Glenn Adamson, Curator, Chipstone Foundation, Milwaukee Art Museum, Wisconsin

Glenn Adamson is a recent graduate of the doctoral program in art history at Yale University. A frequent writer on furniture, wood turning and other crafts, he has contributed to American Craft, Woodwork Magazine, Furniture Studio and several museum publications. He is one of the organizers and catalog essayists for the exhibition "Wood Turning in North America Since 1930," on view at the Renwick Gallery. Adamson is curator at the Chipstone Foundation at Milwaukee, where he prepares exhibitions for the Milwaukee Art Museum and teaches art history at the University of Wisconsin at Madison.

Joan Byrd, Author, Professor of Art, Western Carolina University

Joan Falconer Byrd has been writing about the studio glass movement in the United States since the mid-1970s. A member of Harvey K. Littleton's groundbreaking glass classes at the University of Wisconsin in 1962 and 1963, she returned to the university in 1966 and received her MFA in ceramics and glass the following year. Byrd has given presentations at the Corning Museum of Glass, Corning, N.Y.; J&L Lobmeyr, Vienna, Austria; Ebeltoft Glasmuseum, Ebeltoft, Denmark; the High Museum of Art, Atlanta, Ga.; and the Mint Museum of Art, Charlotte, N.C. Her articles and reviews have appeared in The Glass Art Society Journal, American Craft, Neues Glas and Glass Magazine. She wrote the text for the catalog of the "Harvey K. Littleton Retrospective Exhibition," organized by the High Museum in 1984. She is at work on a book about Littleton's life and art. Byrd studied pottery with Littleton, Don Reitz and Michael Cardew. A professor at Western Carolina University, she and her husband, George Rector, operate Caledonia Pottery in Cullowhee, N.C., where they make functional stoneware and porcelain, soda-fired in a catenary arch wood kiln.

Diane Douglas, Author/Curator, Bellevue, Washington

Diane Douglas became the founding executive director of a new Center for Liberal Arts at Bellevue Community College in February. The second largest institution of higher education in Washington State, the college enjoys national prominence for its programs in advanced technological education, workforce development, continuing education, professional development and innovative management. As director of Bellevue Art Museum from 1999 to 2002, Douglas guided the museum's growth in developing an innovative new mission and programs

and an internationally recognized new facility designed by architect Steven Holl. She pursues her own scholarship as poet, art critic, curator and educator. She is actively involved in local and national organizations that promote arts, education and civic engagement. She serves on the board of the Archie Bray Foundation in Helena, Mont., and on advisory committees for the Pilchuck Glass School, Seattle University's master's program in non-profit leadership, the University of Washington's certificate program in museum studies and the Bellevue Chamber of Commerce.

Mary F. Douglas, Curator of Collections, Southern Highlands Craft Guild, Asheville

Mary Douglas received a Bachelor of Creative Arts from the University of North Carolina at Charlotte (1982) and an MFA degree from Cranbrook Academy of Art in Michigan (1988). For the past 20 years, she has exhibited her artwork nationally, with recent showings at the State University of New York at New Paltz's Dorsky Museum of Art and the North Carolina Museum of Art. She was awarded an NEA Visual Artist Fellowship in 1994. Her artwork is in public and private collections, including the Cranbrook Art Museum, the Dorsky Museum of Art, and the Smithsonian American Art Museum's Renwick Gallery. Douglas has worked as an arts writer, lecturer and independent scholar since 1988. Her writing has appeared in numerous magazines (New Art Examiner, Art Papers, Metalsmith, American Craft, GAS Journal) and museum publications. In 1992 she was awarded the Smithsonian Institution's James Renwick Fellowship in American Craft. Her research has covered various aspects of 20th Century American craft history. In 1997, Douglas began work as a curator for the Mint Museum of Craft + Design in Charlotte, N.C. Exhibitions she curated include "Harvey K. Littleton Reflections, 19461994," "Selections from the Allan Chasanoff Ceramic Collection" and "Design At Work: the Process Behind the Products." She recently curated an exhibition titled "Crafting Identity" for the Tryon Center for Visual Art, Charlotte, N.C. Douglas is currently curator of collections for the Southern Highland Craft Guild in Asheville, N.C.

Robert Ebendorf, Belk Distinguished Professor in Metal, East Carolina University

Robert Ebendorf earned a MFA degree from the University of Kansas with additional study in Norway through a Fulbright Scholarship and Louis Comfort Tiffany grant. He has taught around the world and spent more than 20 years helping to develop the now internationally recognized program at the State University of New York at New Paltz. Ebendorf has taught at the Seoul National University School of Art in Korea and presented workshops at Southwest, Arrowmont and Penland, the nation's leading craft schools. He is the Belk Distinguished Professor in Art at East Carolina University in Greenville, N.C. Ebendorf has served as president of the Society of North American Goldsmiths and was its youngest founding member. Additional recognition for his works includes an extensive list of exhibitions, a fellowship from the National Endowment for the Arts, and inclusion in collections of the American Craft Museum, Art Institute of Chicago, Renwick Gallery, Yale University Art Gallery, and the Brooklyn, Metropolitan, Boston, Oakland and Victoria and Albert Museums of Art. His work has been exhibited at the Art Gallery of Western Australia, Perth; Cooper-Hewitt Museum; Museum of Applied Arts, Norway; Isetan Art Museum, Tokyo; and the National Museum of Modern Art, Kyoto.

Janet Koplos, Senior Editor, Art in America, New York

Janet Koplos, a senior editor at Art in America magazine and lecturer, critic and consultant, has written nearly 2,000 reviews, articles and essays over the past 25 years. She is the author of Contemporary Japanese Sculpture (1991) and has contributed to Fiberarts, Metalsmith, American Ceramics, American Craft, Surface Design Journal and other art and general-circulation periodicals. She received a B.A. in journalism from the University of Minnesota and M.A. in Art History from Illinois State University. The first editing job for Koplos was Craft Connection, a publication of the Minnesota Crafts Council. During her career, Koplos has written artist catalog essays in textiles (Jane Sauer, Gaza Bowen, Renie Breskin Adams, Diane Itter), ceramics (Ruth Duckworth, Scott Chamberlin, Judy Moonelis, Bruno LaVerdiere), metals (Albert Paley), furniture (Wendell Castle), and glass (Laura de Santillana, Joel Philip Meyers, David Huchthausen).

Martha Drexler Lynn

Martha Drexler Lynn was the curator-in-charge of the 20th-century decorative arts collections at the Los Angeles County Museum of Art for 10 years. In that capacity, she conceptualized and implemented an aggressive acquisition and exhibition program featuring worldwide, 20th-century works made of clay, glass, metal and wood. Dr. Lynn also developed the only endowment resident in the Los Angeles County Museum of Art Decorative Arts department, curated over 25 exhibitions and served on numerous panels and exhibition juries. She is the author of Clay Today: Contemporary Ceramists and Their Work (1990), The Clay Art of Adrian Saxe (1994), Masters of Contemporary Glass: Selections from the Glick Collection and the forthcoming Super Cool Liquid: An Interpretive History of the American Studio Glass Movement (2002), and she contributed to a number of other publications. Currently, she is writing a book about glass sculpture in American museum collections. She holds two bachelor's degrees from the University of California at Berkeley, a master's degree in art history and museum studies, and a Ph.D. from the University of Southern California. She lives in Carmel, Calif., with her husband.

Bruce Pepich, Director, Wustum Museum of Fine Arts, Racine, Wisconsin

Bruce W. Pepich is Executive Director and Curator of Collections at the Charles A. Wustum Museum of Fine Arts in Racine, Wis., a position he has held since 1981. In the past 10 years, he has assembled one of the most significant contemporary craft collections of any fine arts museum in the nation. In addition, he maintains the museum's original focus in contemporary works on paper. Pepich curates exhibitions of contemporary art, is a published writer on art and artists, and has served as juror for nearly 50 national and regional art competitions and fine arts festivals. Since the late 1980s, he has concentrated his efforts on building the museum's crafts collection and writing on craft. In recent years this has included essays in exhibition catalogs for Jane Sauer and Toshiko Takaezu and an article on Boris Bally for Metalsmith magazine. Pepich has composed shorter essays for exhibitions of recent works by Jay Musler, Joel Philip Meyers and Paul Stankard. His current major project is building and opening the new Racine Art Museum (RAM) in spring 2003 as a home for the museum's growing collection and temporary art exhibitions that combine craft media with painting and sculpture.

James Tanner, Professor of Art, Minnesota State University at Mankato

James Tanner received his MFA from the University of Wisconsin at Madison, and since 1968 has been a professor of art in ceramics at Minnesota State University at Mankato. He has taught at Penland School of Crafts, Haystack Mountain School of Crafts and Anderson Ranch Arts Center, and he has conducted ceramic workshops at many institutions across the United States. He was awarded the McKnight Foundation Fellowship and Minnesota State Arts Board Fellowship and twice received the Visual Artist Fellowship from the National Endowment for the Arts. His work has been shown widely in invitationals, one-person shows and traveling exhibitions and is included in the collections of the Weisman Art Museum, Everson Museum of Art, Renwick Gallery of the Smithsonian Institution, Mint Museum of Craft + Design, Charles Wustum Museum of Fine Arts and the Waterloo Art Museum.

Kenneth Trapp, Curator-in-Charge, Renwick Gallery, Smithsonian Museum, Washingto

Kenneth R. Trapp is the curator-in-charge of the Smithsonian American Art Museum's Renwick Gallery. Prior to 1995, when he assumed his current position, he was curator of decorative arts at the Oakland Museum of California for 11 years. Trapp holds a B.S. in industrial design from the University of Cincinnati, an M.A. in art history from Tulane University, and has completed doctoral work at the University of Illinois at Urbana-Champaign. Trapp was project director and one of the authors for The Arts and Crafts Movement in California: Living the Good Life,1993, a major exhibition that traveled to the Renwick and Cincinnati Art Museum. He co-authored Skilled Work: American Craft in the Renwick Gallery, 1998. At the Renwick, he has organized several exhibitions: The Renwick at 25, 1997; Glorious Glass! 1999; The Renwick Invitational: Five Women in Craft, 2000; and USA Clay, 2001. Trapp is currently organizing the second Renwick Invitational, to open in June 2002, and Silver on the High Seas: United States Navy Presentation Silver Services, the first exhibition to survey the tradition of commissioning special silver services for ships named for American cities and states.

Consuelo Jimenez Underwood, Professor of Art, San Jose State University

Fiber artist and weaver Consuelo Jimenez Underwood is the daughter of a Chicana mother and a father of Huicho Indian descent. She has degrees in religious studies and art, and is a tenured professor at San Jose State University in California. In her richly textured creations, she weaves common threads of history and cultural resistance and affirmation. She has been nominated for the Eureka Fellowship from the Fleishacker Foundation, as well as the Louise Comfort Tiffany Foundation Award. Her work has been shown throughout the United States and internationally in Spain and Mexico. Her work is in the permanent collections of the American Craft Museum of New York, the Oakland Museum of Art in California and the Smithsonian Institution of the National Museum of American Art in Washington, D.C. She currently resides in Cuptertino, Calif. Howard Risatti, Chair of the Department of Crafts, Virginia Commonwealth University, and Garth Clark, author and owner of Garth Clark Gallery, New York, were scheduled to participate but were unable to attend.

Proceedings editor: Lynn Jones Ennis

Lynn Jones Ennis is curator of the Collection at the Gallery of Art and Design, North Carolina State University. She has written and lectured extensively on the early years of the Penland School of Crafts. Her focus is to place Penland's history in the larger context of craft history while exploring the issues of class, race and gender as they relate to the making and selling of objects. She works to include craft as a part of the larger conversation of art through her teaching in the Adult Degree Program at North Carolina Wesleyan College and by leading workshops offered through Duke University Continuing Education that take place at the Penland School. She received her B.A. with a major in history from Meredith College, a M.S. in Liberal Studies from Duke University and a Ph.D. in American Studies from the Union Institute and University. In 1993 she received the Smithsonian American Art Museum's James Renwick Fellowship in American Craft. Her research and interests include 20th century American craft history.

Retreat Facilitator: Randy Siegel

Randy Siegel is a former executive vice president and partner with Fleishman-Hillard International Communications. Voted one of Atlanta's top marketing-driven public relations executives and "Big Idea People" by the Atlanta Business Chronicle, he is considered one of the region's top experts in the field of personal communications. Over the past 15 years, he has conducted numerous workshops in media training, sales presentation and public speaking for companies, professional associations and nonprofit organizations, including the Nonprofit Resource Center, Dell Computers, Earthlink/Mindspring and the Penland School of Crafts.

Dian Magie, Executive Director, Center for Craft, Creativity and Design

Dian Magie became director of the UNC Center for Craft, Creativity and Design in 2000 after 18 years as executive director of local arts agencies in three communities which included curating exhibitions for each facility. She is the research author of the National Endowment for the Arts' Web-based resource Cultural Funding: Federal Opportunities (www.arts.gov/federal.html). Other publications she has written or edited include: Arts Funding into the 21st Century (1997 President's Committee on the Arts and the Humanities); Art Works! Prevention Programs for Youth and Communities (1997, Center for Substance Abuse Prevention and the National Endowment for the Arts); and Untapped Public Funding for the Arts (1995, National Assembly of Local Arts Agencies). She has organized and directed numerous arts conferences including: "Cultural Tourism," 1999, and "Public and Private Funding for the Arts," 1995, for Americans for the Arts; Arts Management Seminars, University of Northern Arizona, 1993; and Arts Festival Management Conferences, 1988 and 1989. She holds a M.A. in American History with an equal number of credit hours in studio crafts.