A thriving national craft field is built on a deep understanding of the history of craft, lively critical discourse, thoughtful making, and a strong next generation. For 25 years, the Center for Craft has supported the community of makers and craft scholars and is considered one of the most influential national 501(c)(3) organizations working in the craft field today.

How is the Center for Craft advancing the field?

  • Funding research through grants to expand understanding in craft’s history and present.
  • Leading convenings in symposia and virtual talks to elevate voices and share new ideas.
  • Strengthening communities through craft-based initiatives.
  • Engaging with the local and national craft audience to connect and foster growth.
  • Hosting exhibitions in the Asheville-based gallery to showcase national contemporary craft.
  • Providing collaborative spaces for creative entrepreneurs and small businesses.

Craft of today is more than a practice — it has become a driving force in thought and human connection. Founded in 1996, the Center for Craft’s impact has a rippling effect that extends into the furthest reaches of craft in the United States. There are myriad ways you can get involved, and one of the most important ways to keep this vision alive is by making a donation and becoming a member of the Center for Craft.

Support the Center for Craft and continue this vision of a thriving field of craft.

To learn more, visit centerforcraft.org.

Noisy Autumn: Sculpture and Works on Paper, which publishes November 16, ​​includes essays by Carlo McCormick, Amy Lipton, Nina Felshin, Bob Holman, and Lucy R. Lippard.

Each piece is a record of the artist’s position, movements, and sensations during artmaking, from aches and temperature shifts to the rise and fall of his chest with each passing breath.

Art historian Jenni Sorkin surveys the history of visual art in California from the early 20th century to the present.

Funding options include the Arthur A. Schomburg Fellowship Program, full-tuition scholarships for MFA students, and additional opportunities for MA students.

With growing calls for repatriation of colonial era objects and against illegal trafficking of antiquities, hiding them away from public view in a chamber of secrets is doubly unethical.

In this award-winning cinematic omnibus, the acclaimed director reimagines an archive of the Black experience through original visions of a radical past.

Curated by Jason Vartikar in collaboration with the artist, Companion Species (At What Cost): The Works of Marie Watt highlights tapestries among a variety of textile works.

As long as wars have been fought, wars have needed to be sold. And just like with weapons, the US armed forces have long been on the cutting edge of propaganda.

The sculpture is paired with contemporary photographs by Ilaria Sagaria in an Uffizi exhibition about violence against women.

Those who do not know the past are doomed to repeat it.