PURPOSE

The purpose of the Craft Research Fund is to advance, expand and support scholarship in United States.


Publications supported by the Craft Research Fund

Publications supported by the Craft Research Fund

TYPES OF GRANTS WITHIN PROGRAM

 

GOALS

PAST CRF GRANTS

  • 2017/18 Craft Research Fund Grants
  • 2016/17 Craft Research Fund Grants
  • 2015/16 Craft Research Fund Grants
  • 2014 Craft Research Fund Grants
  • 2013 Craft Research Fund Grants
  • 2012 Craft Research Fund Grants
  • 2011 Craft Research Fund Grants
  • 2010 Craft Research Fund Grants
  • 2009 Craft Research Fund Grants
  • 2008 Craft Research Fund Grants
  • 2007 Craft Research Fund Grants
  • 2006 Craft Research Fund Grants
  • 2005 Craft Research Fund Grants
  • 2017/18 Craft Research Fund Grants

    Since 2005, the Center for Craft’s Craft Research Fund grant program has advanced and expanded research about craft in the United States. The program supports innovative research on critical issues in craft theory and history, explores the inter-relationship among craft, art, design and contemporary culture, and fosters new cross-disciplinary approaches to scholarship in the craft field.

    2017/18 Craft Research Fund Awardees

    The Center for Craft is pleased to announce the recipients of 2018 Craft Research Fund grants. This year 13 organizations, curators, scholars, and graduate students will receive a total of $95,000 to support research, exhibitions, catalogs, and projects in the United States.

    GRADUATE GRANTS

    1 out of 1 Graduate Grant proposals awarded

    Barbara Klare, University for the Creative Arts/Open College of the Arts – $2,909
    Support for research on the broader cultural and aesthetic implications of Boro, on contemporary art, craft and design.

    EXHIBITION GRANTS

    3 out of 10 Exhibition Grant proposals awarded

    Craft & Folk Art Museum – $9,925
    Support for an exhibition and accompanying catalogue exploring the intersection of craft, commodity, and capitalism in select contemporary artists’ work. The catalogue will provide context for how these themes converge historically and explore how artists can subvert the repressed histories represented by the various commodities they utilize.

    George Washington University – $7,000
    Support for the exhibition Fast Fashion/Slow Art, investigating the conditions and politics of the mass production and distribution of textiles in the late twentieth and early twenty-first centuries.

    Museum of Arts and Design – $6,000
    Support for the research-driven exhibition Surface/Depth: The Decorative After Miriam Schapiro, the first exhibition to fully investigate Schapiro’s fabric-collages known as “femmages” and their impact on contemporary craft.

    PROJECT GRANTS

    9 out of 18 Project Grant proposals awarded

    Holly Gore – $14,626
    Support for an investigation into how mid-century woodworkers in the United States navigated the intersection of modernist universalism and the class, race, and gender biases endemic to the skilled trade they performed. This project explores how these fraught territories were places of innovation, ideal for subverting class distinction and media hierarchies.

    Christopher Grant – $6,200
    Support for a project to investigate the formation of a local craft economy in Creole New Orleans at the turn of the nineteenth century. Through archeological analysis and archival research, this project analyzes locally produced pottery and the development of Creole aesthetics to examine the relationship between craftsmanship, race and political economy.

    Toni Greenbaum – $3,500
    Support for research for a monograph on American modernist jeweler Sam Kramer consisting of approximately 160 pages with 130 photographs in color. Archival images of the artist, his atelier, and related material will be printed in black and white.

    Joseph Larnerd – $6,012
    Support for dissertation considering decorative cut glass as a force in American life from Reconstruction through the Great War. Project will investigate how the manufacture and discourse surrounding cut glass during the Gilded Age afforded sites of making through which working-class Americans created and negotiated their perceptions of themselves, their compatriots, and their nation.

    Mathilde Lind – $5,600
    Support for fieldwork with the Marshfield School of Weaving exploring specifically the negotiation of traditional and contemporary techniques in teaching and representing historical crafts and the philosophy of “preservation through use” in maintaining antique craft equipment outside of traditional museum setting.

    Ezra Shales – $14,887
    Support for research for an encyclopedic survey of contemporary basketry made in the United States inclusive of art, craft, and design. Looking specifically at the full complexities of cultural diversity and hybridity that transcend the dichotomy between ethnographic and studio practices.

    Sarah Stopenhagen Broomfield – $1,140
    Support for a project to study documents of an important unwritten chapter about Churchill Weavers textiles, detailing their diverse design influences. It confirms and documents several modern design influences that have never been identified as such, which allowed Churchill Weavers to become an innovative production center in the world of fashion design and craft.

    Lisa Vinebaum – $13,558
    Support for research toward a book manuscript, Social Fabrics: The Art of Community. The research explores how artist are mobilizing fiber to create formal and informal communities and communal bonds, with a view to confronting historical and contemporary injustices like settler colonialism, racial violence, white supremacy and rape culture.

    Jacqueline Witkowski – $4,000
    Support for a project to understand the singular importance of textiles/fiber within art and craft practice during the 1960s–1980s era of the United States. This project provides a sustained analysis of the ways South American artists utilized these mediums in concrete and metaphorical ways.

    The Craft Research Fund program is administered by The Center for Craft, Creativity & Design and supported by the Windgate Fund at the Community Foundation of Western North Carolina.

    2017/18 CRAFT RESEARCH FUND SELECTION COMMITTEE

    Tanya Harrod, is the author of the prize-winning The Crafts in Britain in the Twentieth Century (Yale University Press 1999). She contributes regularly to The Burlington Magazine, The Guardian, Crafts, The Spectator and The Times Literary Supplement. She is on the Advisory Panel of The Burlington Magazine and of Interpreting Ceramics and is Advisor to the Craft Lives Project based at the National Sound Archive of the British Library. She is a member of the International Association of Art Critics, of the London-based Critic’s Circle and of the Art Workers Guild. In 1999 she was given a Ceramics Arts Foundation Award for distinguished service to the Ceramic Arts. With Glenn Adamson and Edward S. Cooke she is the editor of The Journal of Modern Craft. The Last Sane Man: Michael Cardew, modern pots, colonialism and the counterculture (2012) has won the 2013 James Tait Black Prize for biography. Her most recent books are The Real Thing: essays on making in the modern world (2015) and Leonard Rosoman (2016).

    Emily Orr, is a design historian with particular interests in material culture, industrial design, consumer culture, and retail history. She is the Assistant Curator of Modern and Contemporary American Design at Cooper Hewitt, Smithsonian Design Museum where she recently co-curated and contributed to the catalog for the exhibition Jazz Age: American Style in the 1920s. She holds a PhD in the History of Design from the Royal College of Art/Victoria & Albert Museum where her thesis explored display design in department stores at the turn of the twentieth century, now the focus for a forthcoming monograph.

    Emily Zilber, is the editor for Metalsmith and Metalsmith Tech magazines. Previously Emily was the Ronald C. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston and Assistant Curator at Cranbrook Art Museum. Emily has edited and written numerous publications, articles, exhibition texts, including the catalog for Crafted: Objects in Flux (2015), Contemporary Highlights from the Museum of Fine Arts Boston (2016), “Craft’s Restless Boundaries” in Crafting a Continuum: Rethinking Contemporary Craft 92013), and “Curator’s Eye: Thomas Gentille,” Modern Magazine (Summer 2012).

    RECENT NEWS

    Job Opportunity: Gallery Associate

    The Center for Craft, a national 501c3 nonprofit arts organization located in downtown Asheville, NC, is currently seeking a part-time Gallery Associate. This position will staff the front desk, serve as a primary contact for public interface and provide project, program, and database support.

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