 May 2010
Greetings!
MAKERS: A HISTORY OF AMERICAN STUDIO CRAFT
Janet Koplos & Bruce Metcalf University of North Carolina Press A special limited pre-publications edition at 25% off the cover price, featuring a hand-tipped signature card from the authors. This Book is a Project of The Center for Craft, Creativity & Design. 2010 CRAFT RESEARCH FUND GUIDELINES & APPLICATION
Examples of past Craft Research Fund recipients
Deadline for Applications: July 1, 2010 THE MISSION of the Craft Research Fund is to advance, expand and support scholarship about United States craft. GOALS HISTORY 2010 Craft Research Fund – PROJECT GRANT Application & Guidelines 2010 Craft Research Fund – GRADUATE RESEARCH GRANT Application & Guidelines CCCD Executive Director Position opening announced
Dian Magie is retiring in September after ten years as Executive Director. The opening for the next ED is now posted on the UNC Asheville website: www.unca.edu/hr. All applications must be completed online with a cover letter and references by the deadline May 31, 2010. IN THE GALLERY
L to R: Patrick Hall with students standing with "In Sunshine or In Shadow" piece created in Marshall, NC. Photo Credit: © Ben Walters, www.benwalters.net; Patrick Hall welding with students; “In Sunshine or In Shadow” at night in Marshall, NC. Photo Credit: © Ben Walters, www.benwalters.net
In Sunshine or In Shadow: A Residency & the WNC Students Who Were There
April 16 – August 13, 2010 This exhibit features the work of nineteen students from UNC-Asheville, Western Carolina University, Appalachian State University, and Haywood Community College who were selected to work with Tasmanian sculptor and furniture maker Patrick Hall. The residency was graciously hosted by Rob Pulleyn, owner of Marshall High Studios in Marshall, NC, and took place in May 2009. This exhibit features selected work by students who participated in this residency, as well as documentary photographs showing the sculpture they created during the residency titled “In Sunshine or In Shadow.” Also on display will be the completed piece from the residency (housed outside). The Center for Craft, Creativity & Design organizes an international artist residency once every three years to provide an opportunity for college students from this region to work with an internationally renown craft artist. These efforts focus on developing collaborative skills and working in an atmosphere that is different then their academic settings. 2010 WINDGATE MUSEUM INTERNSHIPS ANNOUNCED
This is the fifth year the Center for Craft, Creativity and Design has partnered with museums in the U.S. and UK to provide students (future curators) with an internship working with craft collections, research, and/or exhibitions. CCCD provides $5,000 to each museum for the internship and widely distributes the opportunity. Museums select the intern from an expanded pool of highly qualified undergraduate and graduate students across the country. Students receive compensation for their work, and an opportunity to work with skilled professional curators and craft objects. Alicia Arroyo, a MA graduate in the History of Decorative Arts & Design, at the Parsons School of Design, with experience working with jewelry will be an intern at The Oakland Museum of California, which is planning a retrospective exhibition and publication on the work of Modernist jeweler Margaret De Patta, in conjunction with the Museum of Arts and Design in New York. She will be helping to organize the photography and rights for the De Patta Exhibition. Laura Houston, graduating from the University of Wisconsin-Madison in May with a major in history and material culture studies has been selected Windgate Intern at the Museum of Fine Arts, Houston. She will be working on the 2012 traveling exhibition and catalogue of the Garth Clark and Mark Del Vecchio Collection of contemporary ceramics. Marilyn Zapf, was an intern at the Mint Museum of Craft + Design after graduating in 2009 from The University of Georgia, with a BFA in Jewelry and Metalworking. She will have a six-week internship within the Research Department of the Victoria & Albert Museum, London. At the museum her duties will include photo and text rights research, mailing list development, for a major exhibition on the subject of Postmodernism, to be staged at the V&A in 2011, and publishing in the area of craft, including the Journal of Modern Craft (Berg Publishing). Marilyn will begin graduate work in the fall at the V&A/RCA History of Design program. Robert Coby, a senior majoring in glass at the Cleveland Art Institute, will intern during the summer at the Cleveland Museum of Art. He will review the holdings related to decorative arts, with a focus on glass, compare these with the collections in Toledo and Pittsburgh, completing a report with ideas for exhibition display and interpretation of the Museum’s glass collection within the 20th and 21st century art galleries. 2010 WINDGATE FELLOWSHIP RECIPIENTS ANNOUNCED
The Center for Craft, Creativity and Design is pleased to announce the ten 2010 Windgate Fellows, selected from 92 applications representing 50 universities from throughout the United States. Each Windgate Fellow, a graduating senior whose work relates to craft, will receive $15,000 to complete a proposal presented in his/her application. This is the fifth year of the Windgate Fellowship awards, a program supported by the Windgate Charitable Foundation and administered by the Center for Craft, Creativity and Design. With the 2010 Windgate Fellowships, a total of $750,000 has been awarded to 50 graduating seniors working in a craft medium representing 30 colleges and universities in 20 states. The 2010 selection panel included: Jan Katz, Curator, Center for Southern Craft and Design, The Ogden Museum of Southern Art, New Orleans; Harriet Green, Visual Arts Director, South Carolina Arts Commission; Miguel Gómez-Ibáñez, Executive Director, North Bennet Street School, Boston; and Stoney Lamar, wood/metal sculptor and Windgate Foundation representative, Saluda, NC. Panel members scored each application on line then met March 26 to select the ten 2010 winners from finalists. Click Here for images and a brief description of their proposals. Dustin Farnsworth BFA Woodworking/Functional Art, Kendall College of Art and Design of Amy Hamai BA, Metal, San Diego State University Daniel Icaza BFA Metals/Jewelry, Arizona State University Alexis Myre BFA, Jewelry/metal arts, California College of the Arts Rachael Nyhus BFA, Metal Arts, California College of the Arts Benjamin Reid BFA sculpture, University of North Carolina Asheville David Skaurud BFA Furniture, Minneapolis College of Art and Design David Stock BFA Glass, California State University – Chico Abigail Waltz-Hill BFA Fibers, Arizona State University Thoryn Ziemba BFA glass, Tennessee Tech University OF RELATED INTEREST
HandMade: The Western North Carolina Craft, Architecture & Design Expo will bring together craft entrepreneurs, architects, builders, designers and the public to experience the possibilities and access the resources for purchasing or commissioning an original work for the home. Through model rooms, home tours, workshops and presentations, participants will be inspired and educated about integrating craft in the built environment. The event will be held June 25 and 26 at The North Carolina Arboretum in Asheville. Tickets at $15 per day or $25 for both days will be available, along with additional information on the event web site at www.handmadeinamerica.org/designexpo. CONFERENCES
ABANA Conference
June 2-5, 2010 Memphis, TN The Bi-annual Conference for the Artist-Blacksmith’s Association of North America (ABANA) will kick-off on June 2 and continue thru June 5, 2010 at the AgriCenter International in Memphis, Tennessee. More than 1,000 professionals, amateurs, and artists will gather for this unique event offering active involvement and exposure to blacksmithing skills. This premiere conference will host artist demonstrators from the U.S. such as Dan Boone, Darryl Nelson, Mark Aspery, Phil Cox and Steve Parker. Other noted artists include Joe Anderson, Dan Nauman, and Tom Latane, as well as International master artists, Shelley Thomas, England, and Amit Har-Lev and Tsur Sadan from Israel. All demonstrations will take place at the AgriCenter International. The Keynote Address will be delivered by Carissa Hussong, executive director of the National Ornamental Metal Museum (NOMM), and Jim Wallace, the museum’s first director. Register now and take advantage of the low rates by calling the ABANA Central Office at 703-680-1632 to request a registration form or to register by phone. Daily passes will be available for the general public.
Arrowmont to host Figurative Sculpture Symposium
Limited to 200 attendees
October 27-30, 2010 “Figurative Association: The Human Form in Clay” will feature eight internationally and nationally known ceramic and mixed media artists from six states who use the figure as the main theme in their sculpture. The artist/presenters include: The symposium is being coordinated by Arrowmont’s Program Director Bill Griffith with assistance from Debra Fritts, a noted Georgia ceramic artist and Arrowmont instructor and Thaddeus Erdahl, current Arrowmont Resident Artist in Ceramics. A series of lectures, panel topic discussions, demonstrations and gallery exhibitions will make up the three-day symposium. Additionally, each artist/presenter has invited an emerging figurative sculptor of their choice to be represented in the Invited Artists Exhibition, which will be one of the highlights of the event. Arrowmont and Debra Fritts will each also invite an emerging figurative artist to participate. “One vital, educational component of this symposium is the identification of 10 emerging artists in the ceramic sculpture field and the invitation to exhibit their work alongside the highly respected national Presenters Exhibition,” said Arrowmont Program Director Bill Griffith, adding, “This again speaks to Arrowmont’s commitment as a leader in education and support in promoting the careers of the next generation of artists.” PUBLICATIONS
The Craft Reader, edited by Glenn Adamson The CCCD proudly supported this text with a Windgate internship. From the canonical texts of the Arts and Crafts Movement to the radical thinking of today's “DIY” movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth – from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design. Glenn Adamson is Deputy Head of Research and Head of Graduate Studies at the Victoria and Albert Museum. He is author of Thinking Through Craft and co-editor of The Journal of Modern Craft. String, Felt, Thread: The Hierarchy of Art and Craft in American Art String, Felt, Thread presents an unconventional history of the American art world, chronicling the advance of thread, rope, string, felt, and fabric from the “low” world of craft to the “high” world of art in the 1960s and 1970s and the emergence today of a craft counterculture. In this full-color illustrated volume, Elissa Auther discusses the work of American artists using fiber, considering provocative questions of material, process, and intention that bridge the art–craft divide. Studio Furniture of the Renwick Gallery: Smithsonian American Art Museum The eighty-four pieces of studio furniture owned by the Renwick Gallery of the Smithsonian American Art Museum constitute one of the largest assemblages of American studio furniture in the nation. Three former administrators-Lloyd Herman, Michael Monroe, and Kenneth Trapp-amassed a seminal collection that samples studio furniture's great diversity. From the carefully crafted stools of Tage Frid to the art deco chest painted by R ob Womack, from the one-of-a-kind Ghost Clock sculpture by Wendell Castle to the limited production stool by David Ebner, the collection highlights the astonishing variety of the American studio furniture movement. In this catalog, author Oscar P. Fitzgerald documents each piece of furniture in a descriptive, illustrated entry. He also recounts the history of the collection's formation in an introductory essay, which illuminates the rationale and aesthetic choices of each curator and notes various donors and support organizations. Finally, Fitzgerald's statistical analysis of the collection, formulated from detailed interviews with the surviving artists, casts new light on workshop practices, marketing concerns, and other aspects of the contemporary studio furniture movement. A foreword by noted scholar and curator Paul Greenhalgh gives readers a brilliant overview. This book is published by Fox Chapel Publishing and is available at www.foxchapelpublishing.com. Choosing Craft: The Artist's Viewpoint Choosing Craft explores the history and practice of American craft through the words of influential artists whose lives, work, and ideas have shaped the field. Editors Vicki Halper and Diane Douglas construct an anecdotal narrative that examines the post-World War II development of modern craft, which came of age alongside modernist painting and sculpture and was greatly influenced by them as well as by traditional and industrial practices. The anthology is organized according to four activities that ground a professional life in craft--inspiration, training, economics, and philosophy. Halper and Douglas mined a wide variety of sources for their material, including artists' published writings, letters, journal entries, exhibition statements, lecture notes, and oral histories. The detailed record they amassed reveals craft's dynamic relationships with painting, sculpture, design, industry, folk and ethnic traditions, hobby craft, and political and social movements. Collectively, these reflections form a social history of craft. Choosing Craft ultimately offers artists' writings and recollections as vital and vivid data that deserve widespread study as a primary resource for those interested in the American art form. This book is published by The University of North Carolina Press and is available at www.uncpress.unc.edu The Craftsman and the Critic When English craftsman, poet, and socialist William Morris advised consumers in the 1880s to "have nothing in your houses that you do not know to be useful or believe to be beautiful," he prompted a movement for design reform in Britain, Europe, and America. Championing Morris's views, the Society of Arts and Crafts in Boston led the quest for "usefulness and beauty" in the United States. As the oldest, continuously-operating arts and crafts organization in the country, it exerted considerable influence. Among the Boston reformers were design critics, whose profession became increasingly important in the nineteenth century. Many of them-including a number of prominent women-were also architects, designers, craft workers, educators, and theorists. Their views on design reform were substantive and often controversial. This richly illustrated book explores the interaction of craft workers and critics as they collaborated to improve the quality of the living and working environment in Boston and across the United States. Beverly K. Brandt examines multiple overlapping topics-the evolution of the profession of design criticism in the nineteenth century; Boston in the "Gilded Age" as a center for reform, epitomized by the Aesthetic and the Arts and Crafts movements; the formative years of the Society of Arts and Crafts (1897-1917); key personalities associated with that organization; the theoretical underpinnings of the Arts and Crafts movement; and a diaspora of Boston reformers who left the city to promote usefulness and beauty across the country and abroad. In an epilogue, she discusses the Arts and Crafts revival which has flourished since the 1970s and contemplates why the search for usefulness and beauty continues to resonate today. This book is available through the University of Massachusetts Press at A Theory of Craft: Function and Aesthetic Expression by Howard Risatti. What is craft? How is it different from fine art or design? Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft's unique qualities as functionality combined with an ability to express human values that transcend temporal, spatial, and social boundaries. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design and its singular approach to understanding the world will be lost. Knitting America: A Glorious Heritage from Warm Sock to High Art. This is the history that Knitting America celebrates. The first fully detailed, full-color, comprehensive history of knitting in America from colonial times to the present, the book conveys the social and historical realities that the craft embodied as well as the emotional narrative that unfolded at the hands of the nations knitters. With vintage patterns and designs typical of each era, Knitting America comprises a knitted history of American society. Here are the trends and the shortages, the historical happenings and the social movements, the advertising and economic developments that affected knitting and style. Also included are 20 historic knitting patterns for todays knitters. Beautifully illustrated with vintage pattern booklets, posters, postcards, black-and-white historical photographs, and contemporary color photographs of knitted pieces in private collections and in museums, this book is a treasure of history and craft, an exquisite view of America through the handiwork of its knitters. Makers: A History of American Studio Craft At the first "Think-Tank" convened by CCCD in 2002, of craft faculty, museum director and curators, scholars and critics, the initiative ranked as most important to the advancement of the field was a history of American Craft in the twentieth Century. The journey toward making this a reality can be tracked on www.craftcreativitydesign.org/research/history.php. Makers: A History of American Studio Craft by Janet Koplos and Bruce Metcalf is with the publisher, the University of North Carolina Press. Long awaited, the book, researched and written under the auspices of CCCD, will include 500+ images and also serve as an undergraduate text. It will be released in 2010. The University of North Carolina Press is making craft history and criticism a focus of the Press. The Journal of Modern Craft, edited by Glenn Adamson, Victoria & Albert Museum, UK; Edward S. Cooke, Jr. Yale University, USA; Tanya Harrod, Royal College of Art, UK, is the first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. It address all forms of making that self-consciously set themselves apart from mass production - whether in the making of designed objects, artworks, buildings or other artefacts. Published three times a year in March, July and November. Additional information can be found at www.journalofmoderncraft.com. To place an order/subscription visit www.bergpublishers.com. About Us
The Center for Craft, Creativity and Design is an inter-institutional Center of the University of North Carolina. The mission of the regional UNC Center is to support and advance craft, creativity and design in education and research, and, through community collaborations, to demonstrate ways that craft and design provide creative solutions to community issues. The mission of the nonprofit CCCD is to support the mission of the UNC center through funding, programs, and outreach to artists, craft organizations, schools in the community, region and nation. email: info@craftcreativitydesign.org |
