Ornament Magazine

VOL37.1 2014

Ornament is the leading magazine celebrating wearable art. Explore jewelry, fashion, beads; contemporary, ancient and ethnographic.

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with the fiber and furniture departments at the college to have students develop bedding for those in the unfortunate circumstances of lacking their own. Prototypes were developed to provide for the needs of people in the three different stages of homelessness; those who were on the street, those who lived in shelters, and those who were in transitional housing. The results were inventive and astounding; the Safe Bed, as one outcome, was developed to meet the needs of people living on the street. Essentially a sleeping bag/hammock with environmental protection all rolled up into one, the Safe Bed was a functional realization of the powers of art and design combined. Besides the goal of creating immersion and utilizing their talents for real-world applications, SCAD's primary mission is to make sure its students can use its programs to achieve the expertise required for any possibly desired occupation. This one-size-fits-all approach involves elective customization in order to ensure that a student who wishes to become an industry professional as well as one who intends on pursuing their own career as a studio craftsperson are equally served. To this end, the college has been experimenting with its jewelry curriculum over the past few years in order to better serve the needs of its students. Jewelry program chair Jay Song is quite enthusiastic about its potential. Left: SPLASHING & ORBIT #2 brooch/pendant by Bongsang Cho, of splash cast copper, twenty-three karat gold leaf, vitreous enamel, laser welded steel, silver granules, and aluminum, 8.9 x 12.7 centimeters, 2011. IN BLOOM 1: PINK ORIENTAL PEONY brooch by Hsiang-Ting Yen, of copper, carbon steel, opaque enamel, 6.4 x 8.9 centimeters, 2010. GARDEN OF TIME (Reversible Bracelet) by Kristen Baird, of sterling silver, amethyst, citrine, tanzanite, iolite, rhodolite garnet, cubic zirconia; roller printing, fabrication, stone setting, 2012/13. Photographs of jewelry and clothing courtesy of the artists. Opposite page: THE FIBER DEPARTMENT BUILDING at the Savannah College of Art & Design. All other photographs by Patrick R. Benesh-Liu. 61 ORNAMENT 37.1.2013 While rooted in history, the college has focused on the here and now, particularly in empowering its students with fieldwork and industry opportunities. In the school's jewelry program, there is an industry sponsored course, where students do collaborative work with name brand firms in multidisciplinary projects. On the studio practice end of things, there is a visiting artist program, once per quarter, where an invited craftsperson gives a four-day design workshop. In 2012, Biba Schutz was one such illustrious invitee. In the field of fiber, a parade of interactive projects enliven semesters with both international tours and hands-on, cooperative ventures. In one such instance, fiber faculty Jessica Smith along with an anthropology professor brought students to Cambodia in order to examine local textiles such as ikat. As another example, Guatemalan women who were skilled in traditional weaving techniques were invited to the college, and brought their own backstrap looms in order to instruct students on these methods. Cayewah Easley, the department chair, mentions a third demonstration of SCAD's dedication to hands-on activities and in this case, collaboration with the community. A friend of Easley's worked at the local homeless shelter in Savannah, and as a knitter partnered

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