Over the last three decades the question of how to better position craft in academia and the curatorial world has been the topic of several national meetings. Although there has been general agreement on the need to advance craft in the art world, no clear strategies have evolved to accomplish this goal. In some of the past efforts, language became a stumbling block with no clear consensus on the definition of "craft" itself.

Initial planning by the board of the Center for Craft, Creativity and Design suggested a national conference where the issues surrounding craft could be debated. After a meeting of a focus group comprising professional craft artists, museum curators and educators, the board decided a "Summit Retreat" format would best serve to develop concrete strategies that could then be evaluated by the field and additional craft leaders.

With the support of a small foundation grant, 13 craft leaders were invited to Hendersonville for a two-day retreat. The biographies of those attending the retreat are provided in Appendix A. There was an effort to include diversity of medium, geography and career position. The group was limited to 13 because of available funding and the ability of those attending to participate in a meaningful dialogue on a manageable scale. The summit participants embraced their mission: to develop clear strategies on "how to better position craft in academia and the curatorial world."

The Center for Craft, Creativity and Design is a regional, inter-institutional center of The University of North Carolina with a significant nonprofit support organization. Nonprofit board members represent national leadership in the craft world. The board decided not to participate in the retreat to better position the organization for furthering the strategies developed in the retreat without steering the outcome.

It is not surprising that the initiation for this effort originated in North Carolina, which has the fourth highest concentration of fine craft artists in the United States. The role of the Center for Craft, Creativity and Design in the University of North Carolina system is research, education and community outreach. The Summit Retreat goals, if realized, will have an important impact on the community of craft organizations, schools and artists in North Carolina.

Although those attending were unified in their affirmation of a strategic approach to the advancement of craft, there was significant concern that this meeting would end like other craft meetingswith no specific direction or next steps. A skilled facilitator, Randy Seigel, and careful recording of the sessions (later to be edited by Lynn Jones Ennis), gave this retreat structure that resulted in the prioritized strategies outlined in the Proceedings and summarized in the White Paper.

A June 2002 mailing of the White Paper to a listing of more than 80 additional national craft leaders elicited initial responses to the strategies, found in Appendix B. By September 2002 the full proceedings will be distributed nationally to colleges, museums and craft organizations. It will also be available on the Center's Web site, www.craftcreativitydesign.org, with the opportunity to comment or enter into an online dialogue with others about the report. Plans for continued dialogue at national conferences, including those of discipline-based craft service organizations, will further define these initial recommendations. All involved in the Summit Retreat on Craft recognize this is the first step, and each strategy will need to be detailed in future efforts.

The American Craft Council provided support for the publication through its education program. Appendix C includes cost estimates for each strategy. The Center for Craft, Creativity and Design is working to seek funding to move forward and further define and realize portions of the recommended strategies. This document is intended to provide organizations, universities and museums with the supporting documentation needed to move forward on one or more of the strategies. It can also provide those foundations supporting craft with focus and a blueprint for advancing the field. A grounds-well of action throughout the country to reposition craft in the United States is long overdue.

Dian Magie
Executive Director
Center for Craft, Creativity and Design

Elaine Fox, Director Special Academic Programs UNC Asheville

David N. Hutto, Dean Office for Technology and Development Blue Ridge Community College Hendersonville, N.C

Daniel Millspaugh, Professor and Sculptor Art Department, UNC Asheville

Matt Liddle, Interim Chair Art Department, Western Carolina University Cullowhee, N.C.

Lisa Stinson, Professor, Ceramics Art Department, Appalachian State University

Margaret Adams, Writer Asheville, N.C.

Becky Anderson, Director HandMade in America, Asheville, N.C.

Sondra Dorn, Fiber Artist Penland, N.C.

Ken Gaylord, Architect Hendersonville, N.C.

Andrew Glasgow, Director The Furniture Society, Asheville, N.C.

Stoney Lamar, Wood Sculptor Saluda, N.C.

Ted Lappas, Attorney Clyde, N.C.

Clark Olsen, Management Consultant Asheville, N.C.

Ruth Summers, Director Southern Highlands Craft Guild, Asheville, N.C.