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The article recounts how Ron Porter and Joe Price's appreciation for craft-based art deepened after encountering exhibitions at the American Craft Museum and Susan Cummins Gallery. Topics include their transformative experience with craft art at the American Craft Museum, their fascination with Robert Ebendorf's innovative jewelry pieces like the Twig Necklace, and their significant donation of Ebendorf's works to The Mint Museum.

The article explores the multifaceted cultural significance of the bolo tie, tracing its origins and evolution from a symbol of hypermasculinity to a representation of queer identity and cultural authenticity. It also delves into the diverse range of meanings conveyed by contemporary artists through their innovative interpretations of the bolo tie, celebrating its liminality and expanding its inclusivity through craft.

The article focuses on the serendipitous meeting and subsequent artistic collaboration between jewelers Aaron Macsai and Frances Kite, whose paths crossed at an arts festival. Topics include their individual artistic journeys; the unique techniques they employ in jewelry making such as Kite's expertise in cloisonné enamel and Macsai's innovative use of pattern metal; and their shared commitment to craftsmanship, precision and creating pieces with enduring value.

The article discusses the devastation caused by Hurricane Helene in Western North Carolina, specifically the impact on the region's vibrant arts community, including the River Arts District in Asheville. It states that despite flooding and damage to many artist studios and galleries, the community has remained resilient supporting each other through fundraisers and shared hope for rebuilding. It highlights the economic uncertainty faced by local artists, many of whom rely on tourism for income.

The article offers an exhibition review of "Restringing the Pearl," through June 6, 2023 at The Jewelry Library in New York City, emphasizing the importance of personal stories and narratives in exploring the visual, emotional, and cultural qualities of pearls through various artists' works.

The article focuses on the work of artist Stacey Lee Webber, who transforms pennies into sculpture and jewelry. It emphasizes the value of labor and explores themes of art, money, and the cultural significance of different types of work in America. It also mentions her unique approach involves using coins to create tools, hollow form sculptures, and intricate jewelry pieces, showcasing her craftsmanship and creativity.

The article reviews the "[queerphoria]," a virtual exhibition featuring the work of queer metalsmiths curated by BEE and Tracey Carswell, and Sol Diaz.

The article reviews the exhibition "Beyond the Body: Paintings and Wearable Art by Deb Karash" at the Wesleyan College, McCrary Gallery, 4760 Forsyth Road, Macon, Georgia through November 3, 2022.

In this article author talks about "Material Alchemy: Metal & Color" an exhibition J. Taran Diamond recently co-curated with Shaunia Grant, also an MFA student at UGA, along with artist and educator Katie McCullough and curator and arts coordinator Lillian McEachern at the gallery ATHICA (Athens Institute for Contemporary Art). Topics include considered the exhibition brought together jewelry and sculpture by seventeen artists from across the United States.

The article features artist Frankie Welch of Virginia and her political Americana fashions. Also cited are how Welch established a career as a preeminent designer of custom scarves, her study of clothing and design at Furman University in Greenville, South Carolina, her marriage to her childhood sweetheart William Welch in 1944, and her career as a fashion consultant.

The article focuses on exhibition "Ruth E. Carter: Afrofuturism in Costume Design," featuring work of Ruth E. Carter at SCAD FASH Museum of Fashion + Film in Atlanta, Georgia through September 21, 2021.

The article focuses on profile of costume designer Freddy Wittop including apprentiation with artist James Thiriar at Brussels opera, his work as designer for costumes for the French Casino and return to Europe to dance. Topics discussed include his career maintained as costume designer, costume designs for the opera "Hello, Dolly!" and retirement of the designer.

In this article author provide information on studio Charles Norman Pinckney located in the Old Clarke County Jail, a historic late nineteenth-century stucco-covered building in Athens, Georgia. Topics include considered that it developed a personal lexicon of symbols employs in jewelry to convey memories from his childhood, experiences related to him by others and his perspective on human nature.

The article reviews a touring fashion exhibition at the Bowers Museum in Santa Ana, California featuring works of Chinese couturier Guo Pei.

The article discusses the African-print fashion that is linked to African identity. Topics discussed include Nigerian designer Lisa Folawiyo's affinity for African-print cloth, several exhibitions focused on this such as "Making Africa—A Continent of Contemporary Design" organized by the Vitra Design Museum in 2015-2019, and African fashion designers embracing African-print fashion.

The article features Mariska Karasz, fashion designer, author and textile artist. Topics discussed include her inspiration for her first garments presented in a circa 1929 show of fashions, her family and educational background, and details of her custom garments. It also mentions her clothing designs for children, and books she has written, which includes "See and Sew, a Picture Book of Sewing" and "Adventures in Stitches: A New Art of Embroidery."

The article focuses on jeweler Demitra Thomloudis, who is excited by the aesthetics of the built environment and uses in her jewelry. Topics include Master of Fine Arts degree in 2013 with an emphasis on jewelry and metalwork from San Diego State University; her work "Over the Fence' which was part of a collaborative work with Motoko Furuhashi; and working as assistant professor and head of the Jewelry/Metals/Enameling Program at Kent State University.

The article reviews the craft exhibition "Crafting History" held at the Georgia Museum of Art in Athens, Georgia, which focused on the history of jewelry and metalwork at the University of Georgia.

The article reviews the art exhibition "Ilonka Karasz" at the Cooper Hewitt museum in Washington, D,C., until April 22, 2018.

The article offers information on photographer Wiley Sanderson and his investigation of the materials and techniques in modern jewelry. Topics discussed include the education that he received in metalsmithing from the Wayne State University, the silver jewelry made by Sanderson using casting, and the work of Sanderson as a teacher at the University of Georgia.

The article features jewelry makerand designer Kat Cole. Cole makes necklaces, earrings and brooches mostly out of steel and enamel. She also incorporates tin, copper, colorful plastics and glass in her art work. Cole identified the recyclability and strength of steel as factors which prompted her to use steel for her art.

The article offers information on the works of jewelry artist Barbara Ingerski Mann. Topics discussed include favourite books such as "Cotton: The Biography of a Revolutionary Fiber" by Stephen Yafa and "Rust: The Longest War" by Jonathan Waldman; Meteorite Necklace made with gold, meteorites, diamonds and rubies; Life on Mars Brooch/Pendant made up of silver; and science related jewelry such as single cell brooch, stem cell brooch/pendant and cloning of dolly brooch.

The article offers information on the brief profile of artist Virginia Dudley and her enamel works marked with Rising Faun Enamels. Topics discussed include her education along with enamellist Jean Ames; works of Dudley with artistic media such as photography, printmaking, painting, sculpture, and ceramics; and various works of Dudley such as pendant, brooch and necklace. It also mention that Dudley taught art at Shorter College in Rome, Georgia.

The article features Kate Rothra Fleming, a glass jeweler whose love for nature is very evident in the jewelry she produces. Topics discussed include her passion for art that led her to teach art, English and mathematics in Botswana, inspiration she got from the local women of Botswana on making jewelry and how she started working on glass using the flameworking technique in 2001.

The article offers information on the tufted textiles. Topics discussed include contribution of designer Catherine Evans Whitener in rediscovering the traditional candlewick techniques for decorating spreads; tufter Emily Bennett's hand tufled bedspreads, pillows and aprons; and series of chenille robes with playing card motifs designed by garment designer Arthur Richman's for the garment department of manufacturer and designer of spreads Blue Ridge.