Craft Archive Fellowship

Craft Archive Fellowship
Congratulations to the 2020 Craft Research Fund Artist Fellows!
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Craft Archive Fellowship
Four fellowships of $5,000 will be awarded to support archival research on underrepresented and nondominant craft histories in the United States.
Application is open
View recent recipients
Download Grant Kit
Photo credit: Molly Robinson. Design by Manuel Miranda Practice @manuelsmiranda
The Craft Archive Fellowship advances archival research on underrepresented and nondominant craft histories in the United States, including feminist, queer, Black, Indigenous, Latinx, Asian American and Pacific Islander, intersectional, and other communities and approaches that may not be specifically listed here.
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The Fellowship supports a range of scholars—from independent artists to emerging and established researchers. Four Craft Archive Fellows receive honoraria of $5,000 each to conduct research in an archive of their choosing. They may engage in both conventional and innovative approaches to archival research.
Grant goals
Support
To encourage and support the research and writing of historically underrepresented and nondominant American craft histories
Understanding
To expand understanding of where and how archival craft research can be conducted
Awareness
To raise awareness of the importance of craft research
Overview
Eligibility
Requirements
Review Process
How to Apply
FAQ
Program Partner
Overview
2026 Craft Archive Fellowship
Four fellowships of $5,000 will be awarded to support archival research on underrepresented and nondominant craft histories in the United States.
Read the press release
Details
Award Amount
$5,000
Grant Period
Twelve months
Apply Now
Download Grant Kit
Read the press release
Timeline
Applications Open
February 25, 2026
Information Session
April 7, 2026
Application Deadline
May 20, 2026
Public Announcement
August 2026
Fellowship Begins
September 2026
Hyperallergic
Special Edition
September 2027
Public Program
September 2027
Fellowship Ends
September 30, 2027
ELIGIBILITY
Proposals are welcome from a range of scholars, from emerging to established, including artist-researchers. Funding is intended to support independent research and is not intended to support research conducted on behalf of an institution, corporation, or nonprofit organization.
Archives are repositories for and collections of primary source materials where people can conduct research. However, the histories preserved and stored within institutional libraries and archives often reflect dominant cultural narratives, limiting the types of histories that can be told and accessed by scholars in the future. This fellowship takes an expansive understanding of what an archive is, to delimit what an archive can be. For the purpose of this grant, the Center for Craft understands archival craft research as, but not limited to:
Digital and in-person archives: Recipients can direct their research towards a digital or site-specific archive, such as institutional archives that feature underrepresented craft communities. An in-person visit is not required.
Objects as archives, the study of a new collection of materials, such as oral histories, community-created archives, site or place as an archive.
Funding from this grant can be used to visit more than one archive, as funding and time permits. However, engagement with just one archive is all that is expected.
Applicants must be:
21 years of age or older
Eligible to receive taxable income in the United States
Applicants cannot be:
Disqualified persons, such as substantial contributors to or current employees, consultants, or board members of the Center for Craft, or immediate family members of such a person
If an applicant has been previously awarded a Center for Craft grant but did not complete the project, or is still in the process of completing a grant or fellowship, they are not eligible to apply.
Applicants may only receive one Center for Craft grant and/or fellowship per year. Awards cannot be deferred to the next year due to outstanding applications or multiple awards.
The Center encourages applications from historically underrepresented populations. 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. Applying does not constitute a promise or guarantee of being awarded a grant.
USE OF FUNDS
Award funds may be used to cover travel and living expenses, personal stipends/honoraria, image rights, photocopies or other reproductions, subcontracted research assistance, purchase of primary source materials, and other incidental research expenses. Award funds may be used towards rent, childcare, and healthcare, as needed.
For travel purposes, the Center for Craft recommends applicants use the following resources:
U.S. General Services Administration
and
Budget Your Trip
When working with artists (to conduct oral histories or otherwise), the Center for Craft requires recipients to provide appropriate compensation. For remuneration estimates, we recommend consulting the floor wages listed on the
Working Artists and the Greater Economy (W.A.G.E.)
fee calculator website.
When working with community members, the Center for Craft requires that all grant recipients provide financial remuneration for their time, labor, and services rendered towards the awarded project scope and goals.
Award funds can be used towards course buyouts, as needed.
REQUIREMENTS
Sixty percent (60%) will be awarded upon mutual completion of the grant agreement and receipt of the recipient’s W9.
Twenty percent (20%) will be awarded upon submission of a draft 1,200-word article to be published in a Special Edition article by
Hyperallergic
due July 6, 2027.
Twenty percent (20%) will be awarded upon receipt and approval by the Center for Craft of the final report, participation in a Center for Craft virtual public program in September 2027, and finalized article for a Special Edition by
Hyperallergic
due September 1, 2027.
Grant 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 2026 Craft Archive Fellowship.
Recipients must acknowledge support from the Center for Craft by:
Including the tag: “2026 Center for Craft Archive Fellow” in their email signature, website, and/or social media page for the duration of the Grant Period
Including on any publication or presentations resulting from the grant the Center for Craft’s logo or credit line:
“This research was supported by a Center for Craft Archive Fellowship.”
Projects must be completed by September 30, 2027. Fellows must participate in a fellowship debrief conversation with the Center for Craft Program Manager of Research & Ideas to share insights and feedback on their experience as a fellow, conducting their research, and findings by September 30, 2027.
Fellows are required to disseminate their research through a 1,200 word article to be edited and published by
Hyperallergic
in a Special Edition. Article drafts are due July 6, 2027, and final edits are due September 1, 2027. Applicants will maintain rights to their work. The
Hyperallergic
Special Edition will be published in Fall 2027.
Fellows will participate in a virtual program presented by Center for Craft in September 2027, to include a verbal presentation of their research methods.
There is no time requirement for how long the archival visit is (three days, two weeks, etc), as this may depend on cost, size of the collection, permissions, etc. Fellows are not expected to be “in residence” for the full grant period, but rather are expected to conduct their research within the 12 month period.
REVIEW PROCESS
Applications will be reviewed first by the Center for Craft for staff for completeness and then evaluated by a panel of jurors through the SlideRoom online application review portal. The panel will consist of three expert jurors, such as scholars, archivists, curators, and artist researchers.
Jurors free of any conflict of interest will evaluate the applications based on the following criteria:
Rigor - Research proposals should thoughtfully, accurately, and strategically contribute to contemporary scholarly dialogue commensurate with the applicant's level of practice.
Representation - Research foregrounds critical issues in historically non-dominant and underrepresented craft histories and communities.
Contribution - Research demonstrates a new, significant, timely contribution to the field of craft.
Feasibility. Can this research effectively be conducted within the timeframe and budget?
Consideration 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 ask the Selection Panel to identify a set of recipients representing a range of scholars, such as independent, artist, and emerging to established researchers, diversity, geographies, materials, approaches, and underrepresented histories.
HOW TO APPLY
Deadline
The 2026 Craft Archive Fellowship application must be submitted via
SlideRoom
no later than
11:59 pm ET on May 20, 2026.
Notification of awards will be released by the end of August 2026 for a grant period beginning September 1, 2026.
The grant period will be completed on September 30, 2027. Fellows will present their resulting research in a Special Edition article published by Hyperallergic and a Center for Craft virtual public program in September 2027.
Notification
Notification of the results will be sent via email by the end of August 2026, with a start date of September 1, 2026. The email address listed on the application form will be used to send out notifications. Please be sure that it is a valid email account that you check regularly.
How to Apply
Applicants must apply using the online application program SlideRoom at
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 April 7, 2026, from 4:00–5:00 pm ET.
The information session will be recorded and available on the Center for Craft website.
2026 Craft Archive Fellowship – SAMPLE APPLICATION
This is only a sample application. All applications must be completed in SlideRoom.
Proposal to be submitted via SlideRoom as follows:
Demographic Survey
The Center for Craft is committed to diversifying our audiences and to providing equitable and accessible programming – in order to do so, we need to know who our audiences are. Additionally, many of our funders ask that we report on the demographics of our audiences. Please note that the data from the demographics section will only be used anonymously for grant writing and reporting. Completion of this survey will in no way affect your application. If you are applying as a collaborative or organization please select the option “Not applicable.” You must complete the form, however, you may answer each question with the "prefer not to answer" option. Thank you.
Which age group best describes you?
Which of the following best describes your gender identity? (Select all that apply)
Do you identify as LGBTQIA+?
Which of the following best describes your race/ethnicity? (Select all that apply)
What is your total annual household income?
Do you have a disability? (such as a physical disability, a cognitive or learning disability, sensory impairment, Autism Spectrum Disorder, or mental illness)
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.
[Open ended response - 500 character max]
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.
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)
[Open-ended response - 500 character max]
Which of the following do you most identify with? (select all that apply)
Cover sheet
Applicant name(s)
Your personal and/or project specific website(s)
Are you over the of 21 (yes or no)
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)
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):
How did you learn about this opportunity?
Have you previously applied for a Center for Craft grant/fellowship?
Please provide a project title.
Please provide a short summary of your research proposal (no more than 50 words, 300 character limit)
Please provide the name of the archive(s) you wish to conduct research in?
Application
(Project Description) Describe your research project. How will it advance underrepresented craft histories? (500 words or less/3,000 character limit).
Research question(s) and relevance to the advancement of craft in the United States
Research methodology–What is your ideological framework?
Please include the craft practice(s) on which your research focuses.
What archive(s) do you intend to study? What collections or materials are housed there and how will they advance your project?
How do you relate to your area of study? Please describe your community-engaged experience over time.  (500 words or less/3,000 character limit)
Timeline and schedule for completing the project. Fellowship begins September 1, 2026 and ends on September 30, 2027.
Please complete a budget expense form for your proposal (form provided in SlideRoom).
Optional Media Attachment: Submit up to 5 work samples. that complement or add clarity to the proposal.
Allowed Media Types:
Images (up to 5MB each)
Video (up to 250MB each)
Audio (up to 30MB each)
PDFs (up to 10MB each)
You have the option of uploading any combination of images or video links (from hosting sites such as Vimeo, Flickr, or YouTube.) During the review process, only the first two minutes of each video sample will be watched, so please edit your materials accordingly. Images should be in a JPEG format no larger than 1600 pixels on the longest side at 300 dpi. Name each jpeg file with “Last NameImageTitleNumber.jpg,” e.g., “SmithUntitled1.jpg”, “SmithUnititled2.jpg” etc. Each uploaded image or video link must be accompanied by a corresponding image description (up to 50 words). Please include title, date, medium, size, and a short description of each uploaded image or media file.
FAQs
If I win, will I have to pay taxes on my award?
Yes, all cash funding is taxable income.
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.
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 will not be able to return to the form or change any submitted information.
I am a student. Am I eligible to apply?
Yes
I work for an institution, corporation, or nonprofit organization; however, I am applying as an individual and conducting research independently from the institution, corporation, or nonprofit organization I work for. Am I eligible to apply?
Yes
I have previously received a Center for Craft grant. Am I eligible to apply?
Yes
I have previously received a Center for Craft grant but did not complete the project or am still in the progress of completing the project for which I was funded.  Am I eligible to apply?
No
If awarded, can I use the funds to archive my own work/practice?
No
Are applicants responsible for obtaining copyrights to documents, images, and manuscripts included in their research?
Yes
Are art collectives eligible to apply?
Collaboratives are welcome to apply. There must be one fiduciary agent for the group or one person who will receive the award funds, as this person will be responsible for paying taxes on the award amount funded.
Who can I contact with questions?
For any questions, please contact Mellanee Goodman, Program Manager–Research & Ideas, at
mgoodman@centerforcraft.org
or call (828) 785-1357 ext. 103.
About our Program Partner
Hyperallergic
is a leading voice in arts publishing, offering contemporary perspectives that “challenge the art world status quo.”  With over 1 million unique visitors per month, their website extends the impact of our Fellows’s research by reaching a broad and diverse arts audience.
This strategic partnership between the Center for Craft and
Hyperallergic
draws on the strengths of each organization in order to decrease physical and economic barriers to archival research, tell more accurate craft histories, and raise the visibility and appreciation of craft scholarship in the United States. Research by the 2026 Craft Archive Fellows will appear in a
Hyperallergic
Special Edition in Fall 2027, thus ensuring that it is free to access online and easily searchable for future researchers.
recipients
Meet the 2025
Craft Archive Fellows
Photo credit: Heran Abate
Histories of Natural Dyeing and Botanical Pigment Making from a Black American Lens
Teju Adisa-Farrar
Atlanta, GA
This project documents natural dyeing practices by Black people in the United States, tracing botanical pigment traditions from Africa to contemporary reclamation. It highlights how Black artists and crafters preserved and adapted ancestral methods from the 18th to the 20th centuries as part of their cultural heritage.
Photo courtesy of the fellow
Decolonizing the Tongue: Hanji in Kozo Patches
Robert Choe-Henderson
Warne, NC
Recipient of the Sara Clugage Award for the Craft Archive Fellowship
This research examines the decolonization of Korean papermaking in the United States by centering on "hanji" and challenging Japanese-dominated narratives. It advocates for linguistic and botanical precision to recover underrepresented craft histories and confront colonial legacies in the discourse of American papermaking.
Photo courtesy of the fellow
Costureros as Living Archives: Craft and Care in Latina Immigrant Communities
Amalia Uribe Guardiola
New York, NY
Recipient of the Ayumi Horie Award for the Craft Archive Fellowship
This project explores “costureros”—textile circles led by immigrant Latina women in New York City—as archives where oral and material traditions converge. It traces how textile knowledge moves through the Americas as expressions of home, care, and protest emerge and transform through migration.
Photo courtesy of the fellow
Altar Making: A Critical Craft in Migrant Communities
Crystal Vance Guerra
Chicago, IL
This project investigates Mexican altar making as a diasporic craft tradition and living archive, documenting how migrants utilize this sacred practice to assert their presence, preserve memory, and resist erasure through oral histories, community archives, and visual storytelling.
Photo credit: The Culturalist Union
Forged in Memory: Tracing Black Ironwork Lineage
Trelani Michelle
Savannah, GA
This research traces West African symbols, particularly “Sankofa,” in historic Black ironwork throughout the South in the United States. Through oral histories, archival research, and field visits, it will uncover how Black artisans encoded cultural memory into metal, preserving ancestral knowledge through craft.
Photo credit: SHAN Wallace
Fanning Rice: Tracing Windward Coast Basketry in the Lowcountry
Bilphena Decontee Yahwon
Baltimore, MD
Recipient of the Gallaher Family Award for the Craft Archive Fellowship
This research traces the shared origins of Liberian basket weaving and Gullah sweetgrass basketry through the Windward Coast slave trade. It will explore how “fannuh” baskets, used for rice winnowing in South Carolina’s Lowcountry, served as both agricultural tools and vessels of cultural memory.
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.
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.
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.
Selection Panelists
Many thanks to our esteemed panelists for their dedication and enthusiasm in reviewing this year’s finalists:
Juliana Rowen Barton
, curator and cultural organizer; director of the Center for the Arts and curator of Gallery360, Northeastern University
LaMar Gayles
, archaeologist, independent curator, material culture scholar, and technical art historian
Siera Hyte
, Schiller Family Curator of Indigenous American Art, Virginia Museum of Fine Arts
Róisín Inglesby
, curator, William Morris Gallery
Field Building
see our family of past fellows
Selection Panelists
Photo courtesy of the panelist
Sarah Archer
Writer and Design Historian
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Sarah Archer is a writer and design historian based in Philadelphia. Her writing can be found in full-length books, including
The Midcentury Kitchen
Midcentury Christmas
, and
Catland: The Soft Power of Cat Culture in Japan
; in numerous museum publications, most recently for the Wharton Esherick Museum and the Print Center New York; in print (
The New York Times
Material Intelligence
Architectural Digest
) and online (
The New Yorker
T Magazine
Hyperallergic
). Previously, she was senior curator at the Philadelphia Art Alliance and the director of Greenwich House Pottery; more recently, she has appeared as a regular guest on the podcast
You’re Wrong About
and in the CNN documentary
The Many Lives of Martha Stewart
Visit Sarah's
website
and
Photo courtesy of the panelist
Denali Jöel
Artist, Fashion Griot, and Culture Bearer
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Denali Jöel is a Jamaican-born, Los Angeles-based artist, fashion griot, and culture bearer whose multidisciplinary practice spans design, photography, film, performance, archival research, and community engagement. Drawing on Afro-Indigenous cosmologies and masquerade traditions such as Jonkonnu, their work approaches fashion as an embodied craft and living archive, and performance as a site of remembrance, repair, and speculative worldbuilding. Denali’s work has been featured in international exhibitions and supported by fellowships from the California Arts Council and the Center for Cultural Power. Notably, they were a 2024–25 Craft Archive Fellow.
Visit Denali's
website
and
Photo courtesy of the panelist
Carine Zaayman
Researcher and Research Coordinator
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Carine Zaayman is a researcher and research coordinator at the RCMC (Wereldmuseum, the Netherlands). As an artist, curator, and scholar, she is committed to a radical reconsideration of colonial archives and museum collections, specifically those holding strands of Khoekhoe pasts. She works to find ways to release the hold these archives have over our imaginations when we narrate the past, as well as how we might shape futures from it.
Visit Carine's
website
and
Photo courtesy of the panelist
Lakshmi Rivera Amin
Associate Editor at
Hyperallergic
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Lakshmi Rivera Amin (she/her) works as an associate editor at
Hyperallergic
. Based in Brooklyn, she graduated from Yale University with a bachelor’s degree in ethnicity, race, and migration, with a focus on contemporary literature and the sociopolitical fabric of the South Asian diaspora.
Visit Lakshmi's
website
and
Selection Panelists
Alana Hernandez
— Senior Curator, Arizona State University Art Museum
carole frances lung
— Executive Director, Antenna; retired Professor of Fashion, Fiber, and Materials, California State University, Los Angeles
Geoffrey Bowton
— Artist
Margaret Jacobs
— Artist, educator, and independent curator
Special edition of
Hyperallergic
Featuring the research of the 2022 Craft Archive Fellows that focuses on underrepresented and non-dominant craft histories in the United States.
Xenobia Bailey
Jeffrey Gan
E. Gale Greenlee & N.E. Brown
Siera Hyte
Maru López
Watch the Virtual Program
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.
Through a partnership with
Hyperallergic
—a leading voice in contemporary perspectives on art, culture, and more—the Fellows’ research will not only be accomplished, but available as a free online resource. The Center’s collaboration with
Hyperallergic
reduces physical and economic barriers to archival research, increasing the visibility and appreciation of craft scholarship in the United States.
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.
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.
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.
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.
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.
The Craft Archive Fellowship is supported, in part, by the Ayumi Horie Award, the Sara Clugage Award, and the Gallaher Family Award. To learn more about naming a fellowship award, please contact
give@centerforcraft.org
Craft
Research
Fund
is
administered
by
the
Center
for
Craft
and
supported
by
the
Windgate
Fund
at
the
Community Foundation of WNC
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The Community Foundation of Western North Carolina is a trusted partner in philanthropy.  We help donors and nonprofits achieve their charitable goals, now and forever.
We are building a future for craft. We serve makers, museums, academics, and the local community by investing in
creative placekeeping
and
field building
We
believe
that
craft
matters.
We
are
here
to
activate
resources,
catalyze
craft
communities,
and
amplify
craft's
impact
in
the
United
States.
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, the Center for Craft’s strategic direction for 2023-2027.
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67 Broadway St, Asheville, NC 28801
(828) 785-1357
info@centerforcraft.org
Gallery Hours:
Mon–Sat, 10 am–6 pm
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Center for Craft is a 501(c)(3) nonprofit organization.
EIN: 56-2096677
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67 Broadway St, Asheville, NC 28801
(828) 785-1357
info@centerforcraft.org
Gallery Hours: Tues–Sat, 10–6
get more info
Gallery Hours: Closed —
Reopening Fall 2019
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