Marilyn Monroe sang in "Gentlemen Prefer Blondes" (1953) that "diamonds are a girl's best friend"
That time-tested truism has been repeated many times, solidifying the diamond as the most classic of gems and the default centerpiece of some of the world's best jewelry. But they may have some competition.
Silver, rice paper and Plexiglas will be just as dear to any girl's heart after viewing the jewelry exhibit at Boston's Museum of Fine Arts.
Easily missed due to its location, which is tucked away in a side hall, "Jewelry by Artists: The Daphne Farago Collection" is truly a hidden gem. The exhibit showcases the immense variety of studio craft that Daphne Farago has collected since 1989. The term "studio craft" applies to creations that are "one-of-a-kind or limited-production objects that are both functional and sculptural" according to the exhibit's introduction. The collection holds over 600 pieces of jewelry from America and Europe dating from as early as the 1940s.
Its 100 pieces, a relatively small holding, are nonetheless dazzling and set up for easy viewing. The pieces are housed in small groups and organized both chronologically and by material, form, artistic movement, geographical region and motif. The show displays everyday objects within the context of artistic greatness; celebrated artists such as Alexander Calder, Pablo Picasso and Man Ray all created jewelry, and are mixed with some lesser-known names to create a diverse, intriguing and visually stunning collection.
The works of one artist in particular, Robert Ebendorf, stand out among the rest. Suspended by a few tacks, a necklace made in 1996 of green beach glass, pearls, iron wire, cable and a crab claw seems simultaneously grotesque and beautiful. Usually, a decrepit, cooked and hollow crab claw evokes feelings of disgust; shells are the leftovers of a seafood dinner or the washed-up remains on a beach, but they become Ebendorf's treasure. Attaching three tiny pearls to the edge of the crab claw suddenly transforms the it into something more precious. The juxtaposition of small triangular sea-foam green glass attached to the claw magnifies the reddish-orange present in the claw.
Some of the pieces in the exhibit seem incredibly luxurious though they are actually crafted from inexpensive materials. Some evoke the fluidity of Frank Gehry's and Elsa Peretti's collections for bijoutier. A Tiffany & Co. glass and metal armband, made in 1995 by Svatopluk Kasaly, seems to blend the flowing forms of Peretti and edgy designs of Gehry perfectly. It sits in a case with a "Body Sculpture 1970-1990" theme, and its sinuous twist of metallic and clear is reminiscent of swirling water.
The combination of glass and metal again reminds viewers of this idea of "preciousness." At first glance, the armband seems to be made from silver and crystal, but it actually is not. What makes it so precious? It's surely not the materials. Perhaps it is the form and the design behind the piece
This seems to be the case with "Oh! I am Precious! No.7 Necklace" (1994) by Hiroko and Gene Pijanowski. The bright gold screams with luxury and expensive taste. The necklace is also incredibly stiff and, because it rests on the shoulders when worn, it seems it would consume the wearer in its bright gold cords.
All that glitters, however, is not gold, and a quick read-through of the necklace's information identifies what's under that shiny fa?§ade. The necklace isn't made out of gold or even metal. In actuality, the necklace was created from Mizuhiki (Japanese paper cord) and canvas.
The idea of recycling everyday objects to create fake preciousness runs through each piece of jewelry. Although the collection lacks Cartiers and Harry Winstons, the artistry and manipulation of other materials pleasantly surprises even the most Monroe-minded woman.
