Juried Senior Show

where:  Bennett’s Frame and Art Gallery on 2100 Laurens Rd, Greenville

when: Closing Reception date change to coincide with spirit week.

No longer Feb. 25—It is now Thursday, March 10

from 5:00 -7:00 before the discoteque at FAC which is 7-11

$200 in total awards announced at 6:00 pm

food and drink and all 2D artworks framed for free, courtesy of Ms. Amanda Bennett!

WOW!  Let’s get everyone to come and thank Ms. Bennett in person for her support of our school!

Goals:  to investigate sustainability in art;  to transform discarded materials into art via good use of design and by combining it with a hand-made metal element.

Demonstrations:  riveting, soldering, making links

Parameters: could be sculpture, could be wearable art, could be jewelry (if you are feeling lost, start with ideas for jewelry).  Can be outrageous or functional.

Suggestions:  focus on the design principle of repetition.  Think of a possible material’s associations, as that will help create the concept for the artwork.  The materials can make the meaning.  The meaning and the materials must have a strong connection.

Graded on:

idea/theme and how it relates to the materials

design

appropriate craftsmanship  (necessary to convince viewer the work is no longer trash)

Goals: to use what you have; to explore and learn about materials by “messing around” around with them, taking them apart, and possibly destroying them; to see the potential transformative power embedded in discarded materials.

Also, since I will be teaching you very little beyond drilling, we’ll both be learning about you: what you already know, what you don’t know, what I need to teach.

This is a quick, one-week project.

Goals: to identify interesting metal textures using a variety of sources and record them for your “inspiration bank,” in preparation for creating your 5 Texture Samples.

Find 10 examples of metal textures that you like, cut and paste into your sketchbook, and write down the date, artist (or culture if unknown, i.e., 1920′s Navajo) materials (silver, ivory), and source (www.cma.org).  At least one example must be from: 1, a book, 2, a magazine, 3, from life (like you take a picture of it), and 4, the internet.

Professional and historically-significant examples from the internet are essential; please avoid mediocrity.  Use www.snagmetalsmith.org as a starting place to link to museums, galleries, and artist websites.

Goals: to demonstrate effective use of the elements and principles of design and to learn metal surface embellishment techniques and appropriate craftsmanship with basic hand tools.

Materials:  Copper 22 gauge, Brass 20 gauge. 

Technical Demonstrations: acetelyne torch use, annealing, pickling, acid-etching, roll-printing, hammer/stamp, sawing, drilling, filing, sanding, and patination, including liver of sulfur, M20, ammonia, and heat patinas.

Design and create 5 samples, each sized 2 inches x 2 inches, that demonstrate: 1. sawing and piercing, 2. roll-printing, 3. etching, 4. hammer and stamping, and 5. combination of any of above.

Graded on design,  technique, and craftsmanship.

The following is a list of tools that each student gets upon selecting a bench (the name for the traditional desk for a jeweler).  The tools are color-coded with paint to match the spot of color painted on the left top side of the bench.  If you are looking to buy the following tools, try Rio Grande.

Rio Grande sells precious metals such as silver and gold, plus copper and brass. They also sell tools and equipment, much of it very high quality, and therefore expensive. I recommend spending money on good basic hand tools (see list below), because they will last a lifetime if you care for them.

You can cheap-skate out and try Harbor Frieght for some tools, but it’s well known that their tools won’t last. I don’t recommend them for tools you’ll need everyday, but rather for tools that will see limited use, or if you want to try out metals and don’t know if you’ll continue.  You could buy more expensive tools if you decide to keep at it.

If you want to buy copper, brass, or nickel, sheet, wire, or tube; and solder, try Metalliferous.

Tool Inventory updated 1/2010

I, ____________________________________________________ understand that as a Fine Arts Center METALS STUDENT, I am RESPONSIBLE for any tool or book that I check out from the Metals Dept. and all the TOOLS in MY BENCH, color___________________________.

Jeweler’s Saw Frame                 18.50

Half-Round 6 inch File            26.00

Flat 6 inch File                           16.25

Needle File Set of 6                    59.00

(9.50 each file)

Flat-nose Pliers                           9.00

Needle-nose Pliers                      9.00

Round-nose Pliers                       9.50

Wire-cutters                                   22.00

Metal Ruler                                      7.95

Xacto Knife                                      3.29

Sharpie Marker                                 .75

Pencil                                                   .25

Eraser                                                   .25

Sanding Block                                     .25

Chuck key for flexible shaft        10.00

Apron                                                4.78

Safety Glasses                                 4.62

Scissors                                            6.00

Scribe                                                3. 29

Textbook                                         15.00

Total Value                            $225.68

I understand that I must pay the replacement cost of any missing or damaged tool, book, or other Metals Department item for which I am responsible.

Signature__________________________________________  date ___________

It is important that we maintain a safe and productive studio atmosphere. If you wish to use a tool that is unfamiliar to you please ask the instructor for a brief demonstration.  This will help you avoid replacing or refinishing the tools you have misused.  Help others to use tools correctly or refer them to the instructor.

Wear appropriate protective clothing and accessories:

1.  safety glasses and aprons when working with machines or chemicals

2.  dust masks when polishing or enameling

3.  rubber gloves when using chemicals or abrasives

4.  closed-toed shoes at all times

5.  tie back long hair when working with machines or chemicals

6.  push up long sleeves and take off loose jewelry that may get caught in equipment

7.  wear ear protection when using loud machinery or hammering

Respect equipment, tools, and studio:

1.  do not use equipment or tools if you  have not learned how to correctly and safely

2.  ask the instructor how to use a tool properly before you use it

3.  never leave a machine running unattended

4.  concentrate fully on your actions; ipods and phones must be OFF while in this class

5.  never point a burning torch at a person or combustible material

6.  look out for hot tools around soldering and enameling areas

7.  note location of safety equipment: fire extinguisher, eye-wash station, first aid kit

8.  keep an eye on kiln and pickle temperatures, adjust as needed

9.  turn off all kilns, torches, pickle pots at end of day if you are the last in studio

10. torches and kilns are NEVER to be used for food, wax, or clay

11. no food or drinks other than water in the studio

Conserve materials:

1.  look in scrap bin first for your materials before you ask for new metal

2.  cut out shapes from metal wisely; i.e., tangent to edges

3.  ask before you cut into a big piece of new metal

4.  look for pre-mixed patina before mixing more

5.  always sift enamels on a separate clean papers to keep enamel colors separate

6.  save dirty enamel to replenish the counter-enamel

Clean work areas daily:

1.  your bench must be dusted and sponged off each day at end of class

2.  clean any area you used during the class:  sinks, soldering area, kiln counter,

enamel shelves and counter, buffing, hammers, etc.

3.     avoid rust—do NOT use water on any steel tools, i.e. files, hammers, etc.

4.     sweep up fire scale from the enameling area

5.     return tools and equipment to their proper place after use

6.     do not leave your work in the pickle or acid after class

Health and Safety in Metal Jewelry: Overview

By Michael McCann, Ph.D., C.I.H., Angela Babin, M.S., and Edward Olmstead, C.I.H.

This article will discuss the health and safety hazards involved in metal jewelry, including silver soldering, soft soldering, lost wax casting, electroforming, electroplating, anodizing, surface design, and finishing.

These jewelry processes should not be done by children under the age of 12 years, and the children should not be in the area while jewelry is being made.  Pregnant women should be aware of potential hazards to the fetus from many of the chemicals used in jewelry processes, and should avoid exposure to metal fumes and dusts in particular.

Soldering

Soldering utilizes hot molten metals to join metal parts.  The metals are coated with a flux to prevent the buildup of metal oxides on the surface.

Soldering can be divided into hard soldering (silver or gold soldering) or brazing with a filler metal having a melting point in the range of 600°F to 1400°F, (316°C to 760°C); and soft soldering with a filler metal having a melting point below 600°F (316°C).  The solder can be made of various combinations of metals creating filler materials with different melting points.

Silver Soldering

Silver solders are commonly used with gold and silver.  The lowest melting silver or brazing solders typically contain the metal cadmium to lower the melting point of the solder, in addition to silver.  Many manufacturers now produce low-melting silver solders that do not contain cadmium, and higher-melting silver solders (hard, medium, easy) do not contain cadmium.  Fluxes used with silver soldering often contain fluorides (e.g. potassium bifluoride or fluoroborate).  A torch is typically used with silver soldering.

Pickling is the process of removing flux and oxide from the surface of the gold or silver.  The pickling solution is either a solution of sulfuric acid, or nitric acid in water or the commercially prepared Sparex (sodium bisulfate).

Hazards

High, airborne concentrations of metal fumes, including cadmium, can be expected with silver soldering.  Cadmium-containing fumes are extremely toxic, and acute overexposure can cause chemical pneumonia and be fatal.  Chronic exposure can cause lung tissue damage, kidney damage, lung cancer, and prostate cancer.  Cadmium fume has poor warning properties and excessive exposure will occur before symptoms are noted.

The fumes of other metals found in silver solders, including antimony (a cadmium replacement) are also toxic.

Fluxes used in silver soldering can also create toxic fumes, especially fluoride-containing fluxes.  Possible decomposition products are hydrogen fluoride gas and fluoride fumes.  These materials are very toxic and highly irritating to the skin, eyes, and respiratory tract.

Pickling baths are corrosive because they are acidic.  Concentrated acid solutions can cause severe burns to the skin or eyes.  Gold or silver that has just been heated during the soldering process may cause splashes when put directly into a pickling bath.  These acids can react violently with alkaline or basic compounds.  Sparex is less hazardous since you are not working with concentrated acids, but the pickling bath is still acidic and can cause skin burns, especially when hot.

The sulfur oxide gases that can result from heating the pickling bath are respiratory irritants.  Asthmatics may particularly be at risk.

Propane tanks, or other sources of liquefied gases for torches, are highly flammable and explosive.

Precautions

Eliminate the use of cadmium-based solders.  Use higher melting silver solders, or the new lower melting cadmium-free silver solders.

Do not use fluoride-based fluxes.  Use borax fluxes instead.

All soldering should be done with local exhaust ventilation (e.g. slot hood or window exhaust fan at work level 1-2 feet away).

If adequate local exhaust ventilation is not available, wear a respirator with a dusts, mists, and fumes filter that is approved by the National Institute for Occupational Safety and Health (NIOSH).  Consult with your physician prior to wearing a respirator if you have heart or lung problems, including asthma.

When soldering, wear protective goggles with a shade number of at least 4 to protect against infrared radiation.  They should be approved by the American National Standards Institute (ANSI).  Full-face shields are also available to protect the face.  Use leather protective gloves to handle hot metals.

Do not purchase concentrated pickling solutions which must then be diluted with water.  To avoid concentrated acids, purchase pickling solutions in dilute form, or use Sparex.  The pickling bath should also be vented to the outside.  Keep the bath covered.

Wear gloves, ANSI-approved chemical splash goggles, and protective apron when using pickling baths.

If acid is splashed on skin, rinse with water; in case of contact with the eyes, rinse for 15 minutes.  An eyewash fountain connected to the plumbing should be available.

If concentrated acids are used, always add the acid to the water when mixing, never the reverse.  An emergency shower should be readily accessible in case of splashes of concentrated acid on the body.

Wet mop all work surfaces and floor to remove toxic dusts.

Keep a supply of sodium bicarbonate (baking soda) near the acid storage area in case of a spill or leak.  Dilute acids can be safely neutralized with sodium bicarbonate.  Once the bubbling stops, the acid has been neutralized.  This should be done before pouring the waste pickling bath down the drain.

Take precautions against fire and explosion when handling liquefied gas cylinders.  Chain them securely, away from other flammable materials and away from sources of ignition.  Do not use near flammable materials.  Follow the manufacturer’s instructions.

Soft Soldering

Soft solders are sometimes used when making jewelry out of non-precious metals.  Soft solder is commonly a mixture of 50/50 or 60/40 lead and tin, and is usually used with an electric soldering iron.  Low-lead and leadless soft solders are now available.  Some of these substitutes contain antimony.  Soft solder fluxes typically consist of an acid type, zinc chloride, an alcohol rosin type, or an organic non-rosin base.

Hazards

Because of the low melting temperatures of soft solders and the low temperature of the soldering iron, soft soldering does not usually result in significant airborne concentrations of metal fumes unless a person is directly breathing in the soldering plume that is created.  However, lead dust collecting on work surfaces from settled soldering fumes can be a hazard due to the high toxicity of lead.  Ingestion or inhalation of lead fumes and dust can cause neurological problems, anemia, kidney damage, reproductive system damage, miscarriages, and birth defects.  Antimony is also highly toxic, but is considered less of a hazard than lead.

When fluxes are heated during the soldering operation, fumes and mist can be generated.  Zinc chloride fumes have acidic properties and may cause chronic bronchitis.  Zinc oxide fumes are also generated, and may cause metal fume fever if there is sufficient exposure.

The alcohol rosin type flux is flammable, and should not be stored near open flames.  The fumes from the rosin and non-rosin based fluxes can also be irritating to the lungs and prolonged exposure may cause respiratory damage.  Rosin fumes may also cause asthma.

Precautions

Use lead-free and antimony-free soft solders, and non-acid fluxes whenever possible.

Flammable alcohol or solvent-based fluxes should be stored away from heat or open flames.

All soldering should be done with local exhaust ventilation (e.g. slot hood or window exhaust fan at work level 1-2 feet away).  If adequate local exhaust ventilation is not available, wear a NIOSH-approved respirator with a dusts, mists, and fumes filter.

Wear protective gloves, a protective apron, and chemical splash eye goggles when handling fluxes.

Wet mop work surfaces and floor to remove toxic dusts.

Do not eat, drink, or smoke in the studio.  Wash hands carefully after work.

Lost Wax Casting

Lost wax casting is a process by which a model is made from wax and a mold is cast around it.  A mold is typically a casting plaster that contains cristobalite and other additives.  The casting process involves heating the mold in a container in an oven.  After the mold has set, the wax model is heated and burned off, leaving only the cast.  The metal is melted with a torch.  Usually, centrifugal casters are used to pour the molten metal into the mold, rather than gravity pouring.  Vacuum casting systems are also used.  After the metal has cooled, the mold is removed from the jewelry.

Hazards

The materials used to make the plaster molds often contain cristobalite, a highly toxic form of free crystalline silica.  Inhalation of crystalline silica can cause silicosis, a serious lung disease that results in scarring of lung tissue.  Silicosis usually takes ten to twenty years of exposure to develop.

Burning wax can cause burns or a fire, and produces fumes from incomplete combustion.  Some of these fumes are highly irritating to the respiratory tract.

Fumes of gold or silver are not known to be toxic, although silver fumes may cause a skin and internal organ discoloration called argyria.  However, other metals alloyed with gold or silver may be toxic.  Such metals include zinc, copper, nickel, or lead.  Exposure to zinc fumes may cause metal fume fever.  All airborne nickel compounds are regarded as carcinogenic by inhalation.  Lead fumes are also highly toxic.

The containers used to heat molds may be insulated with asbestos.  Heat-resistant gloves used for handling hot objects were also usually made out of asbestos.  Some soldering and pounding boards have previously been formed out of asbestos-containing materials.  In the last ten years, the use of asbestos in these materials has been discontinued.  Asbestos can cause lung cancer, mesothelioma (cancer of the lining of the chest cavity), and asbestosis which results in scarring of the lung tissue.  Cases of mesothelioma have been found in jewelers.

Precautions

Use metal alloys that do not contain lead or nickel.

Replace equipment that is insulated with asbestos, especially when the insulation is exposed or damaged.  Damaged or exposed insulation and other products may release airborne asbestos fibers which can then be inhaled.  Removal of asbestos should be done by a licensed asbestos contractor.

Use a nonsilica investment plaster when possible.  If a silica-type material is used, mix the investment in a glove box.  A glove box can be made by sealing the inside of a cardboard box with shellac, attaching a plexiglas, glass, or plastic film top, and cutting two holes in the sides for your arms.  The powder is mixed into a paste or concentrated solution inside the glove box.  Otherwise, wear a NIOSH-approved toxic dust respirator.

Clean up all debris immediately.  Use wet cleaning methods to control any dusts, or use a vacuum cleaner with a high efficiency (HEPA) filter.  Do not sweep, since that can stir up dust.

When melting metals, especially if zinc is contained in the alloy, use a slot hood or window exhaust fan at work level 1-2 feet away.

Paraffin wax readily burns.  Always store paraffin wax in a cool place away from all ignition sources.

Wear clothing and gloves that will protect against burns when handling molten metals.  Protective goggles (shade number of at least 4) should protect against impact and infrared radiation, and should be ANSI-approved.

Wear a NIOSH-approved toxic dust respirator when removing the mold, or work inside a glove box.

Electroplating and Electroforming

Electroplating is a process whereby a light buildup of pure metal from an anode occurs on the surface of a metal object to be plated at the cathode.  These two electrodes are powered by a low-voltage power supply.  Electroforming is the same process but involves a heavy buildup of the metal and much higher voltages.  Both these processes take place in a plating solution.

The plating solution contains an electrolyte consisting of a metal salt of the metal to be applied dissolved in water.  The plating solution may also contain other salts, additives, and buffers.  The common plating metals include copper, gold, nickel, silver, and their alloys.  Copper plating can be done with copper sulfate and sulfuric acid as the electrolyte; many other plating metals, especially gold and silver, use cyanide salts as the electrolyte.  There are non-cyanide silver succinimide and gold sulfite electroplating solutions, but at present they have not been used much by artists.  Prior to electroplating, the surface of the metal must be cleaned, often with caustic soda.

Hazards

Gold and silver cyanide solutions are extremely toxic by ingestion.  If metal cyanide solutions come in contact with an acid, an extremely toxic and poisonous gas, hydrogen cyanide, is released.  This also applies to many of the so-called “cyanide-free” substitutes which often contain cyanide complexes that also react with acid to release hydrogen cyanide gas.

The electroplating process can produce a mist which contains cyanide salts.

Gold salts used in electroplating can occasionally cause skin sensitization and result in allergic reactions.

The electrolyte usually used in copper plating is copper sulfate in sulfuric acid.  Concentrated sulfuric acid is a corrosive material and can cause burns or irritation to the eyes, skin, or respiratory tract.

Electroplating and electroforming processes often use high electrical currents, and have the potential to cause electrical shocks when the electrodes are handled with one hand.

Precautions

Avoid cyanide electroplating or electroforming if at all possible by sending the piece out to be electroplated commercially.  Only do plating with cyanide solutions if you are willing to take extreme precautions.

Electroplating and electroforming with cyanide plating solutions should only be done in a tested laboratory hood.  Other types of electroplating also need local exhaust ventilation (e.g. slot hood, laboratory hood).

Electroplating involves the use of incompatible and reactive materials.  Cyanide solutions are incompatible with acids. Cyanide solutions and acids must never be stored near each other.  Find out what materials used in the shop are acids and separate these from the cyanide baths.  Under no circumstances should the copper plating bath come in contact with the silver or gold baths.

Store acids in a separate cabinet of non-metal construction away from all other chemicals.

Wear protective gloves, goggles, and an apron when handling electroplating solutions and concentrated acids.

If an acid should come into contact with a cyanide bath, immediately evacuate the area and seek medical attention.  Keep a cyanide antidote kit on site and take it to the hospital during an emergency.

For small concentrations of acid gases (but not hydrogen cyanide), a NIOSH-approved air-purifying respirator with the yellow acid gas cartridges can be worn.

The workspace should have an emergency eyewash and an available source of copious, clean tap water to wash chemicals from the skin.  A shower is recommended.

Install a ground fault circuit interrupter. Make sure all electrical wiring is in good condition, and that all special equipment (rectifiers, masking tape for resists, etc.) is approved for the voltages and currents used.

Install your electroplating unit on a wooden or nonconducting surface, not on metal.  Place a heavy rubber mat on the floor where you would stand.  Do not use a metal chair.  Wear rubber-soled shoes and insulating rubber gloves.

To avoid shock, do not touch electroplating bath, wires, or electrodes with bare hands while the current is on.  Unplug the power supply before making or undoing connections, or making adjustments to the bath.

Spent cyanide solutions must not be poured down the sink.  They should be stored in a plastic container until they are disposed of by a licensed hazardous waste company.

Anodizing

Anodizing involves the oxidation of metals such as titanium at the anode of an electrolytic bath, usually using trisodium phosphate as an electrolyte.  Water is dissociated, producing hydrogen at the cathode and oxygen at the anode.  The oxygen causes a controlled surface oxidation of the anode.  Anodizing can be done in an anodic bath, or with anodic painting, where you paint on the anode metal using a paintbrush soldered to the cathode lead.  The titanium must be cleaned before anodizing, often with hydrofluoric acid.

Hazards

Titanium is a combustible metal like magnesium.  Titanium filings and dust will burn.

Trisodium phosphate is alkaline, and can cause skin, eye, and respiratory irritation.

Hydrofluoric acid is highly corrosive to the skin, eyes, and lungs.  Serious deep burns can occur without pain warning several hours after exposure.  The vapors may cause severe lung irritation, including chemical pneumonia.  Ingestion can be fatal.  Hydrofluoric acid can also cause chronic bone and tooth damage (osteofluorosis), and possibly kidney damage. Handling concentrated hydrofluoric acid is very dangerous due to the risk of splashes.

Anodizing, like electroplating, can involve large electrical currents which create the hazard of electrical shock.

Precautions

Wear insulating rubber gloves, goggles, and a protective apron.

Avoid hydrofluoric acid if possible.  Instead, wet sand with a very fine grade of emery paper.

If you use hydrofluoric acid, do so only in a laboratory hood, or use an acid gas respirator with a full facepiece to protect both lungs and eyes.  Wear natural or neoprene rubber gloves, a protective apron, face shield, and chemical splash goggles when handling concentrated hydrofluoric acid.  In case of contact, flush exposed skin and eyes with water for at least 15 minutes.  Immerse affected area in 0.13% iced solution of Zephiran chloride for 30-60 minutes.  Call a physician immediately.

Leftover hydrofluoric acid should be handled as hazardous waste.

Keep a Class D fire extinguisher for potential titanium fires.

See the Electroplating section above for electrical precautions.

Surface Working, Polishing and Finishing

Metals are usually annealed by heating before hammering or chasing.

Finishing operations can include sandblasting, polishing, grinding, and application of patinas.

Hazards

Most metals are annealed before hammering or shaping using repoussé.  This involves heating the metals to red hot temperatures, creating infrared radiation.  Infrared radiation can damage the eyes.  Burns are another potential safety hazard.

In repoussé or chasing, the metal is usually placed into a bowl of pitch before hammering or shaping.  The pitch is then burned off using a torch.  Pitch is a recognized skin carcinogen and contains hydrocarbons which are a fire hazard when heated with a torch.

The potential for pieces of metal becoming projectiles should be considered when cutting, hammering, or engraving.

Metal surfaces are cleaned by sandblasting or abrasive blasting.  This involves using compressed air to project particles of sand or other materials at the metal and abrading the surface.  Sand contains free crystalline silica and its use in sand blasting can cause silicosis within a few years of exposure.

When using a grinding wheel, there is always the potential for pieces of the metal or the wheel to be projected at the worker.  Always maintain the guards on a grinding wheel.

Many polishing compounds contain free silica as a main ingredient or as a contaminant.  Examples are tripoli and, sometimes, rouge.

A variety of toxic chemicals can be used as patinas to color the metal.  These can be applied hot or cold.  In particular, applying patina chemicals to hot metals can result in the release of hazardous decomposition products (e.g. hydrogen cyanide from decomposition of potassium ferricyanide).

Precautions

Do not use sand for abrasive blasting.  Instead, use glass beads, crushed walnut shells, alumina, or silicon carbide.

Abrasive blasting booths should be properly ventilated.

Grinding wheels should have eyeshields.  For occasional grinding, wear a NIOSH-approved toxic dust respirator; for frequent grinding, equip the grinder with a dust collection system.

Use ANSI-approved safety goggles, or face shields plus safety goggles when grinding or working metal surfaces.

Do not wear ties, loose long sleeves, necklaces or other dangling jewelry, or anything which could get caught in the grinders or buffers.  Keep long hair tied back or wear a hair net.

Use wet techniques whenever possible to minimize dust levels.

Wear gloves and goggles when preparing and using patinas.  Highly toxic powders should be mixed in a glove box, with local exhaust ventilation, or while wearing a NIOSH-approved toxic dust respirator.  Dip or brush on patinas rather than spraying them.  Spraying should only be done in a spray booth.

Use local exhaust ventilation for applying patinas, especially hot, or when burning off pitch (e.g. slot hood or window exhaust fan at work level 1-2 feet away.)

Art Hazard News, Volume 15, No. 1, 1992

This article was originally printed for Art Hazard News, © copyright Center for Safety in the Arts 1992. It appears on CAR courtesy of the Health in the Arts Program, University of Illinois at Chicago, who have curated a collection of these articles from their archive which are still relevant to artists today.

‹ Traditional Sculpture: Overview

Bob Ebendorf, is an American metalsmith and jeweler, considered by some to be a leader in the studio jewelry movement.^[1] He is well known for using found objects in his art jewelry. His work has been published in many books, is in many galleries around the world, and he has even had his own retrospective art exhibition at the Renwick Gallery of the Smithsonian American Art Museum in Washington, D.C.^[2] He was one of the founding members of the Society of North American Goldsmiths (SNAG) in 1970, is an inductee of the National Metalsmiths Hall of Fame,^[3] and is currently the Carol Grotnes Belk Distinguished Professor of Art at East Carolina University.^[4]

^{He is so famous, he has a Wikipedia page devoted to him!}

AND he is going to be visiting nearby Winthrop University and Courtney Starrett, the metals prof, has graciously invited the FAC metals department  to hear him speak on March 24 at 8:00.  If we go early, we can visit the Metals studio at Winthrop and see Ms. Starrett’s exhibition in the gallery, RubberMade, before the lecture.

Let’s get a bus, shall we?

More details to come as plans become finalized.

Why is it important that the arts are taught to the next generation?

Arts education positively  impacts learning in other areas.  For instance, Shirley Brice Heath spent a decade studying dozens of after-school programs for disadvantaged youth. These programs were broadly clustered into three categories—sports/academic, community involvement, and the arts. This research shows that the youth in all these programs were doing better in school and in their personal lives than were young people from the same socioeconomic categories, as tracked by NELS:88.To the researchers’ surprise, however, the youth in the arts programs were doing the best. Skeptical about this finding, Heath and her colleagues looked more closely at the arts programs and the youth participating in them. Although the youth in the arts programs were actually at greater “risk” than those in the other programs, the researchers found that characteristics particular to the arts made those programs more effective. They now believe that a combination of “roles, risks, and rules” offered in the arts programs had a greater impact on these young lives.   You can learn more about the arts positively effect the learning experience by going to the Kennedy Center for the Arts website     http://artsedge.kennedy-center.org/champions/exec_summ.html

So, what’s happening in the world of Metals and Enameling?  If you just “google image” it, you may find some things, but much of it may be mediocre.  Let’s strive to weed out the mediocrity, shall we?

Start here: www.snagmetalsmith.org This is the website of the Society of North American Goldsmiths, the professional organization for jewelry artists and metalsmiths.  They put out a great magazine, called Metalsmith, that our studio gets, and their website is chock full of info and links.

Choose the RESOURCES tab, and from there you can link to galleries and museums that have great collections of contemporary and historically significant metalwork….like Velvet da Vinci, Patina, Sienna Gallery, the Metropolitan Museum of Art, etc etc!  From each gallery you can link to individual artists that excel in the field.

and to educational institutions that offer metalsmithing classes and/or degrees….like The Cleveland Institute of Art, Winthrop U, Tyler School of Art, Penland School of Crafts, etc.

Next up, try www.enamelistsociety.org for everything relating to Enameling.  This has links to member’s websites, how to buy supplies, etc.

Love art?  Want security?  There are many jobs that combine creative problem-solving, vision, and fulfill a practical need in society, and therefore, get paid well.  Here are some of my favorites:

Industrial Designer. Usually specialize in an area, like automotive, product, or packaging design. Check out Appalachian State’s website, and from there you can navigate to their awesome links page.  http://tec.appstate.edu/industrial-design   Check it out!  This is my top choice of job for people who love 3D art and want to make a good salary.

Interior Designer.  Not just matchy-matchy, but designing interior corporate spaces and branding.  It’s sort of like interior architecture.  Note how Panera and Chipotle changed game for fast food restaurants and how Taco Bell is trying to create a updated look?

Architect.  Design buildings.  Clemson’s program is nationally-known and close by.   Gotta love math, too.  Google Jeanne Gang and her Aqua Tower in Chicago. It is amazing.  Also, google “starchitect” and see how architecture affects the health of a city. Many old masters, such as Bernini and Michaelangelo also designed buildings.

City Planner.  So many cities suffer from poor design.  How can highways, living areas, working areas, and recreation areas be accessible to all to improve quality of life?  YOU could impact citizens for years to come with YOUR design!

Web/Usability in the online world. Information design/architecture.  Interface design. Who designed the first blog layout?  So many things are starting to exist primarily as digital “pages.”  I need something to help me organize and “scrapbook” my photos, for instance. Can you please design something that would pick out the best ones keep them looking nice in a digital format that I can pass down to my kids?  Someone will design something that will supplant Facebook. Why not you?

Those are just the beginning.  More to come.  Please add your ideas.

How do you know if you want to be an artist and/or go to art school?  Which major should you choose in college?  Should you go to an art school or university that has an art program?  Can you make a living if you major in art?

Ah. These are eternal questions and there are no certain answers for anyone.  However, I do have some ideas on the subject since I am an artist, and yes, I did go to college kinda recently….okay, not that recently anymore. I went to a private art school for my undergraduate degree, and a state u for my grad degree. Both had awesome metals programs.  You really need to compare programs/majors to make a good choice, but that can be hard to do if you aren’t sure what you want to major in.  I changed my major in college.  A lot of people do.  It’s okay, you can too.  But find out if you’ll be penalized!  Sometimes if you change majors, you will not be able to graduate in 4 years—not a big deal, but more $.

First of all, apply to both private art schools state universities. It is good to have choices.  There are pros and cons to both. You can visit each school and get a sense of the art programs and potential majors at both. What do the studios look like?  What are the students making?  Is there a gallery with cool art on display?  Which majors are the stars of the school, and which majors are like the neglected cousins?

Many of the private schools give lots more $$ to talented students, many times bringing down the cost to a level that is similar to a state school, so it never hurts to get your portfolio together and apply.  They may love your work!

Okay, so let’s say you’ve applied to both, and now they have both accepted you.  How to choose?

First, $.  I would advise anyone to avoid piling up huge amounts of debt in order finance their education, but especially if you’re planning to major in painting.  A small amount of student debt to pursue your passion and educate the whole person? Sure.  But don’t plan on being able to pay back $100,000 after you graduate very easily.  You’ll need a high-paying job to do that (see the posts on jobs in the arts).

If money is equal, go with the place that has the best program for the major you’d like. For instance, Kansas City Art Institute is an awesome art school, however, they have no metals program. So, if you love metals, and you’ve applied to Winthrop as well, go with Winthrop and enjoy their metals studio, or be ready to focus on something else at KCAI.

If you still can’t decide, because both schools have great programs that you’re considering for your major, you have to go with your gut.  Also consider how far away you and your family are comfortable with being.  Can you afford airfare to come back as often as you like?  Will you be able to have a car on campus?

Good luck! The thing to remember:  Choices are good.  This is good stress.

PS  If you are looking to major in Metals/Enameling, go to www.snagmetalsmith.org, then click the Resources tab, then choose Educational Institutions, and it will list all the schools that offer a metals major.  I can always give you my two cents too, so stop by the studio and we’ll chat.

I know: it’s sad when you don’t have access to our great studio anymore!  You are not alone. Many FAC alums don’t realize what a unique and special place this is until they’ve been out in the world a little bit and have seen the comparisons….

Never fear!  There are many opportunities for you to take a class in metals or enameling, or many other media. Some are even close to home:

Every summer Ms. Shank-Major organizes Explore the Arts, a one-week-long session of classes covering a variety of art topics for all age levels here the FAC.  This year it is June 6-10.  Call 355-2574.

Local jeweler Duffy Brown will sometimes teach right out of her studio.  www.duffydesigns.com

The Beaded Frog in downtown Greenville offers jewelry classes.  www.beadedfrog.com/LearnClasses.html

The Greenville County Museum of Art doesn’t offer metals anymore, but it  has lots of great painting and drawing classes, (some taught by FAC alum and my fellow ArtBomber Paul Flint) and much more.   http://artclasses.greenvillemuseum.org

The new Trillium  Arts Center in Traveler’s Rest offers new classes all the time.  www.trilliumartscenter.org

Now the rest on my list are a bit farther away, but AMAZING places that will change your life.  They offer workshops, classes, and even residences.  Many offer scholarships or work/study programs that will help you financially, especially if you are young artist just starting out.  They fly in  leading professional metalsmiths to teach their classes; you will learn from the masters.

Arrowmont Center for Crafts in Gatlinburg, TN (this is where  I was teaching a workshop and met Greg Flint, and he told me all bout the FAC, and when the metals job opened up, he suggested I apply….Thanks again, Greg!)  www.arrowmont.org

Penland School of Crafts in Penland, NC offers residential sessions where you can immerse yourself in your work.  www.penland.org

John C. Campbell Folk School in Brasstown, NC.  Learn blacksmithing!  In a weekend!  Or for two weeks!  www.folkschool.org

Now this is a little farther away in Deer Isle, Maine, but Haystack School of Crafts is worth the trip. My mentor who taught me enameling, Gretchen Goss (thanks, Gretchen!) often teaches there in the summer. www.haystack-mtn.org

There are many more amazing schools that teach metals across the country.  Many colleges and community centers offer continuing education classes.

If there isn’t  class near where you live, why not approach a community center and offer to teach a beginning class for free if they buy some equipment?  All you really need are some bench pins, hand tools, and a acetelyne torch (see my equipment post for more about that).  The 92nd Street Y in New York City (www.92y.org) is a great example of this happening, and now it has grown to become one of THE places to learn metals.  You could change your community for the better!

Another idea:  get some like-minded artist friends together, find a basement, and each decide to buy a tool that you will agree to share.  Build your studio together, and share tools.  You don’t need a fancy jeweler’s bench. Buy a wooden desk from a thrift store and set it up on blocks.  C-clamp on a wooden board cut into a V for a bench pin and you’re ready to go!

Now is the time to investigate and register for summer art classes.  There are so many options!

Right here at the Fine Arts Center, Explore the Arts offers one week of arts for all ages, June 6-10.  You can’t beat the price.  I’ll be teaching the high school/adult metals class (want to melt some glass, anyone?), there will also be photography taught by Carlyn Tucker, and printmaking.   Contact Donna Shank-Major at 355-2574 for more info.

Also close to home:

Furman Summer Scholars offers many non-art areas, but they also offer Graphic Design and Scene Painting.  Sessions are from July 10-16 and July 17-23.  Check out www.engagefurman.com

Clemson Summer Arts Immersion June 13-24, 9-3.  Non-residential.  www.clemson.edu/caah/summerarts

SC Governor’s School offers summer sessions for rising 9th and 10th graders only  (uh-oh, our competition : ) www.scgsah.org/section/summer_programs

Now, if you’re ready to get out of the heat, but want to turn up the art intensity, many art schools offer residential programs where they will pile on the work and you can earn college credit.  These may be on the expensive side, but many offer scholarships based on merit and/or need, and what I like most about them is: if you are considering art school, then this is a great way to “test run” it, and see if it is a good fit.  You’ll also meet talented high school artists from across the country (your new friends, and also your scholarship competition) and help build your portfolio so that can earn you mucho bucks in scholarship money! A residential summer program can actually be a great investment if you are serious about art school as a path for you.

The School of the Museum of Fine Arts Boston www.smfa.ed/precollege

The Kansas City Art Institute www.kcai.edu/cps

The Maryland Institute College of Art in Baltimore and Tuscany, Italy (cool!) www.mica.edu/precollege

The Cleveland Institute of Art (my alma mater) in Ohio www.cia.edu/continuinged

Savannah College of Art and Design www.scad.edu/ce

There are lots more programs out there, these are just the ones who mailed me brochures, so come to the studio to see them for yourself, and I’ll be happy to write your recommendation.