Lori Talcott grew up in a family of jewelers and watchmakers. She was taught that one could make anything, and that jewelry is inherently imbued with power and magic. Through the format of jewelry, her work and research engage with contemporary theories on magic, the agency of objects, and the nexus of language and matter. Her performance projects explore the role of jewelry as a rhetorical device, and in this capacity, how it functions as an agent in rituals that negotiate social, temporal, and spiritual boundaries.
After her undergraduate studies in art history at Lund University and Washington State University (BA) and metal design at University of Washington (BFA), Talcott worked as an apprentice to a master silversmith in Norway. She later completed her graduate work in visual arts at Vermont College of Fine Arts (MFA). Among other distinctions and awards, Talcott has received two Washington State Artist Trust Fellowships and an Arts Fellowship from the American-Scandinavian Foundation. Her work is in numerous private and public collections, including the permanent collections of the Smithsonian American Art Museum and Renwick Gallery. Talcott is a frequent visiting artist and critic in the United States and Europe, and for the past ten years she has held the position of Guest Lecturer in the graduate program at Rhode Island School of Design. Most recently, Talcott was a visiting assistant professor at University of South-Eastern Norway.
LORI TALCOTT CV
1990-Present Studio Artist, Seattle, WA
2021 Assistant Professor, Department of Traditional Arts, University of Southern Norway, Rauland, Norway
2009-2022 Guest Lecturer, Rhode Island School of Design, Graduate Program, Jewelry & Metalsmithing
Department, Providence, RI
2015 MFA, Visual Arts, Vermont College of Fine Arts, Montpelier VT
1990 BFA, Metal Design, University of Washington, Seattle WA
1983 BA, Humanities (cum laude), Washington State University, Pullman WA
2009 Certificate, Harriet W. Sheridan Center for Teaching + Learning, Brown University, Providence RI
1991-1995 Raulandsakademiet, course work and independent research (Norway)
1991 Apprentice to Master Silversmith, Hilde Nødtvedt (Norway)
1981-1982 University of Lund, course work, Art History (Sweden)
AWARDS & GRANTS
2016 Rhode Island School of Design, Professional Development Fund: Grant
2006 Artist Trust/Washington State Arts Commission: Fellowship Award
2004 American-Scandinavian Foundation: Fellowship Award
2002 Gerhard Marcks Endowed Distinguished Lecture, Luther College
1997 Artist Trust/Washington State Arts Commission: Fellowship Award
1995 Artist Trust: Grant for Artists’ Projects
1994 Sons of Norway International: Grant
1992 Sons of Norway International: Grant
American-Scandinavian Foundation: Grant
1991 Norwegian-American Foundations: Grant
2022 Similitudes, Portabel Gallery, Oslo, Norway
2015 Homeopathic Objects, Sienna Patti Gallery, Lenox, MA
2002 Arbor Mundi, Facere Jewelry Art Gallery, Seattle, WA
Arbor Mundi, Expo Arte Smykkegalleri, Oslo, Norway
1999 New Work, Expo Arte Smykkegalleri, Oslo, Norway
1998 New Work, Mobilia Gallery, Cambridge, MA
1996 Working Within and Beyond Tradition, Ann Reed Gallery, Ketchum, ID
New Work, Expo Arte Smykkegalleri, Oslo, Norway
New Works in European Folk Jewelry, Mia Gallery, Seattle, WA
1995 New Work, Expo Arte, Oslo, Norway
1994 Traditions through Time, Nordic Heritage Museum, Seattle, WA
(on-going) The Hour of Lead
SELECTED GROUP EXHIBITIONS
2021 Good Witch | Bad Witch, Museum of Museums, Seattle, WA
2020 When Worn, Melton Gallery, University of Central Oklahoma, Edmond, OK
2019 True Is What Has Been Made, Museo de Arte Popular José Hernández, Buenos Aires, Argentina
The Ultramodern Necklace, SOIL Gallery, Seattle, WA
2018 Discursive, Jordan Schnitzer Museum of Art, Eugene, OR
2017 Making our Mark: Art by Pratt Teaching Artists, Bellevue Art Museum, Bellevue, WA
Collective, Sienna Patti Gallery, New York, NY
Diptych: Grey and Black, Tracy Steepy and Lori Talcott, Platina, Stockholm, Sweden
2016 Metalmorphosis, BAM Biennial, Bellevue Art Museum, Bellevue, WA
Schmuck 68th International Trade Fair, Munich, Germany
2014 Protective Ornament: Contemporary Armor to Amulets, Ornamental Metal Museum,
Memphis, TN; Tacoma Art Museum, Tacoma, WA
2010 Counterflux, G. Gibson Gallery, Seattle, WA
2009 A Concise History of Northwest Art, Tacoma Art Museum, Tacoma, WA
RISD Faculty Biennial, Museum of Art, Rhode Island School of Design, Providence, RI
2006 Metalisms: Signature Works in Jewelry & Metalsmithing, The Center for Visual Art, Denver, CO
2005 Stemming, Jennifer Dixon and Lori Talcott, Souvenir, Seattle, WA
2003 Jewels and Gems, Renwick Gallery of the Smithsonian American Art Museum, Washington D.C.
Courtship and Marriage: The Folk Art of Norway, Ethnographic Museum, St. Petersburg, Russia
Big Little: Jewelers and Sculptors Making it in Metal, Craft and Cultural Arts Gallery, Oakland, CA
SOFA Chicago, Hibbert McGrath Gallery, Chicago Il
2001 Winter Light, Susan Cummins Gallery, Mill Valley, CA
Under the Influence: Contemporary Jewelry and Ethnographic Objects, Tacoma Art, Museum, Tacoma, WA
1998 Torch Songs: 50 Years of Northwest Jewelry, Tacoma Art Museum, Tacoma, WA
1995 SOFA, Chicago: Northwest Metalsmiths, Mia Gallery, Chicago IL
1994 Ring-Ear-Ring, Susan Cummins Gallery, Mill Valley, CA
King County Arts Commissions, Seattle, WA
Renwick Gallery of the Smithsonian American Art Museum, Washington D.C.
Tacoma Art Museum, Tacoma, WA
Rotasa Foundation Collection Trust
Susan Beach Contemporary Jewelry Collection
Rhode Island School of Design
2021 Lambert, Matthew. “With Jewelry: We Can Turn Down The Volume,” Klimt02, 3/12/21
Benesh, Patrick R. Pacific Northwest Community, Ornament Magazine, Print Edition, Vol. 422
Eckert, Lauren. “The Jewelry of Gods and Magic,” Metalsmith Magazine, Vol.41, No.2.
Frank, Rebekah. “Angela Hennessy: The Presence of Absence,” Art Jewelry Forum, 5/17/21.
Sehmsdorf, Henning. Continuity of Norwegian Tradition in the Pacific Northwest, pp. 65-69.
Gillis, Brian, Ed. Catalytic Conversation: Craft and the Hyperobject. Center for Art Research, Eugene, OR
2019 Rios, Maria Jimena, Ed. True is what has been made, exhibition catalogue, pp. 100-101.
2018 Gillis, Brian, Ed. Discursive, exhibition catalogue, pp. 132-141. Jordan Schnitzer Museum of Art,
2017 Art Jewelry Forum, “Diptych: Gray and Black,” Interview with Dr. Sandra Wilson,
2016 Current Obsession Magazine, “Studio Visits,” vol. 3, pp.3-4.
Schmuck 2016, Catalogue, p.70.
2014 Ramljak, Suzanne. On Body and Soul: Contemporary Armor to Amulets, p. 30.
2013 Margaret Bullock & Rock Hushka. Best of the Northwest: Selected Works from Tacoma Art Museum,
pp. 137, 235.
2011 Wicker, Nancy, “The Four Smiths’ and the Replication of Bracteate Techniques,” in Det 61.
Internationale Sachsensymposion 2010, edited by Linda Boye, et al., pp.33-34, Neumünster: Wachholtz.
Martha Le Van, ed. 21st Century Jewelry: The Best of the 500 Series, Lark Books, p.153.
2006 Bjørn-Sverre Hol Haugen (Editor). Norsk Bunadleksikon: Draktsmykker (Norwegian Folk Costume Encyclopedia:
Traditional Silver), Dammer & Son, Volume 1, p.119.
2004 Metalsmith Magazine, “Exhibition in Print,” vol. 24, no. 4, p.43.
Martha Le Van, ed. 1000 Rings: Inspiring Adornments for the Hand, Lark Books, pp.7, 29, 102, 194.
2003 Mathew Kangas. “Lori Talcott: Tradition and Innovation,” Craft, Korea, No. 19, pp.22-24.
Mathew Kangas. “Lori Talcott: Arbor Mundi,” exhibition review, Metalsmith, Summer, p.52.
Mija Riedel. “Art as the Blueprint: In the Seattle Home of Sharon and Craig Campbell,” American Craft
SOFA Chicago 2003: Celebrating 10 Years, Chicago, p.93.
2002 Reinhold Ziegler. “Kontemporære Relikvieskrin,” Gullsmedkunst, May, pp.8-9.
Jinks McGrath. The Rings Book, London: A&C Black Publishers Ltd., p.114.
Arts and Antiques: 100 Top Treasure, Gallery Watch, November, p.44.
Jewelry Arts Lapidary Journal, “Facets,” Vol. 56, No. 8, p.12.
1999 Anne Eriksdatter Bye. “Søljene fra Seattle,” Norsk Husflid, Spring, pp.68-70.
Tim McCreight. The Metalsmith’s Book of Boxes and Lockets, cover, p.67.
1997 Robin Updike. “Beyond Fashion: The Evocative Art of Jewelry,” Seattle Times Pacific Magazine, December 1, p.32.
Dana Standish. “As Large as Life: The Works of Lori Talcott,” Metalsmith, Summer, pp.36-39.
Robin Updike. “Lori Talcott,” Ornament Magazine, Summer, pp.40-43.
Eva Aalnes Holte. “Norsk Bunadsølv i Washington,” Gullsmedkunst, April, p.22.
Robin Updike. “Scandinavian Motifs,” Seattle Times, February, E1&2.
1995 Bodil Fuhr. “For Henne er Sølv Godt som Gull,” Aftenposten, April 23, p.30.
2021 Assistant Professor, Traditional Arts, University of South-Eastern Norway, Rauland, Norway
2009-2020 Guest Lecturer, Rhode Island School of Design, Graduate Program, Jewelry & Metalsmithing
Department, Providence, RI
2021 Guest Lecturer, University of Oregon, Department of Art: Jewelry & Metalsmithing, Eugene, OR
Guest Lecturer, Cranbrook Academy of Art + Taller Eloi, Bloomfield Hills, MI + Buenos Aires, Argentina
2018 Guest Lecturer, University College of South-Eastern Norway, Traditional Arts, Rauland, Norway
2010 Guest Lecturer (sabbatical replacement), University of Oregon, Department of Art:
Jewelry & Metalsmithing, Eugene, OR
2008 Guest Lecturer (sabbatical replacement), Rhode Island School of Design, Jewelry & Metalsmithing
Department, Providence, RI
Guest Lecturer (sabbatical replacement), University of Washington, Department of Art: Metal Design,
1995-2006 Instructor, summer workshops, Raulandsakademiet (Norway)
1989-1993 Instructor, beginning + intermediate Jewelry, Bellevue Community College, Bellevue, WA
CONFERENCE PRESENTATIONS + PAPERS (selected)
2018 “Indices and Incantations,” Material Topics Symposium, Capstone Speaker, East Carolina University,
2017 “Norskdraktsølv i et historisk perspektiv” Keynote Speaker: Institut for bunad og folkedrakt
Conference, Fagernes, Norway
2014 “What will you take into the dark?” Plenary Speaker: Seattle Metals Guild Symposium, Tacoma, WA
2011 “Knowing the Largest Thing through the Smallest Thing,” Plenary Speaker: Society of North American
Goldsmiths, Seattle, WA
2010 From What to Why: Effectively Integrating Studio Practice, Theory, and History,” Presenter: Educational
Dialogue, Society of North American Goldsmiths, Houston, TX
2009 “The Norwegian Bolesølje: A Microcosm of Medieval Aesthetics and Beliefs,” Paper:
“Jewelry, Clothing, and Adornment in Iron Age and Medieval Scandinavia,” Society for the Advancement of
Scandinavian Study, Interdisciplinary Pre-Conference, Seattle, WA
“The Norwegian Bolesølje: A Microcosm of Medieval Aesthetics and Beliefs,” Paper:
Society for the Advancement of Scandinavian Study, Madison, WI
2007 “The Continuum of Craft,” Plenary Speaker: Nordic Craft Conference, Reykjavik, Iceland
2006 “Contextualizing Scandinavian Folk Jewelry,” Plenary Speaker, Nordisk Draktseminar, Reykjavik, Iceland
2005 “Brisinga men: Simulacrum, Myth and Metaphor,” Paper: Society for the Advancement of Scandinavian
Study, Redondo Beach, CA
2003 “Arbor Mundi: Form, Myth and Metaphor,” Paper: Society for the Advancement of Scandinavian Study,
1998 “Working Within and Beyond Tradition,” Paper: Society for the Advancement of Scandinavian
Study, Tempe, AZ
1997 “Norwegian Folk Jewelry,” Plenary Speaker: Society of North American Goldsmiths, Seattle, WA
SELECTED VISITING ARTIST LECTURES, SEMINARS & RESIDENCIES
2021 “Indices and Incantations,” Oslo National Academy of the Arts, Oslo, Norway
2020 “Craft’s Hyperobjectivity,” Seminar/Think Tank, Center for Art Research, University of Oregon,
“Indices and Incantations,” North Seattle College, Seattle, WA
2019 “Indices and Incantations,” Ann Orr Morris Memorial Fund Lecture, University of Georgia,
2018 “Working Within and Beyond Tradition,” University of South-Eastern Norway, Rauland, Norway
“Indices and Incantations,” Artist Now! Public Lecture, University of Wisconsin, Milwaukee, IL
“Toward a Poetics of Jewelry,” Graduate Seminar + Critiques, University of Wisconsin, Milwaukee,
2017 “Toward a Poetics of Jewelry,” Graduate Seminar + Critiques, San Diego State University, San Diego, CA
“Homeopathic Objects,” Lecture, Visiting Artist Colloquium; Graduate Critiques, Department of Art,
University of Wisconsin, Madison, WI
2016 University of Oregon Summer Craft Forum, Residency, University of Oregon, Eugene, OR
“Diptych: Grey and Black, Lecture, Estonian Academy of Arts, Tallinn, Estonia