1. American Studio Craft Movement book

Any estimate would need to begin with recommendations from the Summit Retreat for: a single managing editor, compensated section authors, a publication design targeting a larger audience than a text book, but written from a scholarly approach. It was estimated the project would take approximately three years to complete.

It would be important to identify an editor with scholarly credentials, who has experience with managing publication schedules and authors, a published writer in the field of craft, who might bring an expertise that "can place craft in the larger cultural context."

The editor identified would have to make a three-year commitment for oversight of all aspects of creating publication, design, printing and marketing. This project and the editor would need the support of an institution, museum or organization as a resource for support required to produce this publication from postage, phone and duplication, to library collection and research assistants.

The budget for this project will depend on the editor, if the position of editor is full time or if the project can be identified as germane to an existing position. In today's world, a question of benefits of 17% or more is relevant if not covered by an existing employer.

A copy editor, compensation for section authors and the publication design would be contracted costs.

Marketing, printing and distribution could be covered by a publisher and a percentage of the sale of the publication could offset some expenses.

The budget to complete this project could run anywhere from $200,000 to $1 million depending on the variables above. Once the support institution/organization and the managing editor are identified and a supporting editorial committee assembled, a working budget can be developed.

Example: In 2002 the Richard C. Von Hess Foundation awarded $150,000 to Colonial Williamsburg to produce a book titled Importation and Imitation: Stoneware in Early America, 1600-1830.

2. Journal of Craft Studies: History and Criticism

The Retreat identified a biannual publication, with emphasis on scholarship and criticism. If the publication has limited or no color reproductions with color images available through a Web site the cost of publication can be compared to similar peer-reviewed scholarly journals. The managing editor should have experience with publications, skills to work with a national editorial board, set high standards for scholarship and have the organizational skills needed to make press deadlines. Publication by a university press would further establish connection with academia.

Added to this would be the expenses of the initial startup year before the first journal is published of approximately $65,000. It is very doubtful if a scholarly journal on craft would ever be self-supporting. To make this a viable and ongoing project would require $1 million with $250,000 for startup and the initial shortfall for the first two years, and $750,000 as an endowment at 5% to provide a base of $37,500 to subsidize the continued publication of the craft journal indefinitely.

The Public Art Review, published twice a year, is another comparison. The publication is one of four programs of FORECAST Public Artworks, a nonprofit organization. Two thousand five hundred copies are printed of each issue with a subscriber list of under 800 (annual subscription for the two issues is $12), a certain targeted free distribution at public art conferences and events, some national retail distribution and back issues are also sold. FORECAST reports that libraries haven't proved to be a natural market. This is a grant-funded publication supporting direct costs of approximately $6,500 in production costs, writers' fees and printing and 10-15% of the organization's salaries. With desktop publishing the production of the magazine was brought in-house with all layout, scanning and halftone photos, cover design, ad design and placement and printing oversight. The director of FORECAST provides the content development and theme ideas, coordinates all production and contracts for a content editor for each issue. The person writing the foreword is paid but isn't necessarily involved in the issue development unless he/she also serves as guest editor. The total of the production and printing of the two issues a year, including editor and fee to writers, is somewhat less than the $37,500 in the above estimate. It is not self-supporting and must have grant support to continue.

3. A University Craft Studies Program with an Endowed Chair

An endowment of $3 million invested with 5% annual return would provide $150,000 for this proposal. This would provide for salary and benefits for a chair (a $70,000 salary plus benefits could reach $100,000 annually). This would leave an estimated $50,000 for the recommended support for research fellowships to assist in developing the student pool for the program. Many universities also have a partial matching program for endowments that could be taken into consideration for the initial endowment or to increase the impact of that endowment. Examples of some recent endowments (it is not known if there is a university match in these examples) include:

• A gift of $1.5 million for the E. Desmond Lee Endowed Professorship for Community Collaboration in perpetuity to Washington University. The chair will move from school to school at the University in five-year intervals, beginning with the School of Art.
• A $3.5 million endowment from the Goizueta Foundation to endow a professorship in chemical engineering and for a need-based scholarship fund for Hispanic and Latino stu- dents whose families live in the United States to Yale University, Faculty of Engineering.
• $1 million to endow a chair in journalism from the Hearst Corporation to the University of Texas at Austin School of Journalism.


4. Placement of Craft within Museum Collections

There are several possible components of this program. The granting program for purchase of craft for collections, the granting program for craft exhibitions at generalist museums, and the underlying need for an inventory of craft in exhibiting museum collections.

Any granting program needs to be administered and documented. This could be handled by an endowment to an existing granting agency with guidelines on how the funds would be awarded and the maximum amount that could be used for administration. The granting agency would need to be neutral and not affiliated with any of the recipient agencies, and panel members reviewing requests would have to comply with strict conflict-of-interest requirements.

Although not discussed at the Retreat, the goal of "placing craft in the larger cultural context" might be a basis for placing an

endowment with the National Endowment for the Arts, which had such a program at one time. The American Museum Association is another option. Placing an endowment or granting program with an agency that offers existing staff administering similar programs might reduce the administration expense. This could be a five-year grant program with an amount awarded each year. If a generally accepted 15% administration cost is applied to $200,000 in grants, the annual contribution would need to be $230,000. This could provide eight $25,000 grants. Over five years the total cost of a program of this scale would be $1,150,000.

The issue of developing an inventory of craft in existing museum collections needs to be preceded with a meeting of museum curators and registrars to agree on terminology for work which now is cataloged as folk art, craft, sculpture, 20th century, etc. A meeting of this type could be organized as a pre-conference at the American Museum Association annual conference.

The process of developing an inventory could be modeled after Save Outdoor Sculpture! Susan Nichols, director of SOS, coordinated this effort that also involved 7,000 volunteers. A survey instrument was created and tested in seven cities with 100 sculptures followed by a pilot study in three states. Following this the survey instrument was changed somewhat in format.

In Phase I of the full survey, 6,000 volunteers reported 30,000 publicly accessible outdoor sculpture, with condition reports, to the Smithsonian Institution's Art Inventories database. Phase I involved grants and training. States were awarded $25,000 to participate in the survey and city awards were $800 for assessing the condition of the sculpture. In Phase II of the program, called SOS! 2000, volunteers and students worked to preserve 10,000 sculptures and monuments. This involved training and funding with 125 communities awarded funding for conservation efforts. As a result there is a current database of 32,000 outdoor and 40,000 indoor sculptures.

The portal for the Web-based inventory will be an important decision both for the issue of "placing craft in the broader cultural context" and server capacity for an organic rather than static database. In any discussion of an inventory it would be important to include individuals with experience in the creation of inventories for the arts with technical expertise. North Carolina Summit Retreat on Craft