当代首饰通常定位为装饰艺术的延伸。 由博物馆收藏的一种前现代首饰通常与贵族有关，伟绩金 – 和银器都是由精英创造最终的财富的对象（dispays推广。与顶点冠jeweis，珠宝典型的装饰艺术收藏品都成立 钻石项链，皇冠和戒指WOR那些谁继承地位，并排显示在油她们体面的肖像。在某种程度上，画廊继承了法院的遗产在社会中的珠宝展示最好的一个难得的空间，关键的区别 是当代珠宝是原则上享受任何人，相较于进入贵族社会相关的严格规定。设计的包豪斯学校的理念是开发能够被大众所提供的产品。战后资产阶级回潮 II怀着对民主的渴望呈现文化访问所有这平均主义的设计理念相呼应具有在d 当代珠宝的UTCH学校，特别是通过楚格设计。 吉杰斯·巴克克的用层叠图像的提供首饰平行什么摄影艺术提供了那幅画是平均主义。 珠宝和一级协会 – 服装饰品 – 是当代珠宝尤其成问题。 该珠宝提供了宝贵的少有钱人的模样，但它承载着欺骗的感觉。 相关特别是说唱文化，金光闪闪出现于二十世纪后期在模仿骄傲的一种形式。 叶环的值是在其视觉火花，而不是在任何概念意义或联合工艺。 它通常使用的工业方法，如浇铸或激光切割制成。 它的自然家园是街道，其中显示装置超过真实性。 处下风可以穿得像贵族，数组自己迪亚曼蒂纳，金牙帽和铂金吊坠，并聘请加长型礼车过夜。 bling的是当代珠宝的对立面。 虽然当代珠宝商寻求拥抱非贵重的民主精神，在完全相反的方向工人阶级运动。 它在流行饰品店甚至难得找到参考金光闪闪。 Tjep的Bling Bling的（2003）使用金光闪闪CUL TURE来讽刺当代社会。 珠宝凸显标识的肤浅。 相比之下，特德·范诺顿的夫人K（2004年）发生在流行文化尼采的兴趣，通过他行使机智和引人注目的设计。 凯文·默里布迪厄，区别：味道的理查德·尼斯马萨诸塞州剑桥哈佛大学出版社，1984年森尼特，理查德翻译中的判断的社会批判。 肉体与石头：身体与城市中西方文明纽约诺顿，1994年。 工作室泰德·范诺顿夫人K. 2004年30×22×8cm的雕刻和沉甸甸的金 – 镀金枪和bulet textie，铬，大便照片由工作室泰德范诺顿79Contemporary jewelry is often positioned as an extension of the decorative arts . The kind of premodern jewelry collected by museums is usually associated with aristocracy , Great feats of gold- and silversmithing were promoted by elites to create objects ( and dispays of ultimate wealth . With crown jeweis at the apex , typical decorative art collections of jewelry are founded on diamond necklaces , tiaras and rings wor by those who inherited status , displayed alongside their dignified portraits in oil . To an extent , the gallery inherits the legacy of the court as a rare space in society for displaying the best in jewelry . The key difference is that contemporary jewelry is in principle for enjoyment by anyone , compared to the strict rules associated with access to aristocratic society . The philosophy of the Bauhaus school of design was to develop products that could be afforded by the masses . The bourgeois resurgence after World War II harbored democratic aspirations to render culture accessible to all . This egalitarian design philosophy has echoes in the Dutch school of contemporary jewelry , particularly through Droog . Gijs Bakker’s use of laminated images offered jewelry an egalitarianism that paralleled what photography in art offered over painting . One association of jewelry and class – costume jewelry – is particularly problematic for contemporary jewelry . This jewelry provides the appearance of preciousness for less wealthy people , but it carries with it a sense of deception . Associated particularly with rap culture , bling emerged in the late twentieth century as a form of pride in imitation . The value of bling is in its visual sparkle rather than in any conceptual meaning or association with craft . It’s often produced using industrial methods , such as casting or laser cutting . Its natural home is the street , where display means more than authenticity . Underdogs can dress like aristocrats , array themselves in diamantinas , gold tooth caps and platinum pendants , and hire stretch limousines for the night . Bling is the antithesis of contemporary jewelry . While the contemporary jeweler seeks to embrace the nonprecious in a democratic spirit , the working class moves in precisely the opposite direction . It’s rare even in popular jewelry shops to find reference to bling . Tjep’s Bling Bling ( 2003 ) uses bling cul ture to satirize contemporary society . The jewelry highlights the superficiality of logos . By contrast , Ted Noten’s Lady K ( 2004 ) takes a Nietzschean interest in popular culture , through which he exercises wit and compelling design . Kevin Murray Bourdieu , Pierre , Distinction : A Social Critique of the Judgement of Taste Translated by Richard Nice Cambridge , MA Harvard University Press , 1984 Sennett , Richard . Flesh and Stone : The Body and the City in Western Civilization New York Norton , 1994 . Atelier Ted Noten Lady K. 2004 30×22 x 8 cm Engraved and heavy gold – plated gun and bulet textie , chrome , stool Photo courtesy of Atelier Ted Noten 79
