To encourage innovative research on critical issues in craft theory and history
To investigate neglected questions on craft history and criticism
To support new cross-disciplinary approaches to scholarship in craft
The Craft Research Fund was created to encourage, expand and support scholarly craft research in the United States.
- Proposals are welcome from academic researchers and independent scholars.
- Grant funds may be used for research related expenses including travel, honoraria for contributors, salary for independent researchers, and/or support documentation such as images or rights to use images or text, as part of the research yet to be completed.
- The grant awards are not for the printing or dissemination of already completed research.
- General overhead (indirect administrative expenses) is not eligible for university-based projects.
- No capital equipment purchases are eligible for support.
- Applicants must be able to receive taxable income for the duration of the grant and report this grant as income.
- Applicants must be 18 years of age or older.
- This grant is intended to support scholarly research and is not for the creation of artwork.
Examples of scholarly craft research might include:
- Research providing new insight into work by historical or contemporary craft artists in the U.S.
- Projects presenting a new understanding of the relationship between hand-made production and digital technologies.
- Contributions to the history of the studio craft movement in the United States.
- Projects placing American craft in a global context.
- Or other topics that offer fresh perspectives within the field.
- Seventy percent of the grant will be awarded upon execution of the grant agreement and receipt of the awardee’s W9.
- Recipients will provide a status report on the project half way through the grant period (September 30, 2019).
- Recipients must provide content for at least one blog post.
- The final thirty percent of the grant will be awarded upon receipt of a final report to include a project narrative, a budget report and two copies of any publication produced as a result of the research grant. Project and final report must be completed in 18 months, with a deadline of July 31, 2020. If there is no publication, then provide a copy of the completed research in full.
- Recipients will acknowledge support from “Center for Craft Craft Research Fund” in any publications or presentations resulting from the grant.
Proposals will be reviewed by staff of the Center for Craft for completeness and evaluated by peer-review of readers, who are recognized craft scholars, faculty and/or curators, free of any conflict of interest, based on the following criteria:
- If completed properly, the proposal will advance scholarship and knowledge on craft in the United States
- The plan for dissemination identifies the audience, is reasonable, and has supporting documentation as appropriate
- The project is feasible based on the timeline, expertise, and budget reflected in the application
- The project addresses the goals of the Craft Research Fund
DEADLINE: The application for 2019 Craft Research Fund - Project Grants must be submitted via SlideRoom no later than 11:59 pm EST on Friday, October 19, 2018.
NOTIFICATION: Notification of the results will be sent via e-mail in December 2018 for a start date of January 1, 2019. The e-mail 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 http://www.craftcreativitydesign.slideroom.com. Please review the sample application below before beginning your application. Please note there is a separate application for each Craft Research Fund category.
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 will be able to review your form and return to edit or delete your uploaded files as needed. Once you submit your application, you will not be able to access your form again. Applicants will receive a confirmation email once the application form has been successfully submitted.
2018 Craft Research Fund – Project Grant SAMPLE APPLICATION
This is only a sample application, all applications much be completed in SlideRoom.
1. Organization name
2. Your title
3. Your personal or project specific website
4. Grant amount requested
5. Summary of research (50 words)
1. Summarize in one page (500 words):
1. Research question and relevance to the advancement of craft in the United States
2. Goals and objectives of the project
3. Research methodology
4. Outcome - Proposals must clearly identify the intended outcome of the research that will be completed within the 18 month grant period, including audiences and/or publishing opportunities. These may include stand-alone publications, peer-reviewed journals, papers presented at a scholarly conference, university colloquium or public forum, or online publications.
5. Dissemination plan - If project includes an online or ongoing component please describe your sustainability maintenance plan.
2. Identify three other scholars who have written the most significant works on/around your topic, and describe how your work parallels and pushes the topic forward (500 words).
3. Timeline and schedule for completing the project. Projects must be completed by July 31, 2020 (18 months from start date).
4. Budget Form. Provided in SlideRoom.
5. Budget Narrative. Please provide a narrative for any budget items that require further explanation.
6. CV of relevant education and experience (no more than 2 pages).
7. The project description in (no more than 5 pages, in no less than 12 point type)
8. Bibliography with at least ten sources.
9. Please provide two letters of support. One letter of support from a scholar in the field who has expertise pertinent to the project and is not affiliated with this project and one letter of support from an institution, publication, organization, and/or participant, other than the applicant, who is affiliated with the project. References should be requested via SlideRoom and are due at the same time as the application, October 20 (11:59pm EST), 2018.
10. Optional page for image/s that compliment or add clarity to the proposal
What is the final deadline for submitting my online application form?
The application for 2019 Craft Research Fund - Project grants must be submitted via SlideRoom no later than 11:59 pm EST on October 19, 2018.
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. 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.
I have a question that wasn’t answered. How can I reach the Center for Craft?
If you have any further questions, please contact email@example.com.
9 out of 18 Project Grant proposals awarded
Support for an investigation into how mid-century woodworkers in the United States navigated the intersection of modernist universalism and the class, race, and gender biases endemic to the skilled trade they performed. This project explores how these fraught territories were places of innovation, ideal for subverting class distinction and media hierarchies.
Support for a project to investigate the formation of a local craft economy in Creole New Orleans at the turn of the nineteenth century. Through archeological analysis and archival research, this project analyzes locally produced pottery and the development of Creole aesthetics to examine the relationship between craftsmanship, race and political economy.
Support for research for a monograph on American modernist jeweler Sam Kramer consisting of approximately 160 pages with 130 photographs in color. Archival images of the artist, his atelier, and related material will be printed in black and white.
Support for dissertation considering decorative cut glass as a force in American life from Reconstruction through the Great War. Project will investigate how the manufacture and discourse surrounding cut glass during the Gilded Age afforded sites of making through which working-class Americans created and negotiated their perceptions of themselves, their compatriots, and their nation.
Support for fieldwork with the Marshfield School of Weaving exploring specifically the negotiation of traditional and contemporary techniques in teaching and representing historical crafts and the philosophy of “preservation through use” in maintaining antique craft equipment outside of traditional museum setting.
Support for research for an encyclopedic survey of contemporary basketry made in the United States inclusive of art, craft, and design. Looking specifically at the full complexities of cultural diversity and hybridity that transcend the dichotomy between ethnographic and studio practices.
Sarah Stopenhagen Broomfield
Support for a project to study documents of an important unwritten chapter about Churchill Weavers textiles, detailing their diverse design influences. It confirms and documents several modern design influences that have never been identified as such, which allowed Churchill Weavers to become an innovative production center in the world of fashion design and craft.
Support for research toward a book manuscript, Social Fabrics: The Art of Community. The research explores how artist are mobilizing fiber to create formal and informal communities and communal bonds, with a view to confronting historical and contemporary injustices like settler colonialism, racial violence, white supremacy and rape culture.
Support for a project to understand the singular importance of textiles/fiber within art and craft practice during the 1960s–1980s era of the United States. This project provides a sustained analysis of the ways South American artists utilized these mediums in concrete and metaphorical ways.
Author of the prize-winning The Crafts in Britain in the Twentieth Century (Yale University Press 1999). She contributes regularly to The Burlington Magazine, The Guardian, Crafts, The Spectator and The Times Literary Supplement.
She is on the Advisory Panel of The Burlington Magazine and of Interpreting Ceramics and is Advisor to the Craft Lives Project based at the National Sound Archive of the British Library. She is a member of the International Association of Art Critics, of the London-based Critic’s Circle and of the Art Workers Guild. In 1999 she was given a Ceramics Arts Foundation Award for distinguished service to the Ceramic Arts. With Glenn Adamson and Edward S. Cooke she is the editor of The Journal of Modern Craft.The Last Sane Man: Michael Cardew, modern pots, colonialism and the counterculture (2012) has won the 2013 James Tait Black Prize for biography. Her most recent books are The Real Thing: essays on making in the modern world (2015) and Leonard Rosoman (2016).
Auther received her PhD in the History of Art from the University of Maryland.
A design historian with particular interests in material culture, industrial design, consumer culture, and retail history.
She is the Assistant Curator of Modern and Contemporary American Design at Cooper Hewitt, Smithsonian Design Museum where she recently co-curated and contributed to the catalog for the exhibition Jazz Age: American Style in the 1920s. She holds a PhD in the History of Design from the Royal College of Art/Victoria & Albert Museum where her thesis explored display design in department stores at the turn of the twentieth century, now the focus for a forthcoming monograph.Auther received her PhD in the History of Art from the University of Maryland.
The editor for Metalsmith and Metalsmith Tech magazines. Previously Emily was the Ronald C. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston and Assistant Curator at Cranbrook Art Museum.
Emily has edited and written numerous publications, articles, exhibition texts, including the catalog for Crafted: Objects in Flux (2015), Contemporary Highlights from the Museum of Fine Arts Boston (2016), “Craft’s Restless Boundaries” in Crafting a Continuum: Rethinking Contemporary Craft 92013), and “Curator’s Eye: Thomas Gentille,” Modern Magazine (Summer 2012).