4 out of 9 Graduate Research proposals awarded
Monica Steinberg, Queens College and the Graduate Center, CUNY – $9,750
This dissertation researches how Los Angeles Finish Fetish artists of the 1960s used their work and constructed alter-egos to engage in a craft-based, humorous critique of east coast minimalism.
Sequoia Miller, Bard Graduate Center – $10,000
This master’s research project will explore the context in which young studio potters of the 1970s sought to construct what they deemed authentic and meaningful identities through a life in craft relative to contemporary cultural practice.
Paul James Morgan, University of California, Irvine – $5,000
This project aims to understand how craftspeople price their crafts, examining the relationship between their labor, the use and aesthetic value of their crafts, and the craft’s consumer value.
Monica Obniski, University of Illinois, Chicago – $8,500
This grant will support research for a dissertation that will explore Alexander Girard’s design projects, his folk art collection, and the complex relationship of craft, the vernacular, and modernism in postwar American design.
5 out of 20 Project Grant proposals awarded
Diana Baird N’Diaye, Smithsonian Institution, Center for Folklife and Cultural Heritage, curator and cultural heritage specialist – $13,000
Community-based: multi-sited research including oral history interviews and visual documentation of African American artisans of style: dress, hair, and other parts of the body in preparation for a publication, exhibition, website and public programs for the Smithsonian Folklife Festival.
Janet Berlo, University of Rochester, professor of Art History – $10,750
A study of 100 years of imitation and replication of Mimbres pottery by native and non-native potters, craftspeople and manufacturers, that seeks to understand the continuing power of this ancient tradition.
Faythe Levine, independent scholar – $15,000
Documentary film and book about the trade of sign painting in America. Oral history will include dialog about the past, present and future of the sign painting community, the impact signage has on the landscape and explore the community’s future potential.
Janet Koplos, independent scholar – $13,000
Research for a book on the philosophy and aesthetics of functional pottery today, including interviews with and profiles of a variety of potters across the U.S. and analysis of their work.
Lorelei Stewart, Gallery 400, University of Illinois, Chicago, curator – $10,000
A major publication on Karen Reimer’s work, with innovative scholarly essays that address neglected craft history, theorize a new relationship of craft to labor, and explore how Reimer entwines craft, art, and contemporary issues.
Sarah Archer, former Director of Greenwich House Pottery, is Chief Curator at the Philadelphia Art Alliance. She has worked as a curatorial assistant at the Museum of Arts and Design and recently as a guest curator at Pratt Institute. Her writing has appeared in the Journal of Modern Craft (forthcoming), American Craft, Artnet, Ceramics: Art and Perception, Hand/Eye, Modern Magazine and Huffington Post. She holds a B.A. from Swarthmore College and an M.A. from the Bard Graduate Center.
Karen Derksen is currently the Director of Winthrop University Galleries (WUG) and lectures in art history and visual communications design history for the Department of Fine Arts and the Department of Design at Winthrop. Derksen received a M.A. in Arts Administration from Winthrop and a B.A. in Art History (curatorial studies) from the University of Regina. She has continued her education in design, computer technology, web design, mass communications, and public relations. In her curatorial capacity, she has organized exhibition projects such as Interlaced: Anne Lemanski, Performing Gender, co-curated with Dr. Karen Stock, CADlabORATION 1.0, and Edmund Lewandowski: Precisionism and Beyond in cooperation with the Flint Institute of Arts.
Ethan W. Lasser is Curator of the Chipstone Foundation, an educational foundation with a mandate to advance progressive scholarship and curatorial practice in American craft and design history. Lasser earned his PhD in the History of Art at Yale University in 2008. He recently completed an innovative reinstallation of the American Collections Galleries at the Milwaukee Art Museum, and has curated numerous exhibitions of contemporary craft. His most recent show, The Tool at Hand, considers the relationship between artists and their tools, and the history of tool use. Lasser has published essays about early American decorative arts and museum practice, and is currently a Visiting Scholar in the Research Department at the Victoria and Albert Museum in London.
Mark Shapiro makes wood‐fired pots in Western Massachusetts. He is a frequent lecturer, curator, panelist, and writer, and is mentor to a half‐dozen apprentices who have trained at his Stonepool Pottery. His work was featured in the 4th World Ceramics Biennial in Icheon, Korea, and is in many public collections. His interviews of Karen Karnes, Michael Simon, Paulus Berensohn, and Sergei Isupov, are in the Smithsonian Archives of American Art and he recently edited A Chosen Path: the Ceramic Art of Karen Karnes (UNC Press 2010), which accompanies her current traveling retrospective and was supported with a 2009 Craft Research Fund grant. He is on the advisory board of Ceramics Monthly, and is a contributing editor to Studio Potter Magazine.
Motivated by the writings of longtime Craft Horizons Magazine editor Rose Slivka and artist/poet M.C. Richards, The Center for Craft, Creativity & Design (CCCD) presents a challenge for makers and writers: to create a new collaborative work inspired by The Good Making of Good Things: Craft Horizons Magazine, 1941-1979 in just 11 days.