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for Curators

Curatorial Fellowship

The Curatorial Fellowship is a 10-month long program created to give an emerging craft curator a platform to explore and test new ideas about craft.

This grant is open and accepting applications! Get more info→

Steve Mann, Black Box Photography

This grant is now open and accepting applications! Get info→


The Curatorial Fellowship is a 10-month program awarding an emerging curator $5,000 with the goal of advancing and supporting their practice. This fellowship provides a platform for exploring new curatorial approaches to craft.

The Curatorial Fellow will fully develop and mount their proposed exhibition in the Center for Craft’s Bresler Family Gallery, located in Asheville, North Carolina. The Fellow will work closely with the Center for Craft program staff and mentors to produce an exhibition and develop didactic materials and programming as part of a Center for Craft program. This initiative supports curatorial research and helps to develop professional networks, promoting experimentation, collaboration, and engagement across the field.

Grant goals

Recognition

To recognize and affirm emerging curatorial talent

Development

To provide professional development and networking opportunities for emerging craft curators

Support

To cultivate emerging ideas within craft

Overview

2026 Curatorial Fellowship

The Curatorial Fellowship is a yearlong program created to give an emerging craft curator a platform to explore and test new ideas about craft.

For the 2026 Curatorial Fellowship, proposals that explore themes of Craft and Community Vitality are welcome:

In the wake of Hurricane Helene and the fires in California we witnessed firsthand how interconnected craft is with the well-being of our communities and the importance of craft as we rebuild toward a resilient future. We are seeking curatorial proposals that explore craft's role in community vitality.

  • How does making, experiencing, and learning about craft build personal, social, economic, and community well-being?
  • What role could craft play in solving some of the most pressing issues of our time - from climate change to natural disasters, immigration to the loneliness epidemic?
  • Proposals that address historical, contemporary, and/or futurist perspectives are welcome.

Timeline

  • Applications Open:
  • January 27, 2025
  • Application Orientation: 
  • March 13, 2025
  • Application Deadline:
  • April 18, 2025
  • Fellowship Begins:
  • June 2025
  • Exhibition Opening:
  • February 2026
  • Fellowship Ends:
  • March 2026
  • Exhibition Close:
  • Summer 2026

ELIGIBILITY

Proposals that address the 2026 theme of craft and community vitality are welcome from individuals, two-person teams, and collectives for exhibitions to be considered in the Center for Craft’s 2026 exhibition season. No prior curatorial experience is necessary. An experienced curator on staff will be available to provide guidance and support during the program. Additional consideration will be given to applicants beginning their career as a curator. The Center for Craft welcomes proposals that contribute to our ongoing commitment to diversity representing a range of geographies, expertise, craft materials, race, ethnicity, and sexual orientation.

Applicants must be:

  • Eligible to receive taxable income in the U.S. for the duration of the Fellowship and report this grant funding as income
  • 21 years of age or older

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

Please note, proposals should not be submitted for a solo show or an exhibition that includes the applicant’s own artwork.

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 a grant.

What is craft?

Craft is a particular approach to making with a strong connection to materials, skill, and process. Artists, makers, scholars, and curators continue to grow the field, embracing new definitions, technologies, and ideas while honoring craft's history and relationship to the handmade.

Craft, in all its forms, demonstrates creativity, ingenuity, and practical intelligence. It contributes to the economic and social well-being of communities, connects us to our cultural histories, and is integral to building a sustainable future.

Craft is commonly recognized as being made of clay, glass, fiber, metal, and wood.  We also recognize that  craft can include materials, such as concrete, plastic, gourds, shells, bones, leather, natural, and recycled materials, among others.

Requirements of the 2026 Curatorial Fellowship Award

  • Fifty percent of the grant will be awarded upon execution of the fellowship agreement and receipt of the awardee’s W9.
  • The final fifty percent of the grant will be awarded upon completion of mounting the exhibition, completion of supporting materials, and participation in a related  Center for Craft program.
  • Allow permission for the Center for Craft to use the language and images from the recipient's application or other high-resolution images the recipient may want to provide in press releases, social media, and/or reports of work by recipients of the 2023 Curatorial Fellows.
  • An exhibition budget of $8,000 will be allotted to each Curatorial Fellow. Curatorial Fellows are responsible for creating a comprehensive exhibition checklist, coordinating shipping and/or special handling and installation instructions, writing exhibition labels, didactics, and catalog text, securing image rights, and participating in an educational program.
  • Curatorial Fellows must be able to travel to the Center for Craft during the duration of the Fellowship, including at least one site for installation and to attend the exhibition opening in February 2026, and participate in an educational program (virtual or in person) in 2026.
  • Curatorial Fellows must be available for a monthly teleconference or videoconference meeting during regular business hours with the Center for Craft staff for the duration of the program (until the exhibition is mounted).

cRITERIA/REVIEW PROCESS

Curatorial proposals should address the 2026 theme of craft and community vitality and include the work of three to ten US-based artists working in craft. Applications  will be evaluated on full completion of the application and according to the criteria listed below:

  • Critical engagement with contemporary practices of making
  • Emerging ideas and approaches in craft
  • Relevance to the theme of craft and community vitality
  • Feasibility based on the timeline, expertise, and budget reflected in the application
  • Center for Craft mission alignment: resource, catalyze, and amplify how and why craft matters.

Applications are first reviewed by the Center for Craft Director of Programs and Curator and Program Manager - Research and Ideas according to the stated grant goals and criteria and in line with the Center’s mission. From this, a top tier of applications will be identified. Each top application is then read by at least two outside experts, and references are checked. The Curatorial Fellow will be chosen by the Director of Programs and Curator and approved by the Executive Director.

Considerations in final selection:

The Center for Craft respects, values, and celebrates the unique attributes, characteristics, and perspectives that make each person who they are. We foster open communication of diverse perspectives and bring a broad range of individuals together to enrich and support programming. Ultimately we will compose a set of recipients that prioritizes diversity and represents a range of ideas, subject matter, and curatorial approaches.

Please note that the Center for Craft Bresler Family Gallery is located on the ground floor in the heart of downtown Asheville, North Carolina’s cultural district. Please review photographs of previous exhibitions as well as the gallery floor plan before submitting your proposal. Please note the gallery layout may be subject to change.

HOW TO APPLY

APPLICATION DEADLINE

Applications must be submitted via SlideRoom no later than April 18, 2025, at 11:59 pm ET.

NOTIFICATION

Notifications will be sent via email by early May 2025. The email address listed on the application form will be used to send out notifications. Please be sure that it is a valid account that you check regularly.

How to Apply

Applicants must apply using the online application program SlideRoom at https://centerforcraft.slideroom.com/#/Login. 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 it 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 received. A virtual application information session will be held on March 13, 2025, from 5:00 to 6:00 pm ET.

Collaborators

Applicants who wish to apply as collaborators need only submit one application form. One member of the collaborative team must be selected as the main applicant; their contact information will be used for all preliminary correspondence and notification.

2026 Curatorial Fellowship Award - SAMPLE APPLICATION

This is only a sample application. All applications must be completed in SlideRoom.

Proposals to be submitted via SlideRoom as follows:

Demographic Survey

The Center for Craft recognizes that demographic data is a limited way of understanding who is applying to our grant programs. However, it's also an important piece of the puzzle when it comes to developing equitable and accessible programs, and many of our funders require that we collect this information.

Please note that demographic data will remain anonymous, will in no way affect your application, and will only be used for grant writing and reporting purposes. While completion of this form is required, you may answer any of the questions with the "Prefer not to answer" option. If you are applying as a collaborative or organization, please select the option “Not applicable.” Thank you.

  1. Which age group best describes you?
  2. Which of the following best describes your gender identity? (Select all that apply)
  3. Do you identify as LGBTQIA+?
  4. Which of the following best describes your race/ethnicity? (Select all that apply)
  5. What is your total annual household income?
  6. Do you identify as having a disability? (such as a physical disability, a cognitive or learning disability, sensory impairment, Autism Spectrum Disorder, or mental illness)
  7. If you have a disability and feel comfortable sharing, how would you describe your disability, and what accommodations would be most useful to you? (If you do not identify as having a disability, are applying on behalf of an organization or collective, or prefer not to answer, please enter N/A) Note: your response to this question will be used to help us make decisions about where to invest resources in staff training and accommodations to make our grant programs more accessible. As with all questions in this survey, your response will remain anonymous and confidential.
  8. What is the highest level of schooling you have completed or the highest degree you have completed? If currently enrolled, mark the highest level/degree already received.
  9. Recognizing the limitations of check-box demographics surveys, is there anything you would like to tell us about your identity and/or the communities you belong to that the survey did not capture? (optional)
  10. Which of the following do you most identify with?

Cover Sheet

  1. Applicant name(s) or collective
  2. Your personal or project-specific website
  3. Are you able to receive income in the United States or U.S. territories taxable by the United States or U.S. territories for the duration of the project period? (yes or no)
  4. Are you over 21 years old? (yes or no)
  5. Please provide an exhibition title.
  6. How did you learn about this opportunity?
  7. Have you previously applied for a Center for Craft grant/fellowship?

Application

  1. Exhibition Proposal (Short): Please briefly describe the content of the proposed exhibition (no more than 50 words, 300 character limit).
  2. Exhibition Proposal (Extended): Please describe the content of the proposed exhibition, including outlining the curatorial idea, research methods, and proposed display strategies (1,000 words/ 6,000 character limit).
  3. Please list up to three of the communities with whom you most frequently work or which you plan to engage through your funded project. 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).

Short answer: Applicants should address each of the following questions in 300 words or less:

  1. How does the exhibition address themes of Craft and Community Vitality, or the ability of a community to adapt and thrive in a changing world?
  2. Please list three written works or exhibitions that are pertinent to the proposed exhibition (historiography). Describe how the proposed exhibition would extend, questions, or push this conversation forward.
  3. Please provide a list of proposed US-based artists. This should include at least three and up to ten proposed artists, including last name, first name, primary media, primary location, and up to two sentences explaining how their work relates to the theme of the exhibition. Please indicate if the applicant has corresponded with the artist and if the artist’s work is available for the show. (300 words/1,800 character limit)
  4. Please list one professional references  
  5. Attachment: a curriculum vitae (C.V.)  should be uploaded as a PDF format. Please name your CV file “Curator’s LastNameFirstName.doc/docx/pdf”, i.e. “SmithRobert.xxx.” All collaborating partner’s information and CV must also be submitted. (no more than 4 pages total)
  6. Images: Applicants may upload up to 15 samples of proposed artwork to be included in the exhibition. You have the option of uploading any combination of images or video links (from video hosting sites such as vimeo or youtube.) During the review process only the first 2 minutes of each video sample so please edit your materials accordingly. Images should be in JPEG format no larger than 1600 pixels on any side @ 300 dpi. Name each jpeg file with “Applicant’s Last NameArtist’s Last NameNumber.jpg,” i.e. “Smith_ Jones1.jpg'', “SmithAdams_2.jpg” etc. Each uploaded image or video link must be accompanied by a corresponding Image Description, which lists the Artist Name, Title, Year, Medium, Dimensions of the artwork. You may include a brief description (up to 50 words) of the artwork in lieu of or in addition to the artwork information. This list should correspond to the order in which the images were uploaded. some text
    1. Optional media attachment: Support materials such as exhibition reviews or catalogs.

PLEASE NOTE: Applications containing images and documents that are not labeled or uploaded according to the guidelines above will NOT be reviewed. Images will not be accepted by email. Submitting an application does not constitute a promise or guarantee of acceptance.

FAQs

What is the final deadline for submitting my online application form?

All applications must be submitted via SlideRoom no later than later than Friday, April 18, 2025, at 11:59 pm ET.

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

No, hard copy submissions will not be accepted. The application must be completed and submitted through SlideRoom.

I have video samples as well as jpegs of the work examples proposed for my exhibition. Can I submit samples of both?

You may upload up to 15 images or video links from your personal site or video hosting sites (such as vimeo, flickr or youtube) of your recent work. You can upload any combination totaling 20. Remember, during the review process only the first 2 minutes of each video sample so please edit your materials accordingly.

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

Yes, creating a SlideRoom 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 will not be able to return to the form or change any submitted information. The application fee must also be paid at the time of submitting your application as you will not be able to log-in again to access the payment page again.

Will I receive confirmation that my application has been received?

Yes, applicants will receive a confirmation email once the application form and application fee have been received.

Can I apply as part of a collaborative team?

Yes, curatorial teams of two people or more may apply together for their shared project. Applicants who wish to apply as collaborators need only submit one application form and application fee. One member of the collaborative team must be selected as the main applicant; their contact information will be used for all preliminary correspondence and notification. Please note that the Center for Craft will only cover the U.S. travel expense of up to two collaborators per project.

Do the images I submit in the application need to be the exact pieces in the exhibition? Once I’m selected may I add/subtract pieces I used in my submission?

The submitted proposal should include as many of the artists exhibiting work in the exhibition as possible. The strongest proposals are the most specific and will include the artwork intended for the exhibition. Once selected, the curator may add or subtract pieces after discussion with the Center for Craft staff. The selected proposal is chosen based on the exhibition as a whole so it is important for the proposal to be fully formed.

What does the exhibition budget cover?

The $8,000 exhibition budget should be used to cover direct costs related to the exhibition including curatorial research, artwork shipping, custom or one-off exhibition design and build needs, art commissions/artist fees/loan fees, and any additional interpretive materials such as show graphics, labels, not covered by Center for Craft.

What does the Center for Craft provide for the exhibition?

The Center for Craft will provide the exhibition space, a set of plinths and display options, select AV equipment, insurance, staffing during gallery opening hours, and administrative support. The Center for Craft will provide a registrar to arrange shipping and object reports, art handlers for installation, and graphic design and printing for labels and exhibition graphics within reason. Additionally, the Center for Craft will provide marketing, postcard invitations, and email invites, organize an opening reception and related programming. An experienced curator on staff will be available to provide guidance and support during the program. Select mentors or experts will be contracted to support the Curatorial Fellowship during their grant period. An honorarium of $5,000 will be awarded to the selected applicant. There will be no other financial support.

What is the responsibility of the selected curator?

Curatorial Fellows are responsible for creating a comprehensive exhibition checklist, shipping and/or special handling and installation instructions, writing exhibition labels and didactics, and participating in an educational program.

Curatorial Fellows must be able to travel to the Center for Craft during the duration of the Fellowship; to include exhibition installation and attending the exhibition opening in Februrary 2026 and to participate in a virtual or in-person educational program in 2026.

Curatorial Fellows must be available for a monthly teleconference or videoconference meeting during regular business hours with the Center for Craft staff for the duration of the program (until the exhibition is mounted).

How much time is allocated for the installation of the exhibition?

Each exhibition should be installed within 3-4 days. The installation will be completed by a team of art handlers selected by the Center for Craft. The curator will have the opportunity to travel to the Center for Craft to assist in the installation process.

Does the Center for Craft have equipment to borrow for the exhibition such as projectors, monitors, media players, pedestals etc. or should we include those items in my budget?

The Center for Craft does have a limited supply of basic media and installation equipment that can be utilized by the selected curator. Please contact the Center for Craft directly regarding specific inquiries for equipment prior to completing your budget. A full list of available basic media and installation equipment will be provided to the selected Curatorial Fellows.

Can I submit an exhibition with an open call or a residency component?

No. Open calls must be completed prior to submitting a proposal and residencies cannot be a component of the exhibition.

Can my show be virtual or off-site?

No. All exhibitions must take place in the Bresler Family Gallery at the Center for Craft. Though parts of the exhibition may be in public or other spaces, something must be on view within the walls of the gallery for the scheduled duration of approximately 6 months, during hours assigned by the Center for Craft.

Can my proposed show include sales of work?

No. The Center for Craft gallery is an educational gallery and works are not offered for sale. However, the Fellow may be asked to share recommendations for items that could be included in the Center’s adjoining retail space.

Can I submit a proposal for a solo show or an exhibition of my own work?

No. All proposals must include at least three (3) artists. In addition, proposals will not be accepted for exhibitions where multiple people work on one person's idea (artists projects).

Can I submit more than one proposal? Can I submit an exhibition that has been presented elsewhere before?

No.

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

recipients

Meet the 2023
Curatorial Fellowship Recipients

Headshot of Sonya Abrego

Crafting Denim

$5,000

Sonya Abrego

Brooklyn, NY

Dr. Sonya Abrego is a New York City-based design historian specializing in American fashion. She takes an interdisciplinary approach to examining the interconnections between dress, popular culture, art, craft, and design. Sonya has published in scholarly and popular venues, has presented at conferences across North America, and presently teaches at Parsons School of Design and the Fashion Institute of Technology. Her first book, Westernwear: Postwar American Fashion and Culture, is published with Bloomsbury Academic.

Learn more
Headshot of Kehayr Brown-Ransaw

Something earned, Something left behind

$5,000

Kehayr Brown-Ransaw

Minneapolis, MN

Kehayr Brown-Ransaw is an interdisciplinary artist, educator, and curator based in Bde Óta Othúŋwe/Mnísota (Minneapolis/Minnesota). Brown-Ransaw’s practice engages in conversations of individualism v. collectivism, familial histories, concepts of gendered work, tradition, and Blackness/Black identity through quilting, weaving and printmaking. His curatorial and teaching practices are concerned with access, representation, and the presentation of marginalized communities.

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Headshot of Oscar Salguero

NEO MINERALIA

$5,000

Oscar Salguero

Brooklyn, NY

Oscar Salguero is an independent curator, researcher, and archivist based in Brooklyn, NY. His work has been exhibited both nationally and internationally, including a presentation during Stockholm Design Week 2020, as part of non:agency’s The Age of Entanglements. As a curator, Salguero is a fellow of SixtyEight Art Institute’s The Curatorial Thing 2020 Edition, for which he received the Danish Arts Foundation’s International Visual Arts Funding Grant. In Spring 2021, Salguero curated Interspecies Futures [IF] at the Center for Book Arts, NY. The show marked the first survey of bookworks by emerging artists working at the intersection of speculative fiction and new interspecies possibilities. Salguero is the founder of Interspecies Library and is the author of the Symbiocene Anthology, a series of artists’ book reviews published online via Future Based.

Learn more

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.

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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

Explore the 2023 Curatorial Fellowship Catalog

ACTIVATING RESOURCES