Full Document Preface

Full Document Table of Contents Preface White Paper, Executive Summary of Proceedings Proceedings of the North Carolina Summit Retreat on Craft edited by Lynn Jones Ennis Appendix A: Biographical Sketches of Participants Appendix B: Responses to White Paper Appendix C: Cost Estimates for Strategies Preface Top Over the last three decades the question of how to better Although those attending were unified in their affirmation position craft in academia and the curatorial world has of a strategic approach to the advancement of craft, there been the topic of several national meetings. Although was significant concern that this meeting would end like there has been general agreement on the need to other craft meetingswith no specific direction or next advance craft in the art world, no clear strategies have steps. A skilled facilitator, Randy Seigel, and careful evolved to accomplish this goal. In some of the past recording of the sessions (later to be edited by Lynn efforts, language became a stumbling block with no clear Jones Ennis), gave this retreat structure that resulted in consensus on the definition of "craft" itself. the prioritized strategies outlined in the Proceedings and summarized in the White Paper. Initial planning by the board of the Center for Craft, Creativity and Design suggested a national conference A June 2002 mailing of the White Paper to a listing of where the issues surrounding craft could be debated. more than 80 additional national craft leaders elicited After a meeting of a focus group comprising professional initial responses to the strategies, found in Appendix B. craft artists, museum curators and educators, the board By September 2002 the full proceedings will be decided a "Summit Retreat" format would best serve to distributed nationally to colleges, museums and craft develop concrete strategies that could then be evaluated organizations. It will also be available on the Center's by the field and additional craft leaders. Web site, www.craftcreativitydesign.org, with the opportunity to comment or enter into an online dialogue With the support of a small foundation grant, 13 craft with others about the report. Plans for continued dialogue http://www.craftcreativitydesign.org/research/summit/2002/2002Proceedings.htm[3/2/12 4:57:11 PM] leaders were invited to Hendersonville for a two-day at national conferences, including those of discipline- retreat. The biographies of those attending the retreat are based craft service organizations, will further define these provided in Appendix A. There was an effort to include initial recommendations. All involved in the Summit diversity of medium, geography and career position. The Retreat on Craft recognize this is the first step, and each group was limited to 13 because of available funding and strategy will need to be detailed in future efforts. the ability of those attending to participate in a meaningful dialogue on a manageable scale. The summit participants The American Craft Council provided support for the embraced their mission: to develop clear strategies on publication through its education program. Appendix C "how to better position craft in academia and the includes cost estimates for each strategy. The Center for curatorial world." Craft, Creativity and Design is working to seek funding to move forward and further define and realize portions of The Center for Craft, Creativity and Design is a regional, the recommended strategies. This document is intended inter-institutional center of The University of North to provide organizations, universities and museums with Carolina with a significant nonprofit support organization. the supporting documentation needed to move forward on Nonprofit board members represent national leadership in one or more of the strategies. It can also provide those the craft world. The board decided not to participate in foundations supporting craft with focus and a blueprint for the retreat to better position the organization for furthering advancing the field. A grounds-well of action throughout the strategies developed in the retreat without steering the country to reposition craft in the United States is long the outcome. overdue. It is not surprising that the initiation for this effort Dian Magie originated in North Carolina, which has the fourth highest Executive Director concentration of fine craft artists in the United States. The Center for Craft, Creativity and Design role of the Center for Craft, Creativity and Design in the University of North Carolina system is research, education and community outreach. The Summit Retreat goals, if realized, will have an important impact on the community of craft organizations, schools and artists in North Carolina. The Center for Craft, Creativity and Design 20012002 Top Policy Board for UNC Institution Nonprofit Board Elaine Fox, Director Special Academic Programs UNC Margaret Adams, Writer Asheville, N.C. Asheville Becky Anderson, Director HandMade in America, David N. Hutto, Dean Office for Technology and Asheville, N.C. Development Blue Ridge Community College Hendersonville, N.C Sondra Dorn, Fiber Artist Penland, N.C. Daniel Millspaugh, Professor and Sculptor Art Ken Gaylord, Architect Hendersonville, N.C. Department, UNC Asheville Andrew Glasgow, Director The Furniture Society, Matt Liddle, Interim Chair Art Department, Western Asheville, N.C. Carolina University Cullowhee, N.C. Stoney Lamar, Wood Sculptor Saluda, N.C. Lisa Stinson, Professor, Ceramics Art Department, Ted Lappas, Attorney Clyde, N.C. Appalachian State University Clark Olsen, Management Consultant Asheville, N.C. Ruth Summers, Director Southern Highlands Craft Guild, Asheville, N.C. Executive Summary Top Through a facilitated process, the retreat participants built only as it applies to the aesthetic. Standard on their collective experiences to identify a unifying issue features include: a) a critical book review, b) that shaped the conversation: How to place craft in a critical exhibition reviews, c) well- researched larger cultural context. With a focus on this theme, the scholarly articles with footnotes, d) craft criticism, group prioritized academia, museums and e) technical information as part of a larger creators/makers as the top three target audiences. context, f) inter- views to capture verbal history of leaders/makers in craft field, and g) craft as a http://www.craftcreativitydesign.org/research/summit/2002/2002Proceedings.htm[3/2/12 4:57:11 PM] The conversation then shifted to focus on future action. subject from the interdisciplinary approach. This The group was asked to think as inclusively as possible, journal is without restriction to media, cultural and as the discussion continued a clear sense of the environ- ment, historical era or geographical interwoven nature of these target audiences emerged. region. The primary focus, however, is North Participants began looking at the intersections where America. An editorial board will be put in place these groups met and found four initiatives that would with a paid managing editor. Authors will be have the greatest impact on the field: 1) a book on the compensated for their contributions. history of craft, 2) a scholarly journal, 3) a university craft 3. A University Craft Studies Program with an studies program with an endowed chair, and 4) placement Endowed Chair of craft within museum collections. This could be an interdisciplinary program leading to a degree, or alternately, a concentration within Participants broke into two groups to identify strategies an existing degree program. This type of program that would move these initiatives from idea to reality. The will be placed in a university that: a) entire group expanded on the strategies developed and demonstrates existing support for programs that discussed each topic. The following points reflect the are interdisciplinary, b) has a museum on campus major suggestions in each area and the ranking of or in the community for research, c) has an initiatives the group felt would make the greatest impact appro- priate library, and d) has a supportive on "how to place craft in a larger cultural context" relative community of craft artists. A director will be to "advancing craft in academia and the curatorial world." named as an endowed chair placed in a department (most likely an Art History depart- 1. A Book on the History of Craft ment). This position will entail both the Title: The American Studio Craft Movement. The administrative and professorial aspects of running idea for this survey text is overwhelmingly the program. The chair should have knowledge or considered the most important charge. Some of experience in studio craft with a MFA and/or the specifics are as follows: a) include a brief Ph.D. in American Studies or Art History. historical section on precursors to the Studio 4. Placement of Craft within Museum Collections Craft movement, b) organize the book chronologi- There is a need for an inventory of craft material cally, c) emphasize movements and topical currently located in museum collections. issues, d) follow major historical benchmarks, e) Museums need to be sur- veyed to track the include education and support group chapters, f) expansion and contraction of the field, such as not separate material by media, g) strive for new museums concentrating on craft. A survey diversity in the artists discussed. The author and database with images of work in collections should be one editor who works with a number of should assist in the study of craft. A fund should writers and has the authority to rewrite all text to be established to which museums could apply for present a unifying voice. Another approach would support in the acquisition of craft objects for be a single author who can analyze and keep permanent collections. Grants would be avail- content fresh. The audience would include those able for educational programs and participation in cultural studies, art history, studio work, fees provided for traveling exhibits. The American studies, makers not enrolled in acquisition assistance would be targeted to all university programs, collectors, dealers, museums, while the education and traveling museums and libraries.

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