ARCHIVES

  • 2017 Annual Benefit: Celebrating Stoney Lamar and Craft After Dark
  • Windgate Project Grant Lecture and Workshop with Rebecca Manson
  • The Life and Work of Harvey Littleton
  • Windgate Project Grant Lecture and Workshop with Rachel Mauser
  • Object as Poet
  • About Face: Exploring the Graphic Identity of Craft Horizons Magazine, 1941-1979
  • Women in Craft Wikipedia Edit-a-thon
  • Salon Series: Craft and Community
  • Holding the Pieces Workshop with Michael Swaine
  • Matter in Action: Mending on the Streets with Michael Swaine
  • The Art of Repair with Dr. Steven J. Jackson
  • Shaker Tape Chair Weaving Workshop
  • November Repair Café
  • Follow the Money: Understanding Art Production Today with Glenn Adamson and Julia Bryan-Wilson
  • Fix it in 15: Bike Repair Clinics
  • General and Special: Designer Talk with Ole Jensen
  • 2016 Back to the Drawing Board
  • Overshot: A Composition for String Quartet and Electronics Inspired by the Lou Tate Kentucky Coverlet Collection
  • 20th Anniversary Celebration & Benefit
  • Ghetto Craft: A Place Where Poverty and Porcelain Intersect, Artist’s Talk with Roberto Lugo
  • Recycled China: The Residue of Industry, Artist’s Talk with Thomas Schmidt
  • 1st Annual Windgate Fellowship Project Grant Artist Talks
  • Showing/Making: Curator’s Talk with Garth Johnson
  • Spaces of Production | The Mend-Smith Project
  • Broadway Block Party
  • Glassville: WNC’s Contemporary Glass Showcase
  • Spaces of Production | The People’s Cloth Trade Show
  • How Artists Get Noticed: An Editor’s View
  • At Human Scale: Artist Talk by Michael Strand
  • Back to the Drawing Board | Blue Mountain, Mark Reigelman (Brooklyn, NY)
  • Process vs Product: Shifting Values in Art, Craft, and Design
  • ‘Loving After Lifetimes of All This’ Exhibition Tour with curator Danny Orendorff
  • Back to the Drawing Board | In Song Sing On: The Songbook Project, David Wilson (Oakland, CA)
  • Bringing it Home: Loving After Lifetimes of All This in Asheville
  • Back to the Drawing Board | Performance Crafting: Hand in Hand, Tanya Aguiñiga (Los Angeles, CA)
  • From Hair to There: Artist Talk with Sonya Clark
  • Paper Piecing: Printmaking and the Quilts of Gee’s Bend Session 2
  • Go Tell It at the Gallery!
  • Quiltmaking Workshop with Louisiana P. Bendolph
  • Gee’s Bend In Translation: A Symposium
  • Exhibiting Blackness and the Gee’s Bend Effect
  • Paper Piecing: Printmaking and the Quilts of Gee’s Bend Session 1
  • Quiltmaking Workshop with Loretta Bennett
  • From Quilts to Prints: A Roundtable Discussion
  • Gee’s Bend Quilts: The Art of Necessity and the Necessity of Art
  • PBS “Craft in America: SERVICE” Sneak Preview
  • The Revolution is Now
  • 3-D Printing Week
  • REBIRTH – Ceramics 14.0 – Art + Design + Architecture | a lecture by Garth Clark
  • The Materiality of Sound: What Can Craft Learn from the Sound Industry?
  • CTRL+P Opening Reception
  • PechaKucha Night Asheville – Vol 6
  • “Taking Shape: A Curator’s Perspective”, discussion with Cindi Strauss
  • Craft in America Industry: Handmade in the Creative Economy Sneak Preview
  • Moogfest brings Immersive, Improvisatory, Durational Performances to Benchspace
  • Sign Painters
  • Bernard Leach and the Fine Art of Pots
  • Ismini Samanidou, Guest International Artist at the WNC Textile Study Group
  • The Future of Traditional Pottery with Garth Clark
  • History in the Making: Maker’s Co-Authors Janet Koplos and Bruce Metcalf
  • An Evening with Matthew Crawford
  • Up for Discussion with Magdalene Odundo
  • CCCD’s Windgate Fellowship Program: A Case for Funding Professional Development Opportunities for Graduating Seniors
  • Not the Straight and Narrow: Diverse Pathways to Bending Wood
  • Audio Archive
  • Gee’s Bend In Translation: A Symposium

    Friday and Saturday, November 14-15, 2014 - | The Center for Craft, Creativity & Design and Warren Wilson College
    Loretta Pettway, "Remember Me", 2007

    Loretta Pettway, “Remember Me”, 2007

     

    Scholars and artists will use the Gee’s Bend quilts and prints as a starting point from which to discuss the broader theme of translation in fine art. Presented in conjunction with the exhibition Gee’s Bend: From Quilts to Prints on view at Benchspace Gallery & Workshop, The Center for Craft, Creativity & Design and Elizabeth Holden Gallery, Warren Wilson College. 

    Friday, November 14  | 5:30 – 7:30 pm | Keynote and Reception
    The Center for Craft, Creativity & Design, 67 Broadway St, Asheville, NC (map)
    Keynote address delivered by Dr. Bernard Herman, George B. Tindall Professor of American Studies at University of North Carolina, Chapel Hill

    Saturday, November 15  | 9 am – 3:30 pm
    Warren Wilson College, Kittredge Recital Hall, 701 Warren Wilson Rd., Asheville, NC (
    map)

    To register for the symposium, visit: http://gees-bend-symposium.eventbrite.com

    Click here for printable Gee’s Bend Symposium poster

    Pricing

    $25 Symposium Admission (both days, includes Saturday lunch, Friday keynote and reception); register in advance online by November 12, or at the door (lunch included with advance registration by 11/12 only)

    $10 Friday keynote and reception only

    Free admission for all students with valid ID and faculty and staff of Warren Wilson College (lunch not included; ID required)  

    Schedule

    Friday, November 14  | 5:30 – 7:30 pm | Keynote and Reception
    The Center for Craft, Creativity & Design, 67 Broadway St, Asheville, NC (map)

    5:30 – 6:30 pm |  Keynote Address

    “Quilt Spaces in the Borderlands of Contemporary Craft and Art”
    Dr. Bernard Herman, George B. Tindall Professor of American Studies at University of North Carolina, Chapel Hill

    Quilt Spaces recognizes the quilt as the location for creativity witnessed through acts of translation. As a made thing, the quilt translates the visual culture of its making through the example and inspiration of other quilts, architecture, gardens, popular media, and much more. The quilt in turn becomes an inspiration for other aspects of creative endeavor, for example, sculpture, studio prints, and family narrative.

    Dr. Bernard Herman is the George B. Tindall Distinguished Professor of American Studies and Folklore at the University of North Carolina—Chapel Hill. His books include Thornton Dial: Thoughts on Paper (2011), and Town House: Architecture and Material Life in the Early American City, 1780-1830 (2005). He has published essays, lectured, and offered courses on visual and material culture, architectural history, self-taught and vernacular art, foodways, culture-based sustainable economic development, and 17th and 18th-century material life. He is a past recipient of a National Endowment for the Humanities Fellowship and a John Simon Guggenheim Fellowship. His Saveur essay on an Eastern Shore of Virginia Thanksgiving was anthologized in the best food writing of 2013. He serves on the regional board of the Slow Food Movement’s Ark of Taste, as an Associate Fellow of the International Quilt Study Center, University of Nebraska-Lincoln, the Board of Directors of the Souls Grown Deep Foundation, and several international editorial boards.  His blog, Meditations on the Worlds of Things reflects on ways of thinking about the textures of everyday life.

    6:30-7:30 pm | Reception (drinks, light snacks)

    Saturday, November 15  | 9 am – 3:30 pm
    Warren Wilson College, Kittredge Recital Hall, 701 Warren Wilson Rd., Asheville, NC (
    map)

    9:00 – 9:30 am | Welcome, President Steven Solnick and introductions, Dr. Julie Levin Caro and Marilyn Zapf

    9:30-10:30 am | Panel 1: From Past to Present/Quilts to Prints

    Moderator: Dr. Julie Levin Caro, Co-curator and Professor of Art History, Warren Wilson College

    William Arnett, Atlanta-based art historian and founder of the Souls Grown Deep Foundation
    “The Gee’s Bend Art Academy: Translating Quilt Patterns and Knowledge from Generation to Generation”

    Dr. Alvia Wardlaw, Professor of Art History, Director and Curator of the University Museum, Texas Southern University
    “Where Genius Resides: From Gee’s Bend to America’s Museums”

    Louisiana Bendolph, Gee’s Bend Artist
    “Reflections of a New Generation Gee’s Bend Quiltmaker”

     10:30 – 11:30 am |  Moderated discussion with panelists and audience members

    11:30 am – 1:00 pm |  Visit to Elizabeth Holden Gallery and Lunch 

    1:00 – 2:00 pm | Panel 2: Gee’s Bend and Beyond

    Moderator: Marilyn Zapf, Co-curator and Assistant Director, The Center for Craft, Creativity & Design

    Dr. Karin Peterson, Professor of Sociology, University of North Carolina, Asheville
    “Gee’s Bend inside the White Cube”

    In the last half century, quilts have entered art museums to be displayed as works of art, hung on white gallery walls like paintings. This translation from a domestic to a public sphere has been facilitated by the tools and strategies available to museums and informed by Modernism’s emphasis on autonomy, originality and formalism. In this context, quilts have been held up as equals to other works, and frequently compared to design elements of Abstract Expressionism. This talk examines two moments in the recent history of quilts: first, Jonathan Holstein and Gail van der Hoof’s display of their collection of Amish quilts at The Whitney Museum of American Art in 1971, entitled Abstract Design in American Quilts; and second, collector William Arnett’s display of African American quilts in 2002 at the Museum of Fine Arts Houston, The Quilts of Gee’s Bend. In both exhibits, curators presented quilts in ways aimed to elevate their cultural value and recognition. The differences and similarities between the two moments shed light on how Modernism shapes strategies of valorization. Modernism is both an explicit and implicit frame which shapes how we see quilts in museums, and the talk will explore how particular readings of quilts are made possible, and others less tenable in this context. Further, the talk will consider how the current print works of Gee’s Bend artists work as a strategy of translation and valorization within the context of museum and gallery display.

    Emma Parker, Project Manager, Quilt Alliance

    “Piecing it Together: Improvisation, Reuse and Echoes of Gee’s Bend in the Modern Quilting Movement”

    In the early 2000’s, a small group of quiltmakers around the world began referring to their quilts as “modern quilts”. Inspired by modernist architecture, a rapidly expanding blog culture and the changing aesthetics of commercially available fabrics and the quilts of Gee’s Bend, an international, web-based quilting guild, the Modern Quilt Guild, was created in 2009. Founding members of the guild cited Gee’s Bend quiltmakers in their ‘Modern Quilting Manifesto’, but have crafted a narrative all their own about those quiltmakers and what makes a quilt a ‘modern quilt’.

    Jennifer Duncan, Director, Foundation for Art and Preservation in Embassies (FAPE)

    “Gee’s Bend Prints and the American Embassy”

    The Foundation for Art and Preservation in Embassies is the leading non-profit organization dedicated to providing permanent works of American art for display in U.S. embassies around the world. In 2007, Gee’s Bend artists Louisiana Bendolph, Mary Lee Bendolph, Loretta Bennett and Loretta Pettway joined fellow contemporary artists, including Chuck Close, Ellsworth Kelly, Jasper Johns, and Elizabeth Murray, among others, by donating a print to FAPE’s longest-running program, the Original Print Collection.

    Jennifer Duncan, FAPE’s Director, will discuss how the Gee’s Bend artists became part of FAPE’s Collection, as well as the global impact the prints have had on promoting cross-cultural understanding. For international audiences across five continents, FAPE’s Gee’s Bend prints reveal points of commonality among our traditional values, as well as the creativity, diversity, and resilience of the American culture. 

    2:00-2:30 pm | Moderated discussion with panelists

    2:30-3:15 pm | Gee’s Bend in Translation: Roundtable Discussion

    Moderator: Dr. Bernard Herman

    Participants: William Arnett, Louisiana Bendolph, Julie Levin Caro, Jennifer Duncan, Emma Parker, Dr. Karin Peterson, Dr. Alvia Wardlaw, Marilyn Zapf

    3:15 – 3:30 pm | Closing Remarks

     

    Participants

    Dr. Bernard Herman (keynote speaker)
    George B. Tindall Professor of American Studies at University of North Carolina, Chapel Hill

    William Arnett
    Atlanta-based art historian and founder of the Souls Grown Deep Foundation

    Louisiana Bendolph
    Quilt maker and Gee’s Bend: From Quilts to Prints exhibiting artist, Gee’s Bend, AL

    Dr. Julie Levin Caro
    Gee’s Bend: From Quilts to Prints Co-Curator and Professor of Art History, Warren Wilson College, Asheville, NC

    Jennifer Duncan
    Director, Foundation for Art and Preservation in Embassies (FAPE), Washington, DC

    Emma Parker
    Project Manager, Quilt Alliance oral history programs: Quilters’ S.O.S. – Save Our Stories and Go Tell It at the Quilt Show, Asheville, NC

    Dr. Karin Petersen
    Professor and Chair, Department of Sociology and Anthropology, University of North Carolina, Asheville

    Dr. Alvia Wardlaw
    Director, Texas Southern University Museum, Houston, TX

    Marilyn Zapf
    Gee’s Bend: From Quilts to Prints Co-Curator and Assistant Director, The Center for Craft, Creativity & Design, Asheville, NC

     

     

    RECENT NEWS

    The Center for Craft, Creativity & Design launches “Craft City”

    The Center for Craft, Creativity & Design (CCCD) debuts a new program series this summer that honors Asheville as “Craft City.” At three outdoor pop-up studios this summer (July 7, August 4, and September 1) people of all skill levels and backgrounds can make a take-home craft under the guidance of a visiting artist.

    Read More...



    VISIT: The Center for Craft, Creativity & Design | 67 Broadway Street, Asheville, NC 28801 | map it | Phone: 828.785.1357 Fax: 828.785.1372 | email us | Gallery hours: Tue - Sat 10-6