The Center for Craft, Creativity and Design (CCCD) has launched ENEWS to keep you current with all our programs, exhibits and events. ENEWS will be sent out monthly with most news linking to more lengthy information found on our website www.craftcreativitydesign.org. Announcements cards will still be mailed for upcoming exhibits and talks. If you are on our mailing list to receive an announcement card for exhibits and would prefer to receive the information through ENEWS, please let us know and it will save us a stamp!

Dian Magie, Executive Director

Locals - ONE-DAY ADMISSION available for $100. If you live in the area and are interested in attending sessions for one-day, please contact us!

SPEAKERS

U.S. Speakers:

Genevieve Dion, Director of the Fashion Design Program at Drexel University has been added to the conference schedule with Jill Heppenheimber of Santa Fe Weaving having to cancel. Dion's research leads to the production of unique boutique clothing requiring little to no conventional fabrication.

Joan Morris, Dartmouth College faculty, teaches shibori internationally and designed textiles for a scene in Julie Taymor's "The Lion King" on broadway and for its international and road productions. She and inventor Michele Ratte have a U.S. patent for their unique printing process, which allows for an articulately printed, washable deposit of gold and other metals on textiles.

Matilda McQuaid, Deputy Curatorial Director, and head of the Textiles department at the Smithsonian's Cooper-Hewitt, National Design Museum. In 2005 she authored Extreme Textiles: Designing for High Performance curating an exhibition of the same name. She was one of four curators for the 2007 "National Design Triennial: Design Life Now" and is now working on the next Triennial for 2010.

Christy Matson, Assistant Professor, Fiber and Material Studies Department,The School of the Art Institute of Chicago, who creates interactive sound installations with electronic circuitry and hand-woven Jacquard "antennae."

Pauline Verbeek-Cowart, Associate Professor, Kansas City Art Institute, designs fabric jacquard woven yardage, she then makes into limited-edition clothing marketed in trunk shows in NYC. Past chair of the Surface Design Association's national conference, she is author of Cloque in Handweaving.

Anna Zaharakos, founder of Studio Z in Grand Rapids Michigan, designs for the jobber customs market, including panels, seating, and wallcoverings, carried by more than 30 North American furniture and textile suppliers, including Knoll, Steelcase, and DesignTex.

Catharine Ellis retired recently after 23 years as Fiber Faculty Haywood Community College. She is author of Woven Shibori (2005), has taught workshops internationally and created bed linen for the Ramble, an upscale craft showcase model home.

Bethanne Knudson, founded The Jacquard Center in 2000, and is director of The Oriole Mill which opened in 2007. With Pauline Verbeek-Cowart, she has designed a line of fabric for interior design.

Michele Fricke, professor and program head of art history teaches the history of textiles. A practicing fiber artist, her work has been shown nationally. She is a regular contributor to Fiberarts, and Surface Design Journal magazines.

Canadian Speakers:
Joanna Berzowska, Assistant Professor of Design and Computation Arts Concordia University, Montreal and founder and research director of XS Labs has developed animated fabric, constructed with conductive yarns and thermochromic inks together with custom electronics components woven on a Jacquard loom.

UK Speakers:
Tim Parry-Williams, Senior Lecturer, Woven textiles, Bath School of Art and Design, designs fabric that is woven by Japanese textile manufacturers, and used by fashion designers in the UK and Europe. He embraces both woven textiles and studio craft practice.

Janis Jefferies' research into exploration of visual and sonic texture enabled by a mapping of textile images into sound and virtual patterns, performed live and "translated" into new forms of material research through the jacquard process. She is a professor at Goldsmiths College, University of London.

Ismini Samanidou is a designer in residence at University College Falmouth. She designs woven fabrics for interior spaces, ranging from one off pieces to limited edition textiles, woven mainly on industrial computerized looms. The interior textile "ismini" has been licensed to George Spencer designs and is available in their London showroom. "Twigs on the Cuadra Chair" is a chair exhibited at the Milan Furniture Fair in April 2006 includes a textile design developed for collaboration with furniture designer John. Miller.

Australian Speaker::
Jennifer Robertson, Canberra, Australia, developed a series of woven cloths using the process known as "triple-weave" where three separate, but linked layers of cloth are woven simultaneously. Her double-weave designs were put into production by NUNO Corporation in Tokyo, Japan, a leading company in the world for research, innovation and production of textiles.

Elizabeth Brim Penland, NC - Curtis Buchanan Jonesborough, TN - Hunt Clark Sparta, TN - Cristina Cordova Penland, NC - Sam Corso Baton Rouge, LA - Susie Ganch Richmond, VA - Hoss Haley Asheville, NC - Mark Hewitt Pittsboro, NC - Richard Jolley Knoxville, TN - Janice Kluge Birmingham, AL - Ellen Kochansky Pickens, SC - Stoney Lamar Saluda, NC - Dale Lewis Oneonta, AL - Mark Lindquist Quincy, FL - Gwendolyn Magee Jackson, MS - Patricia Mink Johnson City, TN - Gary Noffke Farmington, GA - Richard Prisco Savannah, GA - Joel Queen Cherokee, NC - Ché Rhodes Louisville, KY - Michael Sherrill Hendersonville, NC - Jery B. Taylor Walterboro, SC

This exhibition developed from a documentary series on contemporary artists who live and work in the South - from Florida to Virginia. The project identified 22 significant artists who work in wood, metal, glass, paper, furniture, and clay. The film illustrates the artist's backgrounds, motivations, and methods of creating works of art.

The object makers who are part of this exhibition and documentary series are diverse from a geographic, ethnic, and gender perspective. Each artist has a different background, creative tradition and cultural heritage. The artists in Soul's Journey are nationally recognized and are influencing the growth of contemporary American studio crafts.

Events:
Film Screening of Soul's Journey documentary (2 hrs.) at the Fine Arts Theatre, Asheville, NC Thursday, Jan. 23 at 7pm. There is limited seating, please contact us for advance tickets. $5 for public, Free for students.

Reception at CCCD on Friday, Feb. 20th from 5-7 pm. Meet some of the artists and see the exhibit!

The Craft Industry has a $206,533,599 direct economic impact for the 25 western counties of North Carolina, reports the just-released research by DESS Business Research, LLC, authors Dr. James E. Stoddard, Dr. Dinesh S. Davé, and Dr. Michael R. Evans. Research began in September 2007 updating earlier studies (see www.craftcreativitydeisgn.org/community/ecoimpact.php the full 2008 research report and a summary of previous studies).

The study revealed:

$31,478,262 craft consumer tourism direct economic impact from more than 1700 surveys collected from craft consumers at fall 2007 craft fairs, events, open-studios, and galleries in the region.

$86,218,808 craft artisan direct economic impact from 276 surveys returned from a collated mailing to the 2200 professional craft artists in Western North Carolina.

$57,651,405 craft gallery and shop direct economic impact from 46 surveys returned from 100 of the 136 galleries and shops featuring craft in Western North Carolina.

$11,779,124 craft schools and craft educational programs direct economic impact from a data provided by a sample of those located in Western North Carolina.

$4,406,000 direct economic impact of a sample of the national and regional craft nonprofit organizations based in Western North Carolina.

$15,000,000 direct economic impact of the major national craft suppliers and publishers based in Western North Carolina.

The full study illustrates that each of these numbers are conservative and are direct impact and do not include any secondary impact.

This major effort was sponsored by the Blue Ridge National Heritage Area, Haywood Community College, HandMade in America, Penland School of Crafts, UNC Asheville, and coordinated by the Center for Craft, Creativity and Design. The following were instrumental in the collection of the significant number of consumer surveys:

• Allanstand Craft Shop at the Folk Art Center
• Bellagio Art to Wear
• Bellagio Everyday
• Blue Spiral 1
• Grove Arcade ARTS & Heritage Gallery
• Grovewood Gallery
• Penland Gallery
• Southeastern Animal Fiber Fair
• Southern Highland Craft Guild
• Toe River Arts Council

Thanks to all who made this very important research possible.

"The primary area of focus for this residency is an examination of the transitory nature of human experience. To look at how our past is illuminated and our future sign posted by the dimming street lights of memory. How our present is a place on a map called "here" - a place en route between the nostalgia and regret gathered on the path to that point and the excitement and trepidation associated with the anticipation of the road ahead. How we are what we have seen, how we are shaped by places we have been, but equally how we are moulded by our hopes, plans and ambitions - our desire to peer over the crest of now and here and view the vast unknowable vistas of beyond." -Patrick Hall

WE NEED YOUR OLD SUNGLASSES & GLASSES! If you have some glasses you'd like to get rid of, we'd love to have them. In May 2009, Tasmanian artist Patrick Hall will be our International Artist in Residence. During this time, he will be working with students from Appalachian State University, University of North Carolina - Asheville, and Western Carolina University. One component of the sculpture produced during this residency will be made using sunglasses - lots of them.
You can mail your old glasses today to CCCD, PO Box 1127, Hendersonville, NC 28793.

The Mission of the Craft Research Fund Project & Graduate Research Grants is to encourage, expand and support research in United States Craft (contemporary and decorative arts) for professional scholars and graduate students.

This is the fourth year of this national grant program with the selection process moved from spring to fall to help administrators who also work with panel selection of the Windgate Fellowships in the spring. A description of the 2005, 2006, 2007 & 2008 Graduate Research Grants can be found on the CCCD website.

SPOTLIGHTS highlight the accomplishments of Craft Research Fund grant recipients.

"This project would not have been possible without support from the Craft Research Fund. In today's challenging publishing environment, most non-profit, university presses require their authors to provide a substantial subvention to underwrite costs-especially for books with lots of illustrations. One-third of the funds from the Craft Research Fund went towards this subvention (an amount matched by my college.) The remaining $10,000 paid for most of the photographic fees, reproduction fees, and copyright permissions and fees. This also enabled me to hire a graduate student in our graphic design program to scan those images and merge them with captions, before the manuscript went out for review. I am extraordinarily grateful to the Craft Research Fund and the CCCD for its generous support of this project, which focused upon American studio craft and criticism.

In February 2009, The Craftsman and the Critic: Defining Usefulness and Beauty in Arts-and-Crafts Era Boston will be published. The Craft Research Fund grant greatly helped fund both the publishing costs with the University of Massachusetts Press and the 240 illustrations in the book (rights and reproduction costs). Uses for this 425-page book may be for courses or research relating to American Studies, Design History, or New England studies. (ISBN 978-1-55849-677-4)."

The Craftsman and the Critic
Defining Usefulness and Beauty in Arts-and-Crafts Era Boston

When English craftsman, poet, and socialist William Morris advised consumers in the 1880s to "have nothing in your houses that you do not know to be useful or believe to be beautiful," he prompted a movement for design reform in Britain, Europe, and America. Championing Morris's views, the Society of Arts and Crafts in Boston led the quest for "usefulness and beauty" in the United States. As the oldest, continuously-operating arts and crafts organization in the country, it exerted considerable influence.

Among the Boston reformers were design critics, whose profession became increasingly important in the nineteenth century. Many of them-including a number of prominent women-were also architects, designers, craft workers, educators, and theorists. Their views on design reform were substantive and often controversial.

This richly illustrated book explores the interaction of craft workers and critics as they collaborated to improve the quality of the living and working environment in Boston and across the United States. Beverly K. Brandt examines multiple overlapping topics-the evolution of the profession of design criticism in the nineteenth century; Boston in the "Gilded Age" as a center for reform, epitomized by the Aesthetic and the Arts and Crafts movements; the formative years of the Society of Arts and Crafts (1897-1917); key personalities associated with that organization; the theoretical underpinnings of the Arts and Crafts movement; and a diaspora of Boston reformers who left the city to promote usefulness and beauty across the country and abroad. In an epilogue, she discusses the Arts and Crafts revival which has flourished since the 1970s and contemplates why the search for usefulness and beauty continues to resonate today.

"This is a study of the history of ideas as well as the history of a style, a study of criticism as well as form, and as such will have a long shelf-life. . . . Thoroughly researched and written with clarity, this book will be an indispensable reference work."-James. F. O'Gorman, coeditor of American Architects and Their Books, 1840-1915

DAVID MURPHY

"Aside from the many great and invaluable experiences that I had during my time as artist in residence at Sunderland University and the National Glass Centre in England, and the extensive collection of new studio equipment and tools which I was able to purchase. It didn't take long to find out just how many doors would be opened and unexpected opportunities created from having been awarded a National Windgate Fellowship. Just a few weeks after finding out that I had become a nominee, I was working one day at the Sherman Art Studio at The Ohio State University when I was introduced to visiting artist, Soo Sunny Park, who was working at the studio on an installation that she was putting together for a solo show at the Banvard Gallery at the Knowlton School of Architecture. Helping Soo find her way around the University was a gentleman by the name of Marc Syp, curator for the Banvard Gallery. I spoke with Marc about some of the various pieces I was currently working on, and more specifically about a series of large glass columns which were part of a research scholarship grant that I received. Our conversation led on to discussing the Windgate Fellowship, and eventually ended with an offer of having my own solo show at the Knowlton School of Architecture. A few weeks later, and many more in depth conversations with Marc and other various faculty members and building coordinators, I eventually received the go ahead to have a month long solo show not in the Banvard Gallery, but throughout the entire Knowlton School of Architecture building.

The show consisted of over twenty large works and would take the help of some twenty five people and approximately three hundred and fifty man hours in just one week in order to install. It was an experience that I will never forget, and one that I owe so many people thanks too, especially to my wife, Sharon, who worked harder than anyone while she was virtually taking care of our one month old baby boy, Broden, by herself. Windgate not only helped this show first become realized but again when I was sending out many donation proposals to various companies asking for their support with the hundreds and hundreds of sheets of glass needed to create the six, seven and a half foot tall glass columns. The credibility and honor of having received such a prestigious award truly helped in receiving two extremely generous donations by The Thomas Glass Company, and by Guardian Industries, whose contributions brought the show to life.

Now just one year later and in Graduate School, the Windgate Fellowship has continued to play a major influential role in my work by once again supporting me through the donation proposal process. I just recently received a very thoughtful and grand donation by Signature Brands LLC and Cake Mate in which I received over 41,000 candles which are being used in a piece that will be part of three scheduled exhibitions. These great opportunities have allowed me to create work that I would otherwise not be able to afford and I undoubtedly owe much of the credit to the kindness of all those who made the Windgate Fellowship possible. Thank you so much"

This is the fourth year Center for Craft, Creativity and Design has administered the Windgate Museum Internship Award program, providing four museums $5000 each for paid internships. The goal of the program is to expand the number of future curators with experience and expertise on studio craft artists and their work. BFA, MA, and MFA students should send a letter of interest together with their vitae to the museum. The museum will select the interns. Recipients of previous Windgate Museum Internships are not eligible.

Oakland Museum of California
The Oakland Museum of California, in conjunction with the Museum of Arts and Design in New York, is planning a retrospective exhibition and publication on the work of Modernist jeweler Margaret De Patta. We seek an intern to assist with the research, including working with original archival materials, compiling a catalogue raisonné of De Patta's work, and conducting primary interviews with some of De Patta's contemporaries. Graduate study in art history or a related field is strongly preferred. Knowledge of jewelry is a plus.

Application deadline: March 13, 2009, include a cover letter and resumé to:
Julie Muñiz, Curator of Decorative Arts and Craft
Oakland Museum of California
1000 Oak Street
Oakland, CA 94607
FAX: 510-238-6925

The American Craft Council
The American Craft Council is a national nonprofit educational membership organization whose aim is to promote the understanding and appreciation of contemporary American craft. It sponsors regional juried craft expos, the American Craft Magazine and website, educational forums and conferences. We seek an intern to assist ACC Director of Education in planning the 2009 ACC national conference: Building Bridges: Creating a New Craft Culture to be held October 15-17, 2009 in Minneapolis, Minnesota. Primary responsibilities include general administrative work, assisting with program logistics, communicating with presenters, writing and editing press releases and general information for the public, online research, data entry, and other duties as assigned.

Candidates must have excellent attention to detail, a good sense of humor, the ability to work in a fast paced environment, knowledge of Microsoft Office and Excel. Applicants must be able to meet deadlines, work independently, and be creative. B.A. in art history, decorative arts, arts management, museum education or a related academic field required; graduate study is strongly preferred.

Application deadline: March 10, 2009. Email curriculum vita and cover letter to:
Monica Hampton, Director of Education, American Craft Council
mhampton@craftcouncil.org

Philadelphia Museum of Art
In 2013 the Philadelphia Museum of Art will mount an exhibition focusing on the impact of World War II on the emergence of the American studio craft movement in the 20th century. To prepare for this event the Museum is offering an internship for applicants interested in working with the Associate Curator of American Modern and Contemporary Crafts and Decorative Arts. The intern will help research, create, and fill the files for this upcoming exhibition. To ensure a well-rounded experience, the intern will also work on other collection and acquisition projects as assigned. Field trips may involve visits to studios, museums, and galleries. The internship will be 10 to 12 weeks long beginning in June 2009 with a regular 5-day workweek, although alternate schedules can be arranged. Applicants should hold a B.A. or MA/MFA in decorative art, art history, or a related academic field. Graduate study is strongly preferred. Study of the 20th century a plus. Candidates should have excellent attention to detail and organizational skills. We are looking for a team player, someone who can think out of the box. For consideration, applicants should submit the following: a letter describing your interest and preparation for this position; Curriculum vitae; and a list of three references.

Application Deadline March 1st, 2009
Please send all applications to:
Human Resources
Philadelphia Museum of Art
Box 7646
Philadelphia, PA 19101-7646
No phone calls please. EOE

Los Angeles County Museum of Art
Please email Bobbye Tigerman at btigerman@lacma.org, Assistant Curator of Decorative Arts, for details about this internship.

Kentucky Craft History and Education Association (KCHEA) is a new craft history organization that plans to take the lead in craft history by gathering, conserving, and presenting the history and on-going impact of crafts in Kentucky. For more information contact Susan Goldstein, info@kchea.org.

The History of Design course is a pioneering development in UK postgraduate education, bringing together two important South Kensington institutions. It offers a unique opportunity to study the world of design and material culture at an advanced level. It benefits from the context of the high level of design practice undertaken by students at the RCA and the huge resources of the V&A, which houses the National Art Library.

At the MA level, three specifications are offered:
Design and Material Culture, 1650 to the present
Renaissance Decorative Arts and Culture, 1400-1650
Asian Design History, 1400 to the Present

All three specialisms involve the close study of objects in the V&A collection.
The MA course is full-time for two years; bursaries are available to support study for UK and EU-based students.
For more information please see the Royal College of Art website, or contact the course administrator at hod@rca.ac.uk

A Theory of Craft: Function and Aesthetic Expression by Howard Risatti. Published by Chapel Hill: University of North Carolina Press, 2007.

What is craft? How is it different from fine art or design? Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft's unique qualities as functionality combined with an ability to express human values that transcend temporal, spatial, and social boundaries. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design and its singular approach to understanding the world will be lost.

Thinking Through Craft is co-published in association with the Victoria and Albert Museum, London. Written by Glenn Adamson, Deputy Head of Research and Head of Graduate Studies at the Victoria and Albert Museum, "this book is a timely and engaging introduction to the way that artists working in all media think about craft. Workmanship is key to today's visual arts, when high 'production values' are becoming increasingly commonplace. Yet craft's centrality to contemporary art has received little serious attention from critics and historians. Dispensing with clichéd arguments that craft is art, Adamson persuasively makes a case for defining craft in a more nuanced fashion. The interesting thing about craft, he argues, is that it is perceived to be 'inferior' to art. The book consists of an overview of various aspects of this second-class identity - supplementarity, sensuality, skill, the pastoral, and the amateur. It also provides historical case studies analyzing craft's role in a variety of disciplines, including architecture, design, contemporary art, and the crafts themselves." Source: www.amazon.com

Ornament as art: Avant-Garde Jewelry from the Helen Williams Drutt Collection This richly illustrated 528-page catalogue, available at amazon.com, features an introduction and essay by Cindi Strauss, an essay by Helen Williams Drutt English, an interview of Drutt by Strauss, a chronology of major events in contemporary jewelry, a complete illustrated checklist of the Drutt collection and artist biographies. This catalogue accompanies a landmark exhibition that explores contemporary jewelry from a global perspective. The exhibition traces the development of artist-made jewelry and honors its craft roots while also placing the work within a larger framework of seminal movements in 20th century art. Ornament as Art showcases a broad array of national and international works made between 1963 and 2006. The exhibition includes 300 objects, including 275 pieces of jewelry and drawings, watercolors, sketchbooks and sculptural constructions by the artists. Cindi Strauss, curator of modern and contemporary decorative arts and design at the Museum of Fine Arts, Houston, organized the exhibition; Robyn Kennedy, chief of the Renwick Gallery, is coordinating curator for the exhibition in Washington.

Makers: 20th Century American Studio Craft (working title) At the first "Think-Tank" convened by CCCD in 2002, of craft faculty, museum director and curators, scholars and critics, the initiative ranked as most important to the advancement of the field was a history of American Craft in the twentieth Century. The journey toward making this a reality can be tracked on www.craftcreativitydesign.org/research/history.php. 20th Century American Studio Craft by Janet Koplos and Bruce Metcalf is with the publisher, the University of North Carolina Press. Long awaited, the book, researched and written under the auspices of CCCD, will include 500+ images and also serve as an undergraduate text. It will be released in late 2008. The University of North Carolina Press is making craft history and criticism a focus of the Press.

Cahiers métiers d'art* Craft Journal, is a nonprofit organization that encourages and publishes critical, historical and technical research on local and international craft. Membership includes a subscription to the Cahiers métiers d'art* Craft Journal published twice a year. Each issue presents essays from international researchers in both French and English; book and exhibition reviews; and profiles of craftspeople from around the world. (www.craftjournal.ca) Denis Longchamps, publisher and managing editor, is interested in critical, technical and historical research on craft from all regions of the world.

The first issue of The Journal of Modern Craft, edited by Glenn Adamson, Victoria & Albert Museum, UK; Edward S. Cooke, Jr. Yale University, USA; Tanya Harrod, Royal College of Art, UK, is the first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. It address all forms of making that self-consciously set themselves apart from mass production - whether in the making of designed objects, artworks, buildings or other artefacts. Published three times a year in March, July and November. To place an order/subscription visit www.bergpublishers.com and download order forms or email custerserv@turpin-distribution.com.

The Center for Craft, Creativity and Design is an inter-institutional Center of the University of North Carolina.

The mission of the regional UNC Center is to support and advance craft, creativity and design in education and research, and, through community collaborations, to demonstrate ways that craft and design provide creative solutions to community issues. The mission of the nonprofit CCCD is to support the mission of the UNC center through funding, programs, and outreach to artists, craft organizations, schools in the community, region and nation.

email: info@craftcreativitydesign.org
phone: 828.890.2050
web: http://www.craftcreativitydesign.org