Congratulations to the 2020 Craft Research Fund Exhibition Awardees!

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Center for Craft 25th anniversary logo in red

Craft Futures Fund

Craft Futures Fund

WNC Recovery

$5,000 or $10,000 one-time, unrestricted grants to regional craft organizations impacted by Helene to stabilize and re-establish new operating norms by investing in the critical community function of craft.

The Center for Craft is also supporting individual craft artists' recovery through the WNC Craft Futures Cohort.

Photo Credit: David Huff Creative

The Center for Craft is reactivating the Craft Futures Fund program to support and care for the artists and community of Western North Carolina in the wake of Hurricane Helene. 

Grant goals

Recovery

Help regional, community, and education-based craft organizations stabilize and re-establish new operating norms

Community Vitality

Invest in the critical community function of craft

Leadership

Lead with trust and care to revitalize the place we call home

Overview

Craft Futures Fund - WNC Recovery

Craft Futures Fund - WNC Recovery is designed to assist regional craft artists and organizations in stabilizing and re-establishing new operating norms by investing in the critical community function of craft.

Details

  • Award Amount:
  • $5,000 or $10,000
  • Award Type:
  • One-time, unrestricted charitable gift

Timeline

  • Applications Open:
  • December 4, 2024
  • Application Info Session:
  • December 13, 2024 at 2pm ET
  • Application Deadline:
  • January 13, 2025
  • Award Notification:
  • February 2025

Eligibility

Applicants must be:

  • Eligible to receive taxable income in the U.S.
  • Organization is located in Western North Carolina (counties include Alexander, Alleghany, Ashe, Avery, Buncombe, Burke, Caldwell, Catawba, Cherokee, Clay, Cleveland, Gaston, Graham, Haywood, Henderson, Jackson, Lincoln, Macon, Madison, McDowell, Mitchell, Polk, Qualla Boundary, Rutherford, Swain, Transylvania, Watauga, Wilkes, Yancey). This includes organizations displaced or forced to relocate temporarily due to Hurricane Helene.
  • A community and/or education-based organization with an emphasis on craft and/or dedicated craft programming. This might include nonprofit organizations, museums, galleries, archives, schools and education centers, heritage centers, community centers, organizations that provide studio space and/or workshops, guilds, membership organizations, artist cooperatives or collectives, and local arts councils. 
  • In operation for at least a year before Helene.
  • Currently operating or have plans to reopen
  • Total annual operating budget of less than $2M
  • Experienced at least one of the following due to Hurricane Helene:
    • Physical damage or loss to your organization’s facilities
    • Physical damage or loss to equipment, tools, inventory, or materials required for your regular operations
    • Business interruption (e.g. temporary closure or limited operations due to lack of utilities)
    • Staff turnover
    • Loss of revenue
    • Audience or market disruptions
    • Other unexpected impacts directly resulting from Hurricane Helene

Applicants cannot be:

  • A current employee, consultant, board member, or major funder of the Center for Craft, or an immediate family member of such a person
  • A  government entity, foundation, college, or university

For this opportunity, the Center for Craft understands craft to include 3D work produced primarily in ceramics, fiber, glass, jewelry, metals, and wood.

The Center for Craft prohibits discrimination, harassment, and retaliation based on sex, sexual orientation, race, color, religion, national origin, disability or perceived disability, age, marital status, gender identity, veteran status, or any other protected category. The Center encourages applications from historically underrepresented populations. Applying does not constitute a promise or guarantee of being awarded this gift.

Requirements

This is a one-time unrestricted charitable gift. There are no reporting requirements.

Privacy and Use of Information

Recipients of the Craft Futures Fund - WNC Recovery funds will be published on the Center for Craft’s website and announced through social media. We plan to share statistics representing the impact of Helene on the craft sector, how these funds were distributed, and share unattributed quotes pulled from applications. We may approach individual organizations for the rights to publicly share attributed images and quotes on a case-by-case basis. 

All applicants will be automatically enrolled to receive the Center for Craft’s newsletter. You can unsubscribe at any time.

Alumni Network

Recipients of this opportunity are not eligible for membership in the Center’s forthcoming Alumni Network. 

Review Process

The adjudication process will take place virtually and in person. Applications will be reviewed by the Center for Craft staff for completeness and eligibility, then evaluated by a selection panel through the SlideRoom online application review portal. The panel will consist of 3-4 people recognized as craft-informed experts and community members working across sectors, such as educators, artists, arts administrators, curators, and business owners,  to provide insight into the selection process. 

Panelists free of any conflict of interest will evaluate the applications based on the following criteria: 

  • Impact - Your organization’s dedication to and role in supporting craft education and/or practice (clarity, depth, and breadth)
  • Need - Level of impact of Helene on the organization
  • Feasibility - Your organization has a clear plan to stabilize and re-establish new operating norms 

Considerations in final selection:

Ultimately, we will ask the Selection Panel to compose a set of recipients representing a range of geographies, materials, organizational scales, services, and types of organizations.  Priority will be given to nonprofit organizations and artist-led or -run organizations.

How to Apply

Applicants must apply using the online application program SlideRoom here.

Applicants will not be required to pay an application fee. Please review the sample application below before beginning your application. 

All applicants should create a login to be able to partially complete the form and return to finish it at a later date. Before submitting your application, you will be directed to a confirmation page where you can review your form and return to edit or delete your uploaded files as needed. Your application can not be accessed once submitted. Applicants will receive a confirmation email once the application form has been successfully submitted. A virtual application information session will be held on December 13, 2024 at 2pm ET.

DEADLINE: 

Applications must be submitted via SlideRoom no later than 11:59 pm ET on January 13, 2025. Notification of awards will be sent in February 2025.

NOTIFICATION: 

Recipients will be notified of funding at the e-mail address listed on the application form. Please be sure that it is a valid account that you check regularly. 

SAMPLE APPLICATION

Cover Sheet

  • Organization’s Name
  • Physical Address
  • Website 
  • Social media handles
  • EIN
  • Primary Contact’s name
  • Primary Contact’s pronouns (optional)
  • Primary Contact's email address
  • Primary Contact’s phone number
  • What type of organization are you registered as? (501c3, LLC, etc.) 
  • What Western North Carolina county is your organization located in? [drop-down menu]
  • Is your organization an artist-led or run organization (Y or N)
  • Which craft practices/materials  does your organization support (select all that apply): ceramics, fiber, glass, jewelry, metals, wood, other, not applicable
  • Our organization is applying for [  ] $5,000 [  ] $10,000

Organizational Details

  1. What was your organization's total annual operating budget in the fiscal year that ended prior to Helene?
  2. What was your organization's total annual operating revenue in the fiscal year that ended before Helene?
  3. Approximately what % of your organization is dedicated to craft?
    1. If less than 100%, please explain:
  4. How many full-time and part-time staff worked at your organization before Helene?
  5. In what kind of community is your organization or business located?
    1. Urban
    2. Suburban
    3. Rural
    4. Other (please specify): ____________________.
  6. Approximately how many people  does your organization serve annually (members, studio tenants, exhibitors, vendors, workshop participants, visitors)
  7. Approximately what percentage of people you serve are craft artists?
  8. Please list up to three communities with whom you most frequently work. You might consider age, skill, materials, identity, sexuality, geographic area, or other characteristics that the people you work with have in common (for example, veterans, refugees, queer communities, youth, textile artists, residents of Western North Carolina, or other groups and communities of practice not mentioned here)

Application Questions

  1. Please describe your organization, including its mission and scope of programs before Helene (up to 1500 characters)
  2. How does your organization support craft education and/or craft communities? (up to 1500 characters)
  3. Which of the following has your organization experienced as a result of Hurricane Helene? (Select all that apply, please explain up to 1500 characters)
    • Physical damage or loss to your organization’s facilities
    • Physical damage or loss to equipment, tools, inventory, or materials required for your regular operations
    • Business interruption (e.g. temporary closure or limited operations due to lack of utilities)
    • Staff turnover
    • Loss of revenue
    • Audience or market disruptions
    • Other unexpected impacts directly resulting from Hurricane Helene.
  4. If you experienced property damage, loss of revenue, and/or incurred unexpected expenses related to Hurricane Helene,  what is the approximate dollar value of your losses?
  5. What are your recovery goals, what do you need to recover, and how will this funding help you get there? (Up to 3000 characters)

FAQ

If I am awarded, will I have to pay taxes on my award?

This funding is being offered as a charitable gift and may not be taxable depending on your individual situation. We advise you consult with a tax advisor.

Craft is only one part of my organization’s services, are we still eligible to apply?

As long as your organization’s total annual operating budget is under $2M, you are eligible to apply. 

How do I calculate what percentage of my organization is dedicated to craft?

This calculation is up to you. However, if your answer is under 100%,  we encourage you to explain your rationale in the space provided.  You might consider the percentage of your budget that supports craft programming, the number of staff dedicated to craft programming, the percentage of craft exhibited compared to other art forms, or the percentage of studio spaces occupied by craft artists, to name a few ideas.

What are the reporting requirements? Do I need to report on how I spend the money?

This is a one-time unrestricted charitable gift. There are no reporting requirements. 

How can I use the funds? 

This is an unrestricted charitable gift. 

May I mail a hard copy of my application materials to the Center for Craft’s office?

Hard-copy submissions will not be accepted. The application must be completed and submitted through SlideRoom.  

Can I work on my application and return to complete it at a later date?  

Yes, creating a login account will enable you to complete the form in several online sessions.  

I just submitted my application, but I want to return to it and make an edit. Is this possible?

No, once your application is submitted you cannot return to the form or change any submitted information. 

I have a question that wasn’t answered. How can I reach the Center for Craft?

If you have any further questions, please contact grants@centerforcraft.org, or call 828-785-1357.

Nominating Partners

One of our guiding principles in designing the Craft Futures Fund - WNC Emergency Relief grants was to reduce barriers to funding. To that end, the Center for Craft partnered with regional organizations, studios, and collectives who nominated individuals within their networks for emergency relief. Thank you to our Nominating Partners!

Mezzanine Sponsor

Desire Paths

Lauren Kalman and Matt Lambert

Desire Paths looks at makers both within the discourse of craft and ones that exist on the periphery of the craftscape who focus on the movement of the body towards something desirable. These desires of the body are in relationship to: nature, tech, self, and society. Using architectural theory and queer curatorial strategies,Desire Paths will examine the possibilities and futures of bodies, revealing connections between the corporeal and craft.

Elizabeth Essner is a Brooklyn-based independent Design Specialist with a focus on modern and contemporary craft. In addition to conducting research and appraising, Essner is a regular contributor to Modern magazine. A graduate of the Bard Graduate Center: Decorative Arts, Design History, Material Culture, Essner has previously been an auction house specialist at Rago Auctions in Lambertville, New Jersey, and worked for New York design galleries: R & Company and Historical Design


Lily Kane is currently the Director of Exhibitions and Publications at R & Company gallery in New York, NY. In 2006, while serving as the director of education at the American Craft Council, Kane was part of a team to revive the organization's annual conference. Kane has also contributed pieces to magazines, including Modern and American Craft. A Nashville native, Kane attended Vassar College and now lives in Brooklyn, New York.

Meaghan Roddy is a Senior Specialist and Vice President in the Design Department at Phillips auction house in New York, specializing in 20th- and 21st-century design and decorative arts. She was previously a design specialist at Rago Auctions in Lambertville, New Jersey, and has been consulted for print and television features on design, including Architectural Digest, Bloomberg, Art +Auction, The Art Newspaper,Die Zeitungen, and Modern magazine.  A Maryland native, Roddy studied at Franklin and Marshall College in Lancaster, Pennsylvania, and currently resides in Brooklyn, New York.

Learn more

The Computer Pays Its Debt: Women, Textiles, and Technology, 1965-1985

Kayleigh Perkov

The Computer Pays Its Debt: Women, Textiles, and Technology, 1965-1985 examines craftswomen who used digital technology in their practice. Craft scholarship has reacted to computer-aided design with a mixture of celebration and anxiety. Much of this discourse fails to examine the historical precedence of digital tools in craft practice extending to the 1960s. A focus on feedback between person and machine will nuance scholarship, while an emphasis on women elucidates their underappreciated role.

Elizabeth Essner is a Brooklyn-based independent Design Specialist with a focus on modern and contemporary craft. In addition to conducting research and appraising, Essner is a regular contributor to Modern magazine. A graduate of the Bard Graduate Center: Decorative Arts, Design History, Material Culture, Essner has previously been an auction house specialist at Rago Auctions in Lambertville, New Jersey, and worked for New York design galleries: R & Company and Historical Design


Lily Kane is currently the Director of Exhibitions and Publications at R & Company gallery in New York, NY. In 2006, while serving as the director of education at the American Craft Council, Kane was part of a team to revive the organization's annual conference. Kane has also contributed pieces to magazines, including Modern and American Craft. A Nashville native, Kane attended Vassar College and now lives in Brooklyn, New York.

Meaghan Roddy is a Senior Specialist and Vice President in the Design Department at Phillips auction house in New York, specializing in 20th- and 21st-century design and decorative arts. She was previously a design specialist at Rago Auctions in Lambertville, New Jersey, and has been consulted for print and television features on design, including Architectural Digest, Bloomberg, Art +Auction, The Art Newspaper,Die Zeitungen, and Modern magazine.  A Maryland native, Roddy studied at Franklin and Marshall College in Lancaster, Pennsylvania, and currently resides in Brooklyn, New York.

Learn more

Funk You: Contemporary Sculpture and Funk Ceramics

Angelik Vizcarrondo-Laboy

Funk You: Contemporary Sculpture and Funk Ceramics brings together sculptures in clay bycontemporary artists that echo themes and aesthetics of 1960s–70s Funk ceramics. Put in conversation with historical pieces, the line between past and present is blurred, bridging the gap between the current generation and the pioneering artists who paved the way for ceramics to be imaginative, expressive, critical, and unapologetic.

Elizabeth Essner is a Brooklyn-based independent Design Specialist with a focus on modern and contemporary craft. In addition to conducting research and appraising, Essner is a regular contributor to Modern magazine. A graduate of the Bard Graduate Center: Decorative Arts, Design History, Material Culture, Essner has previously been an auction house specialist at Rago Auctions in Lambertville, New Jersey, and worked for New York design galleries: R & Company and Historical Design


Lily Kane is currently the Director of Exhibitions and Publications at R & Company gallery in New York, NY. In 2006, while serving as the director of education at the American Craft Council, Kane was part of a team to revive the organization's annual conference. Kane has also contributed pieces to magazines, including Modern and American Craft. A Nashville native, Kane attended Vassar College and now lives in Brooklyn, New York.

Meaghan Roddy is a Senior Specialist and Vice President in the Design Department at Phillips auction house in New York, specializing in 20th- and 21st-century design and decorative arts. She was previously a design specialist at Rago Auctions in Lambertville, New Jersey, and has been consulted for print and television features on design, including Architectural Digest, Bloomberg, Art +Auction, The Art Newspaper,Die Zeitungen, and Modern magazine.  A Maryland native, Roddy studied at Franklin and Marshall College in Lancaster, Pennsylvania, and currently resides in Brooklyn, New York.

Learn more

Selection Panelists

Field Building

recipients

Meet the 2022
Craft Research Fund Artist Fellowship Grant Recipients

The Center for Craft is pleased to announce the recipients of 2022 Craft Research Fund Artist Fellowship. This year 2 mid-career artists will receive $20,000 each to support research projects that advance, expand, and support the creation of new research and knowledge through craft practice.

2 out of 97 Artist Fellowship proposals were awarded.

A special thanks

We are profoundly grateful for the overwhelming support from 229 contributors, who have graciously donated in excess of $359,000 to the fund, with a remarkable 84% being first-time donors to the Center for Craft.

And a heartfelt thank you to our six foundation partners for their substantial contributions totaling $825,000 to the fund, including the Windgate Foundation, The Community Foundation of Western North Carolina, The Maxwell/Hanrahan Foundation, Craft Emergency Relief Fund, The Bresler Foundation, and Thomas S. Kenan Institute for the Arts.

If you would like to help direct critical resources to the affected artists, please consider making a gift to the Craft Futures Fund.

Donate Now → 

Process photo of assembly of Y-axis conveyor belt.

Rose Buttress

 — 

$10,000

Rose Buttress is a self-trained machinist and programmer. Buttress’s research titled “FULL,” uses a novel design of fabric cutters to prefigure small batch garment fabrication efficiency with the goal of generating a new philosophy of inclusive design. Her research attempts to renegotiate the constraints on the industry through a methodology of developing new equipment that places the leading industrial mass production techniques and processes within small workspaces.

Learn more

Photo credit: Sean Carroll

Alexis Rosa Caldero

 — 

$10,000

Alexis Rosa Caldero is a first generation Ecuadorian-American and Puerto Rican disentangling from the inherited experience of forced assimilation. Informed by experience with wood, education, and art direction, Caldero’s craft strives to evoke beauty, unearth story, and build connection. Their research, titled “Beyond Ergonomics: Furnishing Healing,” asks what studio furniture can learn from anti-racist, fat positive, body-centered activism. It proposes a hands-on analysis of how everyday furniture can play a role in one’s healing journey through somatic study and community building.

Learn more

Photo credit: Mary Kang

Dana Davenport

 — 

$10,000

Dana Davenport is an interdisciplinary artist, who shifts between installation, sculpture, video, and performance. Within her practice, Davenport addresses the complexities that surround interminority racism as a foundation for envisioning her own and the collective futurity of Black and Asian peoples. Davenport's research titled “Dana's Beauty Supply: Research,” examines Black hair and hair care as a material that binds Black Americans and Korean Americans through the beauty supply industry, an industry that is overwhelmingly Korean-owned with a primarily Black customer base.

Learn more

Photo credit: Benjamin Weinberg

Emily Robison

 — 

$10,000

Emily Robison is a textile artist whose work incorporates place and cultural experience. Building upon their work with byssus fiber, a textile fiber produced by clams and traditionally used throughout the Mediterranean, Robison will research 18th and 19th century published descriptions of byssus production and the feasibility of adapting these techniques to North American pen clams.

Learn more

Photographed by David Hunter Hale

Nastassja Swift

 — 

$10,000

Nastassja Swift is a sculptural fiber artist, whose work exists figuratively in full or often fragmented forms that speak to geographical histories, womanhood, language and community. Swift’s needle felted portraits incorporate quilting, beading and other traditional and non-traditional materials morph into a form of storytelling that references the above themes. Swift’s research title “Hooded Figures: A History of Fashion and Power,”examines hoods across centuries, closely identifying the social and racial associations of the garment and how its symbolism has shifted over time. Using felting, quilting and beading, this research project will produce re-imagined images of Black subjects adorned in a hood.

Learn more

To date, we have raised over $1,000,000 to support the Craft Futures Fund - WNC Emergency Relief and Recovery. Thank you to all the individual donors, foundations, and organizations that have made this effort possible.

ACTIVATING RESOURCES