Spaces of Production

June 5 -27, July 10-25, July 31 - August 22

Spaces of Production is a series of three artist-led projects focusing on community engagement. The selected artists all come from a different making background and include ceramic artist Michael Strand (Fargo, ND), soft guerrilla textile activist Carole Frances Lung (Long Beach, CA) and conceptual metalsmith Nick Dong (Oakland, CA)

Schedule

Michael Strand, ceramic artist (Fargo, ND)
Ex.Change | 
June 5 – 27, 2015 | The artist is in: June 5 – 13 
June 5, 5 – 8 pm – Opening Reception
June 11, 6:30 pm – Artist Talk by Michael Strand

Carole Frances Lung, soft guerrilla textile activist (Long Beach, CA)
The People’s Cloth Trade Show | July 10 – 25, 2015 | The artist is in: July 14 – 25
July 16, 6:30 pm – Artist Talk by Carole Frances Lung
July 24, 5 – 8 pm – Closing Reception

Nick Dong, conceptual metalsmith (Oakland, CA)
The Mend-Smith Project | 
July 31 – August 22, 2015 | The artist is in: August 11 – 22 
Featuring SNAG’s 2015 Exhibition in Print (also on view)
July 31, 5 – 8 pm – Opening Reception
August 13, 6:30 pm – Artist Talk by Nick Dong

Event Details

Michael Strand, ceramic artist (Fargo, ND)
Ex.Change, June 5 – 27, 2015

Ex.ChangeEx.Change ­– My Time for Your TIme is a special exhibition and outreach project where participants can leverage their unique and personal efforts to create a greater impact within their community. Artist Michael Strand is inviting those in and around Asheville, North Carolina to consider completing five hours of volunteer work that can be Ex.Changed for one of his limited edition, handmade cups. A field guide with detailed instructions on how to participate can be found here: Ex.Change call for volunteers and participation guide.

Ex.Change is more than just a five-hour effort, it is a way for Asheville to gather together and celebrate the many remarkable ways that we impact our community on a daily basis. Throughout the exhibition, Strand will be in the gallery creating new cups (his gesture) and Ex.Changing them with participant efforts (your gesture). Over time, the exhibition will evolve from a collection of cups to a display of the stories and artifacts documenting our collective community impact.

 

About Michael Strand
Michael J. Strand is an Associate Professor and Head of Visual Arts at North Dakota State University. With a background as a functional potter, Strand’s work has moved seamlessly into social and community engagement while remaining dedicated to the traditional object as he investigates the potential of craft as a catalyst for social change. Strand’s work has been published internationally, with articles in American Craft, Ceramics Monthly, Ceramics Art and Perception, Studio Potter, Hemslojen, The Chronicle of Higher Education and Public Art Review. Strand lectures and leads workshops extensively with recent engagements at the Smithsonian American Art Museum, among others.  In 2014, Strand was awarded a two-year Bush Foundation Fellowship to focus on the potential of functional design to facilitate cross-cultural communication and understanding in political and social spheres extending from his home state of North Dakota to international locations such as Brazil, China, South Africa and Europe.

Carole Frances Lung, soft guerrilla textile activist (Long Beach, CA)
The People’s Cloth Trade Show, July 10 – 25, 2015

PeoplesClothBannerUsing Lung’s alter ego, Frau Fiber, The People’s Cloth Trade Show will play off of the trade show format to create an approachable, immersive environment for visitors to learn about North Carolina textile manufacturing – its history, production methods, and global context. Visitors will be invited to walk through interactive and visual displays, watch video demonstrations, and participate in hands-on making opportunities.

Frau Fiber: “For the first time, under one roof, Frau Fiber and The Center for Craft, Creativity & Design invite you to attend The People’s Cloth Trade Show. Organized by the Institute 4 Labor Generosity Workers & Uniforms, this trade show showcases the machine vs. hand textile and garment production. Visit the MAPPING MANUFACTURING HALL, where attendees will have an opportunity to explore North Carolina’s range of industrial manufacturing companies, or try you hand at textile production in the LEISURE TIME FOR PERSONAL PRODUCTION HALL, where instructions, materials and organizational structures for community production developed by Frau Fiber will be available.”

About Carole Frances Lung
Carole Frances Lung is an artist, activist, and scholar living in Long Beach, CA. Through her alter ego, Frau Fiber, Lung utilizes a hybrid of playful activism, cultural criticism, research, and spirited crafting of one of a kind garment production performances. She investigates the human cost of mass production and consumption, addressing issues of value and time through the thoroughly hand-made construction and salvaging of garments. Her performances have been exhibited at Jane Addams Hull House Museum, Chicago, IL, Craft and Folk Art Museum, Los Angeles, CA, Museum of Contemporary Craft Portland, OR, The School of the Art Institute, Chicago IL, Otis College of Art and Design, Los Angeles, CA, Appalachian State University, Boone, NC and the Ghetto Biennale, Port Au Prince, Haiti. Publications include: Chicago Arts News, American Craft Council: Shaping the Future of Craft, Art in America, and Art Papers. She has lectured at Museum of Contemporary Art Denver, Feminism and Co. series, Craftivism; Creativity and Ingenuity Symposium, at Haystack Mountain School of Craft, in Deer Isle, ME and at the Textile Society of America symposium in Washington, DC. She has been the recipient of numerous awards, including a Kohler Arts and Industry Residency and Craft Research Fund Grant by The Center for Craft Creativity & Design. Lung currently maintains the Institute for Labor Generosity Workers and Uniforms, Frau Fiber’s headquarters and experimental factory, in the Art X complex in downtown Long Beach, CA and is an Assistant Professor Department of Art, Fashion and Textile at California State University, Los Angeles, CA.

Nick Dong, conceptual metalsmith (Oakland, CA)
The Mend-Smith Project, July 31 – August 22, 2015
Featuring SNAG’s 2015 Exhibition in Print (also on view)

rings after reunification

Conceptual metalsmith Nick Dong will present The Mend-Smith Project, which explores the social responsibility of the jeweler to create new symbolic meaning through objects that have come to represent the loss of a loved one.

Nick Dong: “It all started when a dear friend lost her husband and all that remained of him was his wedding ring. Given my background as a jeweler, I felt I could do more than offer heartfelt condolences; rather, I could use my skills to take both my friend and her partner’s wedding rings and forge them into something new, something she could hold onto as an eternal representation of love long after the marriage vows had broken. The ring I created for her—a combination of the couple’s wedding rings that set her ring inside her partner’s ring, fixing them in an eternal embrace—is just the start of a project I hope will enable others to heal through the repurposing of these symbols of love and commitment. Thus, the Mend-Smith project was born.”

During the project period, free Mend-Smith consultations will be made available to those who have lost a loved one. The starting point will be a small symbolic or sentimental jewelry object. Working collaboratively with the client, Dong will use the stories and memories told about the relationship to guide the final design of the transformed piece.

To reserve your free Mend-Smith consultation this August, please e-mail greff@craftcreativitydesign.org. Limited Availability. The final product is offered to the client in exchange for permission of their story to be documented in the greater catalog of Mend-Smith objects. Dong will be working in the gallery so visitors may watch the work as it unfolds.

The Mend-Smith Project is presented in collaboration with The Society of North American Goldsmiths’ annual Exhibition in Print (EIP) Moved By Metal: On Beauty as Interaction, also on view at CCCD July 31- August 22. According to EIP curator Dr. Wendy Steiner, Richard L. Fisher Professor of English Emerita, University of Pennsylvania, the exhibition will include “objects that engage the viewer in a participatory experience in order for them to be appreciated as beautiful.”

About Nick Dong
Nick Dong is a conceptual metalsmith mixed-media sculptor and Founder / Chief Creative Officer of StudioDONG whose work addresses such topics as materialism and human interaction. Since 2011, he has served on the City of Oakland Public Art Advisory Committee, curating and advising public art projects for the city and since 2008 he has served as instructor for California College of the Arts, guiding and coaching senior students in the Metalsmithing and Jewelry department. Dong was born in Taiwan and moved to the United States to pursue his MFA in metalsmithing at the University or Oregon. His artworks have been exhibited in various national and international art organizations, including the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, ISE Cultural Foundation, New York City, NY, Kunstbanken Museum, Hamar, Norway, San Francisco Museum of Craft + Design, San Francisco, CA, Michael Ku Gallery, Taipei, Taiwan, Mercury 20 Gallery, Oakland, CA. His work has been featured in publications Business Weekly of Taiwan, Metalsmith, Lark Books’ 1000 RINGS –Inspiring Adornments for the Hand, San Francisco Chronicle

View full press release

Spaces of Production is supported in part by an award from the National Endowment for the Arts and by the Society of North American Goldmiths

NEA logo           SNAG logo

 

 

2015 Back to the Drawing Board

April 3-4, May 1-2, May 29-30, August 28-29

The Center for Craft, Creativity & Design (CCCD) presents Back to the Drawing Board, a series of 24-hour take-overs of Benchspace, CCCD’s gallery & workshop, intended to provoke conversation, expose process, and invite participation. These one-day, gallery take-overs, created by juried and invited collaborators aim to make the invisible creative process visible and provide a venue for experimentation, collaboration, failure, and innovation.  The format of these take-overs is decided by the collaborator, and may include performance, installation, film, or exhibition.

Each take-over will take place 6 – 9 pm Friday and 10 am – 6 pm Saturday at Benchspace and will include a public reception from 6 – 9 pm on Friday evening.   

Back to the Drawing Board has been made possible by the John and Robyn Horn Foundation and receives media sponsorship from Industrious Productions.

 

 

 

2015 Schedule:

April 3-4, Performance Crafting: Hand in HandTanya Aguiñiga (Los Angeles, CA) 

May 1-2, In Song Sing On: The Songbook ProjectDavid Wilson (Oakland, CA)

May 29-30, Blue MountainMark Reigelman (Brooklyn, New York) 

August 28-29, Material IterationsJennifer Bueno (Penland, North Carolina); Immigrant Citizenship TakeoverAram Han (Chicago, IL); Domesterventions: Inventions for Domestic Interventions, Cheyenne Rudolph (Gainesville, FL) 

 

April 3-4, Performance Crafting: Hand in HandTanya Aguiñiga (Los Angeles, CA)

Friday, April 3, 6-9 pm
Saturday, April 4, 10 am – 6 pm

LovingAfterLifetimes_CommunityFeltIn

Tanya Aguiniga, ‘Community Felt-In’, 2014
Photo: Jim Newberry

For Performance Crafting: Hand in Hand, the fourth in her ongoing series of public, live, and often collaborative projects known as Performance Crafting, Tanya Aguiñiga invited visitors to learn the wet felting techniques best known in her furniture and product design, and apply it directly to bodies, experiencing the materiality of wool and creating a communal experience of making through care and nurturing. Participants created a chain of perpetual craft as they felted one another’s arms by lightly massaging wool continuously around the hand and forearm area in order to build up a thick layer of wool. Removed from the body and left to dry, the resulting hollow forms mark the collective action of making through care for one another. 

Tanya Aguiñiga (b. 1978) is a Los Angeles based designer and artist who was raised in Tijuana, Mexico. She holds an MFA in furniture design from Rhode Island School of Design. She created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. She founded the group, Artists Helping Artisans, through which she helps spread knowledge of craft by collaborating with traditional artisans. Her work has been exhibited from Mexico City to Milan. She is a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a GOOD 100 2013 Recipient and has been the subject of a cover article for American Craft Magazine and included in PBS’s Craft in America Series.

Back to the Drawing Board – ‘Performance Crafting: Hand in Hand’ with Tanya Aguiñiga from CCCD on Vimeo.

May 1-2, In Song Sing On: The Songbook ProjectDavid Wilson (Oakland, CA)

Friday, May 1, 6-9 pm
Saturday, May 2, 10 am – 6 pm

David Wilson 'Arrivals'

David Wilson leading a sing-along, from the ‘Arrivals’ series performed at SFMOMA, 2013
Photo: Dominic Santo, courtesy of SFMOMA

In Song Sing On: The Song Book Project is a contemporary version of the timeless tradition of collecting songs in printed form to support and encourage occasions when people can come together to sing. Since 2013 artists David Wilson and Colter Jacobsen have been soliciting submissions from a wide network of musicians for songs that participants felt would inspire a group sing-a-long. This collecting has happened informally and the songs have been amassed in a photocopied artist book that continues to grow as new songs get added into the mix. The process of collecting and recording songs honors the work of folkloric historians and sound archivists Alan Lomax, Harry Smith, Pete Seeger (Rise Up Singing), and others devoted to collecting song traditions.

Wilson and Jacobsen have held Sing-A-Long events using the Song Book at homes, outdoor campfires, and various institutions including the San Francisco Museum of Modern Art,  The Heliopolis Gallery (New York), and A.C.R.E (Steuben, WI). It is a nomadic project that seeks to absorb the traditions and input of each place that the project visits and leave behind copies of the book so that others can continue spreading the songs in their community. 

For the Asheville edition of The Song Book Project, Wilson worked with each participant on Friday evening to transcribe lyrics and simple chord progressions so that the songs were easily playable and others could join in the singing. A recording of each contributor playing their selection was made to accompany the song book so that new songs can be learned and old favorites can be appreciated. On Saturday afternoon participants were invited to participate in a group Sing-A-Long. The ultimate goal of this project is for the Song Book to act as a tool to enable group singing, which proves to be one of the highest forms of community engagement and communing. 

David Wilson is an artist and curator based in Oakland, CA.  He creates observational drawings and orchestrates site-specific gatherings that draw a wide net of artists, performers, filmmakers, chefs, and artisans into collaborative relationships.  He recently organized the experimental exhibition The Possible at the Berkeley Art Museum and Pacific Film Archive, and received the San Francisco Museum of Modern Art’s 2012 SECA Art Award.  He has exhibited his work with SFMOMA, was included in the 2010 CA Biennial at the Orange County Museum of Art, had a solo Matrix exhibition at BAM/PFA, and has received grants from The Andy Warhol Foundation and The Center for Craft, Creativity, & Design.

Back to the Drawing Board – ‘In Song, Sing On: The Songbook Project’ with David Wilson from CCCD on Vimeo

May 29-30, Blue Mountain, Mark Reigelman (Brooklyn, New York)

Friday, May 29, 6-9 pm
Saturday, May 30, 10 am – 6 pm

Mark Reigelman, 'Blue Mountain'

Mark Reigelman, ‘Blue Mountain’, 2015
Photo: Courtesy of the artist

Blue Mountain

Twenty-four hours do not seem like a long time. They are just one day in a life that will, on average, contain 27,000 days. Such an average day might consist of a couple car rides, a few meals, several hours of work and a handful of conversations. The average day is appropriately forgettable. But when these average days are combined with the average days of seven billion others, twenty-four hours become much bigger, and more significant. In just one day, fifteen billion cigarettes are thrown onto the side of the road, fourteen billion trees are cut-down and three billion gallons of sewage are dumped into U.S. lakes and rivers. An average day can have a disastrous impact.

Blue Mountain is a participatory, site-specific installation inspired by the Blue Ridge Mountains and their role in Western North Carolina’s historically important and detrimental industries: tobacco, timber and textiles. This mountain range has played an integral part of North Carolina’s industrial success, simultaneously acting as a distinctive physical characteristic of the area.

Visitors will be invited to help recreate a mountain landscape in the gallery by cutting out wood block prints, squirting dyes onto the top of a metal mountain structure, and watching as a line of cigarettes, mimicking the Blue Ridge Parkway, is adhered to the gallery floor. The installations will attempt to reorient one’s perception of time and inspire a renewed collective consciousness about our surroundings. 

Mark A. Reigelman is a Brooklyn based artist specializing in site-specific objects and installations. His work has been exhibited in public spaces, galleries and museums across the country. Currently, documentation of Reigelman’s project The Reading Nest is included in the exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities at the Museum of Modern Art (MoMA) in New York City. His project, Manifest Destiny! was recognized by Americans for the Arts as one of the top 50 public art projects of 2012 and site-specific installation, White Cloud, at the Cleveland Museum of Art was named as one of the top public art projects in the United States. French clothing company Lacoste recognized Reigelman as the Cultural Innovator of 2013 and was featured with his work in Details Magazine (NYC). He is a member of the American Design Club (AmDC) and co-founder of the New York based creative collective Art Stars. Reigelman has exhibited work worked with designers such as Jorge Diego Etienne, Isaac Mizrahi, GyBell, Ron Gilad, Dror, Montana Knox and Rockwell Group. Reigelman’s work has been included in publications such as The New York Times (NYC), New York Magazine (NYC), FRAME (Netherlands), L’uomo Vogue (Italy), Public Design (Korea) and Tele Star (France). Most recently his work was featured in the book, Unexpected Art: Serendipitous Installations, Site Specific Works, and Surprising Interventions, printed by Chronicle Books.

August 28-29, Material IterationsJennifer Bueno (Penland, North Carolina); Immigrant Citizenship TakeoverAram Han (Chicago, IL); Domesterventions: Inventions for Domestic Interventions, Cheyenne Rudolph (Gainesville, FL)

Friday, August 28, 6-9 pm
Saturday, August 29, 10 am – 6 pm         

Jennifer Bueno, 'Pollution Over China' Photo: Steve Mann

Jennifer Bueno, ‘Pollution Over China’, 2014
Photo: Steve Mann

Material Iterations                        

When comparing satellite images of earth taken days, months, and years apart, one can begin to visibly trace the effect of humans on the planet. These images act as a starting point for glass artist Jennifer Bueno, who references maps of air pollution or algae bloom in her formal work. By combining hot glass, watercolor, and oil paint, Bueno creates highly aesthetic, sculptural pictures of environmental change.

In Material Iterations, Bueno will explore how switching materials, as you would switch a camera lens, can similarly lead to new discoveries or revelations about both environmental change as well as the creative process itself. During the takeover Bueno will create new versions of two of her completed works, “Air Pollution over China” and “Algae Bloom in Lake Erie.” These doppelgangers will be made out of alternative materials, such as water, plastic, wet clay, plant material, projected light, and synthetic stuffing. Just as the properties of glass mirror the beautiful yet fragile nature of our environment, what might these new materials and making process bring into focus? 

Jennifer Bueno grew up in Seneca, South Carolina. She attended Rhode Island School of Design where she received a BFA in glass, and has earned two MFAs one from Bard College in sculpture and one from Alfred University in glass. Jennifer’s work combines the material of glass with satellite imagery in a way that alters perspective and shifts sensorial experience. Macro-images and microforms both sculpted and blown in hot glass combine to reference the poetics of human perception. She is interested in the intersection of worlds within the reality of our everyday lives. Her work has been exhibited at the Contemporary Art Center in New Orleans, LA and as the Tacoma Museum of Art in Tacoma, WA. She has been a resident artist at Pilchuck Glass School and at Corning Museum of Glass and most recently was a resident artist at Penland School of Crafts.  

 

Aram Han, 'U.S. Citizenship Sampler'  Photo: Hyounsang Yoo

Aram Han, ‘U.S. Citizenship Sampler’, 2014
Photo: Hyounsang Yoo

Immigrant Citizenship Takeover is a participatory installation where gallery visitors are invited to learn the U.S. Citizenship Test through the act of sewing. This is an iteration of a larger on-going social project, U.S. Citizenship Test Sampler, which addresses the socio-historic role of women and the function of non-citizen communities. Sewn samplers were used in Colonial America to teach young children needlework and the alphabet.

Aram Han: ”I am currently hand-sewing the 100 civic study questions and answers of the US Naturalization Test. I will sell the completed work for $680-the cost of applying for naturalization. This action is motivated by the history of educated adolescent women embroidering decorative pictorial samplers that functioned as signifiers of worth to potential suitors. My citizenship is thus contingent to the sale of the work. Additionally, I have been facilitating citizenship workshops at non-profit organizations, community centers, and schools around Chicago, IL and Oakland, CA. Through these workshops, I have been getting other non- U.S. citizens who live and work in the Unites State to contribute to the pool of samplers, which are also for sale for $680, with the full amount going back to the sampler-maker if sold. Thus, I use samplers to engage with the social and collective nature of needlework’s history, as well as to exhibit the value of non-citizen communities.

Over 70 of these samplers will be installed at the Benchspace Gallery for the 2015 Back to the Drawing Board Exhibition. In addition, I will activate the gallery with performances and I invite viewers to participate in sewing and citizenship test workshops. All visitors, whether citizen or non-citizen, are invited to stitch their own sampler with the option of exhibiting their finished samplers alongside the others or taking them home as a remnant of this gallery experience. Ultimately, I hope to spark conversation and dialogue around immigration and citizenship through the engagement of a diverse community of participants.”

Aram Han learned how to sew when she was 6 years old from her seamstress mother. For her art practice, her tools have become this needle and thread, and her medium is time and labor. 

Han was born in Seoul, South Korea and immigrated to Modesto, California as a child. She mines from her family’s immigration experience to address issues of labor and explores identity as a first generation immigrant. Han’s work has been shown in national and international exhibitions. Her work has been included in exhibitions at the LuXun Academy of Fine Art in Shenyang, China, Society for Contemporary Craft in  Pittsburgh, PA, Maryland Federation of Art in Annapolis, MD, and the Chinese-American Museum of Chicago. Her solo exhibitions include “A Mend” at Babson College in Wellesley, MA and “U.S. Citizenship Test Sampler” at Chicago Artist Coalition in Chicago, IL. 

She was also the 2013 Windgate Museum Fellow at the Smithsonian’s Archives of American Art(AAA) and independently curated an AAA oral history collection on craft. And she is currently a Bolt Resident at the Chicago Artist Coalition. Han earned her BA in Art and Latin American Studies from the University of California, Berkeley in 2008, her Post-Baccalaureate Certificate in Fine Art from the Maryland Institute College of Art in 2011, and her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2013. She is currently a Lecturer at the School of the Art Institute of Chicago.  

Cheyenne Rudolph, 'Center-Peas' Photo: Courtesy of the artist

Cheyenne Rudolph, ‘Center-Peas’, 2014
Photo: Courtesy of the artist

Domesterventions: Inventions for Domestic Interventions

Domesterventions will consist of a series of live demonstrations of fantastical household products preformed by artist Cheyenne Rudolph. Taking on a satirical Southern female character, Rudolph will take viewers on a tour through three domestic scenarios, identifying strategically placed products and demonstrating their proper use. Each object’s function will relate to a particular task performed by the stereotypical “woman of the house,” offering a humorous and at times cutting insight into domestic social expectations. 

Rudolph’s work subverts accepted and expected modes of feminine behavior by questioning the etiquette of the everyday, often assigning sexually provocative implications to mundane household routines. Combines elements of craft, etiquette, and gender roles, Rudolph’s work addresses issues women face regarding societal expectations, personal identity, and self-sacrifice.

Cheyenne Rudolph is a ceramic potter and performance artists in Gainesville, Florida, building functionally specific vessels from slabs. Rudolph creates whimsical vessels whose exaggerated proportions function like caricatures of modern time-saving devices, enticing the user to try on the role of homemaker. Rudolph received an MFA from the University of Florida and BFA from Murray State University in western Kentucky. She is currently and Adjunct Professor, Resident Artist, and Director of the 4Most Gallery Director at the University of Florida.

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Asheville, NC – Opening at The Center for Craft, Creativity & Design’s (CCCD) Benchspace Gallery & Workshop, January 30, 2015, Loving After Lifetimes of All This is an exhibition exploring the intersections of craft, (self-)care, apprenticeship, and survival within the practices of historically disadvantaged populations.

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