Makers 2018 & BKMW Trunk Show

Aviva Shapiro
Allison Krier
Bianca Abreu
David Hardcastle
Daniell Hudson
Eve Singer
Fannie Ip
Hanna-Katarina Edwards
Kathleen King
Michele Benjamin
Ope Omojola 
Samuel Guillén
Suna Bonometti
Vershali Jain
Wyna Liu 

Our 7th annual winter event is our biggest celebration of the year! Come out and enjoy an evening filled with friends, food, and art. Meet the artists that make BKMW the exciting community it is and peruse the jewelry and artwork that is made here. The trunk show will have jewelry perfect for gift giving this holiday season, or a well deserved gift for yourself.

We are looking forward to celebrating with you!

Anonymous Brooklyn

Anonymous Brooklyn is for everyone.

Anonymous Brooklyn is a installation built one person at a time. Over the course of New York City Jewelry Week artists are invited to bring a piece of jewelry for display In the Gallery at Brooklyn Metal Works. All the work will be placed on one wall, and each artist will have only small nails to hang their display. (We will have a hammer of course!) This is an accumulation, an accretion. Whoever hangs the first piece gets the first pick of placement and from there it grows. It might grow over, it might grow under. No artist will harm the work of another, but elbows will rub, hair may fall in your eyes, and proximity will certainly alter perception.

THIS CALL HAS CLOSED

This installation/exhibition is part of NYC Jewelry Week 2018.

FAQs

1. Do I have to be from Brooklyn/New York/The United States to participate?
   No, this is the point. You just have to be here.

2. I’m going to be in town but my friend isn’t, can I hang their work for them?
   Yes, but one person, one work. If you also want to hang work, you’ll have to ask a friend too.

3. How do I get my work back?
   If you live out of town you must leave a prepaid shipping box when you drop off your work. We will return it in the box provided. You are responsible for insurance and any other extras you may need.
   If you live nearby you must come and pick up the work from 11am-6pm, November 18 or 19, or we will give it to our neighbors.

4. How long will the show be up for?
   This show will remain on the wall during NYCJW.

5. Does work need to be for sale?
   No.

6. I want to sell my work, how do I do that?
   We will have an online gallery/price guide that is updated in real time as works are installed. As soon as a work is listed it is officially for sale. Purchases can be placed online or in person. BKMW will handle all sales at 50/50 split. We will get your info when you install the work and all sales will be paid out within a month of the show closing.

7. How do I know my work will be safe?
   BKMW has successfully hosted exhibitions for over 6 years. Due to the nature of this exhibition we ask artists who have a high monetary and/or sentimental value work to carry their own personal insurance.

8. What can’t I submit?
   Nothing rotting, no noxious odors, no emitting of harmful chemicals, nothing that seeps/weeps/cries, nothing that attracts vermin, nothing that will cause harm to other work, nothing explosive, no guns. You get the idea. Please don’t make us wish we’d made this list longer.
   We reserve the right to reject pieces that exceed this criteria.

9. How does this all work?
   Fill out this form. Bring us your jewelry. One person, one piece. Check our open hours to bring and install the work. Your work will go through a formal documentation process where we photograph the work and receive your information. You will be given a coat check number in exchange for your work. You will participate in an installation performance. You will be photographed installing the piece and all pertinent information about that piece will be offered to the interwebs on all of our available platforms. Participants must be willing to wear a mask while performing these tasks. No name attribution will ever be publicly associated with the works or released by BKMW. If a work sells the name of the artist will be disclosed to the buyer if desired.

10. What is Anonymous Brooklyn?
    No one knows until it’s over.

Transmutations | Kerianne Quick

“When the Dutch VOC / WIC sailed up the Hudson River to trade with the colonists and native tribes of New Netherlands the ships often carried a ballast of brick. Those that were usable were traded, those that were not – were dumped on the riverbanks. Fast-forward two and a half centuries – the clay deposits of the Mid-Hudson Valley were dug and fired into the bricks that built much of Manhattan as we know it. The evidence of these now defunct brickyards dot the banks of the Hudson River from New Jersey to Albany – piles of bricks, industrial castoffs – native clay fired – but unsuitable for construction. These bricks, foraged out of the Hudson River, are a connection – to the post-industrial landscape and regional histories; but also a way to explore inheritance and transformation. 

The bricks used in the series Transmutations – dating from the early to mid 20th century – were foraged out of the river at Kingston Point and along the Rondout Creek. They were hand-cut and carved, and combined with heirloom pearls, shell, silk, silver, and gold. Through stringing and pearl-knotting techniques, the work draws from both the adornment ideals of the Dutch Golden Age and the ceremonial adornment of the native Lenape Tribes of the Hudson River Valley. Like the act of colonization – Transmutations, mashes together disparate cultures using native materials. Each piece references an uncomfortable combination of European and Native American adornments to create something unique to the Mid-Hudson River Valley.”

– Kerianne Quick

Through her creative practice, Kerianne Quick aims to tell hidden stories through objects – by considering source, conveyance, and material specificity. Her research is rooted in exploring craft and materiality as cultural phenomena with an emphasis on jewelry and personal adornment. Kerianne has produced several bodies of material specific work considering subject matters that range from communal sheep farming practices in the Orkney Isles to the derelict brickyards of New York’s Hudson Valley. She is currently researching contemporary forms of portable wealth. Kerianne Quick is the Assistant Professor of Jewelry and Metalwork at San Diego State University. Current projects include Craft Desert, a handmade zine exploring the craft landscape co-produced with Adam John Manley.

Kerianne Quick’s work is exhibited widely, most recently at LA FRONTERA: Encounters Along the Border, Museum of Arts & Design, New York, NY; Heavy Metal – Women to Watch 2018, National Museum of Women In The Arts, Washington D.C.; and  The Language of Things, Dowse Art Museum, Wellington, New Zealand.

kerianne-quick.com

The Last Objects | MJ Tyson

MJ Tyson’s work is centered on the relationship between people and their possessions, and makes use of unconventional casting, re-use, and record keeping. The Last Objects features works from two main series: boxes from Inheritance and Dust to Dust, and vessels from Homes. Each work is comprised of personal objects left behind by deceased residents, sited at specific locations, and named accordingly. Looking into works like 102 Garden Hills Drive gives the viewer a glimpse of this past and offers the opportunity to reconstruct narratives with the remnants.

“All material carries a past. Whether we acknowledge this lineage or not, it exists. It may be to our advantage — as a way of orienting ourselves in our world — to consider the cycles of creation and destruction intrinsic to the objects that surround us.

Our individual lives are fleeting. We use objects to extend ourselves beyond the boundaries of our bodies and lifespans. We ask these objects to lend us immortality, and we practice collection, conservation, and restoration to that end. In reality, nothing is immune to change. Objects also die.

Embracing the destructive side of creation, MJ Tyson practices the reincarnation of personal objects. The resulting jewelry and vessels hold evidence of their past lives within their new forms. These are messy situations in neat packages, ready to go back into circulation. The last objects will become the next.”

- MJ Tyson

MJ Tyson is an artist and jeweler from New Jersey. She received her BFA from the Jewelry + Metalsmithing Department at Rhode Island School of Design in 2008 and returned to earn her MFA in 2017.  Interests in value and material culture have led MJ to the worlds of art appraisal and museum conservation. Research in these outside disciplines informs her studio work.

mjtyson.com

Till the Night | Kyle Patnaude

Kyle Patnaude’s work explores the emotive and humanistic coding of objects, specifically a certain “queerness” pertaining to the cultural guise of hypermasculinity. In Till The Night Patnaude works with queer narratives, from inherently counter-culture gay tropes to the Homoromanticism of masculine power within authoritarian regimes. Using historical figures as touch points Patnaude constructs representational characters to develop this dialog throughout the exhibition. 

Included in these investigations are themes of persecution. Says Patnaude “Where much of queer work celebrates the progressive gay narrative, I choose to cultivate from darker regions of my community and culture. For several years Russia and the southern Republic of Chechnya have committed hundreds of acts of abduction, torture, and murder of men suspected of being homosexual. The exhibition features nineteen aluminum photo prints of gay and trans men with their eyes pixelated. The audience determines their identities through implication as victim or criminal, their erasure, or preservation of anonymity—and themselves as either activist or bystander.”

The objects portrayed within Patnaude’s work often examine public elements such as city streets, restrooms, and parks, providing a subtext of “queerness” and double meaning. Till The Night includes three turned aluminum truncheons, the weapon of police and symbol of authority, as tokens of masculine prowess. These pieces are wearable as necklaces as is the rubber ‘sautoir’ made from a recurrent symbol in Patnaude’s work, a manhole cover pattern.  The latter is shown as a garland on Jacksie, a queer skinhead, the Alt-Right caricature of gay fascism in Patnaude’s narrative.

Kyle Patnaude is currently based in Portland, Maine as a Visiting Assistant Professor at Maine College of Art. He completed his BFA degree in Sculpture from Pratt Institute in 2006 and in 2012 received an MFA in Metalsmithing from the University of Wisconsin Madison. Embracing a hybrid practice as a sculptor rooted in the rich traditional methods of metalsmithing, the work unites contemporary sculptural forms with the skill and elegance of precious metalworking.

kylepatnaude.com

Nowhere | Nils Hint

Hint’s most recent jewelry pieces embody the iron work that he is known for in their sculptural and functional aspects. Working with found objects that performed utilitarian service as tools and cutlery, Hint repurposes these items into new wearable formats. His latest focus in Nowhere is on the kinetic relationship between static material and human force. The malleability of iron is evidenced in the gestural qualities present in these bold new pieces. Hint’s mastery elevates these once humble objects and pays homage to a noble material worthy of wearing and preserving as jewelry.

“Somewhere in my latest work I started focusing on the kinetic relationship between material and human.  A moving man staring at the static lump of matter. Although, this intrigue is nothing new to me. I guess It has always been present in my work in a way that I am not aware of.  

It started when I was around 5 years old. I remember sitting on the huge stack of brick stones and beating some aluminum wire to be flat with the half broken stone from the same pile. I did several shapes what I lost later. What remained was the satisfaction from being able to manipulate this material so easy. Now,  when I am more consciously tracking the origins of my actions I see that they all start in the middle of nowhere. The remote place I spent most of my childhood.”

-Nils Hint

 Nils Hint is an artist, experimental blacksmith, and art jeweler who lives and works in Tallinn, Estonia. His work is exhibited internationally with noteable inclusion in “Schmuck 2015” Munich, Germany; and “CULT”, Stedelijk Museum’s-Hertogenbosch, Amsterdam, Netherlands. A select list of gallery exhibitions include ATTA Gallery, Bangkok, Thailand; Gallery RA, Amsterdam, Netherlands; Gallery Four, Gothenburg, Sweden; and the Ruthin Craft Center, Ruthin, United Kingdom. His work is in the collection of the Estonian Museum of Applied Art and Design; Art St. Urban Art Center, St. Urban, Switzerland; Gallery of Art in Legnica, Poland, International Collection of Contemporary Jewellery; as well as private collections. Hint has won grants, prizes, and residencies for his outstanding work and has taught workshops internationally at Hiko Mizuno College of Jewelry, Tokyo, Japan; Rhode Island School of Design; and HDK Steneby, Sweden. In addition to his studio practice, Hint is currently an Associate Professor of Blacksmithing in the Jewellery and Blacksmithing department at the Estonian Academy of Arts. 

nilshint.com

Makers 2017 & BKMW Trunk Show

Kate Taylor Design
Lucia Pearl
Dan-yell
Vershali Jain Jewelry
Samuel Guillén
Kristi Sword Jewelry
designs by ABREU
Beloved Little Lamb
Eve Singer
Daniell Hudson
FLRNZ
David Hardcastle
Rebecca Pinto
Wyna Liu
KK Wearable Sculpture
Meiyi Yang
Sena Huh

Our annual winter event is our biggest celebration of the year! Come out and enjoy an evening filled with friends, food, and art. Meet the artists that make BKMW the exciting community it is and peruse the jewelry and artwork that gets made here. The trunk show will have jewelry perfect for gift giving this holiday season, or a well deserved gift for yourself. 

We are looking forward to celebrating with you!