{"id":145,"date":"2020-06-26T22:24:06","date_gmt":"2020-06-26T22:24:06","guid":{"rendered":"https:\/\/realestatebydesignla.com\/jensenknives\/?page_id=145"},"modified":"2023-08-11T12:00:05","modified_gmt":"2023-08-11T19:00:05","slug":"about-2","status":"publish","type":"page","link":"https:\/\/realestatebydesignla.com\/jensenknives\/about-2\/","title":{"rendered":"ABOUT"},"content":{"rendered":"\t\t
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Art-Knives in Context<\/strong><\/h2>\n
\u201cThe knife, in all its many descended incarnations, very likely represents the oldest tool in human history. Its associations with hunting, thus life and death, and the eat or be eaten law of nature, tie the knife to the rawest, most basic, hence animal aspects of humanity. By necessity, the hunt led to a spiritual relationship with the animal kingdom. As the most effective personal weapon for most of human history, bladed tools came to represent power and authority. It was only natural, as power and authority became less directly dependent on the blade, that knives and swords would be kept as traditional symbols, and thus could be decorated to symbolize the bearer’s superiority. Through this new direction; the process of making art, humans achieve their highest echelon of evolutionary development. Each of John Jensen’s knives displays a personality that connects it to its ancient ancestors. But its materials and workmanship exemplify the highest levels of contemporary art and craft, and thus connects the full circle of the human experience.\u201d<\/i><\/h5>\n
~ J. Langdon, graphic designer & author<\/b><\/h5>\n
 <\/h6>\n

The Recognition of Knives as Art…<\/strong><\/h2>\n
John Jensen leads the way in creating ground-breaking collectable art…<\/h6>\n
Based in Los Angeles, Jensen Knives exemplify the trend setting style of California artists who pioneer new forms of collectable art. A cross between fine jewelry and objects d’ art, Jensen knives combine contemporary designs with the finest materials to create pieces of breathtaking edged sculpture. In Jensen\u2019s talented hands, the traditions of knife making are skillfully blended with innovative techniques and processes to create pieces of incredible power, delicacy and beauty.<\/h6>\n
By continually forging into this uncharted territory, John finds the pursuit of the knife as art both challenging and exciting. The limitless potential of this little explored form gives him immense freedom to push the envelope in design, materials and construction.<\/h6>\n
John is a classically trained goldsmith and sculptor with a degree in jewelry + metals from Rhode Island School of Design. His extensive education plays an important role in his overall approach. The particular skills he’s acquired, both technical and conceptual are important aspects in his unique art-knife style, and are what truly sets his work apart.<\/h6>\n
By blending techniques from old-world craftsmanship along with modern technology, and utilizing the finest, and rarest of materials, John’s innovative masterpieces stand in a class all their own. John’s creations take hundreds of hours to produce. Each knife is hand crafted, one-of-a-kind, and truly an original work of art. Production is extremely limited which place his work amongst some of the most exclusive specialty items available.<\/h6>\n
Jensen Knives has been instrumental in the art world’s new appreciation of knife making as a serious art form. John has single-handedly spearheaded the movement to bring the knife into the art arena. His personal quest to validate the knife as an art object has brought much publicity and recognition to the overall field.<\/h6>\n
In 2007, he curated the first ever museum exhibit on modern art knives at the “National Ornamental Metals Museum”. John has been featured in more non-knife venues than any other knife maker. These prestigious and varied venues include “The Rock + Roll Hall of Fame”, the “Sculptural Object, Functional Art Expo”, the “Rochester Institute of Technology”, and the “French Embassy” in Washington DC, among others.<\/h6>\n
Jensen Knives have been featured in over 100 publications both national and international. All this publicity has helped establish John as the foremost authority on the modern art knife movement. In 2009, he was commissioned to curate “500 knives”, the first mainstream book on art knives in America.<\/h6>\n
Jensen Knives have been awarded prestigious recognition from leading art authorities including David McFadden; chief curator, “Museum of Arts and Design”, Gretchen G. Keyworth; director and chief curator of the “Fuller Craft Museum”, Bruce W. Pepich; executive director and curator of collections for the “Racine Art Museum”, and Jo Lauria; independent curator and leading authority on modern decorative arts, among others.<\/h6>\n

<\/p>\n

Exploring the Dark Side of Beauty…<\/strong><\/h2>\n
\u201cBeauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet, it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend.\u201d<\/em><\/h5>\n
~ Roger Scruton<\/strong><\/h5>\n

<\/p>\n

The knife is a complicated object in that it most often evokes a complex array of emotions and associations. It is an inanimate object that has the potential to be highly revered and\/or feared. A knife continually provides a provocative platform for art because it is so steeped in these deeply emotional responses.<\/h6>\n
Historically, knives and swords have been venerated as iconic objects. They were seen for their utility and function, while being simultaneously viewed as a symbol of power and status. In mythology, they are often associated with special abilities that can be used for either good or evil. Often times they are also linked with the hero’s journey towards self-fulfillment.<\/h6>\n
The knife’s function and status has drastically changed over time. Modern society tends to directly relate this object with the darker aspects of humanity. Today, knives are typically seen as weapons and as a psychological representation of violence. They are imbued with fear-based thoughts that are linked to aggression, brutality and cruelty.<\/h6>\n
In extreme opposition from the modern-day viewpoint, John explores the knife from a perspective of healing and beauty. His work is influenced and shaped by his unique personal story, which encompasses themes of transformation and the examination of duality.<\/h6>\n
At a young age, John was intimately introduced to the knife when he underwent over a dozen reconstructive surgeries to correct several facial birth defects. Throughout his formative years, sharp surgical instruments were in his face, both figuratively and literally. These unusual encounters led him to view the knife\/scalpel as a symbol of regeneration. Overall, he was appreciative and thankful for their transformational function and ability. Yet, because of his experiences he was also forced to contemplate and question the meaning of beauty and imperfection.<\/h6>\n
In his quest to comprehend the aesthetics and the meaning of beauty, John became fascinated with both art and culture. He traveled throughout Europe, Africa, and the Middle East and spent a great deal of his youth exploring the great museums of the world. His appreciation of art, history, and his overall understanding of life, was shaped in large part by his exposure to the world’s great masterpieces. John was also greatly influenced by his exposure to archaeological relics especially tools, arms and armor. His fascination with edged objects developed as he contemplated their historical and personal significance.<\/h6>\n
In college, while studying abroad in Brittany, France, John began to piece together his great interest and passion for edged objects. While working on a series of abstract sculpture, John noticed that the image of the sword repeatedly presented itself in all of his work. This was a true epiphany; a revelation on how the knife had been in his subconscious waiting to be acknowledged. He returned home with the mission to discover, explore and re-interpret his life-long fascination with these iconic objects. John’s original quest to understand beauty was transformed into the ultimate discovery of his perfect artistic platform.<\/h6>\n
Since1994, John has been translating his understanding and vision of the knife into extraordinary works of art. He continues to evolve and bridge the knife’s historical significance and its modern viewpoint with his own unique perspective. Most-often John’s work provokes complex contemplation, including controversial associations. The knife will never be an innocuous object; it will always evoke something positive or negative. Through each knife, John works to bring opposing polarities of thoughts, ideas and emotions together.<\/h6>\n
The dark side of humanity has never been so beautiful as seen through the eyes of the artist John Jensen. He strives to bring balance to the world by creating an object honest in its duality. With such a vast array of material to draw from, the knife as an art object continuously provides John a great platform for his artistic expressions.<\/h6>\n

<\/p>\n

The Designer \/ Artist, JOHN LEWIS JENSEN:<\/strong><\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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RESUME:\u00a0<\/strong><\/h2>

EDUCATION<\/u><\/span><\/strong>\u00a0<\/strong><\/h3>
2022 \u00a0 UCLA-X ARC ID, <\/strong>L.A., CA Certificate: Interior Design<\/span><\/h6>
1996 \u00a0 Rhode Island School of Design,\u00a0<\/strong>Providence, RI.\u00a0B.F.A.: Jewelry and Metalsmithing<\/span><\/h6>
’95-’94 \u00a0 The Pont-Aven School of Art,\u00a0<\/strong>Pont-Aven, France.\u00a0Summer Art Programs<\/h6>
1994 \u00a0 Studio Art Centers International,\u00a0<\/strong>Florence, Italy.\u00a0Summer Art Program<\/h6>
’93-’92 \u00a0 Rhode Island School of Design,\u00a0<\/strong>Providence, RI\u00a0Special Student Program<\/h6>
’92-’90 \u00a0 Savannah College of Art and Design,\u00a0<\/strong>Savannah, GA.<\/h6>
\u00a0<\/strong><\/h6>

SELECTED<\/u><\/span><\/strong>\u00a0EXHIBITIONS<\/u><\/span><\/strong><\/h3>
2014 \u00a0 \u201cProtective Ornament: Contemporary Amulets to Armor\u201d,\u00a0<\/strong>Tacoma Art Museum, Tacoma, WA.\u00a0Curated by Suzanne Ramljak, Editor: Metalsmith Magazine\u00a0<\/span><\/h6>
2014 \u00a0 \u201cProtective Ornament\u201d,\u00a0<\/strong>The Metal Museum, Memphis, TN.\u00a0Curated by Suzanne Ramljak, Editor: Metalsmith Magazine\u00a0<\/span><\/h6>
2013 \u00a0 \u201cInnovations in Contemporary Crafts\u201d,\u00a0<\/strong>Richmond Art Center, Richmond, CA.\u00a0Curated by Monica Moses, Editor-in-Chief: AMERICAN CRAFT magazine. DIRECTORS CHOICS AWARD.\u00a0<\/span><\/h6>
2013 \u00a0\u00a0<\/strong>\u201c34th<\/span>\u00a0Annual Contemporary Crafts\u201d,\u00a0<\/strong>Mesa Art Center Museum of Art<\/u>, Mesa, AZ.\u00a0Curated by Jennifer Scanlon<\/span>:\u00a0<\/span>Associate Curator: The Museum of Arts + Design, NYC.<\/span><\/h6>
2012 \u00a0 \u201cCutting Edge: Evolution of the Knife\u201d,\u00a0<\/strong>Canton Museum of Art<\/u>, Canton, OH.<\/h6>
2012 \u00a0 \u201cJensen Knives: Forging New Traditions\u201d,\u00a0<\/strong>Bowers Museum<\/u>, Santa Ana, CA.<\/h6>
2011 \u00a0 \u201cMOveMENT\u201d,\u00a0<\/strong>724 Studios<\/u>, San Francisco, CA.<\/h6>
2010 \u00a0 \u201cMaterials: Hard & Soft\u201d,\u00a0<\/strong>Center for the Visual Arts<\/u>, Denton, TX.<\/h6>
2009 \u00a0 \u201c<\/strong>CRAFTFORMS 2009\u201d<\/strong>,\u00a0<\/strong>Wayne Art Center<\/u>, Wayne, PA.\u00a0Curated by\u00a0<\/span>Bruce W. Pepich is Executive Director and Curator of Collections for the Racine Art Museum as well as the Charles A. Wustum Museum of Fine Arts in Racine, Wisconsin. JURORS AWARD.<\/span><\/h6>
2009 \u00a0 \u201cSanta Barbara Premiere Art Showcase\u201d,\u00a0<\/strong>Santa Barbara, CA<\/h6>
2008 \u00a0 \u201cNew West Coast Design\u201d<\/strong>,\u00a0Velvet Da Vinci Gallery<\/u>, San Francisco, CA<\/h6>
2007 \u00a0 “Modern Art Knives: Beyond the Samurai Sword”<\/strong>,\u00a0The National Ornamental Metal Museum<\/u>, Memphis, TN.<\/h6>
2006 \u00a0 “CRAFTFORMS 2006”<\/strong>,\u00a0Wayne Art Center<\/u>, Wayne, PA.\u00a0Curated by Gretchen G. Keyworth, Director and Chief Curator of the Fuller Craft Museum, Brockton, MA<\/span><\/h6>
2006 \u00a0 “CRAFTFORMS Invitational: Then and Now”<\/strong>,\u00a0Wayne Art Center<\/u>, Wayne, PA.<\/h6>
2006 \u00a0 “MARTINI SQUARED”<\/strong>,\u00a0Gallery I\/O<\/u>, New Orleans, LA.\u00a0Curated by Thomas Mann<\/span>.<\/h6>
2006 \u00a0 \u201c<\/strong>Parameters of Preciousness\u201d<\/strong>,\u00a0Gahlberg Gallery, McAninch Arts Center, College of DuPage<\/u>, Glen Ellyn, IL.\u00a0Curated by Kathleen Kamal.<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/h6>
2005 \u00a0 \u201cCRAFTFORMS 2005\u201d<\/strong>,\u00a0Wayne Art Center<\/u>, Wayne, PA.\u00a0Curated by David Revere\u00a0<\/span>McFadden:\u00a0<\/span>Chief Curator: The Museum of Arts + Design, NYC.<\/span>\u00a0JURORS AWARD.<\/span><\/h6>
2005 \u00a0 \u201cFlatware: Function + Fantasy\u201d<\/strong>,\u00a012th<\/span>\u00a0Annual International Exposition of Sculptural Objects & Functional Art (SOFA)<\/u>, Navy Pier, Chicago, IL.\u00a0Curated by Rosanne Raab & Boris Bally.<\/span><\/h6>
2005 \u00a0 \u201cMade In America: Metal Arts Invitational Exhibition\u201d<\/strong>,\u00a0Bevier Gallery, Rochester institute of Technology<\/u>, Rochester, NY.\u00a0Curated by Leonard Urso & Juan Carlos Caballero-Perez.<\/span><\/h6>
2005 \u00a0 \u201cDimensions\u201d<\/strong>,\u00a0San Luis Obispo Art Center<\/u>, San Luis Obispo, CA.\u00a0<\/strong>Curated by Kevin Wallace.\u00a0<\/span>JURORS AWARD.<\/span><\/h6>
2005 \u00a0 \u201cCalifornia Art Metal Now: An Exhibition of Contemporary\u00a0<\/strong>California Jewelry and Metal Art\u201d<\/strong>,\u00a0Blue Room Gallery<\/u>, San Francisco, CA.\u00a0Curated by Shana Astrachan, Suzanne Baizerman, Susan Cummins & Paul Mahder.\u00a0<\/span><\/h6>
2005 \u00a0 \u201cThe Influence of Rock & Roll\u201d<\/strong>,\u00a0The Rock & Roll Hall of Fame, and Museum<\/u>, Cleveland, OH.\u00a0Curated by Boris Bally & Wendi Thumudo.<\/span><\/h6>
2004 \u00a0 \u201cHammer & Hand: Contemporary American Metal\u201d<\/strong>,\u00a0Center Arts Gallery, Calvin College<\/u>, Grand Rapids, MI.\u00a0Curated by Anna Fariello.<\/span><\/h6>
2004 \u00a0 \u201cKnives as Art\u201d<\/strong>,\u00a0Houston Center for Contemporary Craft<\/u>, Houston, TX.<\/h6>
2004 \u00a0 \u201cThe Society of North American Goldsmiths Annual Conference\u201d<\/strong>,\u00a0The Art Knife: The Passion, The Quest, The Controversy<\/u>, St. Petersburg, FL.<\/h6>
2002 \u00a0 \u201cInnovative Tools For Personal Use\u201d<\/strong>,\u00a0The Metropolitan Center for the Visual Arts<\/u>, Denver, CO.\u00a0Curated by Anne Larson Hollerbach. Kiff Slemmons, Charles Crowley, & Edward S. Cooke.<\/span><\/h6>
’20-’98 \u00a0 \u201cParis International Knife Show\u201d<\/strong>, Paris, France.<\/h6>
1999 \u00a0 \u201cContemporary Metalworks Expo\u201d<\/strong>, Seattle, WA.<\/h6>
1998 \u00a0 \u201cImpressions Of Brittany\u201d<\/strong>, French Embassy, Washington D.C.<\/h6>
1998 \u00a0 \u201cCambridge Art Association National Prize Show\u201d<\/strong>,\u00a0Lowell Street Gallery<\/u>, Cambridge, MA.\u00a0Curated by Malcolm Rogers.<\/span><\/h6>
1996 \u00a0 \u201cRecent Works\u201d<\/strong>,\u00a0Native Gallery<\/u>, Providence RI.<\/h6>
1995 \u00a0 \u201cThe Pont-Aven School of Art: Faculty and Student Exhibition\u201d<\/strong>,\u00a0List Arts Center, Brown University<\/u>, Providence, RI.<\/h6>
1994 \u00a0 \u201cOpen Salon Show\u201d<\/strong>, Sarah Doyle Gallery, Providence RI.<\/h6>
1994 \u00a0 \u201cImpressions Of\u00a0<\/strong>Brittany\u201d<\/strong>,\u00a0French Library and Cultural Center<\/u>, Boston, MA.<\/h6>
\u00a0<\/h6>

SELECTED PUBLICATIONS<\/u><\/span><\/strong><\/h3>
2014 \u00a0 On Body & Soul: Contemporary Armor to Amulets.\u00a0<\/strong>Suzanne Ramljak<\/span><\/h6>
2013 \u00a0 Hephaistos\u00a0<\/strong>(Germany):\u00a0“John Lewis Jensen”,\u00a0<\/span>5-6, 2013 (pp 44, illustrated)<\/h6>
2012 \u00a0 Blade\u2019s Guide to Knifemaking,\u00a0<\/strong>Vol.2, (illustrated)<\/h6>
2011 \u00a0 Metalsmith:\u00a0<\/strong>“The<\/u><\/span>\u00a0Hand as Subject and Site”<\/u><\/span>,\u00a0<\/span>Vol. 31, No. 5, (pp. 34-35, illustrated)<\/h6>
2010 \u00a0\u00a0<\/strong>The Robb Report, Collection<\/strong>:\u00a0“A Cut Above”<\/u><\/span>, Vol. IX, No. 5, (pp. 44-48, Illustrated)<\/h6>
2010 \u00a0\u00a0<\/strong>Luxury Road\u00a0<\/strong>(Argentina):\u00a0“The Keen Art of John Jensen “<\/u><\/span>, (pp. 51-52, Illustrated)<\/h6>
2009 \u00a0\u00a0<\/strong>blisstree.com<\/strong>:\u00a0\u201cArtist profile: John Lewis Jensen\u201d<\/u><\/span><\/h6>
2009 \u00a0\u00a0<\/strong>500 Knives<\/strong>: Juried by John L. Jensen (Cover Image, pg. 29, pg. 214, pg. 383)<\/h6>
2009 \u00a0\u00a0<\/strong>Craft Forms 2009<\/strong>: Exhibition Catalog, (illustrated)<\/h6>
2008 \u00a0\u00a0<\/strong>Mage Sign:\u00a0<\/strong>\u00a0A novel by Alan Baxter (Cover Image)<\/h6>
2008 \u00a0\u00a0<\/strong>IRONWORK TODAY 2: INSIDE & OUT<\/strong>.<\/h6>
2008 \u00a0\u00a0<\/strong>ProPE3\u00a0<\/strong>(Russia):\u00a0“John Jensen”<\/span>, (pp. 8-14, illustrated)<\/h6>
2008 \u00a0\u00a0<\/strong>New West Coast Design: jewelry + metalwork<\/strong>: exhibition catalog (pg. 15, illustrated)<\/h6>
2007 \u00a0\u00a0<\/strong>The Robb Report: Collection<\/strong>:\u00a0“Cutting Edge, John Jensen Fashions Knives as Art”<\/u><\/span>, Vol. VI, No. 12, (pg. 154, Illustrated)<\/h6>
2007 \u00a0\u00a0<\/strong>Knives Illustrated<\/strong>:\u00a0“Art Knives in the Art World”<\/u><\/span>, Vol. 21, No. 6, (pp. 58, 59 Illustrated)<\/h6>
2007 \u00a0\u00a0<\/strong>The Art of the Knife.<\/strong><\/h6>
2007 \u00a0\u00a0<\/strong>The Philadelphia Inquirer<\/strong>:\u00a0“A Grand Slam on the Main Line\u201d<\/u><\/span><\/h6>
2007 \u00a0\u00a0<\/strong>Blade<\/strong>:\u00a0“Multiple Layers and Majestic Materials”<\/u><\/span>, Vol. XXXIV, No. 1 (pp. 20-25, illustrated)<\/h6>
2006 \u00a0\u00a0<\/strong>Craft Forms 2006<\/strong>: Exhibition Catalog, (illustrated)<\/h6>
2006 \u00a0\u00a0<\/strong>BOOM<\/strong>:\u00a0\u201cJensen Knives\u201d<\/u><\/span>, (illustrated)<\/h6>
2006 \u00a0 Lapidary Journal<\/strong>:\u00a0“On The Edge of Exotic”<\/u><\/span>, Vol. 60, No. 5 (pg. 10, illustrated)<\/h6>
2006 \u00a0 4W<\/strong>\u00a0(Argentina):\u00a0“John Jensen: El Arte Del Cuchillo”<\/u><\/span>, (pp. 99-101, illustrated)<\/h6>
2006 \u00a0 Varium et Mutibile<\/strong>\u00a0(Greece):\u00a0“Per Se”<\/u><\/span>, (pg. 178, illustrated)<\/h6>
2006 \u00a0 Che<\/strong>\u00a0(Belgium):\u00a0\u201cSpellenhulp”<\/u><\/span>, ” No. 74 (pp. 134-135)<\/h6>
2006 \u00a0\u00a0<\/strong>Metalsmith:<\/strong>\u00a0“California Art Metal Now”<\/u><\/span>, Vol. 26, No. 2 (pg. 57)<\/h6>
2006 \u00a0\u00a0<\/strong>American Craft<\/strong>:\u00a0“Gallery”<\/u><\/span>, Vol. 66, No. 2 (pg. 64, illustrated)<\/h6>
2006 \u00a0 The Orange County Register<\/strong>:\u00a0“Basking in Exclusivity”<\/u><\/span>, Feb.2 2006<\/h6>
2006 \u00a0 IRONWORK TODAY: INSIDE & OUT<\/strong>. (pg. 225, illustrated)<\/h6>
2006 \u00a0\u00a0<\/strong>Stuff<\/strong>:\u00a0“Gearotica”<\/u><\/span>, Vol. 9, No. 1 (pg. 62, illustrated)<\/h6>
2005 \u00a0\u00a0<\/strong>The Philadelphia Inquirer<\/strong>:\u00a0“Craft Forms: A Show with Verve”<\/u><\/span>, (pg. L8, illustrated)<\/h6>
2005 \u00a0\u00a0<\/strong>Atlanta Max<\/strong>: Winter 2005\u00a0“Holiday Gift Guide”<\/u><\/span>, (pg. 35, illustrated)<\/h6>
2005 \u00a0\u00a0<\/strong>Craft Forms 2005<\/strong>: Exhibition Catalog, (illustrated)<\/h6>
2005 \u00a0 Metalsmith:\u00a0<\/strong>\u201cExhibition in Print\u201d<\/u><\/span>, Vol. 25, No. 4 (p. 30, illustrated)<\/h6>
2005 \u00a0\u00a0<\/strong>Made in America:<\/strong>\u00a0Exhibition Catalog, (illustrated)<\/h6>
2005 \u00a0 Blade\u2019s Guide to Knifemaking<\/strong>. Vol. 1, No. 1 (illustrated)<\/h6>
2005 \u00a0 Metalsmith<\/strong>:\u00a0“Hammer & Hand: Contemporary American Metal”<\/u><\/span>, Vol. 25, No. 3 (p. 54)<\/h6>
2005 \u00a0 Art and Design in Modern Custom\u00a0Fixed-Blade<\/u><\/span>\u00a0<\/strong>(pp. 180-187, illustrated)<\/h6>
2005 \u00a0 American Craft<\/strong>:\u00a0“Gallery\u201d<\/u><\/span>, Vol. 64, No. 6 (pp. 64, illustrated)<\/h6>
2003 \u00a0 Excalibur<\/strong>\u00a0(France):\u00a0“John Lewis Jensen”<\/u><\/span>, (pp. 4, 38-40, illustrated) and\u00a0“L’Objectif Acere”<\/span>\u00a0No. 30 (pp. 64, 65, illustrated)<\/h6>
2003 \u00a0 Hephaistos<\/strong>\u00a0(Germany):\u00a0“Mit dem Dolch zum Traualtar”<\/u><\/span>, 1-2, 2003 (pp 4, 8-11, illustrated)<\/h6>
2003 \u00a0 SNAG Newsletter<\/strong>:\u00a0“Art Knife Awareness”<\/u><\/span>, (p. 9, illustrated)<\/h6>
2003 \u00a0 Art and Design in Modern Custom\u00a0Folding<\/u><\/span>\u00a0Knives<\/strong>. (pp. 30-31, 160-167, illustrated)<\/h6>
2003 \u00a0 Knives Illustrated:\u00a0<\/strong>\u201cKnife Art\u201d<\/u><\/span>, 17, No. 1 (pp. 2, 52-57, illustrated)<\/h6>
2002 \u00a0 Metalsmith:\u00a0<\/strong>\u201cExhibition in Print\u201d<\/u><\/span>, Vol. 22, No. 4 (p. 26, illustrated)<\/h6>
2002 \u00a0\u00a0<\/strong>Knife World<\/strong>:\u00a0“Artistry In Knives”<\/u><\/span>, Vol XXVIII, No. 7 (p. 18, illustrated)<\/h6>
2002 \u00a0 SNAG \/ 3M:\u00a0<\/strong>\u201cInnovative Tools for Personal Use\u201d<\/u><\/span>, Exhibition Catalog and CD-Rom<\/h6>
2001 \u00a0\u00a0<\/strong>RISD Views<\/strong>. Vol. 87, No. 2, (pp. 32-33, Illustrated)<\/h6>
2001 \u00a0 Blade:\u00a0<\/strong>“Diamonds in the Rough, Jewelers turned Knifemakers”<\/u><\/span>, Vol. XXVIII, No. 1 (p. 114, Illustrated)<\/h6>
2000 \u00a0\u00a0<\/strong>Internationales Waffen-Magazin<\/strong>\u00a0(Switzerland):\u00a0“Utopische Blankwaffen”<\/u><\/span>, (pp. 559-561, Illustrated)<\/h6>
2000 \u00a0\u00a0<\/strong>Excalibur<\/strong>\u00a0(France):\u00a0“Star Knife, la nouvelle g\u00e9n\u00e9ration”<\/u><\/span>, No.15, (pp. 52-59, Illustrated)<\/h6>
2000 \u00a0 The Contemporary Blacksmith<\/strong>. (pp. 235-236, Illustrated)<\/h6>
1999 \u00a0\u00a0<\/strong>Internationales Waffen \u2013 Magazin<\/strong>: (Switzerland)\u00a0“Messerborson in Europa”<\/u><\/span>, (pp. Cover, 712-716)<\/h6>
1999 \u00a0\u00a0<\/strong>La Passion des Couteaux<\/strong>\u00a0(France):\u00a0“Devine Qui Vient Au S.I.C.A.C. Ou Le Plus Grand Rendez-vous International De Couteliers Customs\u201d<\/u><\/span>, No.60, (pp. 18-25, Illustrated)<\/h6>
1998 \u00a0 Arts Media<\/strong>:\u00a0“Cambridge Art Assoc. National Prize Show at University Place”<\/u><\/span>, (p. 14)<\/h6>
1998 \u00a0 Boston Globe<\/strong>:\u00a0“Creative Mix from Cambridge”<\/u><\/span>, (pp. C1-C4)<\/h6>
1998 \u00a0 Lapidary Journal<\/strong>:\u00a0“Facets”<\/u><\/span>, Vol.51, No.11, (p. 8, Illustrated)<\/h6>
1998 \u00a0 Knives Illustrated:\u00a0<\/strong>“John Lewis Jensen”<\/u><\/span>, Vol.12, No.1, (pp. 64-67, Illustrated)<\/h6>
\u201996-\u201997 \u00a0 Rhode Island School of Design:\u00a0<\/strong>\u201cAdmissions Catalog\u201d<\/u><\/span>, (p. 60, Illustrated)<\/h6>
1996 \u00a0 Providence Journal Bulletin<\/strong>:\u00a0“A Show with Attitude”<\/u><\/span>, (p. E6)<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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BIOGRAPHY:<\/strong><\/h2>
John Lewis Jensen is a designer and metal-smith with a concentration in the niche field of Art-Knives. He was born in Newport Beach, CA in 1971 and currently lives and works in Pasadena, California. He received a BFA in Jewelry + Metalsmithing from Rhode Island School of Design (RISD), in\u00a01996. His further interests and passions lie in Architecture, Interior Design and Furniture, and in 2022 he completed his studies in Interior Design from UCLA-X. John\u2019s skill sets, both technical and conceptual are applied to his unique art-knife style, which has helped him take his work to a new level. What separates John\u2019s work from other contemporary knife makers, is his true approach to the form as art, and not just another embellished version, of an otherwise ordinary knife. He was most recently represented in a two year, traveling exhibit entitled \u201cProtective Ornament: Contemporary Armor to Amulets\u201d, which was featured at both the National Ornamental Metals Museum, TN and the Tacoma Art Museum, WA. This show was based on the book: \u201cOn Body & Soul\u201d written and curated by the noted art critic Suzanne Ramljak. He\u2019s also been featured in shows at the Mesa Art Museum, AZ (2013), as well as the Canton Museum of Art, OH (2012). In 2012, he also gave a presentation \/ lecture on his work at the Bowers Museum in Santa Ana, CA. In addition, his work has been shown in such diverse places as the National Ornamental Metals Museum, TN (2007), (where he curated the 1st ever show on Modern Art-Knives in the U.S.), The Rock and Roll Hall of Fame & Museum in OH (2005), and the French Embassy in Washington D.C. (1998), among many others. Jensen\u2019s award winning work has also been featured in over 100 international publications, and he\u2019s been instrumental in the art world’s new appreciation of knife making as a serious art form. He produces his one-of-a-kind pieces as a one-man operation under the moniker \u201cJensen Knives\u201d\u00a0Art, at its heart straddles between two schools of thought: On one side, art is the ultimate form of anti-establishment, meant to be intimidating, confounding, and a bold rejection of all things \u201cnormal\u201d. On the other side, it is meant to uplift the human spirit, and enhance life around us with its beauty and grandeur. With my artwork I\u2019m looking to be a part of both realms…<\/span><\/h6>
Fundamentally, the purity and act of creation, combined with the abilities of my mind and hands is a staggering, life-altering experience. Up until 2018, the inception and creation of one-of-a-kind Art Knives is where John has solely concentrated his main artistic intention and expression. He is now further exploring his passions in Architecture and Interior Design.\u00a0<\/h6>
\u00a0<\/h6>

ARTIST STATEMENT:<\/strong><\/h2>
The knife is an art form unlike any other, and offers me a focal point for many of my varied interests. It is defined by both its form and function, while also simultaneously evoking a wide range of associations. My work is about the exercise of pushing the boundaries within, and beyond these inherent parameters into realms of design and beauty not often associated to knives. Personally, \u201cKnives as Art\u201d, are the ultimate manifestation of the ideals behind the meaning, intention, and creation of art.<\/h6>
After extensive exploration of numerous and varied design and artistic mediums, no other object has held my attention as knives have. I\u2019ve found that metal, especially harder metals, like steel and titanium in particular, suit my temperament. As a designer, jeweler, sculptor and machinist, the knife-making process gives me a diverse palette to work through in the utilization of many different combinations of exotic materials, color, pattern, texture and composition. To me, the exploration of the knife is simply another form of paint and canvas, and one in which I am able to ultimately express and embody my great love of the sublime.<\/h6>
My interest in expanding the parameters of this little known, and often times misunderstood form, continues to challenge and intrigue me on many levels, but mainly because knives offer two distinct and opposing viewpoints. They have long been both feared on a primal level, yet also revered as sacred, even magical objects. This poses an interesting challenge on how to create art out of an object that is so steeped in specific physical and emotional definitions. Knives are mans oldest and most widely used practical tools, and thus are tied to life, survival and death. Yet, they are also ceremonial symbols, used to denote power, status, nobility, etc. Simply put, they are loaded with multiple meanings and associations.<\/h6>
I love radical design, as well as subversive undertones, and unorthodox expression. To me, there is no point in making anything that doesn\u2019t challenge and\/or awaken the senses.<\/span><\/h6>
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Art-Knives in Context \u201cThe knife, in all its many descended incarnations, very likely represents the oldest tool in human history. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"footnotes":""},"class_list":["post-145","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/pages\/145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/comments?post=145"}],"version-history":[{"count":6,"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/pages\/145\/revisions"}],"predecessor-version":[{"id":822,"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/pages\/145\/revisions\/822"}],"wp:attachment":[{"href":"https:\/\/realestatebydesignla.com\/jensenknives\/wp-json\/wp\/v2\/media?parent=145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}