Now in it’s twelfth year, The Center for Craft, Creativity & Design’s (CCCD) Windgate Fellowship marks $1.8 million awarded to 120 emerging craft artists nationwide. Nominated from a national network of 104 university art programs, these makers represent a skilled and motivated next generation for craft.
Each year, the Windgate Fellowship identifies ten graduating college seniors with exemplary skill in craft. Awardees receive $15,000 – one of the largest awards offered nationally to art students. The results of such early support are already beginning to emerge. Today, Windgate Fellows hold full time faculty positions, are accepted into nationally renowned residence programs, mount solo shows, and establish successful studios. Over half have gone on to earn a Masters of Fine Arts degree. Their work can been seen in nationally traveling exhibitions, represented in galleries, and published in periodicals such as American Craft. Supporting the next generation is one of CCCD’s main focus areas identified to build a thriving national craft field.
This year, four panelists reviewed a national pool of 110 applicants on the basis of artistic merit. They also discerned the potential of each applicant to make significant contributions to the field of craft. The 2017 selection panel included: Margaret (Margi) C. Conrads, Director of Curatorial Affairs, Crystal Bridges Museum of American Art, Bentonville, AR; Ayumi Horie, Potter, Maker and Activist, Portland, ME; Rebecca Manson, Ceramic Artist, 2011 Windgate Fellowship Recipient and 2016 Windgate Project Grant Recipient, Bedford Hills, NY; Abraham Thomas, Fleur and Charles Bresler Curator-in-Charge, Smithsonian American Art Museum Renwick Gallery, Washington, DC.
To mark the tenth anniversary of the Windgate Fellowship in 2015, CCCD announced that it would award a total of ten $10,000 Windgate Project Grants to previous Fellows over the course of three years. The first six grants were awarded in 2015 and 2016 to Andrea Donnelly (Richmond, VA), Aaron McIntosh (Baltimore, MD), Mark Reigelman II (Brooklyn, NY), Dustin Farnsworth (Madison, WI), Rebecca Manson (Bedford Hills, NY) and Rachel Mauser (Louisville, KY).
The final four CCCD Windgate Project Grants were awarded this year to:
Josh Copus, 2006 Windgate Fellow, Ceramics, Marshall, NC
Brian Fleetwood, 2012 Windgate Fellow, Jewelry, La Mesilla, NM
Ani Geragosian, 2009 Windgate Fellow, Fiber, Salem, MA
Adam Ledford, 2011 Windgate Fellow, Ceramics, Philadelphia, PA
The 2017 CCCD Windgate Fellows are:
Audrey An, Alfred University, Ceramics
Rachel Chalik, The University of the Arts, Jewelry/Metalsmithing
Esther Cho, Virginia Commonwealth University, Wood/Furniture
Emelie Cleveland, Parsons, The New School of Design, Fiber/Textiles
Christina Dietz, Pennsylvania State University, Sculpture/Psychology
Christina Glover, Savannah College of Art and Design, Fiber/Textiles
Breana Hendricks, State University of New York at New Paltz, Ceramics
Amy Hoagland, University of Kentucky, Glass/Sculpture/Paper/Extended Media
Steven Kaplan-Pistiner, University of Wisconsin, Madison, Jewelry/Metalsmithing
Rosa Novak, California College of the Arts, Ceramics/Fiber
The CCCD Windgate Fellowship program is administered by The Center for Craft, Creativity & Design and supported by the Windgate Fund at the Community Foundation of Western North Carolina.
By participating in Machining Molds with Del Harrow at Anderson Ranch Arts Center and Porcelain A-Z with Ilona Romule at International Ceramic Studio, I will be able to meet my goals of discovering new processes, focusing on detailed beauty through digital fabrication and creating efficient molds and ways to utilize molds to think creatively.
The Windgate Fellowship will allow the time and experiences necessary to seamlessly connect my undergraduate studies to my professional life as a maker. I plan to audit psychology courses at the University of Pennsylvania and take Precious Metals and Alloys, a one month long intensive course at Alchimia: Contemporary Jewelry School in Florence, Italy.
The Windgate Fellowship will fund my continued research and exploration of Korean traditional papermaking and its related arts. I intend to visit hanji paper mills in South Korea, further my technical skills through hands-on study, establish a network of like-minded individuals who care about its preservation, and integrate the craft and tradition into my practice.
Over the course of the next year I would like to start an artist residency program at the Textile Arts Center in Brooklyn. During this time I will continue to take ceramic classes at a nearby studio in Gowanus. My end goal from this year would be to further develop and refine the techniques that I’ve explored throughout my thesis in order to open up my own studio in Brooklyn, where I would begin producing my own line.
In Tuscany, I will take a shoemaking class and learn the process of cheese making. Tours of vinegar, olive oil, and prosciutto artisan facilities in the Emilia-Romaghna and the Lombardi region will reveal the processes behind the food products that are associated with Italy. I will take a lace making workshop in Normandy, France, and a perfume workshop in Grasse, France. In Jaipur, I will attend a workshop on embroidery and learn about the silkworm that makes Tussar weaving in Bihar, India so famous. Finally, I will attend a glassblowing workshop in Kyoto while also learning about the importance of pickling in Kyoto, Japan.
My proposal for this Fellowship is twofold: first, to develop a series of “smart” textiles informed by traditional craft processes and enhanced by advanced materials such as conductive fibers, and second, to create assistive apparel for individuals living with a disability that utilizes these textiles. I will use the award to attend workshops in both the textile and technology fields, as understanding both areas will lead to more informed design. As I will no longer have access to the equipment at my university, the fellowship will also allow me to purchase a traditional multi-harness floor loom so I can be fully involved in the weaving process.
The Windgate Fellowship will allow me to travel, expanding my historical research, while further developing my skills in making. I aim to find authenticity in a voice that comes from this extraordinary experience. I will visit craft schools and communities in the United States and Jamaica, attending a workshop at the Good Hope Plantation in Jamaica to learn strategies in making volumetric forms.
Applying new technologies alongside craft processes, I will travel to melting glaciers to take 3D scans. The glacier scans will be 3D printed to be cast in glass. Glass casting workshops at Penland School of Crafts and at Bullseye Glass Co. in San Francisco will allow me to learn the process. The Windgate Fellowship will enforce this experimentation with the combination of digital and craft processes, and the work created will be applied to juried shows across the nation.
This award will allow for me to further my research on the political and historical nature of ornamentation and metalwork, as well as continue to develop my fluency and sensibilities in the craft of metalsmithing and vitreous enamelwork. Using the funding to travel to Germany, Poland, and the Czech Republic, exploring my heritage as an individual of both German and Jewish descent, I will then return to the Midwest and establish my own professional studio with the goal of developing a body of work inspired by my experiences.
The Windgate Fellowship will enable me to research the soil and clay geology of California and contextualize my work using local clays within the state’s craft traditions. I will explore raw material economies, ecological design, sustainable living systems, place-based materials, and land use, and how these ideas apply to making craft objects. This research will occur within two distinct landscapes: the Mojave Desert and the South Central Coast.
This project proposes using the mediums of clay, bricks, and video to document the stories of people in the small town of Marshall, NC, where I live and am renovating the historic jail. My friends and I bought the old county jail in August 2016. It was the jail for 109 years until it was decommissioned in 2012. It sits in the very center of Marshall, and its history is long, storied, and obviously a little complicated. Everyone in town has an opinion on the old jail, and they are not shy about letting you know. We are in the process of readapting the space into a creative blend of apartments, studios, and commercial space.
I am developing a project that is a continuation of much of my recent work about the parallels between the ways living things and ideas spread and reproduce. In the course of my research to find ways that my work can create an emotional investment in its audience as a strategy to entice them to carry and disseminate it, I’ve read much about the so-called “Ikea effect”. This effect describes the increased valuation and emotional investment in objects that a user of an object has, when they are complicit in its assembly or completion. My proposed project will see a number of jewelry pieces that are distributed as “kits”, that the recipient must not only assemble or complete, but in order to complete them, they must make a decision about color, surface, orientation, or the like.
My goal for this project is to produce a series of hand-woven and printed works based on environmental data collected on the coastal dunes near the Atlantic Ocean in Provincetown, Massachusetts. This project will be about the documentation of a transforming natural landscape; focusing on the fragility and beauty of a place that quietly shifts with the passage of time.
With this work I want to look at the current state of U.S. cities, and my role in the gentrification of my community, as well as periods of economic depression and white flight. Each room will have charcoal drawings of furniture and suspended ceramic reliefs creating domestic spaces from specific time periods in the house’s existence, ranging from the late Victorian period to modern day. Utilizing my library of previously made flat-backed objects and new pieces, I want to bring the sensory disruptions of recent, smaller works Matinee and Theater into a 360-degree installation of the lifetime of a house.
The Center for Craft, Creativity & Design (CCCD) is pleased to announce the inaugural recipients of the Materials-Based Research Grant. Of 46 applicants, three project teams will receive $10,000 each to pursue mutually beneficial innovation in Craft and STEM research, including exploring the effects of farming practices on the material properties of bone china, crafting […]