The purpose of the Craft Research Fund is to advance, expand and support scholarship in United States.
2 out of 5 Graduate Research proposals awarded
Theresa Marie Van Orman, Goucher College – $2,828
Support for master’s thesis research investigating the back-to-the-land movement and its role in preserving and perpetuating the heritage of craft and music traditions in Stone County, Arkansas.
Alia Pialtos, University of Colorado, Boulder – $5,000
Support for master’s research investigating the science and poetry of materials and their ability to metaphorically allude to broader aspects of human experience.
6 out of 13 Exhibition Research proposals awarded
Sonya Clark, Craft/Material Studies Chair, School of the Arts Virginia Commonwealth University – $14,955
The Hair Craft Project investigates the relationship between textile arts and the craftsmanship of contemporary African American hairbraiders within the localized intercultural context of Richmond, Virginia.
Jessica Cochran, Curator of Exhibitions, Acting Assistant Director, Center for Book and Paper Arts & Melissa Potter, Associate Professor, Interdisciplinary Arts Department., Columbia College Chicago – $7, 642
Research for Social Paper, and exhibition and catalog to open at the Center for Book & Paper Arts charting the evolution of the art of hand papermaking in relation to discourse around socially engaged art with special attention to craft, labor, community, and site specificity.
Danny Orendorff, Curator-in-Residence, The Charlotte Street Foundation – $8,000
Support for exhibition exploring craft apprenticeship as a metaphor and method for the establishment of intergenerational bonds for historically disadvantaged people and populations.
Sarah Schleuning, Curator of Decorative Arts and Design, High Museum of Art – $13,000
Support for exhibition research and catalog featuring the work of Earl Pardon, a lesser known but significant American modernist artist and designer known for enameling and metalsmithing.
David Wilson, artist and independent curator – $10,000
Support for The Possible, an innovative research and exhibition project at the Berkeley Art Museum bringing together practitioners in a range of disciplines – crafts, design, visual art, and others.
Emily Zilber, Ronald C. and Anita L. Wornick Curator of Contemporary Designative Arts, Museum of Fine Arts, Boston – $7,000
Research support for American artist to be included in Objects in Flux: Exploring the Boundaries of Craft, a major exhibition featuring a select group of international artists working in traditional craft media.
3 out of 14 project Grant proposals awarded
Elizabeth Perrill, Assistant Professor, Art History, The University of North Carolina, Greensboro – $11,575
“Burnished by History: The Legacies of Maria Martinez and Nesta Nala in Dialogue” – a scholarly article and companion artists’ interview focused on the legacies of ceramists Maria Marinez (U.S.A.) and Nasta Nala (South Africa).
Daniela Rosner, Assistant Professor in Human Centered Design and Engineering, University of Washington – $8,000
Ethnographic fieldwork toward a journal article on the relation between engineering and craft practice in the work of maintenance and mending.
Namita Gupta Wiggers, Director and Chief Curator, Museum of Contemporary Craft & Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts, Philadelphia Museum of Art, Co-Founders of Critical Craft Forum – $7,000
Support for Critical Craft Forum to expand, envision, and prototype innovative structures for disseminating craft knowledge and fostering scholarly social networking.
Elissa Auther, Associate Professor of Contemporary Art, University of Colorado, Colorado Springs Her book, String, Felt, Thread and the Hierarchy of Art and Craft (University of Minnesota Press, 2010), examines the innovative use of fiber in American art and the impact of its elevation on the conceptual boundaries distinguishing “art” from “craft” in the post-war era. Her latest publication, West of Center: Art and the Counterculture Experiment in America, 1965-1977 (University of Minnesota Press, 2012), is co-edited with Adam Lerner and focuses on the diverse visual and performative expressions of the American counterculture. Auther has also written about and published on, among other topics, the criticism of Clement Greenberg, the history of the decorative, artist-produced wallpapers, and the film installations of Isaac Julien. In addition to her professorial role, Elissa Auther is also Adjunct Curator at the Museum of Contemporary Art, Denver.
Charles Grench, Assistant Director + Senior Editor, UNC Press Grench acquires trade books, scholarly works, and textbooks for general readers, scholars, and students. His list areas include U.S. history, African American studies, Cold War history, cultural history, diplomatic history, early American studies, legal history, political history, Southern history, the history of the American West, and women’s history. Grench also sponsors UNC Press’ highly selective European history and Greek and Roman history lists and is currently building a list in the history of craft. Grench was previously executive editor at Yale University Press.
Ezra Shales, Associate Professor of Design History, Massachusetts College of Art + Design Shales’ research investigates the productive confusion that lies at the intersection of design, craft, and art. He was previously Associate Professor of Art History at Alfred University and holds a PhD in Decorative Arts, Design and Culture from Bard Graduate Center (2007). Recent publications include, Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010), “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220, and “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, issue 2 (July 2011): 151-178, among many others.
Asheville, NC – Recent economic reports speculate that a third industrial revolution, shaped by digital technologies, is underway. This summer, Benchspace Gallery & Workshop will investigate the implications of such technologies on the making of sculptural and functional objects in the 21st century.