Now in its eleventh year, the Windgate Fellowship Award continues to be one of the most prestigious and sought-after awards for emerging craft artists in the United States. Each year more than 100 universities from across the country are invited to nominate two graduating seniors with exemplary skill to apply for a fellowship award of $15,000 to support a project that will further their careers and contribute to the advancement of the field. Ten fellowships are awarded each year.
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.
To mark the 10th Anniversary of the Windgate Fellowship Award, 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 three grants were awarded in 2015 to Andrea Donnelly (Richmond, VA), Aaron McIntosh (Baltimore, MD), and Mark Reigelman II (Brooklyn, NY). Three more grants will be awarded this year, and the final four grants will be awarded in 2017. This year, sixty Fellows from the first six years of the program were invited to submit applications for projects to be completed and presented at CCCD.
Four panelists reviewed a national pool of 95 Windgate Fellowship applicants from 63 universities and 18 Windgate Project Grant applicants to select the 2016 Fellows and Project Grant recipients on the basis of artistic merit. They also discerned the potential of each applicant to make significant contributions to the field of craft. The 2016 selection panel included: Cora Fisher, Curator of Contemporary Art for Southeastern Center for Contemporary Art in Winston-Salem, Andrea Donnelly, 2007 Windgate Fellow and fiber artist, Christopher Taylor, President of The Clay Studio in Philadelphia and Giselle Huberman, President of the James Renwick Alliance.
The 2016 Windgate Fellows are:
Anna Clark, Herron School of Art and Design, Wood/Furniture
Kaitlin Dunn, State University of New York at New Paltz, Jewelry/Metalsmithing
Ean Escoto, San Diego State University, Ceramics/Jewelry/Metalsmithing
Christine Fashion, Pennsylvania State University, Ceramics/Sculpture
Kira Keck, Maryland Institute College of Art, Fiber/Textiles
Jenna Macy, Maryland Institute College of Art, Ceramics/Textiles/Fiber/Glass
Jennie Maydew, Colorado State University, Fiber/Textiles
Stacy Motte, California College of the Arts, Wood/Furniture/Photography
Katharine Payne, California College of the Arts, Ceramics
Brandon Kento Saisho, Rhode Island School of Design, Wood/Furniture
The 2016 Windgate Project Grant recipients are:
Dustin Farnsworth, 2010 Windgate Fellow, Madison, WI, Woodworking/Functional Art
Rebecca Manson, 2011 Windgate Fellow, Bedford Hills, NY, Ceramics
Rachel Mauser, 2011 Windgate Fellow, Louisville, KY, Book Arts
My goal is to build a new series of work and present it in a solo exhibition. To accomplish this I will take workshops at Penland and Arrowmount and return to Copenhagen, Denmark to continue studies in Danish design and exhibition.
I plan to conduct research into the effects of sexual trauma on other survivors, and explore ways that craft can be used to deal with such personal experiences. Sites such as Arrowmont, Haystack, Penland, and Peter’s Valley would ideally support my research. This award will cover travel, tuition, and expenses for meaningful interaction with fellow artists and prospective participants of my proposed collaboration.
I would love to make things all day every day for the rest of my life. I work experimentally. I imagine a practice where this experimentation evolves into two types of work; one of a kind gallery work and studio production.
I will use the award to help me fund my interest in residencies, to buy tools as I exit institutional support, and to pay rent on my studio.
I intend to expand my understanding of documentation and interactions through making and collecting. I plan to meet with museum representatives in various locations around the world and discuss the nature of collections and how they arrange things both on display and in storage. The differences and similarities will act as a guide to help me gain an understanding of hierarchy that is established through display.
As a lens through which to view the interactions of fiber artists with non-western traditions, the majority of my studies will focus on rug making. Tracing contemporary weaving practices to traditional ideals, I will explore weaving in cross-generational and cross-cultural contexts. I will explore these ideas at the Haystack Mountain School of Craft, the Weavers Guild of Greater Baltimore, Harrisville Designs in New Hampshire, and through an apprenticeship at Desen Halicilik, a weaving cooperative in Bergama, Turkey.
The Windgate Fellowship Award will allow me to investigate the power of feminine voice in a number of different settings including Elizabeth A. Sackler Center For Feminist Art in Brooklyn, New York, and in the Aboriginal weaving circles and personal studios of female artists in Australia. Learning from different mentors and communities, I will be challenged to develop a more enriched artistic identity as it is informed by diverse understandings of gender and cultural background.
This award will support the cultivation of a strong, professional body of work positioned between the dynamic nature of contemporary textile art and the slow craft of harvesting, collecting, and preparing natural dyes.
I will have a 10-month artist residency in Brooklyn, New York to create a new body of textile art that draws from natural dyes found within New York City.
Additionally, the award would support attendance at a major fiber art conference where I will participate in workshops on natural dyes and network with contemporary textile artists.
The Windgate Fellowship will allow me to research and produce a body of work that explores the influence of 19th century ideology on the contemporary notion of objectivity in art and science. I will travel to the UK and Austria to visit some of Europe’s first curio collections and study the process through which personal archives became collective history and the foundational artifacts of the Natural Sciences.
With the Windgate Fellowship, I will pursue a distinguished assistantship with artist Chris Antemann. From there, I will conduct field research at various locations around Italy to research such topics as self-perception in relation to contemporary culture and how objects of innovation from the Renaissance, such as the mirror, affected identity and self-perception. My fellowship will conclude with a short-term residency at La Meridiana in Tuscany.
I will travel to Japan for three months to reconnect with my mixed Asian American identity and to be exposed to Japanese craft, aesthetics, and nature.
After I return from Japan, I will enroll in the eight week iron and blacksmithing course at Penland to focus on reflecting on my travels through making, and to materialize my ideas, sketches, and rubbings from Japan. I will then return to California to acquire studio space, materials, and requisite tools to create a body of furniture, objects and drawings to exhibit at the Los Angeles Design Festival in 2017.
I will be working as an Artist-In-Residence of the 701 Center for Contemporary Art in Columbia, South Carolina. For the project, I will conduct on-site interviews with local youth, included as an audio element in a final work, and also present visual documentation of those interviewed. Participants and visitors to the studio will gain an understanding of how their specific offerings inform and shape the artistic process.
My project will demand me to balance detailed, creative work with the big picture in order to take a great leap in actualizing goals for my studio practice. I will create an eight foot diameter sphere made of small porcelain parts that will be clear coated in UV resistant resin, fully lined in fiberglass, and supported internally with a steel structure. The sculpture will be suitable for year-round outdoor display.
I will use this grant to develop three new artist books. Through these artist books I will advance several conceptual ideas, work towards maturing my combination of text, image, and form, create original text for my books, and further develop the intersection between my life as an artist and my life as an educator.
The Center for Craft, Creativity & Design (CCCD), established in 1996, is a national nonprofit organization that advances the understanding of craft through research, critical dialogue, and professional development in the United States. CCCD is located in downtown Asheville, NC in the beautiful Blue Ridge Mountains of Western North Carolina.