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Reviewed by Linda Kaye-Moses. The Frontispiece of Thomas Mann: Metal Artist says it all. It depicts a pendant by Mann — a figure shown running, as if along a tightrope — as Mann has done, running the narrow path of a unique, personal vision. This book, filled with images from his lifetime of work, also presents Mann himself, building a more complete understanding of his work. We are offered glimpses of his life, which underscore the events and connections that contributed to or guided him to the path he has chosen. As Andrei Condrescu states in the book, Mann’s spiritual leanings — his being open to various “doors of perception” — translated into a huge volume of the jewels and sculptures he began making decades ago. The essays in the book by Condrescu, Michael Monroe, and Lloyd Herman clearly describe the roots of Mann’s choice of an art form less mainstream in the art world today and the underlaying philosophy that permeates his pieces. The sensibilities of the `60’s and the individual artists whose influence is felt by Mann are explored in these texts. The relationship of Mann’s work to his cultural environment is thoroughly investigated, and his appreciation and utilization of found objects is examined. Also, the development of his concept of “Techno-Romantic” forms is presented. The end result is to establish Mann’s place in the world of influential and durable American artists. Mann’s work is beautifully reproduced in many of the photographs accompanying the text, and they trace the evolution of his pieces from the beginning, which were mostly small, sculptural jewels, to his more current ones, which are larger sculptures and sculpture/jewel combinations. In addition, there are many visuals of Mann himself at work, in his youth, and more recently, with his staff. The Portfolio section includes not only visuals of the range of Mann’s work, but also a series of 11 essays by the artist himself, illuminating a view of his physical and philosophical habitats. These essays, written in a reflective and personal tone, show, among other things, his involvement in the early crafts “scene,” his participation in crafts fairs, his reasons for choosing the elements and materials of his work, his understanding of collectors, etc. As a result of these essays, the reader is given a three-dimensional experience of Mann’s presence and accomplishments. In an Acknowledgments section, unusual in scope for an artist’s monograph, Mann personally and specifically recognizes and/or expresses appreciation for his partners, patrons, colleagues, friends, family, co-workers, influences, and inspirations. The further insight into Mann and his work is additionally informative. It is our good fortune that the publication of this art book is accompanied by so many superb reproductions of the artwork itself — such a complete record of Mann’s creative output. The fact that this book also includes text material — so well written that it serves to perfectly support and interpret the work of the artist, even while his work is continuing to evolve — is just one more reason to own and cherish this fine addition to the bibliography of art jewelry. Buy this book from Barnes & Noble.com
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Thomas Mann: Metal Artist
