporary silverware & jewellery. Paddington, Sydney, NSW, Australia: Puzzle, 1994.

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Cunningham, Jack. Maker, wearer, viewer: Contemporary narrative European jewellery. Glasgow: Glasgow School of Art, 2005.

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Contemporary jewellery in Australia and New Zealand. North Ryde, Sydney: Craftsman House, 1998.

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Anderson, Patricia. Contemporary jewellery: The Australian experience, 1977-1987. Newtown, NSW: Millennium, 1988.

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Book chapters on the topic "Contemporary Jewellery"

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Romãozinho, Mónica. "“Playful Spaces”: A Design Approach in Contemporary Jewellery." In Perspectives on Design II, 301–14. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79879-6_22.

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Rahim, Mohd Idzham Che, Marzuki Ibrahim, Mohd Zamani Daud, and Nur Syafinaz M. Anuar. "The Development of Islamic Geometric Pattern in Jewellery Product Design." In Contemporary Issues and Development in the Global Halal Industry, 229–38. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-1452-9_21.

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Siran, Zainudin, and Alaa Al-Khulaqi. "The Criteria of Islamic Geometric Patterns Design for the Contemporary Jewellery Making Process." In 2nd International Conference on Creative Multimedia 2022 (ICCM 2022), 245–56. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-57-2_26.

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Axelsson, Bodil. "Viking Jewellery on Pinterest: Drifting Digitisations and Shared Curatorial Agency." In Museum Digitisations and Emerging Curatorial Agencies Online, 71–94. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_4.

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AbstractThis chapter analyses the manifestations and operations of curatorial agency on the content-sharing platform Pinterest. While the manifestations of curatorial agency are explored through an analysis of the recontextualisations of museum digitisations of jewellery associated with the Viking Age in user-made collections, its operations are investigated through a long-term engagement with the platform’s employment of machine learning models to select and display images in line with its business model. On Pinterest, museum digitisations take on a transnational and dispersed life as inspiration for historical imagination and craft, as well as for contemporary fashion. Due to the complexity of machine learning models, the politics of curatorial agency becomes a delicate issue to locate as it morphs between human and machinic forms of intelligence.
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"What Contemporary Jewellery Might Have to Say about Fashion." In Fashion and Its Multi-Cultural Facets, 273–82. BRILL, 2014. http://dx.doi.org/10.1163/9781848883093_025.

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Haefele-Thomas, Ardel. "Queering the Female Gothic." In Women and the Gothic. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699124.003.0012.

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Queering the Female Gothic’ examines work by women writers from the 1890s onwards who use the Gothic to create covert and/or overt queer situations and characters. These are often used to explore cultural and social concerns, such as restrictive patriarchal and hetero-normative family structures, the medical pathologisation of female and genderqueer bodies, institutions of racism and sexism within colonial and slave narratives, and contemporary issues surrounding the intersections of sexuality, race, class and gender identity. The chapter examines the work of a number of American and British women authors who have employed the Gothic as a proverbial safe space in which to explore these concerns; they include Vernon Lee, Florence Marryat, Carson McCullers, Toni Morrison, Maryse Condé, Jane Chambers, Jewelle Gomez, Sarah Waters, Yvonne Heidt and Cate Culpepper. Not only do their fictions encompass queer characters and scenarios in terms of gender identities outside of the male/female binary and the full spectrum of queer sexual orientation, but the authors themselves, taken as a group, embody the full spectrum as far as gender identity and sexual orientation are concerned.
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Conference papers on the topic "Contemporary Jewellery"

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Muda, Muhammad Shafiq, Nur Syafinaz Mohd Anuar, Mohd Zamani Daud, Mohd Faiz Jalaludin, and Rohazlyn Rosly. "Electronic Jewellery: The Coalescing of Electronic Devices and Contemporary Jewellery." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315268.

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Li, Pingfei. "Poetic Aesthetics in Chinese Contemporary Jewellery Design." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.098.

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Thayumanavan, Kumaran, and Moses Daniel R. "Brand Loyalty: A Perception Among Gems and Jewellery Retailers in Madurai District." In CAASR International Conference on Contemporary Management Practices. Canadian Arena of Applied Scientific Research Ltd, 2015. http://dx.doi.org/10.18797/caasr/iccmp/2015/11/27/10.

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