BlogBack: Gurhans Spokesperson Defends the Mets High-Priced "Afghanistan" Jewelry
Maya Ahluwalia, marketing and public relations manager for Gurhan, responds to my criticism (in Golden "Afghanistan" Now at the Met) of the high-priced Gurhan-designed jewelry sold at the Metropolitan Museum's shop in connection with Afghanistan: Hidden Treasures from the National Museum, Kabul:
I thought that a little background on Gurhan [Orhan], his collaboration with the Met, and the purpose of the collection would help provide a different angle on the topic.A related BlogBack, from a spokesperson for the company that supplied the less pricey jewelry that was sold at other venues of the "Afghanistan" show, is here.
The artifacts in the exhibition, like Gurhan's designs, pull from a wide array of cultural influences. The region that modern Afghanistan currently occupies was originally part of the cultural crossroads known as the Silk Road. The convergence of cultures on the well-known trade route created art and artifacts with a mixture of Greek, Indian, Chinese, Anatolian and Turkish influences, not strictly Afghan.
Gurhan was chosen by the Met specifically for the fact that his major contribution to the world of jewelry has been to reincarnate the techniques of ancient goldsmiths who first worked in pure 24 karat gold. These goldsmiths emanated from all the various cultures that created the museum treasures, not just Turkey or Afghanistan. Their techniques were abandoned for a long period time following the trend to alloy gold with lesser metals such as silver and copper, and indeed, it became commonly regarded as impossible and undesirable to make jewelry using 24 karat gold due to its softness, weight and expense.
Gurhan's pioneering revival of the use of pure gold in modern jewelry challenged these long-held assumptions and it is thanks to him that this metal is now available for today's woman to wear.
I think that it is also worth mentioning that although Gurhan is Turkish by birth, he views himself as a citizen of the world. The exposure to different areas of the world and cultures influence Gurhan's designs, creating a look that is not inherently Turkish, but that has global appeal.
July 27, 2009 2:34 PM
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LEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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________________________
moreLEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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