What do the colors of Lindenwood University mean

Marjorie Schick - Mario Romero (Venezuelan boxer)

(08/29/1941) August 29, 1941
Died December 17, 2017 (2017-12-17) (76 years)
nationality American
job Academics, jewelry artists
Years active 1967–2017
Known for bold and whimsical large-format jewelry made of wood and paper mache

Marjorie Schick (August 29, 1941 - December 17, 2017) was an innovative American jewelry artist and academic who taught art for 50 years. Her avant-garde pieces approaching sculptural creations are widespread. Her works are part of the permanent collections of many of the world's leading art museums, including the Hermitage Museum in Saint Petersburg, Russia; the Museum of Art and Design in New York City; the National Museum of Modern Art in Kyoto, Japan; the Philadelphia Museum of Art in Pennsylvania; and the Victoria and Albert Museum of London.

Schick grew up in the heartland of the United States and was raised by her single mother who nurtured her creative talent as an art teacher. After attending the University of Wisconsin - Madison, she completed a Masters in Fine Arts from Indiana University Bloomington. She then moved to Kansas and shortly thereafter began a lifelong collaboration with Pittsburg State University, where she taught as an art professor.

In addition to her apprenticeship, Schick developed a worldwide reputation as a jewelry artist, creating works that were more like body sculptures than traditional jewelry. Her conception of pieces made it possible to show her work on the body while interacting with it, rather than just being worn as jewelry. As one of the innovators who turned jewelry art away from metals in the 1960s, she experimented with a variety of materials, including paper mache, wooden dowels, rubber, string, and canvas. Her large-format works were usually colorful and represented a modernist abstract aesthetic.

Early life

Marjorie Ann Krask was born on August 29, 1941 in Taylorville, Illinois to Eleanor (née Curtin) and Edward P. Krask. After her parents divorced before her second birthday, she was raised by her mother and rarely saw her father. They often moved depending on where their mother taught or where she went to school. At various times they lived in Normal, Illinois; Blue Mound, Illinois; Charleston, Illinois, where Krask started first grade; Decatur, Illinois, where she finished elementary school; Longmont, Colorado, where she attended junior high; and then Evanston, Illinois, where Krask graduated from Evanston Township High School in 1959. In Longmont, her mother, who was an art teacher, introduced her to metalworking and high school. Krask studied fashion design with Frank Tresise. She spent her summers at the Art Institute of Chicago and initially wanted to design clothes before deciding to become an art teacher herself.

Enrolled in the art department of the University of Wisconsin in Madison, Krask taught in Watertown and studied jewelry design with Arthur Vierthaler as part of her studies. After graduation, she married James Baldwin McDonald Schick in 1963. Together they moved to Bloomington, Indiana to graduate from Indiana University. She enrolled in a Master of Fine Arts program under the guidance of Alma Eikerman that would become her lifelong mentor and a powerful influence on her work. She was trained as a traditional metal smith and jeweler and graduated with honors in 1966. Towards the end of high school, she read an article about the work of abstract sculptor David Smith which became influential on her work. She began conceiving jewelry as a type of sculpture that could be worn.


My work has five main aspects: the constructed three-dimensional shape, the color relationships, the definition of space, the combination of patterns and the size of the objects in relation to the human figure. My goal is to create a sense of visual tension between the formal elements of each object, e.g. B. from line to plane, from color to value, from one directional force to another, or from the rhythms in the structure to the rhythms in the colors. Each object is studied and worked on in its entirety, with no part being less important than any other.

- Marjorie Schick, Künstleraussage 2010, Pittsburg State University.

When the couple graduated, they began their teaching career at the University of Kansas at Lawrence, with her husband teaching in the history department while she taught art. Schick began working in paper mache during his time at Lawrence, using it as a lightweight alternative to metal to make larger pieces. At the time the medium was unconventional, and Schick's experiments evolved from making frames out of chicken wire, coating them with the pulp mixture, and shaping them. While their traditional trinkets were readily accepted for juried exhibits, their paper mache decorations were regularly disapproved of as too radical. In 1967, both fates were discontinued from Pittsburg State University, known at the time as Kansas State College in Pittsburg. In 1969 she returned to the idea of ​​guiding her body through one of David Smith's sculptures. Instead of the flat two-dimensional parts that she had made up until then, she formed a brass head piece with tubes on which she welded glasses with blue lenses at eye level. Head Sculpture called the piece Blue Eyes and switched the focus of their work from metal jewelry to wearable sculpture.


Schick became part of modernism and created works that explored abstraction through line, mass, space and volume. She took into account the difference between experiencing an object through its presentation and the materials used, as well as its aesthetic meaning. Her early jewelry designs were expressionistic and evoked feelings of conflict and contact. They used silver wire mixed with molten and pitted brass or bronze twisted into shapes. Many of them felt like objet trouvé artifacts. The pieces from their Cycladic series featured polished forms made of brass and copper designed as oversized bracelets, brooches and necklaces. For a time she believed that her metalwork was "serious art" and that her experimentation with other media was far less important.

Thanks to its lightweight, pliable properties, she experimented with paper mache as a means of expanding form away from the body. It also allowed volume and color to be used in ways that traditional metalwork couldn't. Schick produced pieces on wire frames encapsulated with molded pulp to surround the body. Rather than creating traditional wrist or neck jewelry, their large-scale creations have been designed to be visible all over the body from shoulder to foot. In 1976, Schick was contacted by Mary Ann Bransby, a jewelry teacher at Kansas City University of Missouri, to create jewelry for the school's modern dance troupe. The dancers used the pieces in innovative ways, putting rings on their toes or a bracelet on their feet, which enabled Schick to see that pieces could be reinterpreted. The group has given performances and exhibits of the work of art at locations such as the Albrecht Gallery in St. Joseph, Missouri, the Bronx Museum of the Arts, the Kansas City Art Institute, and Lindenwood College in Saint Charles, Missouri. By the late 1970s, Schick was fed up with the paper mache medium. She took courses in ceramics and plastics and experimented with making jewelry from clay, paper, plastic, thread, and combinations of thread and paper.


In the early 1980s, Schick began working with fiber, string and dowel rods and submitted six small pieces to an alternative media exhibition, "Jewelry Redefined: First International Exhibition of Non-Precious Multimedia Jewelry," held in 1982 by the British Crafts Center in London was hosted. Receiving a letter from Paul Derrez As one of the jurors and owners of the Ra Gallery in Amsterdam, she created a solo exhibition for his gallery. The exhibition earned her international recognition and she was asked to participate in the Tokyo International Jewelry Art Exhibition, where she won a fine arts award. When her work received international attention and influenced European jewelers, the American market began to take her work. Her stick designs played with the illusions of negative space, with pieces of dowel riveted into pick-up sticks, spirals, and zigzags, creating a dialogue between the body and the jewelry. Using wood, rubber tubing, and string, she created interlocking geometric shapes that bordered on the cheeky and questioned the need to make useful mass jewelry.

Schick took a sabbatical from the power supply and studied metalworking at Sir John Cass College of Art from 1983, which in the same year led to her first solo exhibition in Derrez 'gallery. In 1984 she worked as artist-in-residence for John Cass. Schick was the only American to take part in the New Jewelry Movement that swept through England and the Netherlands. She started making pieces of plywood in the late 1980s, mainly focusing on ties. During this time, however, she continued to make wooden bracelets with dowel rods painted with different colors. Her three-dimensional pieces resembled a sculpture more than a traditional flat ornament, and could just as easily be displayed on a wall as worn. Schick also began researching companion pieces and making their jewelry a part of paintings so that when they were not worn they could be displayed as works of art. She included in her pieces a whimsical series of teapots that were shaped like bracelets, brooches, or frames around the head and neck that could be moved and disassembled. Schick created hybrid pieces that blurred the boundaries between handicrafts, ornamentation, painting and sculpture. He worked around the clock, giving all sides of a work the same focus, pushing the boundaries of traditional jewelry. Aware of the sculptural notion that pieces would be viewed from any angle, she focused not only on the front and back of a piece, but how it was on or off a wall, on or off the body, or off would appear from any point of view. By 1986 she had participated in fourteen international exhibitions in nine art museums around the world.

In 1987, Schick was one of the featured artists in a traveling exhibition called Jewelry Now that was shown across Virginia. The show also highlighted nationally known jewelers, including Jamie Bennett, Robert Ebendorf, Ivy Ross, and. Schick continued to produce pieces for performance art, such as Collar in 1988, a six-inch thick and 31-inch wide neck piece. While wearing it as everyday jewelry was impractical, the vibrant color scheme forced the wearer and viewer to imagine and redefine how to move around the room. In 1989 the School of Fine Arts Gallery of their alma mater in Indiana held a solo exhibition Marjorie Schick: A Retrospective, which covered the first 25 years of her career. Over a hundred works were shown, exhibited without the use of models or mannequins and either sticking out of walls or hanging from ceilings. The display showed that the works did not work as simple adornments and were uniquely "unfinished" in the absence of the wearer's body.


Schick returned to paper. Mâché in the 1990s with various painting techniques. In order to explore color, she began to work with fabric, just as painters use canvas. She didn't like the flatness of the surface and created bags filled with poly-fil to add sculptural texture. The first piece in the series, the "De la Luna / del Sol" necklace, was created in 1996 and inspired by the Peruvian archaeological sites of Huaca del Sol and Huaca de la Luna. In 1998, Schick and her husband planned a sabbatical year in Mexico with trips to Europe. She started a series of pieces related to her travels, inspired by the different color palettes of the different landscapes. She was particularly interested in how different colors trigger memories of places and events. Glen Brown, an art historian at Kansas State University, compared these works to "souvenir scrapbooks" in a symbolist style that captured the traveler's personal experiences without a

Sometimes Schick used unprimed canvas so the light colored detergents could penetrate the fabric, as in the Brick Street piece, a tribute to Pittsburg, Kansas. On others, she used heavy layers of gesso to build up shape and texture before painting the surfaces. In her work Quetzalcoatl, completed after the trip to Mexico, she used heavily plastered cloth bags and paint to depict the feathered snakes found in pre-Columbian locations she had visited in Chichén Itzá, Palenque, and Teotihuacán. She used vibrant colors and muted grays to portray the once vibrant murals, finished in Mayan blue and terracotta that have faded over time. In another piece, Chicago Windows, which depicts the Chicago skyline, Schick riveted black oak strips together to form panes around the brightly colored plywood rectangles that are adorned with string to create the geometric frame of the black background.

Another representative of the piece from this period came from Bound Colors, a necklace with ribbons made of canvas tied through strips of wood, forming a design that was reminiscent of the Aztec calendar stone interwoven with a color wheel. It was mounted on a painted plywood base from which it could be removed for wear, allowing the aesthetic of the piece to transcend the individual components of jewelry, painting, and sculpture. The large scope of her work was intentional, so that the pieces were not hidden in a drawer, but were used multiple times in various interrelated interpretations. Her work was designed to capture the body, and instead of decorative accessories, she became "three-dimensional drawings to wear".


Yellow Ladderback Chair (2001)

In the 2000s, Schick began experimenting to turn everyday objects into wearable art. She designed the Yellow Ladderback Chair in 2001 to evoke the "experience of sitting in a chair". The canvas chain creates a symbiosis of ornamentation with the human wearer. That year she participated in the Open Links group hosted in Bowling Green, Ohio by the University's Department of Fine Arts with the aim of helping participants' perspectives on redefining what jewelry could be. Two years later, she designed a tool belt and scarf for Sonia Delaunay, inspired by Delaunay's patterned designs. The belt made of dowels and the scarf made of wooden blocks reflect the painter's futuristic motifs and are surrounded by wooden tools such as brushes and pans, a needle, scissors, and thread that Delaunay may have used in her work. When the piece is worn, the artisan tools float around the wearer's knees.

Schick began a series of necklaces with autobiographical themes. The numbered pieces necklace 1, necklace 2, etc. show representations of their life's journey. She used colors to represent mood swings, like shiny metallic colors for necklace 21, which represents the year of her wedding, and the addition of black, gray, and white to necklace 29 to show how much more complex her life got after the birth of her son

In 2000, Schick was named a Fellow of the American Craft Council and in 2002 was named State Artist of the Year by Kansas Governor Bill Graves. In addition to her professorship, Schick has taught at various seminars and workshops throughout her career, including at the Arrowmont School of Arts and Crafts, the Cleveland Institute of Art and the Haystack Mountain School of Crafts, the Penland School of Crafts in the USA and programs in the Abroad at Middlesex Polytechnic in London, the National Museum of Art, Architecture and Design in Oslo; the Nova Scotia College of Art and Design of Halifax; and at Silpakorn University in Bangkok.

In 2004, a specialist in jewelry art prepared an interview on oral history for the Smithsonian American Art Museum with Schick.A 40-year retrospective of the artist's work, Sculpture Transformed: The Work by Marjorie Schick, was curated by Rosolowski at Indiana University in 2007. 67 pieces of jewelery were exhibited, covering the course of Schicks development of topics and content via the transformative consciousness of the body that one experienced while wearing their designs. Rosolowski was the main contributor to a book, Sculpture to Wear: The Jewelry by Marjorie Schick, which was published in 2007 as a retrospective of Schicks works by Arnoldsche Art Publishers. Written by ten contributors, the book covered the course of Schick's career, assessing their innovation and influence on the development of contemporary international jewelry aesthetics. After the book was published, a retrospective of Schick's work of the same name began touring. The exhibition, accompanied by lectures, showed works borrowed from museum collections and toured in the US and Europe between 2008 and 2009. Rosolowski also wrote the cover story "Sculpture for the Body for Crafts" from 2008 with Schicks

In 2011, Schick's work was featured in an exhibit at the Smithsonian American Art Museum in Washington, DC, and in 2013 the Los Angeles County Art Museum received 300 pieces of jewelry from the private collection that included some of Schick's designs. The works were shown in an exhibition Beyond Bling: Jewelry from the Lois Boardman Collection in 2017. In a 2016 interview with the Art Jewelry Forum, Schick stated that her current work included a range of wooden shirts, the design of which mimicked the styles of artists, including Alexander Calder and Jim Dine. Schick retired from teaching in 2017 after serving 50 years at Pittsburg State University.

Death and legacy

Schick died of a stroke on December 17, 2017 at Kansas University Medical Center in Kansas City, Kansas. Her works are in the permanent collections of many world-famous museums, including the Hermitage Museum in Saint Petersburg, Russia; the Museum of Art and Design in New York City; the National Gallery of Australia in Canberra; the National Museum of Art, Architecture and Design of Oslo; the National Museum of Modern Art in Kyoto, Japan; the National Museum of Modern and Contemporary Art in Seoul, South Korea; the National Museum of Scotland at Edinburgh; the Philadelphia Museum of Art in Pennsylvania; the Pinakothek der Moderne in Munich; and the Victoria and Albert Museum of London. Her teaching influenced generations of students, including metalworker Janet Lewis, whose work adorns the walls of the Pittsburg Public Library, and Sam Farmer, who received the 1987 Elizabeth B. Koch Fellowship from the Kansas Cultural Trust, as painter Tera Reed and Native American weaver Margaret Roach Wheeler (Choctaw - Chickasaw).

Awards and honors

  • 2000, Fellow of the American Craft Council
  • 2002, Kansas State Artist of the Year
  • 2004, selected to interview for the Nanette L. Laitman Documentation Project on Crafts and Decorative Arts in America
  • 2006, Kansas State Senate Award

Selected exhibits

  • 1983, single debut, RA Gallery (Dutch: Galerie RA), Amsterdam
  • 1985, solo exhibition, VO Gallery, Washington, DC
  • 1985, solo exhibition, Helen Drutt Gallery, Philadelphia, Pennsylvania
  • 1986, Jewelry, Form and Idea (Dutch: Sieraden, vorm en idee), Gemeentelijke Va n Reekum Museum, Apeldoorn, The Netherlands
  • 1987, Jewelry Now, traveling exhibition sponsored by the Virginia Commission for the Arts
  • 1988, Marjorie Schick, Transition, solo exhibition, RA Gallery, Amsterdam
  • 1989, hats, helmets, and other headgear, Faith Nightingale Gallery, San Diego, California
  • 1994, KPMG Peat Marwick American Crafts Collection: A Gift to the Renwick Gallery, Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, DC
  • 1996, New Times, New Thinking: Jewelry in Europe and America, Crafts Council, London
  • 1998, diplomatic brooch: a tribute to Madeleine K. Albright, Secretary of State of the United States of America, Museum Het Kruithuis, Den Bosch, opening of the Netherlands. The event, with 61 artists, toured around the world from its opening until 2000, including Estonia, Finland, the Netherlands and various galleries in the US from Hawaii to New York and Philadelphia.
  • 1998, Jewelry Moves, National Museum of Scotland, Edinburgh
  • 1998, Marjorie Schick, A Sense of Place, solo exhibition, RA Gallery, Amsterdam
  • 1998, Time, Colourlocation, Mobilia Gallery, Cambridge, Massachusetts
  • 2001, masquerade, 25 years Galerie Ra, Amsterdam
  • 2002, Zero Karat, the Donna Schneier Gift to the American Craft Museum, Museum of Art and Design, Manhattan
  • 2004, HOUdT van sieraden, Galerie Lous Martin, Delft, Netherlands
  • 2004, Treasures from the Vault: Contemporary Jewelry from the Permanent Collection, Museum of Art and Design, Manhattan
  • 2005, Schmuck 2005, [de], Munich
  • 2005, 100 Brooches, Velvet da Vinci Gallery, San Francisco, California
  • 2006, Chall Enging the Chatelaine, Design Museum, Helsinki
  • 2006, Radiant - 30 Years Ra Gallery, Amsterdam
  • 2006, Preziosa 2006: No body decoration, Villa Bottini, Lucca, Italy
  • 2007, Ornament as Art: Avant-garde Jewelry from the Helen Williams Drutt Collection, Museum of Fine Arts, Houston, Texas. After opening, the show toured the US until 2009.
  • 2007, Sculpture Transformed: The Work of Marjorie Schick, Solo Exhibition, Museum of Crafts and Design, San Francisco, California. After the inaugural exhibition, the tour, which lasted through 2009, included venues at the Indiana University Art Museum in Bloomington, Indiana; the Marianna Kistler Beach Art Museum in Manhattan, Kansas; the Fuller Craft Museum of Brockton, Massachusetts; and the Muskegon Museum of Art in Muskegon, Michigan.
  • 2013, Dare to Wear: The Paul Derrez and Willem Hoogstede collection, Cultuur Onder Dak Apeldoorn (CODA), Apeldoorn, Netherlands
  • 2014, Gifts from America: 1948–2013, State Hermitage Museum, Saint Petersburg, Russia
  • 2016, Beyond Bling: Contemporary Jewelry from the Lois Boardman Collection, Los Angeles County Museum of Art (LACMA), Los Angeles, California
  • 2017, Medusa, Bijoux et tabous, Musée d'Art Moderne de la Ville de Paris, Paris, France




further reading

  • Schick, Marjorie (1985). Body Works & Wearable Sculpture: Exhibit for the Alaska Visual Arts Center, Anchorage, Alaska, April 22-May 18, 1985 and the University of Alaska Museum, Fairbanks, Alaska, May 24-July 7, 1985. Anchorage, Alaska : Visual Arts Center of Alaska. OCLC 48473387.
  • Rosolowski, Tacey A., ed. (2007). Sculpture transformed: the work of Marjorie Schick. Washington, D.C .: International Arts & Artists. ISBN 978-0-976-71022-6.
  • Rosolowski, Tacey, ed. (2007). Sculpture to wear: The jewelry by Marjorie Schick (Illustrated ed.). Stuttgart, Germany: Arnoldsche Kunstverlag. ISBN 978-3-897-90258-9.

External links