Discovering Solace amongst Useless Souls

The quilt of *Useless Souls* options Lewis’s *Salt Lick (Unlikely Self-Portrait as a Porn Star)* brooch, 1996

Damian Skinner and Keith Lewis, Useless Souls: Need and Reminiscence within the Jewellery of Keith Lewis. Stuttgart: Arnoldsche, 2023.

After I first discovered a monograph could be revealed on the work of Keith Lewis, I instantly needed to evaluate it. Lewis’s work was introduced up steadily in my early years of learning, whether or not in regards to the work itself or our proximal sexualities. Sadly, the web and common library searches yielded little to no pictures of his work. This was widespread with a lot of the work produced by up to date jewelers within the Eighties and 90s. Whereas up to date writers and historians have made vital efforts to reveal work produced throughout this time to bigger audiences, it’s a monumental, underfunded process. Lewis’s work was particularly exhausting to supply. I believe that is because of its sexual and erotic content material.

Keith Lewis, Dead Souls Neckpiece — Keith Lewis, *Useless Souls Neckpiece,* 1992, necklace with compartment, electroformed copper, sterling silver, 14-karat gold plate, liver of sulfur patina, 250 mm in diameter, Assortment of Ron Porter, picture courtesy of the artist

I got here out within the early 2000s to knee-jerk responses of “you’re going to die of AIDS.” Sadly, the conversations from the previous described on this e book nonetheless linger right now. As a reader, I typically discovered myself surprisingly comforted to lastly learn an intensive and wealthy telling of a relatable historical past all too typically prevented. These tales are typically handed on orally by chosen household, with few written tellings. I can’t stress sufficient the worth of recording numerous histories to permit youthful makers to see elements of themselves within the area of latest jewellery.

Keith Lewis, Neuropathy (Self-Portrait in Apology to Randy Johnson) — Keith Lewis, *Neuropathy (Self-Portrait in Apology to Randy Johnson),* 1995, sterling silver, 3 ⅛ x 1 ⅛ inches (80 x 30 mm), Assortment of Ron Porter and Joe Value, picture courtesy of the artist

I now discover myself feeling virtually too linked to this e book, Lewis’s work represents a big mark in my very own timeline of how I’ve developed my work and considering on/with/round craft. Useless Souls looks like a protracted overdue contribution to the historic data, one obligatory not just for jewellery historical past however for makers whose our bodies and themes exist within the margins.

Keith Lewis, Well Doug, It's 36 Now... (Self Portrait in Memory of Doug DeSimone) — Keith Lewis, *Effectively Doug, It’s 36 Now… (Self Portrait in Reminiscence of Doug DeSimone),* 1994, sterling silver, metal, willow, pigment, epoxy resin, 2 x 2 ¾ inches (50 x 70 mm), Assortment of Heidi Endemann, picture courtesy of the artist

The publication is a visible feast of identified (dare I say, iconic) and lesser-known works by Lewis. It offers ample area to the work, with a number of views displaying the reader backs and particulars. The textual content begins with an oscillating move, bouncing between sections by Damian Skinner and lectures beforehand given by Lewis, accompanied by the pictures that had been proven through the lectures, presumably.

Keith Lewis, Bloom — Keith Lewis, *Bloom,* 1998, sterling silver, 18-karat gold, brass, enamel on advantageous silver, diamonds, 3 ⅛ x 2 x 1 ⅝ inches (80 x 50 x 40 mm), Assortment of the Metropolitan Museum of Artwork, reward of Donna Schneier, picture courtesy of the artist

The lectures add a wealthy and private layer to this publication. Lewis has a really clear and sharp view of latest jewellery and has by no means been one to chew his tongue. The power required to be a vocal activist for AIDS analysis and the rights of AIDS sufferers clearly lingers on in his views on up to date jewellery. Lewis doesn’t mince phrases or sugarcoat for the sake of a gentle touchdown.

Keith Lewis, 35 Dead Souls — Keith Lewis, *35 Useless Souls,* 1992–93, numerous supplies, largest pendant 3 x 1 ½ inches (80 x 40 mm), Assortment of the Rotasa Assortment Belief, picture courtesy of the artist

I do want that the ample quotations, largely discovered within the lectures, would have been correctly cited, giving the textual content even higher worth to the classroom and academia. Lewis has a capability to weave the private with bigger narratives and concept. He’s thus a useful useful resource to show with, to help makers who grapple with becoming the private into how they communicate and write about their work to bigger common audiences.

Keith Lewis, Cockring — Keith Lewis, *Cockring,* 2008, buckle, sterling silver, 18-karat gold, pearls, enamel on gilding steel, plastic, 3 inches (75 mm) in diameter, picture courtesy of the artist

Issues resembling citations, historic context, and definitions are the place I’m let down by this publication. Lewis introduced this e book in Munich throughout Schmuck 2024, at Galerie Handwerk.[1] Throughout his wealthy and charming lecture, he acknowledged that within the current day his work will be learn as reinforcing gender binaries or gender essentialism. Skinner offers solely a small nod to this in the course of the textual content, on web page 118 of a 208-page e book. It could have been worthwhile to say this earlier, and perhaps extra clearly and in higher depth. Many readers could not have the time to pore over each phrase on this e book.

Keith Lewis, Hand Earrings — Keith Lewis, *Hand Earrings,* 2004, sterling silver, diamonds, pearls, 3 ⅛ x 1 ⅝ x ¼ inches (80 x 40 x 5 mm), picture courtesy of the artist

Keith Lewis, *Coronary heart/Orgy,* 2001, brooch, sterling silver, pure gold plate, 2 ⅜ x 2 ⅜ x ¼ inches (60 x 60 x 5 mm), Assortment of Sally von Bargen, picture courtesy of the artist

My concern right here lies not with the chronicling of Lewis’s work however with how it is going to be learn by youthful generations. The start part by Skinner, titled “Intercourse Training,” misses the chance to hook up with the phrases used inside the textual content and to the way in which language and understanding have developed. Phrases resembling queer are used with particular intent all through the e book, however definitions of phrases have been in flux and threat confusion for his or her multiplicity of meanings. How we use and consider phrases modifications with geography, technology, time, and circumstance, so defining how they’re getting used on this textual content would help those that are unaware, and clue in readers who’re extra hyperaware of those discourses.

Keith Lewis, *Allure: Sexual Self-Portrait,* 2002, bracelet, sterling silver, pure gold plate, advantageous silver, enamel, horn, bone, 7 ⅞ x 1 x ⅛ inches (200 x 25 x 3 mm), Assortment of Los Angeles County Museum of Artwork, reward of Lois Boardman, picture courtesy of the artist

Within the first half of the e book, the writings by Skinner alternate with these by Lewis. Skinner strains issues up by referencing the lectures by Lewis that may comply with. This provides context, expands on issues talked about, and gives an out of doors view, which permits Lewis’s precise lectures to weave issues extra tightly and personably. The second half of the e book is generally turned over to texts by Lewis. This creates a big shift within the rhythm. Deliberately or not, it modifications how the work is digested. This break is emphasised by the visually drastic shift from the bluntly erotic to extra refined investigations round historical past and narrative. The reader feels left with a damaged bone that’s solely mended by Skinner on the conclusion of the e book.

Keith Lewis, Boxers & Briefs — Keith Lewis, *Boxers & Briefs,* reliquary pendant with hard-on chain, 2008, sterling silver, advantageous silver, 18- and 14-karat gold, Limoges enamel, pearls, glass, magnets, discovered paper, discovered fabric, pendant 3 x 1 ⅝ inches (75 x 40 mm), picture courtesy of the artist

How historical past is approached is a query I had from the beginning. The e book begins by describing a key piece, Boxers & Briefs. This pendant was impressed by a observe handed between two people named Richard and Ryan. Lewis acquired the observe from a custodian who discovered it whereas cleansing a lecture corridor. Lewis, or not less than the e book, leads the reader to interpret this as a male gay alternate with out realizing the authors of the observe. Nevertheless, the identify Ryan was and nonetheless is used for these assigned feminine at start. Utilizing this work because the opener creates an pointless haze round ideas of truth, reality, and historical past and the way they’re deployed in Lewis’s oeuvre.

This isn’t to say there may be something fallacious with inventing a narrative—“filling within the gaps,” as Skinner’s textual content places it. Nevertheless it’s an odd piece to introduce Lewis’s work when a considerable portion of the work is an expression of lived expertise. This strategy creates a premise that will trigger the reader to conclude that the entire work is fanciful projection or acts of aroused interpretation. Essentially, different items, particularly the work round AIDS, are an expression of precise occasions that should be taken doubtless of veracity; there are not any gaps to be crammed in. I take challenge not with the piece itself nor its narrative within the first a part of the primary chapter. It’s its placement as an introduction that dangers confusion and units up the hazard of dismissing the narratives of Lewis’s experiences through the AIDS epidemic as a projection, one other filled-in hole. The required confrontational side of that work may change into softened because of this.

Keith Lewis, Descend (Icarus) — Keith Lewis, *Descend (Icarus),* 2000/2009, sterling silver, 18-karat gold, Limoges and basse-taille enamel, 3 ½ x 2 ¾ x 1 ⅛ inches (90 x 70 x 30 mm), Assortment of Helen Williams Drutt Household Assortment, picture assortment of the artist

The e book largely exhibits and discusses Lewis’s work chronologically. I’m left wanting an unpacking of what it means for artists who inhabit our bodies, experiences, and geographies which have been marginalized or faraway from cultural narratives to work with and interpret histories, when navigating a dominant historical past that has been manipulated to suit particular ideologies, and when talking in regard to bigger cultural histories. A few of that is touched on, however with out nice depth, particularly within the conclusion. I needed a immediate early on, explaining the place the e book goes, and a body that will both let the reader push a few of these massive questions out of the way in which or perceive that they might be extra vigorously mentioned later—besides they weren’t.

Keith Lewis, Rapture — Keith Lewis, *Rapture,* 1997, brooch, sterling silver, acrylic, pigment, 3 ½ x 1 ¾ x ¾ inches (90 x 45 x 20 mm), initially Assortment of Lloyd Hermann, Gifted to Renwick Gallery, Smithsonian Establishment, picture courtesy of the artist

Maybe I’m asking an excessive amount of of the textual content. It successfully creates a rounded and sturdy narrative of Lewis and his work. However I lengthy to attach this narrative and (micro-)historical past extra deeply to bigger histories and conversations. What does it imply when this work disappears right into a collector’s drawer? What parallels can we draw to different express imagery that might be worn? Vivienne Westwood’s Two-Cowboys T-shirt involves thoughts, initially produced in 1974 and nonetheless reproduced to at the present time.[2] The shirt depicts two cis-gendered males carrying nothing however boots, vests, holsters, and hats, with their genitals making contact. How does class and entry have interaction with this dialog?

Keith Lewis, *Cuculla’s Brooch,* 2001, sterling silver, advantageous silver, 18-karat gold plate, enamel on copper, pearls, 3 ⅛ x 2 x ⅜ inches (80 x 50 x 10 mm), Assortment of Susan Beech, picture courtesy of the artist

Skinner mentions talking with a collector who owns Lewis’s Cuculla’s Brooch. He explains that a part of the explanation she doesn’t put on it anymore is that there must be an applicable time and second to put on the work. I’m left attempting to attach what it means for work that might be thought of loud or confrontational—out of the need to centralize speaking about AIDS or intercourse—to exist but be seen solely in areas deemed applicable or protected. This contradiction begs to be unpacked.

Keith Lewis, Naked Blue Pimply Fat Guy — Keith Lewis, *Bare Blue Pimply Fats Man,* neckpiece, 1993, electroformed copper, sterling silver, patina, metal, 9 ⅞ inches (250 mm) in diameter, Assortment of Don & Heidi Endemann, picture courtesy of the artist

You could assume I get overly particular. I definitely don’t intend to discourage potential readers from diving into this wealthy and notable publication. I really feel virtually responsible for splitting hairs when the phrases and pictures in these pages are a useful addition to the tomes of writing in, on, and round up to date jewellery. Nevertheless, I do know sufficient about Keith Lewis to know that he would anticipate a minimum of a well-thought-out reflection and a crucial and meticulous eye.

Keith Lewis, *The Saddest Aisle #25,* 2020, brooch, electroformed copper Goodwill basket, advantageous silver plate, sterling silver, metal, 3 ½ x 3 ½ x ⅞ inches (90 x 90 x 23 mm), picture courtesy of the artist

Keith Lewis, *The Saddest Aisle #8,* 2013, brooch, electroformed copper, enamel, sterling silver, mirror, metal, 5 ½ x 5 ½ x 1 ⅛ inches (140 x 140 x 30 mm), picture courtesy of the artist

You should purchase a replica of Useless Souls: Need and Reminiscence within the Jewellery of Keith Lewis from AJF’s bookstore, right here. The e book was produced by means of AJF’s fiscal sponsorship program, which gives monetary administration for initiatives within the artwork jewellery area. (For info on our fiscal sponsorship program, please go right here.)

Keith Lewis, Hard-On Ring — Keith Lewis, *Arduous-On Ring,* 2001, 14-karat gold, 1 ⅛ x ¾ x ¾ inches (30 x 20 x 20 mm), Assortment of Rebecca and Zandy Stewart, picture courtesy of the artist

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[1] You may watch a recording of the presentation right here.

[2] See this instance from the gathering of the Metropolitan Museum of Artwork.