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LOOT 2014

This October, the Museum of Arts and Design presents LOOT: MAD About Jewelry, its annual exhibition featuring a broad cross-section of designs from emerging and acclaimed international jewelry artists. Now in its 14th edition, LOOT has become a platform for new trends and innovations in studio and art jewelry across the globe, as well as the ultimate pop-up shop for contemporary artist-made jewelry, where collectors and jewelry enthusiasts have the rare opportunity to meet and acquire pieces directly from some of the most skilled creators in the field.
LOOT: MAD About Jewelry is upholding the Museum of Arts and Design’s commitment to the exploration of materials and process, as well as its long-standing presentation of jewelry as an art form. MAD is the only American museum with a gallery dedicated to the display of both temporary jewelry exhibits and its own collection of contemporary and modern studio and art jewelry.
“LOOT champions the creativity and skilled craftsmanship of jewelry designers from across the globe. Some participants are pioneering techniques within the field and redefining jewelry design with untraditional materials and forms, while others are refining centuries-old artisan traditions. The event is a striking example of the enduring allure and exciting potential of jewelry as an art form.” – Michele Cohen, MAD Trustee and LOOT Chair.
“This year’s participating artists perfectly capture the vitality and innovation of contemporary jewelry-making today.” - Bryna Pomp, LOOT curator.
LOOT 2014 showcases a varied mix of international jewelry artists on the basis of their ingenuity, use of materials, and craftsmanship. Among the artists featured will be British jeweler Helen Noakes, widely recognized for her surprising and humorous designs in resin and silver that incorporate miniature figurines from penguins to circus performers; Turkish designer Gülnur Özdağlar, whose experimentations in transforming plastic bottles into unique shapes have led to remarkably delicate jewelry designs that transcend their origins as refuse; and Argentine jeweler Maria Carelli, who incorporates unconventional organic materials, as unexpected as fish scales, into her ethereal designs.
An integral part of LOOT’s mission is to provide a platform and enhance visibility for the next generation of young jewelers. This year’s event will showcase the inventive work of three recent alumni from Pratt Institute’s acclaimed studio jewelry program.
LOOT: MAD About Jewelry has become a nexus for local, national and international jewelers. Countries represented in LOOT 2014 include Argentina, Germany, Italy, Japan, the Netherlands, Hungary, Turkey and the United Kingdom. Artists from China, Colombia, Finland, Greece, Luxembourg, Mexico and Portugal will be represented for the first time in LOOT’s history. A stunning array of materials will be showcased throughout the event, including standards within the field such as silver, pearls and semi-precious stones, as well as more unconventional materials like cork, knitted plastic bags, eggshells, textiles, wood, concrete and 3D printed polymer plastic.

Vladimir Péter (June 28, 1947) is a Hungarian goldsmith-jeweler and sculptor. He is the recipient of Munkácsy Prize and is a member of the Széchenyi Academy of Letter and Arts (1993). He is a full member of the Doctoral School of the Moholy-Nagy University of Arts and Design.
Péter focuses on jewelry and design, exploring traditional and new fields of metalworking. He is also active in applied sculpture and numismatics, including three-dimensional fonts in constructed environments, as well as cultural memory and sculpture.
He was born into a family of artists, his mother Margit Anna, herself a painter. Vladimir Péter graduated from the College of Applied Arts as a goldsmith in 1973 (the precursor to the Moholy-Nagy University of Arts and Design). He studied with József Engelsz there, a master goldsmith and returned to his alma mater teach metalworking at the Department of Design in 1983. He received his DLA there in 1993 and was appointed to a full professorship in 1997. He started his ongoing tenure as head of department in 2001. Péter has had five students in the doctoral school there, with two having already received their DLAs. In 2010, he founded the Department of Object Creation at the school.
From the 1970s on, he has spearheaded a trend towards integrating crafts traditions and modern design principles with a view towards producing a synthesis for object creation. As a goldsmith, he has attracted attention both with his unique jewelry and the characteristic air of his sculptures. He co-founded the artists’ collective Manual in 1975. He was also the founder, in 1993, of a jewelry workshop, marketing his self-designed pieces under the brand Wladis. These pieces have their roots in the classics of European design but carry the echoes of cultures both ancient and distant. Péter has also been instrumental in founding the Sterling Gallery which showcases work by early career artists, including his students.
He has been actively exhibiting since 1970, with his first landmark solo exhibition held in 1977 in the National Gallery in Budapest, Hungary. His jewelry and metalwork has been presented at world fairs and biennales. His work is collected by major public and private institutions, including the Hungarian Museum of Applied Arts, the Koch and Spengler collections, etc.

I like beautiful people. I take pleasure in them. Regardless of sex, age, or race. I believe that beauty lies within each one of us. If we live our life to the full, actively, usefully, if we believe in ourselves, if we love ourselves and others, we become beautiful. Many people struggle with anxiety, making them miserable, both within and without. Pain, loneliness, suffering and fear are a blight on the body and soul. Treating and relieving this is a difficult task. But help is available. Jewelry, however strange it may sound, is just such a minor aid. A person who wears jewelry looks in the mirror, stands up straight, and seeks and finds beauty in themselves. The wearer of jewelry does not give up hope; they want to please and they can. They cultivate and indulge the soul.
Their whole being, their posture, their involuntary movements, and their jewelry too, say: “Notice me, I’m here!” They choose their jewels with care, to emphasize the advantages of their body and person, and to distract attention from the undesirable parts. The object expresses something its wearer cannot, or is not brave enough to say.
Yet it is an insignificant thing. Even so, it’s more than we think. Increasingly so. We live amongst a mass of objects: alien, hostile, unfriendly objects. Their purpose, material and structure is indecipherable, or coded. More and more objects are born, mostly without the touch of human hand. They lose their value in a flash, and are discarded before they are worn out.
Jewelry, real jewelry, deceives nobody.
It does not lie about its function; it does not become rubbish. The little it undertakes, it discharges completely. We give a special, beautiful shape to it, we form it slowly and carefully. Thought, deliberation, and maturation accumulate in it, and are radiated back.
This radiation, the spirit, the creativity and invention, the noble thought and special material, this quiet glow make the jewelry important, and, I would venture to say, indispensable.
With the course of time, this radiation does not fade, but grows more intense. Added to it are the personalities, histories and the auras of the bodies of the successive wearers. They are associated with rites, and they carry memories.
The body warms them, while caressing and touching ennoble them and shape them further.
Through the object the wearer creates and deepens relationships, and through they are in a warm, amiable relationship with the creator of the jewelry, for jewelry made with love exudes love it’s creator’s love for objects and people.
Jewelry is also an imprint of the time.
As more and more signs become visible on it, it conjures up the inimitable atmosphere of the time of its creation. The faces, costumes and manners of former times are conjured up.
But, unlike short-lived fashion accessories, this maturing is not aging, but rather a process of enrichment. The original purpose and function, intact, is still at work.
It links us into an infinite chain; we join a community with our distant predecessors, and our successors-to-be, as long as the desire to create relations from soul to soul exists in human nature. Communication? More than this, and less. The continuity calms us in this increasingly confusing, accelerating, rushing world, and reinforces our faith in the existence of enduring values. It provides a drop of security.

The Museum of Arts and Design (MAD) champions contemporary makers across creative fields, presenting artists, designers, and artisans who apply the highest level of ingenuity and skill to their work. Since the Museum's founding in 1956 by philanthropist and visionary Aileen Osborn Webb, MAD has celebrated all facets of making and the creative processes by which materials are transformed, from traditional techniques to cutting-edge technologies. Today, the Museum's curatorial program builds upon a rich history of exhibitions that emphasize a cross-disciplinary approach to art and design, and reveals the workmanship behind the objects and environments that shape our everyday lives. MAD provides an international platform for practitioners who are influencing the direction of cultural production and driving 21st-century innovation, fostering a participatory setting for visitors to have direct encounters with skilled making and compelling works of art and design.

For questions and ticket information, please call Rebekka Grossman at 212.299.7712 or email This email address is being protected from spambots. You need JavaScript enabled to view it. .


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