ORNAMENT Volume 30 No. 5

Lucia Antonelli. All That Life Holds
Tradition and Tourism 1870–1910. Recent Acquisitions at the Wheelwright Museum
Katrin Noon. Finding a Home in Spirithouse
Identity by Design. Tradition, Change, and Celebration in Native Women’s Dresses
Joyce Roessler. A Commitment to Glass
Photography of Glass Ornaments. Methods and Uses


Lucia Antonelli, an energetic woman with a shock of silver-tipped black hair and dramatic features, has a gracious manner and talks with enthusiasm about her home. Built in 1930, the housen was a concrete shell that she remodeled with her husband Tony Sykes. Together they tore down walls, laid tile, built bathrooms, and transformed the house into a menagerie of visual and tactile elements that coalesce into an irresistible space. It is hard to escape the comparison between her home and her beautifully intricate, ornate jewelry.


Raised in Northern California’s Marin County, Katrin Noon points to the area’s diverse landscape and culture as one of the influential forces that led to her fascination with color and texture. This interest in the arts would prove to be her first step toward a journey entirely her own, having come from a family of Montana homesteaders with a history of farming and ranching. “There was no art in my background,”Noon recalls. “But growing up where I did, there was so much going on in the sixties, seventies and early eighties.


Native American culture can reasonably be said to take a holistic approach to the world, in which food, clothing, shelter, ceremony, spirituality, past, present, and future are all intertwined and incorporated into a single comprehensive worldview. This outlook accepts evolution as much as it accepts tradition. The exhibition Identity by Design: Tradition, Change, and Celebration in Native Women’s Dresses, showing at the National Museum of the American Indian, demonstrates how clothing is intricately entwined and a vibrant element in the lives of Native American women.


One simple, straightforward statement underscores Joyce Roessler’s raison d’être as an artist, dating back to an apprenticeship with a stained glass artist thirty or so years ago. “Really, my work is all about the glass,” she says.While growing as an artist and developing new work, Roessler has never lost sight of that magical medium born of intense heat and air and seemingly alchemical ingredients. For the past dozen-plus years, Roessler has brought her undivided attention—and a significant skill set—to making jewelry from glass.


In this article, Robert K. Liu discuss some methods of photographing glass: the effects of lighting, posing and positioning of glass ornaments, a technique to overcome the effect of surface wear, ways to show the process of glass ornament making, and how the images may be used editorially or in advertisements. Whether one uses film or digital cameras, the same methods and uses can be applied.