That, perhaps, is the wicked pleasure of MAD About Jewelry, the Museum of Arts and Design’s annual exhibition and sale dedicated to contemporary jewelry. Held
My mother’s life-size jewelry chest still reigns in my memory as a private treasure house of beauty. Each tortoiseshell drawer seemed to hold stranger and more specific little miracles than the last: gems, trinkets, charms, chains, heirlooms, curiosities, and glamorous mysteries that appeared to contain entire lives in miniature.
Jewelry, to me, never began as a cold symbol of status. It began as discovery. It began as play, intimacy, inheritance, and the delicious suspicion that the smallest object in the room might have the most personality. That, perhaps, is the wicked pleasure of MAD About Jewelry, the Museum of Arts and Design’s annual exhibition and sale dedicated to contemporary jewelry.
Held from May 5 through May 9, the presentation brought together 45 artists from 25 countries working with porcelain, paper, recycled metals, textiles, glass, reclaimed objects, stone, and a wonderfully unruly sense of possibility. The week opened with a benefit on May 5, where MAD Director Tim Rodgers emphasized the rare and necessary achievement of bringing artists from around the world into one room, particularly at a moment when the world feels increasingly divided.
Board Chair Michele Cohen echoed that spirit, speaking to artistry and craftsmanship as forces that move beyond borders, while Chief Curator Elissa Auther presented this year’s acquisition awards to Won Cho and Yuan Yuan, whose works will enter the museum’s permanent collection. It was an important institutional gesture, affirming contemporary jewelry as a vital art form rather than a decorative sidebar.
Two days later, the May 7 luncheon hosted by Chair Emerita Barbara Tober brought the spirit of the exhibition into a more intimate and revealing register. There was warmth in the room, certainly, but also real curiosity, the kind that keeps glamour from becoming empty posture. Tober welcomed a capacity crowd with genuine delight, celebrating the artists who had traveled from across the world to share handiwork that was, inarguably, exquisite.
The luncheon’s Q&A, introduced by Senior Curator Barbara Paris Gifford and led by writer Lynn Yaeger, brought jeweler Judy Geib together with participating artists Raluca Buzura and Sabrina Formica. The conversation beautifully exposed the variety and versatility of high-end jewelry design, particularly the way contemporary makers are pushing the field into stranger, smarter, and more materially adventurous territory. Yaeger’s premise was especially sharp.
Each jeweler was asked to present two pieces: one they considered a triumph and another that had been a challenge. It was a clever way into the real drama of making, because the triumph may gleam, yet the challenge usually tells the better story. Somewhere between the two lives the artist: stubborn, inventive, occasionally tormented, and still chasing that irrational little thrill that separates a pretty object from a piece with pulse.
After the luncheon, the showcase itself brought the argument into full color. This was not jewelry trapped inside the old velvet-box fantasy of status and sparkle. It was jewelry thinking through material, sustainability, scale, body, wit, and surprise. Paper was no longer fragile.
Porcelain was no longer polite. Stone, glass, textiles, recycled metals, and reclaimed materials became highly detailed, durable, and frankly gorgeous works of wearable intelligence. That is where MAD is at its best. The museum understands that craft does not have to behave quietly in the corner.
It can flirt. It can provoke. It can make one lean closer, laugh softly, ask questions, and suddenly reconsider the entire hierarchy of value. A piece made from paper or porcelain can carry as much authority as gold when the hand, concept, and construction are strong enough.
Perhaps more, because it forces the eye to surrender its lazy assumptions. Some works felt sculptural and cerebral. Others were wildly tactile, humorous, elegant, strange, or quietly seductive. The best pieces had personality, which is far rarer than polish.
They did not simply sit there being beautiful. They had opinions. They suggested that contemporary jewelry, at its highest register, is less about finishing an outfit than beginning a conversation. Rachel Marie Stuart, Dr. Susan Krysiewicz, Tim Rodgers, Margo Langenberg, Dana Boll==That conversation, unsurprisingly, is exactly what MAD About Jewelry makes possible.
It allows the handmade object to be serious without becoming stiff. It lets beauty have a sense of humor. It reminds us that craftsmanship can be rigorous and still wink across the table.
Guests at the luncheon included Gigi and Harry Benson, Cece Black, Jana Bullock, Ron Chereskin, Joan Hardy Clark, Michele Gerber Klein, Susan Gutfreund, Joan Horning, Margo Langenberg, Laura Lobdell, Gilian Miniter, Michael Musto, Tinu Naija, Katie Ridder, Ben Rodriguez-Cubenas, Marc Rosen, Bianca Pratt Simon, Sally Singer, Shining Sung, and Barbara Waldman, among others. In a city that often mistakes scale for importance, MAD made the case for the small, the meticulous, the strange, and the marvelously unexpected.
These pieces did not whisper. They flirted, argued, shimmered, and occasionally caused trouble.sounds: East Village crowds embrace The Jefferies, where poetry, punk riffs and weirdness collidedisease and other maladies Future of ‘No More 24’ home healthcare bill uncertain as support within City Council continues to dwindlePhotoville celebrates 15 years with citywide festival across Brooklyn and NYCBronx girl grazed in head by bullet as she walked with motherVeteran-focused
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