Different Tempers Catalog Preview

DIFFERENT TEMPERS
Jewelry Blacksmithing
&
DIFFERENT TEMPERS
Jewelry Blacksmithing
&
Guest Curator
Suzanne Ramljak
Jewelers
Melanie Bilenker
Lola Brooks
Pat Flynn
Sergey Jivetin
Mary Preston
Sondra Sherman
Natasha Wozniak
Blacksmiths
David Clemons
Maegan Crowley
Lu Heintz
Tom Joyce
Brent Kington
Marc Maiorana
Albert Paley
A N E X H I B I T I O N O F T H E C E N T E R F O R C R A F T, C R E A T I V I T Y & D E S I G N
DIFFERENT TEMPERS
Jewelry Blacksmithing
&
The Art of Controlling One’s Temper
4
Suzanne Ramljak
EXHIBITION
Dates & Locations
Sept. 1–Dec. 11, 2009
Center for Craft, Creativity & Design
1181 Broyles Road
Henderosnville, NC 28791
www.craftcreativitydesign.org
Jan. 15–March 31, 2010
National Ornamental Metal Museum
374 Metal Museum Drive
Memphis, TN 38106
www.metalmuseum.org
Front:
Albert Paley, Forged Andiron, 2004
forged steel, 28 x 36 x 24"
Natasha Wozniak, Baroque Wrought Cuff 1, 2008
blackened silver, 3 x 2 1/2 x 2 1/4"
border detail:
Pat Flynn
Corrugated Bracelet, 2009
iron, 22k, 18k gold
2 Different Tempers
Artist Portfolio
10
Jewelers
Melanie Bilenker
Lola Brooks
Pat Flynn
Sergey Jivetin
Mary Preston
Sondra Sherman
Natasha Wozniak
Blacksmiths
David Clemons
Maegan Crowley
Lu Heintz
Tom Joyce
Brent Kington
Marc Maiorana
Albert Paley
Exhibition Checklist
38
Jewelry & Blacksmithing 3
The Art of Controlling One’s Temper
by Suzanne Ramljak
T
Just as George Bernard Shaw
quipped that England and
America “are two countries
separated by the same
language,” jewelers and
blacksmiths can
seem like distant cousins.
he concept of temper is rich in
Tempers: Jewelry & Blacksmithing
cousins. By comparing these two
point; and can be combined with
In working hot metal, tools are
association, both psychological
explores the relationship between
metalsmithing realms, we can come
other elements to form alloys. Not
needed to mediate between hands
and physical. Temper understood
artistic temperament and material
to discern their different dialects
to mention its Herculean strength,
and molten matter. The taffy-like
as an emotional state is expressed
qualities; the ways in which one’s
within a shared formal language.
which allows it to endure for
flexibility of warm metal stands
in terms such as “temperamental,”
passion is articulated through the
in contrast to the material’s stiff
features has proved irresistible to
solidity when cool. Once the metal
“quick tempered,” and “temper
shaping of metal. This exhibition
tantrum.” Temper can also convey a
also offers an ode to the creative
comparison is the common use of
the artists showcased here, and their
ceases to smolder and yield to the
material condition; clay, chocolate,
bounty of this versatile medium,
metal. Materials do have a large say
works fully indulge metal’s latent
artist’s will, it assumes a stubborn
glass and metal are all tempered to
and the artists’ quotes within this
in the creative process, shaping a
potential.
stance, responding only to brute
harden or soften them. In addition,
catalogue provide a chorus of praise
work’s final outcome. Not all metal
the term can mean to qualify,
to metal’s glory.
is equal, however, and each has its
Along with a common material,
ton of folded and forged industrial
own temperament and demands.
these metalsmiths also share an
iron—embodies the dense fortitude
of a formerly submissive mass.
accommodate, govern, or sooth.
force. Tom Joyce’s Bloom I—a half
Tellingly, the words “temper” and
While the fourteen artists featured
In addition to these physical traits,
essential tool: the hammer. Indeed,
“temperament” share the Latin root
here all enlist the same material,
each metal carries a symbolic charge:
the “smith” in blacksmith and
tempus, meaning time or season. In
they approach it with varied
from the preciousness of gold, to
goldsmith comes from smite, to hit
This dynamic of yield and resist
the broadest sense, temper is related
traditions and skills. Although
the industry of steel. Even before
or strike. All smiths are strikers, and
is especially pronounced within
to various time-based processes or
jewelry and blacksmithing are both
a hammer is struck, the material
while they employ other tools and
forging, and has seduced many a
to the compositional history of a
grounded in metal, there remains
begins to speak.
procedures, hammering remains a
budding blacksmith. Blacksmiths
person or substance.
a curious gulf between the two
central activity.
are able to capture metal’s
fields. Just as George Bernard Shaw
4 Different Tempers
centuries. This winning blend of
A natural starting point for such a
Within this exhibition, the notion
quipped that England and America
of temper pertains to both the
“are two countries separated by
disposition of artists and the
the same language,” jewelers and
property of metals. Indeed, Different
blacksmiths can seem like distant
Such variations notwithstanding,
all metals share some basic traits.
Blacksmithing is the art of shaping
As a raw substance, metal can
the so-called “black” metals, iron
boast remarkable properties: it is
and steel. Fire is crucial to the
malleable; ductile; conducts heat
blacksmith’s practice, allowing metal
and electricity; has a high melting
to be heated to a pliable softness.
metamorphosis from cold to hot
to cold again, capturing a gesture
in iron or steel. Albert Paley’s
forged work derives much drama
from freezing the liquidity of hot
Jewelry & Blacksmithing 5
metal. “The form vocabulary
Unlike blacksmithing’s fiery court-
means. In many respects, form
Jewelry’s direct physicality gives it
trading gold jewelry for iron replicas
within blacksmithing is primarily
ship of metal, the smithing of gold
follows function within these works.
a unique ability to combine the
to fund the war against Napoleon.
in reference to the hot working
and silver involves working the
Jewelry performs a number of roles:
intimate and public domains.
Several examples in Different Tempers
of metal,” says Paley. “In this
material cold. In contrast to iron or
it can serve as a marker of social
“Jewelry exists in private, personal
showcase the potential of steel and
context the organic development
steel, gold and silver are soft, with
status or wealth; a sentimental
space, but interacts with public
forging for bodily embellishment,
of the form is most pronounced.”
gold being the most malleable and
keepsake; or a form of self-
space,” says jeweler Mary Preston,
including those by Pat Flynn,
Accordingly, his work preserves the
ductile of all metals. This more
expression. Regardless of personal
making it “more complex and
Lola Brooks, Lu Heintz, Sondra
supple curves of the metal’s warm
compliant metal is amenable to
value or social import, all jewelry
layered in the way it is perceived.”
Sherman, and Brent Kington.
past, as in the sinuous tendrils of
handling without heat, allowing for
relates to the human body, which is
As such, jewelry can be an emissary
his Andirons. This same pleasure in
direct manipulation. Jeweler Lola
its real or implicit theater of action.
of personal content into social
Black metal’s prime virtue, its
heated metal’s cursive line is found
Brooks remarks: “Stainless steel is a
Jeweler Sondra Sherman clearly
sectors. This public intimacy
endurance and fortitude, lends
in Marc Maiorana’s Settle, a looping
thick-skinned and willful participant.
states this case: “The key distinctive
is found in Melanie Bilenker’s
itself best to other purposes. More
steel strand poised despite gravity’s
Gold on the other hand, is a far
characteristic of jewelry is the actual
brooches, like Button, which
commonly, blacksmithing results in
pull. Likewise, Megan Crowley’s
more obedient partner.” Gold also
or implied context of the body or
render the artist’s memories in her
architectural enhancements—gates,
steel Tacitocypriose highlights the
has the advantage of being resistant
wearer.” Sherman’s bracelet Skin:
own hair.
railings, knockers, and locks—
medium’s soft-hard nature and
to tarnish and rust. This softness,
Arm, which sports a magnifying lens
the tension between botany and
radiance, and relative purity make
instead of gems, literally foregrounds
The main function of the black-
As blacksmith Marc Maiorana
geometry. “Metal allows me to
gold well suited for the role of bodily
the body’s surface as the prime site
smith’s art is rarely to adorn the
relays, “Used for its strength, and
preserve something ephemeral,
adornment.
of jewelry. As a resident on the
human form, although there are
formed extensively because of its
human form, jewelry must adjust its
exceptions, both historical and
malleability, steel serves communally
something understood as soft or
rather than human adornment.
delicate and translate it into a
It is important to acknowledge
weight and contours to fit its living
current. Iron used for jewelry has a
as it has for ages in the field,
rigid, lasting example of botanical
the function of objects produced
host.
precedent in Berlin Iron Work of
kitchen, and in architecture.”
gesture,” Crowley states.
by these two practices; we must
the nineteenth century, when the
consider the ends as well as the
German government sponsored
6 Different Tempers
Blacksmiths are able
to capture metal’s
metamorphosis from cold
to hot to cold again,
stilling a gesture
in iron or steel.
Jewelry & Blacksmithing 7
Regardless of personal value
or social import,
all jewelry relates
to the human body,
which is its real
or implicit theater of action.
All of the blacksmiths exhibited
Metalsmith Brent Kington, who
Taken together, blacksmithing
Natasha Wozniak’s massive Wrought
metalsmiths have learned to
here, while showing smaller pieces
has produced jewelry along with
and jewelry embody a number of
Cuff, and Sergey Jivetin’s Forged
empathize with their material’s
for practical reasons, have also
his celebrated large-scale work, cites
dichotomies: hot/cold, dark/bright,
Graph Necklace.
temperament. They have discerned
created architectural-scale projects.
metallurgist Cyril Stanley Smith
hard/soft, heavy/light; strong/
And blacksmithing’s role in the
on the unrivaled importance of the
pliant. While some works on view
culinary sphere is eloquently
steel worker’s craft. “It is steel that
clearly revel in properties from one
about expression. The metaphor
achieve their aims. And regardless
of differences, they are joined in a
Different Tempers
along with the tools that can best
represented by David Clemmons’
releases the sculptor’s vision from
side of the divide, a number of
of language, introduced earlier by
Chitlin Service tools.
imprisonment in marble and wood,”
artists enjoy playing against script,
George Bernard Shaw, proves apt.
common goal: to create engaging
writes Smith. “It is steel that shapes
mixing and matching traits from
Like any language, metalsmithing
objects that temper our lives with
silver and gold. Indeed, as the Italian
across the continuum. Indeed,
entails vocabulary, dialect, and
meaning and delight.
When these seven blacksmiths were
8
its capacity and expressive range,
Ultimately this work, like all art, is
asked to name the defining feature
metallurgist Vannoccio Biringuccio
many of these objects were chosen
inflection. While each artist brings
of their discipline, they repeatedly
remarked in his famous 16th-century
to reveal the crossover between the
a different vocabulary to the
named tool making as primary.
treatise on metalworking: ‘Were
two practices. “What attracts me to
communicative act—whether that
“Blacksmithing is an art form that
it not for the lesser nobility of the
my work is the dichotomy that exists
of forging, goldsmithing, sculpture,
has a unique relationship between
material, I would say that the smith
between materials and processes,”
architecture, or ornament—all of
the product and the tooling,”
working in iron should rightly take
says jeweler Pat Flynn; “the wildness
the artists within Different Tempers
affirms blacksmith Lu Heintz. “The
precedence over the goldsmith
of forging juxtaposed with elegant
reveal themselves to be highly
medium allows you to make the
because of the great benefits that he
goldsmithing techniques.” Several
articulate.
tools that manipulate the medium.…
brings to mankind.’” Biringuccio’s
other artists here enjoy the same
beginning a self-generating system.”
acclaim for blacksmiths also
blending of techniques and formats,
This ability to produce tools
addresses the historical gap in
expanding formal means to better
that in turn create other objects
status between goldsmiths and
relay their vision. This straddling of
distinguishes blacksmithing and, for
blacksmiths, with the latter usually
genres is found in such works as Lu
some, even signals its superiority.
ranked below.
Heintz’s forged Diamond Bracelet,
Suzanne Ramljak, a writer, curator
and art historian, is currently editor of
Metalsmith magazine.
The process of articulating metal—of
making it speak—requires an
understanding of the medium’s
behavior. Along with considerable
skill and formal vocabulary, these
Jewelry & Blacksmithing
9
MELANIE
BILENKER
Philadelphia, Pennsylvania
“The metal I most often use is gold, and the historic and cultural associations with
gold and value cannot be ignored. Though a small part of the overall piece, gold
seems like an appropriate material to further the idea of preciousness in my work.”
Button, 2007
18k gold, silver, ebony, resin, pigment, hair
1 3/4 x 1 1/2 x 3/8"
Collection of Gabriella Kiss
10
Different Tempers
Telephone, 2007
18k gold, silver, ebony, resin, pigment, hair
2 5/8 x 2 1/8 x 3/8"
Jewelry & Blacksmithing 11
LOLA
BROOKS
New York, New York
“Stainless steel is a thick-skinned and willful participant, and I willingly engage in
the argument that often occurs between us when I am attempting to make some
crazy intricate thing. Gold on the other hand, is a far more obedient partner, a
place to which I retreat when I am battered and frustrated and in need of respite.”
Brooch, 2005
Brooch, 2004
stainless steel, 18k gold
1 1/4 x 1 1/2 x 1 1/2"
12
Different Tempers
stainless steel, 18k gold
2 3/4 x 2 3/4 x 1/4"
Jewelry & Blacksmithing 13
PAT
FLYNN
High Falls, New York
“One property that metal has, especially iron
and steel, is how malleable it is when hot, and
I can explore various texture opportunities.
Often I will start a piece borrowing
blacksmithing techniques, working the
metal hot, and then transitioning to jewelry
techniques, working the metal cold.”
Corrugated Bracelet, 2009
iron, 22k and 18k gold
1 1/2 x 2 3/4 x 2 3/4"
Photo: Hap Sakwa
Neckpiece, 2008
iron, 18k gold, diamond
diameter 6 1/2"
14
Different Tempers
Jewelry & Blacksmithing 15
SERGEY JIVETIN
New Paltz, New York
“I still love the fact that pretty much anything can be skillfully and artistically made
out of precious metals, but realized that there was a certain type of baggage that
would always be there.… So I decided to work with found metals, or metal objects
that have already been made for a purpose in our society, be that syringe needles,
saw-blades, or watch hands.”
Forged Graph Necklace, 2007
Retrofitted (Russian filigree brooch), 2007
jewelers saw blades, vintage brooch
2 x 3 1/4"
16 Different Tempers
jewelers saw blades
16 x 8 x 1/32"
Jewelry & Blacksmithing 17
MARY
PRESTON
Mamaroneck, New York
“Although metal is not necessarily forgiving
like clay or fabric, metal can be worked with
so many ways that it is possible to approach it
both methodically, following a plan from start
to finish, or more reactively…The methodical
aspects help my work progress, and the
reactive aspects lead me toward invention.”
Crowned Picot Brooch, 2006
18k gold, early plastic
3 1/2 x 2 1/4 x 1/4"
Iridescent Lace Brooch, 2005
18k gold, shells
2 1/4 x 2 1/4 x 1/4"
18
Different Tempers
Jewelry & Blacksmithing 19
SONDRA
SHERMAN
San Diego, California
“The versatility and durability of forms
created in metal are the properties that
interest me. Through various processes the
form language available in metal is eloquent
and extensive. It can attain hard-edged
geometric forms, fluid organic volumes, and
complex linear structures, which may even
appear delicate but endure over time.”
Skin: Arm (bracelet), 2000
sterling silver, optical lens
2 1/4 x 3 x 1 1/2"
Corsage: Skullcap, 2009
steel, nail polish
3 3/4 x 3 3/4 x 1 1/4"
20
Different Tempers
Jewelry & Blacksmithing 21
NATASHA
WOZNIAK
Brooklyn, New York
“A certain amount of physical strength is
needed for some of the processes, such as
the bending and forging, while at the same
time, an assured delicacy is needed to keep
the metal from being overworked. There is a
satisfaction that comes from the weight of the
material in the hands, and in the way that it
holds shape while having flexibility.”
Brocade Panel Pendant, 2007
blackened silver and 18k gold
1 3/4 x 1 3/8 x 1/4"
Baroque Wrought Cuff 1, 2008
blackened silver
3 x 2 1/2 x 2 1/4"
22
Different Tempers
Jewelry & Blacksmithing 23
DAVID
CLEMONS
Little Rock, Arkansas
“When I first began working with metal I was immediately seduced by the physicality of the processes used in its manipulation. Smithing, ferrous or nonferrous, is
truly a process of metamorphosis….Frustrating at times, but more often incredibly
accommodating, the material is supple, responsive and simultaneously rigid and
permanent.”
Chitlin Service (tools), 2005
sterling silver, mild steel, pewter, hickory, wood
length 13"
24 Different Tempers
The Trees We Construct to Conceal our Strange Fruit, 2007
mild steel, sterling silver, fine silver
13 x 8"
Arkansas Art Center Foundation Collection
Jewelry & Blacksmithing 25
MEAGAN
CROWLEY
Dolores, Colorado
“Metal has fascinating qualities, it can be
soft and pliable yet in a different state rigid
and strong. The inspiration for my sculpture
comes from examining plant growth. Metal
allows me to preserve something ephemeral,
something understood as soft or delicate and
translate it into a rigid, lasting example of
botanical gesture.”
Bi-Sect, 2009
forged and fabricated steel
12 x 12 x 12"
Photo: Dale Anderson
Tacitocypriose, 2009
forged and fabricated steel
40 x 28 x 8"
26
Different Tempers
Jewelry & Blacksmithing 27
LU HEINTZ
Germantown, New York
“Metal stays in a constant state until change is forced upon it… I use scrap metal in
a way that transforms it entirely, extricating it from its industrial past. The material
experiences a transcendence, becoming fine art, entering the world conjured and
braced by the imagination.”
Diamond Bracelet, 2006
forged mild steel
3 1/2 x 4 x 1 1/2"
28
Different Tempers
Cloud, 2006
forged mild steel
20 x 20 x 15"
Jewelry & Blacksmithing 29
TOM JOYCE
Santa Fe, New Mexico
“As makers who use iron in our work, we owe our lives to iron in more ways than
we may have first imagined. Whether we work iron on a small or industrial scale let
us remember the debt owed and honor the life sustaining inheritance this humble
material has bestowed upon us.”
September 11, 2001: Memorial Sculpture, 2002
iron, ash, sand, soil
left: 6 x 6 x 6"; right: 8 x 8 x 8"
30
Different Tempers
Bloom I, 2005
forged iron
17 x 18 1/4 w x 18 1/4 "
Jewelry & Blacksmithing 31
BRENT
KINGTON
Makanda, Illinois
“The double character of steel, easily shaped
yet capable of enormous hardness and
strength, has made it the preferred material
for tools since its discovery. Steel lies behind
almost everything. It gives strength to shed
and skyscraper. It shapes itself into machines.
….The magnetism of iron generates electric
power and aids in its distribution.”
—Cyril Stanley Smith, 1966
Spire Brooch, 2005
18k and 10k gold, pattern steel
5 1/2 x 2 1/8"
Collection of Diane Kington
Spire, 2009
steel, oak
27 1/2 x 9 x 6"
32 Different Tempers
Jewelry & Blacksmithing 33
MARK
MAIORANA
Cedar Bluff, Virginia
“Steel’s malleability fosters transformation,
beginning with mass and drawing down and
down and down into endless line is one of
reverence…. Accessible, widely known and
used for its strength, and formed extensively
because of its malleability, steel serves
communally as it has for ages in the field,
kitchen, and in architecture.”
Draw, 2007
forged steel
height 24"
34 Different Tempers
Settle 3, 2009
forged steel
22 x 21 x 13"
Jewelry & Blacksmithing 35
ALBERT
PALEY
Rochester, New York
“Because of the great diversity of the
properties of metal and the associated
techniques for its manipulation, I find
it an inexhaustible vocabulary for artistic
investigation. One is not limited in scale—
small, delicate, refined work can be
achieved as well as large-scale, structural
monumental work.”
Forged Andirons, 2004
forged steel
28 x 36 x 24"
Sylvan, 2009
formed and fabricated steel
46 1/2 x 19 x 15"
36 Different Tempers
Jewelry & Blacksmithing 37
DIFFERENT TEMPERS: Jewelry & Blacksmithing
Exhibition Checklist
Melanie Bilenker
Button, 2007
18k gold, silver, ebony, resin, pigment, hair
1 3/4 x 1 1/2 x 3/8”
Collection of Gabriella Kiss
Pat Flynn
Corrugated Bracelet, 2009
iron, 22k and 18k gold
1 1/2 x 2 3/4 x 2 3/4”
Photo: Hap Sakwa
Tom Joyce
September 11, 2001: Memorial Sculpture, 2002
iron, ash, sand, soil
l. 6 x 6 x 6”
r. 8 x 8 x 8”
Telephone, 2007
18k gold, silver, ebony, resin, pigment, hair
2 5/8 x 2 1/8 x 3/8”
Neckpiece, 2008
iron, 18k gold, diamond
diameter 6 1/2”
Bloom I, 2005
forged iron
17 x 18 1/4 w x 18 1/4”
Lola Brooks
Brooch, 2005
stainless steel, 18k gold
2 3/4 x 2 3/4 x 1/4”
Mosaic Brooch, 2006
iron, 22k and 18k yellow gold
3 1/2 x 1 1/2 x 1/4”
Brent Kington
Spire, 2009
steel, oak
27 1/2 x 9 x 6”
Ivory Bouquet (brooch), 2009
stainless steel, vintage rhinestones, vintage ivory roses, 14k gold
4 1/2 x 4 1/2 x 2 3/4”
Lu Heintz
Cloud, 2006
forged mild steel
20 x 20 x 15”
Brooch, 2004
stainless steel, 18k gold
1 1/4 x 1 1/2 x 1 1/2”
Layered Vessel, 2009
forged mild steel
5 x 6 1/2 x 7 1/2”
David Clemons
The Trees We Construct to Conceal our Strange Fruit, 2007
mild steel, sterling silver, fine silver
13 x 8”
Arkansas Art Center Foundation Collection
Diamond Bracelet, 2006
forged mild steel
3 1/2 x 4 x 1 1/2”
Chitlin Service, 2005
sterling silver, mild steel, pewter, hickory, wood
length 13”
Maegan Crowley
Tacitocypriose, 2009
forged and fabricated steel
40 x 28 x 8”
Bi-Sect, 2009
forged and fabricated steel
12 x 12 x 12”
Photo: Dale Anderson
38 Different Tempers
Sergey Jivetin
Retrofitted (Russian filigree brooch), 2007
jewelers saw blades, vintage brooch
2 x 3 1/4”
Cupola (brooch), 2006
watch hands
4 1/2 x 1 1/2 x 1/4”
Forged Graph Necklace, 2007
jewelers saw blades
16 x 8 x 1/32”
Spire Brooch, 2005
18k and 10k gold, pattern steel
5 1/2 x 2 1/8”
Collection of Diane Kington
Brooch, 1988
pattern steel, 24k, 18k and 14k gold
diameter 3 1/2”
Collection of Diane Kington
Marc Maiorana
Draw, 2007
forged steel
height 24”
Settle 3, 2008
forged steel
22 x 21 x 13”
Albert Paley
Sylvan, 2009
formed and fabricated steel
46 1/2 x 19 x 15”
Mary Preston
Crowned Picot Brooch, 2006
18k gold, early plastic
3 1/2 x 2 1/4 x 1/4”
Iridescent Lace Brooch, 2005
18k gold, shells
2 1/4 x 2 1/4 x 1/4”
Pink and Black Tangle (brooch), 2006
oxidized silver, coral
4 x 3 x 1”
Sondra Sherman
Skin: Arm (bracelet), 2000
sterling silver, optical lens
2 1/4 x 3 x 1 1/2”
Corsage: Skullcap, 2009
steel, nail polish
3 3/4 x 3 3/4 x 1 1/4”
Eye of the Storm (necklace), 2005
14k palladium white gold, champagne diamonds, glass beads
framed: 26 x 4 x 2”
pendant 4 x 1 1/2”
Natasha Wozniak
Massive Wrought Cuff 1, 2008
blackened silver
3 x 2 1/2 x 2 1/4”
Brocade Panel Pendant, 2007
blackened silver and 18k gold
1 3/4 x 1 3/8 x 1/4”
Wrought Scattered Flowers (necklace), 2007
blackened silver, 18k gold
3 1/4 x 2 1/4 x 1/4”
Forged Andirons, 2004
forged steel
28 x 36 x 24”
Jewelry & Blacksmithing 39
The Center for Craft, Creativity & Design (CCCD), is a regional inter-institutional center of the
University of North Carolina established by the UNC Board of Governors in 1996.
The mission of the University of North Carolina regional inter-institutional center is to advance
the understanding of craft by encouraging and supporting research, scholarship, and professional
development.
The mission of the nonprofit foundation is to support the regional inter-institutional center through
funding, programs, and outreach to artists, craft organizations and schools, regionally and nationally.
RESEARCH PROJECTS
For more on each of the following: www.craftcreativitydesign.org/Research/
Craft History Book—The first history of 20th century American Craft by authors Janet Koplos and
Bruce Metcalf, researched and written under the auspices of CCCD and published by the University
of North Carolina Press (2010). The history is written to also serve as an undergraduate text, with
corresponding curriculum materials and Web site.
Craft Research Fund—CCCD administers a national grant program awarding over $95,000 annually
for research and critical writing on U.S. craft through Project Awards to curators, academics and
scholars, and Graduate Research Awards for thesis or dissertation research relating to craft in the U.S.
Guidelines available in January for a July 1 application deadline.
Windgate Fellowship Awards—$15,000 Windgate Fellowships are awarded to ten graduating seniors,
whose work is in some way related to, or informed by, the process, material, or idea of craft. CCCD
administers the program with over 60 colleges and universities invited to nominate two applicants
each for the online panel selection process.
Windgate Museum Internships—CCCD partners with four museums who receive $5,000 each for
an internship providing future curators with the opportunity to work with craft collections and
exhibitions.
Craft Think Tank
Beginning in 2002, CCCD convenes, each spring, national and international craft leaders in a two-day
think tank to discuss intitiatives that will advance craft.
STAFF
Dian Magie, Executive Director
Katie Lee, Assistant Director
Terri Gibson, Office Administrator
40 Different Tempers
PRINTER
Daniels Graphics Inc.
Asheville, NC
DESIGN
Martha Smith Design
Asheville, NC