DALLAS — The term “statement jewelry” takes on greater meaning when bodily adornments comment about surveillance, idle chatter, Border Patrol abuse and other themes.
These are a few of the ideas evinced in “Constellations: Contemporary Jewelry at the Dallas Museum of Art,” a groundbreaking exhibition of more than 350 wearable ornaments by 233 artists, from Harry Bertoia to Iris van Herpen. “Constellations” is on view from Sunday through May 3.
“It’s a very diverse body of work that represent these cutting-edge voices in contemporary jewelry and show the power of artistic and self-expression,” said DMA curator of design and decorative art Sarah Schleuning at a preview Thursday.
“In the end, I hope [it] proves that inspiration can really be found anywhere, and that through the creative lens, magic happens.”
The pieces incorporate a surprising array of materials, such as poultry eggs filled with carbon, wishbones, oboe reeds, plastic bags and cicadas dipped in gold, as well as gemstones and precious metals.
“The artists transform objects from found materials to noble metals into these incredible art pieces that take small objects and become huge ideas,” Schleuning said.
The show opens with a dramatic collar by van Herpen, a swirling swath of twisted zinc-coated steel wire that rises behind the mannequin’s head and envelops half of her torso.
“Aeriform” was commissioned in 2018 by the DMA and Dallas arts philanthropist Deedie Potter Rose, mother of fashion designer Lela Rose. She acquired a significant number of the works on display, including items from the collection of late noted Viennese gallerist Inge Asenbaum, an influential pioneer of jewelry as an art form.
The show is arranged into four themes: “Zones of the Body,” such as works that interact with fingers, limbs, etc.; “Archetypes,” like pyramids, circles and links; “Signals,” exploring political messages and symbolism, and “Play,” for whimsical and kinetic works.
Bruno Martinazzi’s white and yellow gold “Goldfinger” bracelet.
For example, in a subsection called “Limbs,” Wendy Ramshaw’s 18-karat gold, enamel and acrylic “Pillar” stack rings erupt with talismanic staphs that appear almost weapon-like.
Several works by Czech artists reference authoritarianism, like Vratislav Karel Novák’s 1984 steel bracelet with a mirror designed for countersurveillance.
Some of the most disturbing works are by Joyce J. Scott: “Run Down on the Highway of Love,” a 1986 beaded and leather necklace depicting women’s bodies strewn on a highway, and “Dickwhip,” a blood-red beaded lariat necklace with a phallic handle and strands of words referencing the 2022 photographs of mounted Border Patrol agents chasing Haitian migrants along the Rio Grande.
Joyce J. Scott’s glass bead, leather, plastic, wire, and photograph necklace “Run Down on the Highway of Love.”
There’s plenty of whimsy, however, like Monica Cecchi’s colored recycled tin necklace spelling out “Bla Bla Bla,” Friedrich Becker’s white gold kinetic bracelet topped by a moving plate dotted with semiprecious orbs, and Gisbert Stach’s amber and silicone brooches depicting various shades of toast.
The DMA picked up its first piece of art jewelry 75 years ago, and the museum began focusing on it in earnest when Rose donated 13 pieces in 2010. It has since developed a “world-class” trove of 1,400 pieces, Schleuning said.
David Blander’s “Big Apple Neckpiece” tiara and necklace in patinated silver and white gold.
She defined contemporary jewelry in this context as “works that are made by artists who explore ideas and expressions of their own time” and are typically singular works made by individuals in their studios.
“These works are ideas first — it’s not about the material…and they’re about igniting those sparks of curiosity,” Schleuning said. “Yes, they’re functional, some more than others, and they’re incredibly enchanting, but the real alchemy of the pieces is the artistic expression.”
