Through a facilitated process, the retreat participants built on their collective experiences to identify a unifying issue that shaped the conversation: How to place craft in a larger cultural context. With a focus on this theme, the group prioritized academia, museums and creators/makers as the top three target audiences.

The conversation then shifted to focus on future action. The group was asked to think as inclusively as possible, and as the discussion continued a clear sense of the interwoven nature of these target audiences emerged. Participants began looking at the intersections where these groups met and found four initiatives that would have the greatest impact on the field: 1) a book on the history of craft, 2) a scholarly journal, 3) a university craft studies program with an endowed chair, and 4) placement of craft within museum collections.

Participants broke into two groups to identify strategies that would move these initiatives from idea to reality. The entire group expanded on the strategies developed and discussed each topic. The following points reflect the major suggestions in each area and the ranking of initiatives the group felt would make the greatest impact on "how to place craft in a larger cultural context" relative to "advancing craft in academia and the curatorial world."

1. A Book on the History of Craft
   Title: The American Studio Craft Movement. The idea for this survey text is overwhelmingly considered the most important charge. Some of the specifics are as follows: a) include a brief historical section on precursors to the Studio Craft movement, b) organize the book chronologi- cally, c) emphasize movements and topical issues, d) follow major historical benchmarks, e) include education and support group chapters, f) not separate material by media, g) strive for diversity in the artists discussed. The author should be one editor who works with a number of writers and has the authority to rewrite all text to present a unifying voice. Another approach would be a single author who can analyze and keep content fresh. The audience would include those in cultural studies, art history, studio work, American studies, makers not enrolled in university programs, collectors, dealers, museums and libraries.
2. Scholarly Journal
   A scholarly biannual Craft Studies: History and Criticism is needed that will have an interdisciplinary approach focusing on the aesthetic and including technical analysis

only as it applies to the aesthetic. Standard features include: a) a critical book review, b) critical exhibition reviews, c) well- researched scholarly articles with footnotes, d) craft criticism, e) technical information as part of a larger context, f) inter- views to capture verbal history of leaders/makers in craft field, and g) craft as a subject from the interdisciplinary approach. This journal is without restriction to media, cultural environ- ment, historical era or geographical region. The primary focus, however, is North America. An editorial board will be put in place with a paid managing editor. Authors will be compensated for their contributions.
3. A University Craft Studies Program with an Endowed Chair
   This could be an interdisciplinary program leading to a degree, or alternately, a concentration within an existing degree program. This type of program will be placed in a university that: a) demonstrates existing support for pro- grams that are interdisciplinary, b) has a museum on campus or in the community for research, c) has an appro- priate library, and d) has a supportive community of craft artists. A director will be named as an endowed chair placed in a department (most likely an Art History depart- ment). This position will entail both the administrative and professorial aspects of running the program. The chair should have knowledge or experience in studio craft with a MFA and/or Ph.D. in American Studies or Art History.
4. Placement of Craft within Museum Collections
   There is a need for an inventory of craft material currently located in museum collections. Museums need to be sur- veyed to track the expansion and contraction of the field, such as new museums concentrating on craft. A survey and database with images of work in collections should assist in the study of craft. A fund should be established to which museums could apply for support in the acquisition of craft objects for permanent collections. Grants would be avail- able for educational programs and participation fees pro- vided for traveling exhibits. The acquisition assistance would be targeted to all museums, while the education and traveling exhibitions monies would be intended for general museums that do not specialize in craft. Additional stra- tegies that support craft in museum collections involve acquisition support, traveling exhibition support and educational department support.

Next Step
This White Paper represents an executive summary of the Retreat Proceedings. After review by retreat participants, this will be sent to a larger audience for comment. The final proceedings of the Summit Retreat will expand on the process and thoughts brought out in the retreat with additional comments received in response to the White Paper. The White Paper and the Summit Retreat Proceedings will be sent to all relevant publications and will be posted on the Center for Craft, Creativity and Design Web site (www.craftcreativitydesign.org) for additional comment by the field. All interested parties will be invited to provide feedback and ideas.

In Attendance

Glenn Adamson, Curator, Chipstone Foundation, Milwaukee Art Museum, Wis.
Joan Falconer Byrd, author, Professor of Art, Western Carolina University, N.C.
Diane Douglas, Executive Director, Center for Liberal Arts, Bellevue Community College, Wash.
Mary F. Douglas, Curator of Collections, Southern Highlands Craft Guild, Asheville, N.C.
Robert Ebendorf, Belk Distinguished Professor in Metal, East Carolina University, N.C.
Janet Koplos, Senior Editor, Art in America, New York
Martha Drexler Lynn, author/curator, 19th- and 20th-century production and studio craft, Carmel, Calif.
Bruce Pepich, Director, Wustum Museum of Art, Racine, Wis.
James Tanner, Professor of Art, Minnesota State University in Mankato, Minn.
Kenneth Trapp, Curator-in-Charge, Renwick Gallery, Smithsonian Museum, Washington, D.C.
Consuelo Jimenez Underwood, fiber artist, Professor of Art, San Jose State University, Calif.
Dian Magie, Executive Director, Center for Craft, Creativity and Design
Lynn Jones Ennis, proceedings editor
Randy Siegel, facilitator

Scheduled but unable to attend

Garth Clark, author and owner, Garth Clark Gallery, New York
Howard Risatti, Chair, Department of Crafts, Virginia Commonwealth University, Va.

The Center for Craft, Creativity and Design (CCCD), www.craftcreativitydesign.org, is a regional, inter-institutional center of The University of North Carolina, located on the 50-acre UNC Asheville Kellogg Retreat Center, near the Blue Ridge Parkway. Although there are members of the Center's policy and nonprofit boards who are considered national leaders in the field of craft, the board chose to convene rather than participate in the retreat to better enable CCCD to advance the developed strategies. CCCD received a small foundation grant that provided transportation and lodging for participants, but all participants gave their valuable time recognizing the importance of this issue.