Current Exhibition

UPcoming Exhibition

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On view 

Craft Futures 2099

On view

Nov

16

Feb

29

On view

Through

Nov

16

Feb

29

When

Nov 16, 2019

Feb 29, 2020

Photo credit:

FRONT & CENTER

Front & center

To celebrate the Building a Future for Craft campaign and successful renovation of our building, the Center for Craft invited ten local and national artists to predict what craft will represent in eighty years time. Set in 2099, this exhibition presents multiple visions of the future of craft. Some take the form of discrete objects, while others engage us through their installation. These new works address both long-standing craft concerns, such as aesthetics, community, and tradition as well as relevant social issues, including climate change, social justice, decolonization, and creating meaning in a digital age. 


This exhibition is inspired by the 1939 World's Fair, which sought to introduce new materials, technologies, and ideas to a mass audience through the theme of “Building the World of Tomorrow.” The material culture presented at this historic expo optimistically envisioned a future of unencumbered growth and happiness in a fast, shiny, and streamlined society.


By comparison, what does the future look like to us today? Is it a dystopia consumed by screen time and disconnected from the material world? Or could human adaptability lead to a recommitment to the value of hand skills, labor, and function? By looking to the prophecies of the past and our hopes for what could be, the ten speculative projects commissioned for Craft Futures 2099 provides a glimpse into some of the defining challenges and aspirations of our present day.

SUPPORT

No items found.
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OPENING RECEPTION

Sat

,

Nov

16

,

2:00 pm

6:00 pm

Where

Center for Craft, Bresler Family Gallery

67 Broadway St., Asheville NC 28801

ARTISTS

David H. Clemons

Jennifer Crescuillo

Seth Gould

Jessica Green

Nicki Green

Jeffreen M. Hayes

Dylan Neuwirth

Thomas Schmidt

Jan-Ru Wan

Folayemi (Fo) Wilson

Santiago X

CURATed By

Marilyn Zapf

Exhibition management

Lauren Roquemore

Exhibition Design

HannaH Crowell

Graphic Design

PHOTOGRAPHY

exhibition events

The events for this exhibition have passed. See our full calendar for upcoming events.

about the artists

Photo courtesy of the artist

David H. Clemons

David Clemons’s work embraces the craft of metalsmithing and it’s collected history of techniques and objects. The resulting works rendered in metal, mixed media, and handmade artist books are vehicles to communicate ideas surrounding identity and forays into material and process-based work. He has work included in the collections of the Arkansas Art Center, National Ornamental Metal Museum, and the Yale Contemporary Crafty Collection. Clemons lives and creates work in Penland, North Carolina.

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David Clemons was born in El Paso, Texas and spent much of his life in Austin, Texas.  Initially he began his undergraduate career attending Tulane University in New Orleans, Louisiana, pursuing a combined degree program for Biology Art and Pre-Med.  He attended the program for two years before returning to Austin to complete his BFA at the University of Texas in Austin, with a primary emphasis in painting. He earned his MFA in Metalsmithing in 2007 from San Diego State University. David taught in the art department at the University of Arkansas in Little Rock, Arkansas for the 10 years. During 8 of those years he developed and headed the Metalsmithing and Jewelry Department. He presently lives and creates work in Penland, North Carolina. His work embraces the craft of Metalsmithing and it’s collected history of techniques and objects. The resulting works rendered in metal, mixed media, and hand made artist books are vehicles to communicate ideas surrounding identity and forays into material and process-based work.  He has work included in the collections of the Arkansas Art Center, National Ornamental Metal Museum, and the Yale Contemporary Crafty Collection.

Photo courtesy of the artist

Dylan Neuwirth

Dylan Neuwirth is a contemporary artist working with light, space, and interactive technologies. He has participated in numerous solo, group, and public art exhibitions as well as curatorial and digital projects. In 2018 he opened OMNIA, a career spanning survey at Bellevue Arts Museum, and was included in the book Lust For Light. He is currently the Creative Director at Western Neon, Executive Director at Western Neon School of Art, and lives in Seattle, Washington.

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Dylan Neuwirth is a contemporary artist working with light, space, and interactive technologies. He has participated in numerous solo, group, and public art exhibitions as well as curatorial and digital projects. His work is in private and institutional collections, and has appeared on PBS, Creators, Artsy, New American Paintings, artnet, The Huffington Post, The Wall Street Journal, Beautiful/Decay, WIRED, and VICE. From 2007-2016, he executed large-scale architectural glass commissions across North America, the United Kingdom, Europe, the Middle East, and Asia as a Project Manager with Chihuly Studio. In 2018 he opened OMNIA, a career spanning survey at Bellevue Arts Museum, and was included in the book Lust For Light. He is currently the Creative Director at Western Neon, Executive Director at Western Neon School of Art, represented by SEASON, and lives in Seattle, Washington.

Photo courtesy of the artist

Folayemi (Fo) Wilson

Folayemi (Fo) Wilson is an object and image maker whose work celebrates Black femme representation and the Black imagination as a technology of resistance and self-determination. Her work explores the Black Atlantic experience though sculptural and multimedia installations presenting speculative fictions that reference history integrating inspiration from American vernacular architecture, literature and science fiction, using original sculpture, found objects, archival media, sound and video. Wilson is an Associate professor at Columbia College Chicago in the department of Art & Art History.

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Folayemi (Fo) Wilson is an object and image maker whose work celebrates Black femme representation and the Black imagination as a technology of resistance and self-determination. Her work explores the Black Atlantic experience though sculptural and multimedia installations presenting speculative fictions that reference history integrating inspiration from American vernacular architecture, literature and science fiction, using original sculpture, found objects, archival media, sound and video.  Her process utilizes her training in art history and critical theory employing the archive and other research methods to mine history for use as material in her creative practice. Wilson earned a MFA in Furniture Design from the Rhode Island School of Design with a concentration in Art History, Theory & Criticism. She has been a grant recipient of the Graham Foundation for Advance Studies in the Fine Arts, the National Endowment for the Arts, and the Propeller Fund. Her writing and reviews have appeared in NKA, Journal of Contemporary African Art, the International Review of African American Art 

(IRAAA), among other publications. Wilson has been awarded residencies or fellowships at ACRE, Anderson Ranch Arts Center, Djerassi, Kohler Arts/Industry program, Haystack, MacDowell Colony, and Purchase College/SUNY Purchase New York. Wilson is an Associate professor at Columbia College Chicago in the department of Art & Art History. Her design work is included in the collection of the Cooper Hewitt National Museum of Design. She is on the board of the American Craft Council and was honored as a 3Arts awardee in 2015. 

Photo courtesy of the artist

Jan-Ru Wan

For more than two decades, artist Jan-Ru Wan has been re-using found objects, especially those discarded from industrial factories, in her sculpture and installation work, re-inventing and elevating their original purpose. Throughout Wan’s career, she has participated in 28 solo exhibitions and 44 group exhibitions including the 1st International Biennial of Casablanca at the Kaohsiung Museum of Fine Art in Taiwan; the Yango-Biennial in Kinshasa, Congo and a solo exhibition at the Mint Museum in Charlotte NC, April 2019. Wan lives and works in Chapel Hill, North Carolina.

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For more than two decades, Jan-Ru Wan has been re-using found objects, especially those discarded from industrial factories, in her sculpture and installation work, re-inventing and elevating their original purpose. Her unique way of incorporating wildly diverse materials with layers of repetition and creating a space of awe is the signature of her installation works.

 

Throughout Wan’s career, she has participated in 28 solo exhibitions and 44 group exhibitions including the 1st International Biennial of Casablanca at the Kaohsiung Museum of Fine Art in Taiwan; the Yango-Biennial in Kinshasa, Congo and her upcoming solo exhibition at the Mint Museum in Charlotte NC, April 2019. Her work has been featured in Surface Design Magazine and Sculpture Magazine. The National Art Education Association Anthology: Globalization, Art, and Education devoted an entire chapter on her work. In 2006, The University of Wisconsin, Milwaukee honored Wan with the GOLD award, recognizing her as the Graduate of the Last Decade. Wan is also the recipient of North Carolina’s 2008 Visual Art Fellowship for the amount of $10,000. Wan has also been awarded artist residencies in Taiwan, Thailand, Morocco, Belgium, the Netherlands, and the United States. Wan lives and works in Chapel Hill, North Carolina.

Photo courtesy of the artist

Jeffreen M. Hayes

Jeffreen M. Hayes merges her administrative, curatorial and academic practices into her cultural leadership. She has extensive curatorial experience and her projects include Augusta Savage: Renaissance Woman, AFRICOBRA: Messages to the People, and most recently AFRICOBRA: Nation Time, an official collateral event for the 2019 Venice Biennale. Jeffreen is the executive director of Threewalls, a Chicago nonprofit that fosters contemporary art practices that respond to lived experiences.

Photo courtesy of the artist

Jennifer Crescuillo

Jennifer Crescuillo is an internationally exhibited artist currently living and working in Silver Point, Tennessee with her family. She has taught and worked at various glass studios, such as The Studio of the Corning Museum of Glass, Urban Glass, and Pilchuck Glass School. Her work has been included in New Glass Review 34, 36, and 38, and she has been a Wheaton Arts Fellow in 2014 and 2017 and an Emerging Artist in Residence at Pilchuck Glass School in 2016 Together with her partner, Andrew Najarian, Jennifer operates High Polish Studio specializing in custom glass fabrication and cold working services.

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Jennifer Crescuillo is an internationally exhibited artist currently living and working in Silver Point, Tennessee with her family. She received her Master’s of Fine Art in glass at Southern Illinois University Carbondale. She has taught and worked at various glass studios, such as The Studio of the Corning Museum of Glass, Urban Glass, and Pilchuck Glass School. Her work has been included in New Glass Review 34, 36, and 38, and she has been a Wheaton Arts Fellow in 2014 and 2017 and an Emerging Artist in Residence at Pilchuck Glass School in 2016 Together with her partner, Andrew Najarian, Jennifer operates High Polish Studio specializing in custom glass fabrication and cold working services.


Photo courtesy of the artist

Jessica Green

Jessica Green is a weaver who lives close to the land; seeking to integrate her life and work and unafraid of failure. Raising sheep and foraging for natural dyes, Jessica grows much of her cloth from the living world around her. She is the director of a rural, skills based fool school nestled deep in a mountain holler, the Cabbage School. Jessica’s work is quiet and asks for a quiet mind to fully appreciate the life and experience that has joyfully gone into its creation. Jessica weaves to slow the world down.

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Jessica Green is a weaver who lives close to the land; seeking to integrate her life and work and unafraid of failure. Raising sheep and foraging for natural dyes, Jessica grows much of her cloth from the living world around her. She likes to get to the bottom of things, likes to know her materials, likes to know their root; she wants to be a beneficial member of a vibrant ecosystem.

While being deeply inspired and guided by those who have come before, Jessica is following the well-trod footpath of weavers and land-based women, relearning how to live a full life on this earth. 

 

With this in mind, she is the director of a rural, skills based fool school nestled deep in a mountain holler, the Cabbage School. Jessica’s work is quiet and asks for a quiet mind to fully appreciate the life and experience that has joyfully gone into its creation.

Jessica weaves to slow the world down.


Photo courtesy of the artist

Nicki Green

Nicki Green is a transdisciplinary artist and educator whose work focuses on craft process and the production of material cultural and history. Her sculptures, drawings and paintings and ritual objects center questions of history preservation, conceptual ornamentation and the aesthetics of otherness. She has exhibited her work internationally and has been included in various publications, including a forthcoming piece in Transgender Studies Quarterly’s Trans*Religion issue. She lives and works in San Francisco, California.

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Nicki Green is a transdisciplinary artist and educator whose work focuses on craft process and the production of material cultural and history. Her sculptures, drawings and paintings and ritual objects center questions of history preservation, conceptual ornamentation and the aesthetics of otherness. Originally from New England, she received a BFA in sculpture from San Francisco Art Institute in 2009 and an MFA in Art Practice from UC Berkeley in 2018. She has exhibited her work internationally, notably at the New Museum in New York, the Contemporary Jewish Museum in San Francisco, and Rockelmann & Partner Gallery in Berlin, Germany. Her writing and visual work has been included in and discussed in various publications, including a forthcoming piece in Transgender Studies Quarterly’s Trans*Religion issue, American Craft Magazine, and The MIT Press anthology Trap Door: Trans Cultural Production and the Politics of Visibility. She lives and works in San Francisco, California.

Photo courtesy of the artist

Santiago X

Santiago X, M.Arch, MFA is an Indigenous futurist and multidisciplinary artist specializing in land, architectural, and new media installation. He is an enrolled citizen of the Coushatta Tribe of Louisiana (Koasati) and Indigenous Chamoru from the Island of Guam U.S.A (Hacha'Maori). Santiago X has exhibited and designed Internationally, including The World Expo in Shanghai, China, Venice Biennale in Venice, Italy and Ars Electronica in Linz, Austria, and the Chicago Architecture Biennial.

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Santiago X, M.Arch, MFA is an Indigenous futurist and multidisciplinary artist specializing in land, architectural, and new media installation. He is an enrolled citizen of the Coushatta Tribe of Louisiana (Koasati) and Indigenous Chamoru from the Island of Guam U.S.A (Hacha'Maori). Santiago X has exhibited and designed Internationally, including The World Expo in Shanghai, China, Venice Biennale in Venice, Italy and Ars Electronica in Linz, Austria, and the Chicago Architecture Biennial.

 

Santiago X received a Master of Fine Arts in Studio Art and Technology from the School of the Art Institute of Chicago, a Master of Architecture from the University of Southern California, and Bachelor's in Environmental Design from the University of Colorado.

 

Santiago X has reinvigorated the ancestral mound building practice of his Koasati people, via two large-scale augmented public earthwork installations constructed along the Chicago and Des Plaines River in Chicago, Illinois. This is notably the first time effigy earthworks have been constructed by Indigenous peoples in North America since the founding of the United States.

 

"The trajectory of my practice is an exploration of the human interface between our built environment, history, technology, our own self-relevance, and how we navigate this relationship to construct our notions of order in an infinite world of chaos. As an Indigenous futurist, I believe that art can transcend representation and become something sacred that embodies life itself, through a multiplicity of being. My work directly engages the notions of a post-human world, but actualizes to activate the possibility of our own prosperity, by painting our self-constructed limitations and deconstructing them."


Photo courtesy of the artist

Seth Gould

Seth Gould is a metalsmith and tool maker who creates and ornaments utilitarian objects that range from simple tools to highly embellished locks. His work, which is strongly influenced by historic metalsmithing design and technique, typically begins in a coal forge and is finished at the bench with a file in hand. His work can be seen in the collections of the Renwick Gallery, the National Ornamental Metal Museum, and the Arkansas Art Center. Seth recently completed the Penland School of Craft long-term residency and now lives with his wife and son in Bakersville, NC.

Continue reading...

Seth Gould is a metalsmith and tool maker who creates and ornaments utilitarian objects that range from simple tools to highly embellished locks. His work, which is strongly influenced by historic metalsmithing design and technique, typically begins in a coal forge and is finished at the bench with a file in hand. For the more elaborate pieces, ornamentation is added with hammer and chisel through the process of inlay and engraving.

 

In 2009 Seth graduated from Maine College of Art with a BFA in Metalsmithing and Jewelry Design. In the following years, his work and studio practice was shaped by his experiences working in the metalsmithing field, his time as a Core Fellow at the Penland School of Craft, and opportunities to view European and Japanese metalwork on multiple long-term trips abroad. Seth has exhibited work in Germany, Japan, and across the United States. He has taught, demonstrated, and lectured at institutions including Haystack Mountain School of Crafts, the Center for Metal Arts, Southern Illinois Metalsmithing Society, and the Society of North American Goldsmiths. His work can be seen in the collections of the Renwick Gallery, the National Ornamental Metal Museum, and the Arkansas Art Center. Seth recently completed the Penland School of Craft long-term residency and now lives with his wife and son in Bakersville, NC.


Photo courtesy of the artist

Thomas Schmidt

Thomas Schmidt is an American artist, designer and co-founder of Recycled China. In a time when experience is increasingly influenced by technology, Schmidt’s work attempts to both integrate and blur the boundaries between high tech and traditional craft methods as means for exploring the tactile world. In 2015, Recycled China Series #1 received the Bronze prize at The Gyeonggi International Ceramics Biennale in South Korea and was recently acquired by the Victoria and Albert Museum in London. Schmidt currently holds the position of Associate Professor of Interdisciplinary 3D Studio at the University of North Carolina at Charlotte.

Continue reading...

Thomas Schmidt is an American artist, designer and co-founder of Recycled China. In a time when experience is increasingly influenced by technology, Schmidt’s work attempts to both integrate and blur the boundaries between high tech and traditional craft methods as means for exploring the tactile world.  From digitally modeled building-blocks and crumpled porcelain tile, to panels of aluminum fused with porcelain shards, Schmidt draws upon installation art and architecture to orchestrate and capture a variety of material moments for the viewer to experience and unfold.


Thomas Schmidt received his BA at Loyola University Chicago in 2004, Post-Baccalaureate Certificate at The School of the Art Institute of Chicago in 2006, and MFA at the New York State College of Ceramics at Alfred University in 2009.  Upon receiving his MFA, Schmidt moved to Beijing where he worked for four years as a Professor of ceramic design at the Alfred/CAFA Ceramic Design for Industry program at the China Central Academy of Fine Arts. In 2012 he and partner Jeffrey Miller co-founded the design team Recycled China, whose work uses industrial waste within China to create architectural tile and sculptural objects.  Their work Recycled China Series #1 received the Bronze prize at The 2015 Gyeonggi International Ceramics Biennale in South Korea and their work was recently acquired by the Victoria and Albert Museum in London. 


Schmidt currently holds the position of Associate Professor of Interdisciplinary 3D Studio at the University of North Carolina at Charlotte.

exhibition Images

exhibition Images

Craft Futures 2099

is

curated by Marilyn Zapf

and

organized

by

the

Center

for

Craft.

The

Center

for

Craft

is

supported

in

part

by

the

Since its inception in 1964, the North Carolina Arts Council has imagined and executed an innovative vision for arts development that touches every corner of our state — all 100 counties — from the mountains to the coast.

,

a

division

of

the

Department

of

Natural

and

Cultural

Resources.

The

Center

for

Craft’s

John

Cram

Partner

Gallery

presented

in

collaboration

with

UNC Asheville transforms lives through leadership and education. The designated liberal arts and sciences institution for the UNC System and one of the nation’s top 10 public liberal arts universities, UNC Asheville enrolls 3,600 students and offers more than 30 undergraduate majors and a Master of Liberal Arts and Sciences degree. UNC Asheville also encourages students to take part in a nationally acclaimed undergraduate research program and participate in interdisciplinary learning. From internships and hands-on projects, to study abroad and community engagement, students experience an education that extends beyond campus into the vibrant City of Asheville, the surrounding Blue Ridge Mountains and the world.

and

A liberal arts college grounded in social responsibility, where hard work and community are more than just words.

.

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Nov

16

Jan

7

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