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!

One explanation for the vibrant professional craft community in the Blue Ridge Mountains is the opportunity for young artists to explore their medium in a residency at one of the well-established craft schools. Many of these residents complete their residency, and become permanent residents, opening studios and further advancing their medium in a part of the country so many professional craft artists call home.

The Blue Ridge Residencies Exhibit introduces ten artists who are completing, or have recently completed, a residency at one of four residency programs - Arrowmont School of Crafts, EnergyXchange, Odyssey Center for the Ceramic Arts or Penland School of Crafts. Their work in sculpture, clay, glass, furniture and mixed media represents artistic experimentation and development during their residency, as well as excellence in craftsmanship, concept and execution. Read the entire press release.

ARTIST TALKS will be presented by artists in a slide/talk about their work and their residency experience. Talks take place at the Kellogg Center, adjacent to the Craft, Creativity and Design exhibit gallery, 1181 Broyles Road, Hendersonville.

Pablo Soto, a recent resident at EnergyXchange in Burnsville, will give a TALK at 1pm, Saturday, March 8, followed by a reception. Pablo Soto's glassblowing career began at Alfred University in 1999, and he has studied at Haystack School of Crafts, Pilchuck Glass School and Ben Moore, Inc. EnergyXchange gave Pablo an opportunity to blow glass in an environmentally friendly studio that uses methane to power the glass furnaces. His aesthetic is rooted in form and function. In his residency he searched how to convey a sense of beauty, color, function and design within the vessel form.

Dates and Venues

May 20-Aug 22, 2008	UNC Center for Craft, Creativity and Design, Hendersonville, NC
Sep 9-Nov 14, 2008	Catherine Smith Gallery, Appalachian State University, Boone, NC
Jan 2-10, 2009	Center for Craft, Creativity and Design Conference Reception at CCCD Wednesday, January 7, 2009
Jan 22 - Mar 8, 2009	CFine Arts Museum, Western Carolina University, Cullowheee, NC
Dates TBA summer 09
Aug 20-Oct 5, 2009	Cannon Gallery, Gregg Museum of Art & Design, NC State University, Raleigh

PUBLICATION
A 56 page four-color publication will be organized by the five growth areas, with the work of exhibition artists, their training, market, and industry connections. There will be an opening four-page essay "Past-Present-Future Jacquard Textile Design." by Michele Fricke, fiber artist and Kansas City Art Institute Art History faculty. All 2009 conference participants will receive a copy of the publication.

CONFERENCE - January 7-10, 2009
Inspired Design: Jacquard & Entrepreneurial Textile Conference

Keynote Speakers
     Joan Morris, Textile design, "The Lion King"
     Grace Bonney, founder, Design*Sponge
     Michele Frick, Kansas City Art Institute

Session Speakers
Exploring five entrepreneurial textile design growth areas

TEXTILE CONFERENCE STUDENT OPPORTUNITY
Ten students will be selected to receive free registration and four nights free lodging to assist with conference registration and logistics of the INSPIRED DESIGN: Jacquard & Entrepreneurial Textiles conference. Students interested should email or mail a letter of interest BY MAY 1, 2008 to: Dian Magie (dmagie@craftcreativitydesign.org) PO Box 1127, Hendersonville, NC 28793.

"Receiving the Windgate Fellowship Award has allowed me to see myself as an artist, not just an art student working within the confines of semesters. This is important as I look at the past three years since being out of school and especially when I reflect on the last year.

This past year has been filled with many projects, opportunities and decisions. Of most significance to me is the fact that I have decided to go back to school this fall to earn an MFA-a step that I had not planned on taking after graduating. While the Windgate Fellowship provided me with the means to set up a well-equipped studio in order to continue making work, graduate school will provide the academic community, and dialogue that I feel is essential to my growth as artist, as well as providing experience and credibility to enter the teaching profession.

This past year I had the opportunity to teach a beginning jewelry making class in New York City and to teach basic metalsmithing one-on-one in my studio. Though I was cautious at first, both experiences were very rewarding in the end and I am now looking forward to teaching professionally in the future.

This summer I participated in the 2007 Kingston Sculpture Biennial. As a metalsmith I primarily make jewelry and small objects. For the Biennial I worked on a much larger scale and with materials that I do not usually use. It was interesting to see how my ideas and concepts translate as the scale changes.

I also had the opportunity to attend the Haystack Mountain School of crafts this summer on a work-study scholarship. I took a class that focused on small technical and mechanical parts-an area in which I feel is not my strongest. Much was learned and it was stimulating to work closely with other students in a group studio. The creative energy at Haystack made for a wholly inspiring experience.

This past autumn a call-for-entry prompted me to work on a project that had been stirring in my sketchbook for some time. Co-Laboratory, opening during this years annual SNAG Conference, is an exhibition based on the process and idea of collaboration in the field of metalsmithing and jewelry. I worked on a project with my sister, a special-effects make-up artist, to create pieces that combine both of our skills. Not only did we have a lot of fun but we discovered that we work really well together. We plan to continue our art collaborations.

In addition the Firehouse Studio, has continually had exhibitions each month. In December we had our second group non-traditional ornament show. We are planning on making it a yearly tradition. The Windgate Fellowship has forced me to look closely at my art career goals. It has given me the financial means to invest in my art work and experiment with a variety of mediums. More importantly however, the honor of receiving such an award has given me the courage to continue doing what I love." Amelia Tolke

Qualla Arts Gallery, Cherokee North Carolina through March 30, 2008
An exhibition of work by Cherokee potters who create by looking to their ancestors for inspiration while looking ahead and taking the next direction for an art form. The exhibition and catalog was inspired by a class that was taught in Tahlequah, Oklahoma in 2006 by Joel Queen, 2006 Windgate Fellow, and Eastern Bank Cherokee, who taught with master potter Tamara Beane.

The Windgate Fellowship Award program was established to help encourage and advance the development of serious, innovative artists in the United States whose work is in some way related to, or informed by, the process, material, or idea of craft. The 64+ partner institutions across the country develop a careful selection process to identify two graduating seniors who best meet the following criteria:

Their work must demonstrate a balance of content and design and a mastery of materials
Their work must in some way be informed by craft process, materials, traditions and/or sensibilities
Successful applicants will demonstrate innovation and curiosity, be committed to growth of their own work, and show evidence of how their work might stimulate creative thinking or dialogue among other artists.

This is the third year Center for Craft, Creativity and Design has administered the Windgate Museum Internship Award program, providing $5,000 to four museums 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.

TWO Intern Positions: The two internships will be scheduled consecutively. Each intern will work with the assistant curator of American decorative arts and sculpture on either of two projects involving the MFA's large collection of studio craft. One project will be conducting oral history interviews with artists represented in the Daphne Farago collection of contemporary jewelry, a recent gift to the MFA of more than 600 objects. The other project will involve researching the Museum's collection of contemporary ceramics, glass, and furniture, planning future gallery installations of the studio craft collections, and cataloguing incoming acquisitions of studio craft objects. B.A. in art history or a related academic field required; graduate study is strongly preferred. The first internship will being in June 2008, and the second internship may begin in October 2008. Each position will be for five days a week for 12 weeks, although alternate schedules may be arranged.

Application deadline - March 14, 2008 include curriculum vita and cover letter to:

Senior Manager of Employment
Human Resources Department
Museum of Fine Arts, Boston
465 Huntington Ave, Boston, MA 02115

No phone calls, please. Only those selected for consideration will be contacted. The Museum is an equal opportunity employer committed to diversity.

Intern Position description: In 2009, the MFAH will mount an exhibition of contemporary glass from the collection of Dennis and Barbara DuBois. Focusing on master artists in the field, the exhibition will contain approximately 40 pieces. The intern will research artists and individual works in the collection in preparation for the exhibition catalogue. Duties will also include working with the education staff to develop related programs, the design department on the exhibition design, and the public relations department on press materials.

Application deadline - March 14, 2008 include curriculum vita and cover letter to:

Cindi Strauss, Curator of Modern and Contemporary Arts and Design
The Museum of Fine Arts, Houston
PO Box 6828, Houston, TX 77265-6826
FAX 713-639-7399 cstrauss@mfah.org

Intern Position description: Fuller Craft Museum seeks an intern for its Exhibitions department. This intern will work closely with the Exhibitions Manager to provide support for a number of upcoming exhibitions. Duties will include online research, general administrative work, data entry, and assistance with installation of the exhibits. Candidates should have experience with Studio Art (especially with craft materials) and/or Art History. College upperclassmen or graduate students are preferred. Candidates must have excellent attention to detail, a good sense of humor, the ability to work in a past paced environment, knowledge of Microsoft Office. Knowledge of Quark and/or Photoshop would be lovely, but not required. Applicants must be able to meet deadlines, work autonomously, and be creative in developing exciting materials. The candidate must be flexible and willing to work on a wide variety of projects.

Application deadline - March 14 , 2008 by emailing a cover letter and resume to: exhibitions@fullercraft.org. Please put "Curatorial Intern" in the subject line

With The Research Department of the Victoria and Albert Museum, London
Intern Position description: The intern will work under the direction of Glenn Adamson, Head of Graduate Studies and Deputy Head of Research at the V&A, on two projects: an anthology about craft history and theory, to be published by Berg in 2009; and the exhibition Postmodernism, to be held at the V&A in 2011. The first of these projects will entail securing permissions for reprinted texts and images from past publications, and obtaining or creating digital files of these existing texts. The second will involve research on craft in the era of postmodernism (roughly 1970 to 1990), particularly centering on locating relevant texts, and objects of interest for potential loan within American collections.

Application Deadline -April 1, 2008 by emailing curriculum vita and cover letter to: Glenn Adamson, Head of Graduate Studies g.adamson@vam.ac.uk

Guidelines and applications are now available online at www.craftcreativitydesign.org for the 2008 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 2008 grants in both categories is July 1, 2008, with announcement of awards by September 19, 2008 for research beginning October 1, 2008 to be completed within 18 months.

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. The University of North Carolina Press is making craft history and criticism a focus of the Press.

Cahiers m�tiers 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 m�tiers 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.

It is out! 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.

Knitting America: A Glorious Heritage from Warm Sock to High Art by Susan Strawn, has a Ph.D. in textiles and Clothing from Iowa State University and currently teaches textile-related classes at Dominican University in River Forest, Illinois. The first fully detailed, full-color, comprehensive history of knitting in America from colonial times to present. Available through www.voyageurpress.com.

CCCD is sponsoring a session at the annual conference of the National Council on Education for the Ceramic Arts (NCECA), Confluence: Innovation, Community, Environment held in Pittsburgh, March 19-22, 2008. The Session, Critically Speaking, will be held Thursday, March 20th, at 10am. Rob Pulleyn, WNC ceramic artist, publisher Lark Books 1980-2006, and CCCD board member will moderate the panel that includes Janet Koplos, Senior Editor Art in America and co-author of the upcoming history/text Makers: 20th Century American Studio Craft; Mark Shapiro, woodfire potter for 20 years is a frequent workshop leader and panelist, who recently curated "Containing History" a show of contemporary pots inspired by history at the Albany Institute in NY, and Josh DeWeese, studio potter, professor at Montana State University, former Direction of the Archie Bray, and originator of Jentel at the Bray, a residency for critical writing in ceramics.

Save the dates - September 10-13, 2008, Utilitarian Clay V: Celebrate the Object is an intimate, four-day clay symposium sponsored by Arrowmont School of Arts and Crafts. Seventeen nationally and internationally known potters have been selected to demonstrate and lead thought-provoking discussion about current technical and aesthetic considerations of contemporary, functional pottery. Limited to 200 attendees, registration opens April 16. For more information see www.arrowmont.org.

Save the dates - January 7-10, 2009, Inspired Design: Jacquard and Entrepreneurial Textiles, with 3 keynote speakers and 16 session speakers, (8 U.S. the remainder from UK, Canada, Holland, Norway, Australia) who are leaders in five growth areas of textile design: 1) Smart Textiles (e-textiles); 2) Performance and interactive Textiles; 3) Boutique Clothing textiles; 4) Exclusive Interior textiles; and 5) Commissioned Fine Art Textiles. Organized by the Center for Craft, Creativity, and Design, the Hendersonville conference schedule, registration and speaker information can be found at www.craftcreativitydesign.org/education/textiledesign.

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.