Twenty-First Century Trophies

It was with great pleasure that I returned to Germany, not as a student or exhibitor, but as a jury member for the international jewellery competition, ‘A Handful of Glass Beads...’ Submissions were invited to respond to the richness of forms and materials of Native American Art, in addition to reflecting on the sale of Manhattan to the Dutch for the proverbial equivalent of a handful of glass beads. The works selected for display will accompany the historic and anthological exhibition entitled, ‘Indian Times. Organised by News from Native America in conjunction with the Frankfurt Museum for World Culture.

Germany is at the vanguard of contemporary jewellery, supported by its numerous institutions that educate young disciples at all levels; most noteworthy amongst these is the Akademie der Bildenden Künste in Munich. The most famous products of this system are Herman Jünger who has been practicing since the 60’s and his students such as, Otto Künzli and Manfred Bischoff.

For those who live elsewhere the ‘total’ experience of jewellery schools, galleries and museums in Germany is intoxicating, fascinating and highly stimulating. It is an everyday event to see people wearing extraordinary pieces of jewellery, or witness contemporary jewellery galleries and workshops in the smallest of cities. This broad panorama of activity is a rarity in much of the rest of Europe. For example, England has similar universities where silversmithing and jewellery is studied, yet the general population does not often wear unusual jewellery. Italy is dominated by commercial jewellery despite the school of Padua and several private schools in Florence. Furthermore, Germany’s diverse contemporary jewellery activity is complemented by events such as this one.

The jury, constituted by eight people with diverse backgrounds, arrived at its verdict by selecting the most original and technically accomplished works that fulfilled the theme. First prize was split between two candidates: Karin Seufert, and Eleonore Stadelmair.

The most complete and complex jewellery was Karin Seufert’s necklace: Trophy. The central element of the necklace is a delicate silver walled structure in the shape of a stag’s head and antlers. Constrained within and trapped by a large internal disc of black onyx are a handful of transparent beads. Black appears with frequency in Seufert’s jewellery, as in the six silver rings shown in Schmuck 2004, which appear to have been immersed in black varnish yet their interiors remain mysteriously immaculate.

The artist’s statement transcends an etymological definition for trophy. She states that the meaning of a trophy is timeless and represents power. Interestingly she questions who is the winner when the twenty-first century hunter wears a trophy, the hunter or the trophy itself. Perhaps if we consider a Ferrari owner the latter seems to be the case, maybe the car’s badge has won over the person. This situation is analogous to the Dutch, who shortly after purchasing Manhattan were themselves conquered. As Seufert correctly observes our current ability to acquire trophies is only bound by our credit card limits. Overall, it is my contention that Seufert deserved equal first prize because her work instigates discussion and makes coherent references to Native American culture.

In conclusion, I would like to thank all the participants for submitting a diversity of interesting works, my fellow jury members for the lively debate and Mr G. Carbone and Mrs J. Lutz for inviting me onto the jury. Finally, gracious thanks should be given to the Museum’s Director Dr. A. Rein whose support for this project has established an exciting model for future events.

Roberta Bernabei, July 2004