Sculptural Hollow Form

In the late 1960s and 1970s jewelry artists explored concepts related to the body and its adornment. This bracelet by Alma Eikerman consciously rejects dainty, feminine jewelry in favor of bold "body sculpture" that reflects Eikerman's assertive approach to linking jewelry to "art." Eikerman was an important figure in the post-World War II resurgence of metalsmithing, and her long teaching career had a profound impact on the field, as seen in the work of her students Marjorie Schick, Helen Shirk, and Mary Ann Scherr.