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Seventh Annual International Gold Conference

Initiatives in Art and Culture

Thursday, April 27, 2017 at 8:30 AM - Friday, April 28, 2017 at 6:00 PM (EDT)

Seventh Annual International Gold Conference

Ticket Information

Ticket Type Sales End Price Fee Quantity
One Day Early Registration - April 27 3d 38m $200.00 $11.99
One Day Early Registration - April 28 3d 38m $200.00 $11.99
Student Ticket - (Requires a Valid Student ID)   more info Apr 28, 2017 $100.00 $6.49
Regular Registration Apr 28, 2017 $350.00 $20.24
Special 2 for 1 early - bird rate   more info 3d 38m $175.00 $10.62
Single registration early bird rate 3d 38m $250.00 $14.74
Special Offer: 3 Tickets For $450.00
3 Tickets for the price of $150.00 each, when purchased simultaneously!
Apr 28, 2017 $150.00 $9.24

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Event Details

Seventh Annual Gold Conference 

Thursday, April 27 – Friday, April 28, 2017
The Graduate Center of the City University of New York
365 Fifth Avenue (between 34th and 35th Streets)
New York, NY

Register online: https://iacgold2017.eventbrite.com or call 646-485-1952

Special early-bird rates through February 13, 2017

2 Tickets for the price of one: $175 each (instead of $350 each) for simultaneous registration

Student rate: (with ID): $100

 "All creative art is magic," wrote Joseph Conrad, an "evocation of the unseen in forms persuasive." Whether in magic or in art, essential to this evocation is a dialogue between the magician or artist and his audience, since experience of the magic or art is fundamental to its existence. In the case of art, there is a dialogue as well, sometimes difficult, usually complicated, between the artist and her materials, the artist and her influences and, not least, the artist and the viewer who completes the work. In this last interaction, there is often another dialogue, that between the seller and the consumer. In this, the Seventh Annual Gold Conference, we consider this complex, multifaceted dialogue as it applies to gold, whether in jewelry, in other art forms such as painting, or in its elemental state. Consideration of Klimt's Woman in Gold affirms the need for the viewer's gaze to complete the picture, and the exchange between the viewer and object is at the heart of the dialogue that is storytelling.

Gold is a symbol of ultimate emotional power. This affirmation forms the foundation of our enquiry, in which jewelry serves as the point of departure. We consider great jewelers and their work, focusing on the interplay between them and their materials, the tools they use, those who trained them, and those whom they themselves will train and influence. We look too at the relationship between gold objects and those who experience them, and since gold's privileged status is not a product of chance, how that relationship is inevitably affected by legislation, regulation, and world events. An increasing commitment to ethical sourcing and sustainability has impacted not only the ways in which gold is brought to market but how fine jewelry is created with a commitment to the fusion of ethical sourcing and aesthetic satisfaction.

Great jewelry tells a story, whether of provenance, of milestone moments, or of origins. These tales can be told in many ways, with film, TV, print, digital, and social media playing distinct roles. Regardless of means, however, story-telling is yet another dialogue, one that ultimately plays out at the level of the seller. We thus turn our attention to the ways in which brick-and-mortar retailers of gold jewelry can craft compelling campaigns, create extraordinary sales environments, and draw the consumer; at the level of the Internet, we consider whether or how the "luxury experience" can be delivered on-line. Whether brick-and-mortar or on-line, successful sellers must tailor the retail experience for heterogeneous audiences, not least as defined by age and gender.  

Last we consider the roles technology, will increasingly play for jewelers and in the marketplace. Ultimately, change is part of an endless dance, really, in which the essence of art, the true essence of the object, is forever unfixed, its aesthetic worth, its desirability, its monetary value, subject to an interplay of complex and varying forces, perceptions, and circumstances.

For additional information: Call: +1 646-485-1952 or email: info@artinitiatives.com

Presenters (as of January 27th 2017):

  • Rob Bates, Senior Editor, JCK
  • David Bouffard, Signet Vice President, Corporate Affairs, Signet Jewelers Ltd.
  • Peggy Jo Donahue, Owner, Donahue Communications
  • Linus Drogs, President, AU Enterprises
  • Mark Hanna, Chief Marketing Officer, Richline Group
  • Andrea Hill, Founder and CEO, Hill management Group, LLC
  • Sasha Lezhnev, Associate Director of Policy, Enough Project
  • Christina Miller, Chair and Co-Founder, Ethical Metalsmiths
  • Anne Marie O’Connor, author, The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, and foreign correspondent 
  • Jack Ogden, Internationally known jewelry historian and jewelry industry veteran 
  • Ashley K. Orbach, Senior Advisor, Ecomonic and Business Affairs Department of State, US Representative to the Kimberley Process
  • Barbara Palumbo,  Founder, Adornmentality.com
  • Toby Pomeroy, Designer, goldsmith, and activist for social and environmental responsibility
  • Peter Schmid, Owner Atelier Zobel, Konstanz, Germany
  • Pippa Small, jewelry designer and activist who works to transparently bridge the gap between marginalized communities and the global market
  • Monica Stephenson, President, iDazzle and Anza Jewels
  • Sarah Yood, Senior Counsel, Jewelers Vigilance Committee (JVC) 

 

Sponsors as of 1/27/2017:

 

Captions from top to bottom:

  • Gustav Klimt, Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold), 1907, Oil, silver, and gold on canvas, 138 cm × 138 cm (54 in × 54 in), Neue Galerie, New York.
  • Peter Schmid, "Nectar" cuff bracelet, 2016, 24kt gold on oxidized sterling, set with three large hexagonal green beryl, yellow beryl and blue beryl (aquamarine) gems, accented with diamonds; 2-1/2" x 3-1/4" x 1/2"; Photo: courtesy, Aaron Faber Gallery.
  • Pippa Small, Necklaces in Gold and from the Uncut Story Collection, gold and rough gems in their natural state. Photo: courtesy, Pippa Small Jewellery.


 Notice of withdrawal must be made in writing to Initiatives in Art and Culture at 333 East 57th Street, Suite 13B New York, New York 10022 or via email info@artinitiatives.com prior to April 13, 2017

Program subject to change

 

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When & Where


CUNY Graduate Center
365 Fith Avenue
New York, NY 10016

Thursday, April 27, 2017 at 8:30 AM - Friday, April 28, 2017 at 6:00 PM (EDT)


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Organizer

Initiatives in Art and Culture

Initiatives in Arts and Culture (IAC) is an organization committed to educating diverse audiences in the fine, decorative, and visual arts. IAC's primary activities are conferences, publications, and exhibitions. These take an interdisciplinary approach, considering issues related to fabrication, connoisseurship, cultural patrimony, cultural preservation, and the future of culture. Particular areas of emphasis include American painting, the history of frames, the Arts and Crafts movement, the influence of Asian cultures on American fine and decorative art, and the history and future of fashion and materials. IAC’s projects have been supported by a wide array of individual, corporate and foundation funders.

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