Blaine Johnston has created 5 Times Chair, 2009, white oak and walnut, 7.5 x 8 x 15 feet. This chair is five times the size of a standard sized chair seen in the exhibit. Come check it out!

Vivian Beer, Current, designed 2004, steel and paint, 24 x 16 x 36"
Susan Link, Walnut Chair, 2003, 23 x 24 x 32"
Austin Rhodes, Stance Chair, 2008, Cherry, Cherry Veneer, Leather, 21 x19 x 36"
Curtis Buchanan, Mantis Chair, White pine, red oak, milk paint, hickory bark, 2009, 20 x 20 x 44"
Susan Hutchinson, Soose Bench, 2006, forged mild steel, 5 ft x 30" x 3.5 ft
Ken Tuell, MacKintosh Comfort, African Mahogany and fabric, 2009, 24 x 20 x 48"

"Are Chairs Just for Sitting?"
Guest curated by Wayne Raab
May 5 - August 14, 2009

Jacque Allen Fatie Atkinson Vivian Beer Barbara Bewernitz Brian Boggs Curtis Buchanan Terri Cadman Kim Dryden Brian Fireman Wayne Fowler Ben Green Arch Gregory

Robb Helmkamp Susan Hutchinson Blaine Johnston Drew Langsner Susan Link Timothy Maddox Sarah Martin Wayne Raab Joseph Ransmeier Austin Rhodes Ken Tuell

ON THE TRAIL

Handcrafted furniture takes center stage in Western North Carolina this spring with exhibitions, conferences and special events. Take advantage of several unique opportunities to view and purchase handcrafted furniture, accessories and sculpture, learn about the process and meet the makers. Beginning in April and continuing through August, galleries, museums, colleges and universities are hosting artists and collectors for conversations about furniture making and working with wood. Residents and visitors can participate in conferences, see varied examples and buy work in galleries and at auctions.

www.handmadeinamerica.org/focusonfurniture

Call for papers and panel proposals.
All disciplines invited.

The legacy of Black Mountain College continues to influence contemporary culture in multiple realms. This conference aims to investigate its history as well as the multiple paths of influence, actual and possible, identifiable in the contemporary world and beyond.

Co-hosted by The Black Mountain College Museum + Arts Center, and The University of North Carolina, Asheville

Keynote Speaker: Dorothea Rockburne
An alumna of Black Mountain College, Dorothea Rockburne is a highly influential contemporary artist. During the sixties she was involved in Judson Dance Theatre performances with artists such as Oldenburg and Rauschenberg. From 1965 (with the exhibition "E.A.T." at Leo Castelli) until today she has shown internationally. A recipient of a Guggenheim Fellowship and a NEH grant, she was inducted into the American Academy of Arts and Letters, Department of Art, in 2001.

Papers in all relevant disciplines are welcome. Abstracts of 400-600 words or panel proposals should be submitted to Brian Butler (bbutler@unca.edu) by July 31, 2009. Notification will be made by August 28, 2009.

Guidelines and applications are now available online at www.craftcreativitydesign.org for the 2009 Craft Research Fund, awarding PROJECT GRANTS of up to $15,000 for research in United States craft by academics, independent scholars, and curators and GRADUATE RESEARCH GRANTS of up to $10,000 to graduate students currently enrolled in a graduate program in an accredited college or university for research related to a thesis or dissertation on United States craft. This is a national award program in its fourth year, administered by the Center for Craft, Creativity and Design.

Deadline for the 2009 grants in both categories is July 1, 2009, with announcement of awards mid-September for research beginning October 1, 2009 to be completed within 18 months.

Over the past four years, seventeen undergraduate and graduate students have received Windgate Museum Internships, assisting curators in the area of craft collections and exhibitions. Museums that have received Windgate interns include The Museum of Fine Arts Houston, the Fuller Craft Museum, The San Francisco Museum of Craft and Design, The Leigh Yawkey Woodson Museum, The Bellevue Art Museum, the Museum of Fine Arts Boston, and the Victoria & Albert Museum, London. The goal of this program is to provide these future curators with a better understanding and appreciation of craft objects and their makers. Museums receive $5,000 designated for salary for the intern during the internship. CCCD disseminates the opportunity throughout the country and each Museum curator selects the intern.

Philadelphia Museum of Art has selected two interns: P. J. Carlino, a graduate student in the History of Decorative Arts at Cooper-Hewitt and Heather Gison, a graduate with a MA from the Winterthur Program in Early American Culture, Decorative Arts and Design, 1860-present. Both interns will work with Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts.

Oakland Museum of Art has selected Jennifer Diane Shaifer, who will receive her Masters of Arts in the History of Decorative Arts from the Corcoran/Smithsonian program in the fall of 2009, focusing her thesis on the Metal Arts Guild in San Francisco. She will assist with research in preparation for a retrospective exhibition and publication on the work of Modernist jeweler Margaret De Patta produced in conjunction with the Museum of Arts and Design in New York.

The American Craft Council has selected Jenny M. Gill, who received her Master of Arts from Bard Graduate Center in 2008, focusing on decorative arts, design and culture. She will assist the Director of Education in planning of their 2009 national conference "Building Bridges: Creating a New Craft Culture".

For more information visit www.furnituresociety.org

Student Scholarships: Students at both the graduate and undergraduate level of study are invited and encouraged to apply for scholarships. All applicants must be nominated by a current faculty member or administrator at their current place of study. Additionally, students will be asked to submit a brief (no more than 500 words) essay, outlining their basic reasons for wanting scholarship support to attend the conference.

A committee will select both local and national scholarship recipients. The Council will underwrite all conference registration fees and hotel stay expenses (three nights) for the awardees. Scholarship recipients are expected to cover their own costs of travel to and from Minneapolis. The deadline for scholarship applications is June 1 and recipients will be notified by June 29.

About the Conference: The three-day conference will bring together dynamic voices from the field and beyond to discuss craft's changing role and will feature keynote presentations, interactive panels and sessions. The star-studded line-up of presenters include Dr. Richard Sennett, professor of sociology at New York University and the London School of Economics, and author of The Craftsman; Rob Walker, columnist for the New York Times Magazine and author of Buying In: The Secret Dialogue Between What We Buy and Who We Are; and Garth Clark, esteemed curator, scholar, historian and gallerist.

For additional details including how to apply and the criteria for student scholarships, as well as conference details and registration, please visit www.craftcouncil.org/conference09

Choosing Craft: The Artist's Viewpoint
Edited by Vicki Halper & Diane Douglas

Choosing Craft explores the history and practice of American craft through the words of influential artists whose lives, work, and ideas have shaped the field. Editors Vicki Halper and Diane Douglas construct an anecdotal narrative that examines the post-World War II development of modern craft, which came of age alongside modernist painting and sculpture and was greatly influenced by them as well as by traditional and industrial practices.

The anthology is organized according to four activities that ground a professional life in craft--inspiration, training, economics, and philosophy. Halper and Douglas mined a wide variety of sources for their material, including artists' published writings, letters, journal entries, exhibition statements, lecture notes, and oral histories. The detailed record they amassed reveals craft's dynamic relationships with painting, sculpture, design, industry, folk and ethnic traditions, hobby craft, and political and social movements. Collectively, these reflections form a social history of craft.

Choosing Craft ultimately offers artists' writings and recollections as vital and vivid data that deserve widespread study as a primary resource for those interested in the American art form.

This book is publishing by The University of North Carolina Press and is available at www.uncpress.unc.edu

*This book was supported by CCCD with a Craft Research Fund Grant

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

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 book is available through the University of Massachusetts Press at
www.umass.edu/umpress/fall_08/brandt.htm

*This book was supported by CCCD with a Craft Research Fund Grant

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.

*This book was supported by CCCD with a Craft Research Fund Grant

Knitting America: A Glorious Heritage from Warm Sock to High Art.
Published by Voyageur Press. Author: Susan M. Strawn, foreword by Melanie Falick. www.voyageurpress.com
The patterns and fabrics of American knitting are an intricate, and intimate, part of the nations history, reflecting the styles and the interests, the concerns and the comforts that touched every homebody, every newborn and newlywed, every homesick patriot in the field.

This is the history that Knitting America celebrates. The first fully detailed, full-color, comprehensive history of knitting in America from colonial times to the present, the book conveys the social and historical realities that the craft embodied as well as the emotional narrative that unfolded at the hands of the nations knitters. With vintage patterns and designs typical of each era, Knitting America comprises a knitted history of American society. Here are the trends and the shortages, the historical happenings and the social movements, the advertising and economic developments that affected knitting and style.

Also included are 20 historic knitting patterns for todays knitters. Beautifully illustrated with vintage pattern booklets, posters, postcards, black-and-white historical photographs, and contemporary color photographs of knitted pieces in private collections and in museums, this book is a treasure of history and craft, an exquisite view of America through the handiwork of its knitters.

Makers: A History of American Studio Craft 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. Makers: A History of 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 2010. The University of North Carolina Press is making craft history and criticism a focus of the Press.

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