Jan Yager: October 9, 1951–August 14, 2024
It’s with immense disappointment for her demise and considerable gratitude for her life that I write this appreciation for Janice “Jan” Yager. Her demise, after 12 years with breast most cancers, is not going to extinguish the significance and high quality of her jewellery. It is not going to diminish her significant advocacy for the sphere of jewellery. Her work will reside ahead, and loving reminiscences of her as an individual of outstanding creative advantage and character will proceed to encourage and enrich many people who knew her and her work.
Jan and I met in 1990, the yr she determined to take a sabbatical to additional her creative development for potential new work. To start this journey, she determined to spend time studying extra in regards to the historical past of jewellery.
I had been educating Craft Historical past and Up to date Craft once we each arrived individually from Philadelphia to attend the “Historical past of Twentieth Century Craft Symposium” on the American Craft Museum in New York. On a break between lectures I overheard a girl pushing the purpose about how jewellery was not getting the illustration it deserved on the symposium. Startled to listen to her correct portrayal, with which I agreed, I stepped ahead to fulfill her. It was Jan, whose work I had beforehand recognized. That memorable assembly personified Jan at her finest—articulate, knowledgeable, forthright, and obsessed with jewellery. All through her life she advocated for jewellery by oral histories, lectures, articles, and conversations.
Jan and I shared an curiosity in Craft, a discipline with a precious historical past, an explosion of fantastic modern works, and significance as Artwork. Our friendship blossomed most absolutely, although, by our shared experiences as craft artists working within the studio constructing at 915 Spring Backyard Avenue, Philadelphia. Jan got here in 1983, and I arrived in 1990. After shifting into the constructing of about 90 artists on 5 flooring, I realized with delight that Jan’s studio was simply doorways away from mine. We labored there till 2015, at which era the constructing all of a sudden and traumatically shut down for code violations after a small electrical hearth.
Jan and I had been educated in artwork colleges with wonderful applications based mostly on conventional craft supplies—metals for Jan and clay for me. As craft artists pursuing skilled careers, we shared some frequent hurdles. There have been the difficulties of being feminine artists in a advantageous artwork tradition, typically male-centric, proof against the worth of crafts. There might be prejudices towards explicit aesthetics and philosophies amongst some makers inside craft and a few consumers newly discovering the vibrancy of the sphere. Jan’s necklaces, with their clean seaside stones and concrete textures, actually disrupted a jewellery custom that valued valuable gold and gems to adorn girls and elevate their standing. Jan as soon as remarked in regards to the issue of dismantling a barrier of acceptance for her work given the cultural insistence on a string of pearls! There was additionally the pragmatic indisputable fact that trade might produce copious merchandise effectively and cost-effectively with the supplies we used, too. With these realities, our shared needs and efforts to make private works of high quality on a small scale helped anchor the friendship.
As a result of Jan’s jewellery has been documented so nicely, I’ll maintain my feedback basic as an alternative of discussing particular person items. Firstly, I wish to affirm how a lot I admired her success in making a dwelling by her extraordinary work. She had the enterprise acumen to make her efforts worthwhile sufficient to generate new items on her creative phrases. Many craft artists educate partly to have financial safety, time, and freedom for his or her work. However Jan didn’t wish to educate, and she or he didn’t compromise her values for producing inventive, stunning, and difficult work within the course of.
She advised me she had come to Philadelphia primarily as a result of town had already developed a market with a reasonably educated viewers for crafts. The Philadelphia Craft Present below the patronage of the Philadelphia Museum of Artwork had actually helped in that regard. Philadelphia additionally supplied inexpensive dwelling and studio area with quick access to New York, Baltimore, and Washington, DC, markets.
Jan predominantly valued aesthetics, however she labored out a strategy to mix industrial strategies together with hand abilities to make singular items effectively and cost-effectively. A number of elements fostered her twin pursuits in industrial practices and enterprise prowess. One was rising up in Detroit, at a time when vehicle manufacturing had vital vitality, and her household owned a small enterprise. An extra affect was attending the Rhode Island College of Design in Windfall, a middle of jewellery manufacturing. For a Jack Prip task that required her to include a producing course of into a bit, she visited jewellery and metals firms in Windfall.[1] One other instructor, Ken Hunnibell, “opened our eyes to bridgeports and steel lathes, the drop hammer, and hydraulic press.”[2] As I recall, she additionally appreciated her “enterprise practices” course with Dale Chihuly.
In her “915” studio, industrially based mostly gear helped her make particular chain, stamp out patterns reminiscent of tire tracks, and puff out flat items that she put collectively by hand with creative consideration. Earrings had totally different floor patterns she might duplicate simply, and puffed steel varieties and drilled stones might simply slide on a series with configurations distinctive to every necklace. She credited Paul Mergen, her undergraduate instructor at Western Michigan College, in Kalamazoo, along with her want to prioritize “private contact” over course of.[3] Which may imply swelling the quantity and coaxing the curvature of her geometric varieties to encourage some softness and charm over metallic rigidity. Across the time of her daughter’s beginning, she constructed tiny “puffy” gold coronary heart necklaces to have fun the enjoyment of younger daughters. Most significantly general, she made visually sturdy jewellery with utmost ability that functioned nicely on the physique, that evoked pleasure when taking a look at it, and that mirrored her private viewpoint.
“In Detroit, in Kalamazoo, in Windfall, and now in Philadelphia,” she mentioned, “my purpose has all the time been to easily convey my concepts to fruition. For me it’s all the time been how can I be an artist first, a enterprise particular person a crucial second. Thankfully, I by no means believed it was an inconceivable activity.”[4]
It’s my understanding that her trailblazing method, particularly in the usage of the hydraulic press, influenced different jewelers within the work they created. With time Jan expressed a want to depart these puffed varieties behind her. She had generated sufficient financial savings to afford her sabbatical to review jewellery historical past (and anything that appealed to her.) She would focus absolutely on making a singular piece or collection of items with a completely contemporary method.
Simply as Jan had garnered earlier inspiration from choosing up stones on an ocean seaside to be used in her necklaces, she started “beachcombing” the setting exterior our studio constructing for inspiration.[5] “915” had initially held the workplaces of the Studying (Railroad) Firm, and overgrown tracks lined the again of the constructing. A firing vary confronted the entrance door throughout the road and fanatics might purchase a gun across the nook. Gunshots from the vary have been audible as we labored. A discipline with weeds and litter grew within the adjoining metropolis block. For security, all of us moved our vehicles nearer to the constructing’s entrance door after 5 p.m. Jan had fortified her studio door with metal for cover and labored laborious, lengthy hours, typically into the late night. The setting across the constructing, with its crack vials, bullet casings, cigarette butts, syringe elements, and weeds, would show to be fertile floor for her new work.
Her exhibition on the Victoria and Albert Museum, in 2001, was a fruits of labor she had produced because of her sabbatical. Usually, the work of this era used the detritus from the neighborhood to re-create jewellery varieties already designed up to now by individuals from numerous heritages. Examples embrace a Maasai collar, a Victorian guard chain, and a Lenni Lenape wampum belt. The type of a ruff or a necklace referenced the historical past of jewellery, however her supplies, reminiscent of bullet casings or crack vials, confronted modern considerations of dependancy, poverty, or violence in American backyards and distant nations. When taking a look at her work, layers of associative concepts can simply multiply. A small crack vial cap forged in gold encourages ideas in regards to the materials’s privileged associations for many who can afford the steel, in addition to with those that management the mines, produce it, promote it, and/or commerce it. The intriguing fantastic thing about certainly one of her items can simply coexist with charged reactions to its supplies, and even to musings of unsavory practices by firms, cartels, or people.
Fabricated weeds in a regal tiara additionally make us confront paradoxical complexities with such ideas as “invasive weeds” and “international warming.” Once more Jan’s skill to combine the elements of her items into an aesthetic complete, together with the charged associations of her supplies, and the reference to historic jewellery varieties, evoke a multilayered dissertation on Artwork and Society.
The constructing the place Jan labored so diligently helped facilitate a mess of everlasting and enriching friendships by spontaneous lunches and studio breaks. The photographer Jack Ramsdale photographed her work for years, and the designer and sculptor Steve Tucker produced a tremendous setting for her solo present on the Victoria and Albert Museum. Jan willingly shared sensible and creative experiences of worth to others, reminiscent of ideas for grants {and professional} contacts, ideas for show, or enthusiasm over explicit items one other had made. Her wealth of information surfaced naturally, generously, and all the time for the advantage of one other. She needed different artists to succeed!
Again in 1990, Jan had written, “I selected to create jewellery as a result of I’m drawn to its intimate scale and to its energy as repository of each that means and sentiment. Metallic gives an exquisite tactile format wherein to discover concepts with type, quantity and floor. In my work the modern and the traditional, the pure and the made, actuality and phantasm, are positioned in counterpoint. … Hopefully, my work will develop into much more refined, time-intensive, and thought-provoking.”[6] Sure, Jan, certainly you succeeded, and your work in quite a few museums, non-public collections, and personally worn by so many admirers attests to a continuum of accomplishment.
Since Jan has died, I’ve typically visualized the vitrine that enclosed my vase and her necklace on the 1990 Philadelphia Museum of Artwork juried exhibition of space artists. I consider our work embodied the essence of every of us, and that picture of “being collectively” within the vitrine, even earlier than we met, now memorializes our friendship—a friendship launched by serendipity and nourished over time with frequent pursuits in craft historical past and modern craft, with enjoyment of having studios close to each other, with mutual admiration as makers, and with shared joys and sorrowful losses of family members.
The lack of Jan is harsh. She dearly liked her husband, her daughter and up to date son-in-law, and her wider household and pals, who additionally liked her. I particularly miss her humanity. Her calm comportment felt comfy and shut. She prolonged compassion to many and helped out some financially. Honesty, creativity, practicality, and perseverance infused her life. She labored laborious with ability and thought, and but laughed heartily at life’s absurdities and stunned us along with her clever quips.
I’ll all the time have fun Jan’s distinctive jewellery and her outstanding contributions to the humanities. I’ll endlessly cherish her considerable goodness! And to maintain her shut, I’ve tucked her into my coronary heart, now softly “puffed” along with her enduring essence.
[1] Jan Yager, “Windfall: An Unimaginable Useful resource…,” opening speech, Society of North American Goldsmiths Convention, Windfall, RI, June 18, 1992. ©Jan Yager.
[2] Ibid.
[3] Ibid.
[4] Ibid.
[5] Jan Yager, “Artist Assertion,” December 8, 1998. ©Jan Yager.
[6] “Portfolio No 73: Jan Yager,” Craft Arts Worldwide Journal, Sydney Australia, No.18 (1990): 88.
We welcome your feedback on our publishing, and can publish letters that have interaction with our articles in a considerate and well mannered method. Please submit letters to the editor electronically; achieve this right here.
© 2024 Artwork Jewellery Discussion board. All rights reserved. Content material will not be reproduced in complete or partly with out permission. For reprint permission, contact information (at) artjewelryforum (dot) org
