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Makers

Visionaries in Craft

Meet some of the powerful people and organizations working toward a more equitable and supportive craft community.

By American Craft Staff
June 2, 2022

Two masked people collaborate on a woodworking project, one wearing a sweatshirt that says
Photo by Craig Bailey/Perspective Photo.

Alison Croney Moses, associate director of The Eliot School of Fine and Applied Crafts (left) with student Tanya Nixon-Silberg.

Along with skill and practice, it takes vision to shape materials into beautiful objects. Similarly, there are craft artists and professionals who have the vision to want to shape an entire field.

After the tumult of the past few years—with the global pandemic, increasing climate change disasters, racial reckoning, and other shifting social dynamics—the editors of American Craft decided to honor changemakers in craft whose work not only addresses the moment, but paves the way toward a more supportive and inclusive future. The initial idea for this coverage came from the board of trustees of the American Craft Council, which is committed to justice, inclusiveness, and equity. Earlier this year, staff reached out to the broad craft community and asked for recommendations, which came pouring in.

In the next few pages, you’ll meet some of the folks who are directly addressing social issues, the needs of artists, and the inclusion of more diverse artists in the craft marketplace. Many of them began their work long before 2020, and its impact is now coming to fruition. Others started new initiatives more recently and are already making a difference. Here’s what the 11 people and organizations we celebrate here have in common: They took a long look at the craft world and found that it needed refashioning in certain directions—toward more equity, honesty, inclusiveness, and care. Their love for craft and its artists made them intent upon the task of making craft all that it can be in the world.

Indigo Arts Alliance | Portland, Maine

Marcia and Daniel Minter

Indigo Arts Alliance was founded in 2018 by marketing professional Marcia Minter and her husband, artist Daniel Minter—because, says Marcia, “we had experienced firsthand the marginalization of Black and brown artists.” The only Black-led arts nonprofit in the state, it offers artists of color from across the globe a residency that brings with it a paid stipend, travel, housing, and state-of-the-art studio space.

“We feel,” says Marcia, “everyone should have the opportunity to cultivate a network of people who want to see you succeed and will help you along the way.” It’s also important, she says, to amplify the thought leadership, scholarship, and community commitment of the artists they serve. So Indigo provides mentorship and works with artists to create public engagement events, workshops, artist talks, and symposia.

The young organization is thriving. It built a permanent home in 2019, and in 2022 received an Andy Warhol Foundation grant. “And many of the artists in residence,” says Marcia, “have received opportunities and exposure they had not previously had—grants, teaching, exhibitions, commissions, requests to serve on boards.

“We wanted to show people that Black and brown people are here! We want to see more of us here. We want to build global connections and to shape a picture of what a multiracial democracy can look like.”

indigoartsalliance.me | @indigoartsalliance

Marcia and Daniel Minter, founders of Indigo Arts Alliance.
Photo by Gretta Rybus

Marcia and Daniel Minter, founders of Indigo Arts Alliance.

99 Clay Vessels: The Muslim Women Storytelling Project

Alison Kysia

Seeking a fresh way to honor and support women who have experienced Islamophobia, multimedia artist and educator Alison Kysia crafted 99 differently shaped clay pots that represent asma al-husna, the 99 Beautiful Names of God in Islam. Pit firing produced distinctive fire marks on each. “Each is unique while also part of the whole,” she says, “and honoring that reality is the opposite of bigotry.”

The pots have been exhibited in several venues, with accompanying workshops in which Muslim women produce artworks of their own inspired by stories of discrimination and resilience. The 99 Clay Vessels website, when complete, will display all the elements of the project.

Collaborating with Kysia are psychotherapist Sabrina N’Diaye, who facilitates the workshops; Homayra Ziad, an Islamic scholar, who is curating a collection of poetry; and artist/poet Sasa Aakil, working on a video of a vocal recitation of the names.

“Once the website is complete,” Kysia says, “I would love to organize a live recitation of the 99 names, with 99 Muslim women holding the 99 vessels. My intention has always been to serve Muslim women activists and advocates and creatives and to sculpt for them a vessel to do what art does for me, which is to remind me that as long as I am alive, I have the power to transform. That power is what keeps me alive spiritually.”

99clayvessels.com | @786arts

Artist and educator Alison Kysia
Photo by Kirsten Jacobson

Artist and educator Alison Kysia crafted 99 clay pots to represent the 99 names of God in Islam.

Handmade clay vessels arranged on steps
Photo by Dejah Greene

Some of the 99 clay vessels created by Alison Kysia.

African American Craft Initiative (AACI) | Smithsonian Center for Folklife and Cultural Heritage

Diana Baird N’Diaye

“As a senior curator, folklorist, and textile artist,” says Diana Baird N’Diaye, PhD, lead curator and developer of the AACI, “I noticed that throughout the craft sector African Americans were grossly underrepresented and underdocumented. With few exceptions we were disconnected from the national and regional studio arts organizations—and each other.”

So during the depths of COVID in 2020, N’Diaye took the lead in developing the AACI. The initiative grew out of Crafts of African Fashion, which spotlighted African artisans creating textiles, jewelry, and leatherwork for fashion designers, and from the Will to Adorn, a project focused on African American style in all its diversity. It was launched at a three-day virtual Makers Summit in October 2020.

AACI “serves the underserved body of African American makers and maker organizations,” says N’Diaye. “We strive to promote exchanges between Black makers and within the field as a whole”—this by way of public programming, research, documentation, networking, and outreach, including online story circles discussing craft-related issues, and promoting fair access to markets and resources. A growing database of artists, such as puppeteer Schroeder Cherry, will eventually become a directory. Another goal is to improve the public’s understanding of the history, cultural background, and aesthetics of African American craft.

The point, says N’Diaye, is “to develop a clearer understanding of the needs of African American makers and identify next steps for how to best support this craft community.”

folklife.si.edu/african-american-craft

Portrait of Diana Baird N'Diaye.
Photo courtesy of Diana Baird N'Diaye

Portrait of Diana Baird N'Diaye.

Badass Cross Stitch

Shannon Downey

Badass Cross Stitch, says Shannon Downey, “is not an organization or a team—it’s just me.”

A few years ago Downey quit her job, sold everything, and bought an RV. The dedicated art activist had lined up hundreds of workshops, gatherings and events (above; below, right), shows, speaking engagements, and collaborations around the country to further her fusion of fiber art, community building, and red-hot political consciousness.

But it was 2020, and COVID hit. She found herself living in the RV and making connections digitally. “The past two years plus,” she says, “have been one big adventure in adaptability, creativity, and pivoting.”

That creativity includes digital tutorials, a program that invites participants to learn a new stitch weekly, then meet in “virtual stitch-ups” for community and mutual learning; “Badass HERstory”—personal storytelling through art by people of marginalized genders; and a plethora of other needle-and-cloth adventures.

Doing embroidery, she says, is a way of becoming self-aware and “creating space to think substantively about real issues,” so she partners with other activists to provide online trainings on topics such as bystander intervention and “Activism 101 for Introverts.” Stitching together these concerns comes naturally for someone who describes herself as “queer, anti-racist, feminist, anti-capitalist, highly political, and committed to growth, learning, honesty, and doing whatever I can to make this an equitable world.”

badasscrossstitch.com | @badasscrossstitch

Shannon Downey
Photo by Gloria Araya

Shannon Downey.

  • Child with face paint doing a cross-stitch project
    Photo by Shannon Downey
  • People doing cross-stitch at an outdoor gathering
    Photo by Molly Choma

The Eliot School of Fine and Applied Crafts | Boston, Massachusetts

Abigail Norman and Alison Croney Moses

The Eliot School inspires lifelong learning in craft and creativity for all. Founded as a grammar school in 1676, it taught children for 200 years. In the 19th century, it turned to manual arts, supporting vocational education, then offering classes in cabinetmaking, sewing, carving, basketry, and other crafts to adults as well as kids.

Throughout the 20th century, the school served mostly white Bostonians. But its embrace has widened since then. A recent day included a multiracial teen group reflecting on identity through linoleum prints, a white retired surgeon crafting a side table, and a Latinx seventh-grader sewing her own clothes. The school has taken a thought leadership role on issues of racial inequity in craft and art education. In 2020, it began a series of online salon talks on racial equity in craft, and Associate Director Alison Croney Moses—a 2022 United States Artists Fellow—co-leads the national Racial Equity in Craft Peer Learning Group. She’s pictured above in the wood shop with student Tanya Nixon-Silberg.

“We’ll know we’ve had impact,” say Moses (top photo, left) and Eliot Executive Director Abigail Norman, “when all identities see themselves represented in their art teachers, in art studios, in woodshops, in the leadership of organizations and businesses—showing that they belong in these spaces and are part of defining them.”

eliotschool.org | @eliotschoolcraft

Alison Croney Moses, associate director, with Abigail Norman, executive director.
Photo by Craig Bailey/Perspective Photo

Alison Croney Moses (left), associate director, with Abigail Norman, executive director.

CERF+ (Craft Emergency Relief Fund)

Cornelia Carey

For years, when craft artists suffered major setbacks—accidents, thefts, studio fires—colleagues would support their recovery by passing the hat at American Craft Council fairs. However, for glass artist Josh Simpson, ceramicist Marylyn Dintenfass, and Carol Sedestrom Ross, president of American Craft Enterprises (which became part of the American Craft Council), this wasn’t good enough. So in 1985 they founded the Craft Emergency Relief Fund (now known as CERF+).

The trio “sought to harness this spirit of generosity and transform this gesture into something more concrete and tangible to ensure that craft artists always had somewhere to turn when faced with a career-threatening emergency,” says CERF+ Executive Director Cornelia Carey, who has led the organization since 1996 and will step down as director in the fall.

Best known for emergency monetary relief, offered before FEMA and insurance support arrive, the organization also provides career protection education and resources and advocates for artists’ needs when they have emergencies, such as when Eric Knoche lost his North Carolina studio in a 2019 fire. Under Carey’s leadership it helped create the National Coalition for Arts’ Preparedness and Emergency Response (NCAPER) to improve the overall disaster safety net for artists.

The pandemic, of course, caused widespread hardship. Since 2020, CERF+ has provided 1,211 artists with $1,579,125, which is nearly a twofold increase over the previous two years. But the needs will continue beyond COVID, says Carey. “There are many artists, including folk and traditional artists, who live in communities threatened by climate change and systemic racism. We want to make sure that they know of and benefit from our programs.”

cerfplus.org | @cerfplus

Former CERF+ Executive Director Cornelia Carey
Photo courtesy of CERF+

Former CERF+ Executive Director Cornelia Carey.

Eric Knoche standing in his burned-down studio.
Photo courtesy of CERF+

Craft Equity

The creators of Craft Equity identify themselves as an anonymous group of queer and racially diverse craft artists who exhibit and teach internationally. “We started Craft Equity because all of us have witnessed and experienced inequity and harm that have been ignored or incompletely addressed by craft institutions.”

The one-year project was set up as an Instagram account and website in May 2021. There, people in the craft world shared stories of inequity, harassment, and related trouble. It touched a nerve—the Instagram account had some 6,000 followers—and it’s gotten results.

One post called out the studio manager at WheatonArts in New Jersey who had allegedly sexually harassed women for years. Commenters complained to Wheaton, and the instructor is gone. The project also helped graduate students at Edinboro University in Pennsylvania organize against a steep increase in student fees. “We have been told by countless people who shared their experiences,” the organizers say, “that just telling those stories has relieved them of a heavy burden, and that they feel heard and validated.”

The web and Instagram sites are slated to go dormant in May 2022. A retrospective report is being issued in the same month, intended to help future activists fight craft inequity.

craftequity.org | @craftequity

The Black Craftspeople Digital Archive

Tiffany Momon

Throughout American history Black craftspeople, free and enslaved, have too often labored in total obscurity. But the patient work of Tiffany Momon and her colleagues is bringing these makers to public awareness, one name at a time.

Momon, a history professor at Sewanee: The University of the South in Tennessee, started the Black Craftspeople Digital Archive in 2019. She, her colleagues, and other contributors scour old newspapers, wills, census records, and other sources for notices mentioning Black makers in 45 craft categories. Browsing it, you learn about the tailor Liberty who, true to his name, self-emancipated from his owner in 1781; seamstress Maria Jamison, 19 years old and living in Nashville, Tennessee, in 1870; and Wiltshire, an enslaved cabinetmaker who labored at the Anthony Hay Cabinet Shop in Williamsburg, Virginia, from 1764 to 1770.

Momon originally intended the archive mainly for people interested in Black material culture and the decorative arts, but soon realized that its audience included genealogists, antiques collectors, and museum visitors. “I really began to understand the impact of the project,” she says, “when we began to field requests from museums to consult on their collections and upcoming exhibitions.”

Looking ahead, she hopes to engage more with contemporary Black makers. “They embody the enduring legacy of Black craftspeople of the past,” she says, “and we want to support them.”

blackcraftspeople.org | @blackcraftspeopleda

Portrait of Tiffany Momon.
Photo by Gabriella Angeloni Callahan

Tiffany Momon

Crafting Diversity, Berea College | Berea, Kentucky

Aaron Beale, Erin Miller, Emerson Croft, Philip Wiggs, Rob Spiece, Jedidiah Radosevich, Hunter Elliott, Chris Robbins, and Steve Davis-Rosenbaum; visiting artist Stephen Burks

Founded in 1855 as the first coeducational, interracial college in the South, Berea College has a proud tradition of equity. It has also been committed to craft since the late 19th century. But four years ago, staff in the college’s craft division, Student Craft, realized that they needed to improve the representation of students of color in the craft area.

In the college’s work-service Labor Program, students work at least 10 hours a week in various settings on campus; 100 of them work at woodcraft, weaving, broom making, and ceramics in Student Craft. The Crafting Diversity initiative was begun in 2018 to draw more underrepresented students into that cohort.

“We wanted our students to see themselves as creators and designers and not just as laborers,” says Student Craft Director Aaron Beale. “To know that they have a voice.”

In 2019, Student Craft called upon designer Stephen Burks to support this work with new designs for the program and share his experience with students. This and other elements of the program have borne fruit, says Beale. “I believe the vast majority of our students feel safe, respected, and valued here. And our Labor Program students now recognize that they are creatives, that they have artistic talent and skill. That’s a very exciting start.”

bcstudentcraft.com | @bcstudentcraft

A group of Berea students working with wood
Photo by Justin Skeens

Students in Berea College's work-service Labor Program.

  • Aaron Beale with a craft student.
    Photo by Justin Skeens

    Aaron Beale (left) with a craft student.

  • Stephen Burks with craft students
    Photo by Justin Skeens

    Stephen Burks (center) with craft students

The Society of Inclusive Blacksmiths

Founding collaborators. Back row from left: Anne Bujold, Caitlin Morris, Rachel David, Monica Coyne, Leslie Tharpe, Alice Garrett, Heather McLarty, Ryna Cady. Front row from left: Lynda Metcalf, Lisa Geertsen, Ann Klicka.

For centuries, blacksmithing in America has had a macho-white-guy image. But not all blacksmiths are cisgender Caucasian men. The Society of Inclusive Blacksmiths (SIBs) was created to support smiths who don’t conform to outdated racial and gender norms at the forge.

Conceived in 2018 by a group of 11 female-identified and nonbinary blacksmiths (above) collaborating on a project at the Cascadia Center for Arts and Crafts in Oregon, SIBs supports, encourages, and uplifts female, BIPOC, LGBTQ+, disabled, and other smiths from groups historically underrepresented in the field. It provides funding through scholarships and grants, runs an online mentoring program, advertises positive and safe classes, and hosts a digital forum for sharing stories and community support.

“We’re also partnering with schools and organizations that are aligned with our mission, so we can expand the reach of what we can do,” says Joy Fire, SIBs’s digital media and general communications manager.

The five people who constitute the governance committee for SIBs—Fire, Lisa Geertsen, Rachel David, Anne Bujold, and Elizabeth Belz—are all working smiths, teachers, and even students themselves.

It can be hard to find time to run a national organization, says Fire, but the work is profoundly gratifying. “We can see direct and concrete results of our work when folks are able to take classes, buy tools and material, and are otherwise supported in a way that enables them to continue to forge.”

inclusiveblacksmiths.com | @inclusive_blacksmiths

A group of women and nonbinary blacksmiths pose with mallets
Photo by Michelle Smith-Lewis

SIBs was conceived in 2018 by a group of 11 female-identified and nonbinary blacksmiths.

Nest

Rebecca van Bergen

Inspired by Muhammad Yunus’s work microlending to small businesses, in 2006 the 24-year-old Rebecca van Bergen, armed with a master’s degree in social work, decided to aid female craft artisans globally “beyond the creation of small debt,” as she puts it.

Craft, she realized, had long been crucial for women’s employment, yet was underestimated as a driver of economic growth, cultural preservation, community engagement, and gender equity. Meanwhile, consumers were demanding the handmade, the “artisanal.” From that confluence of factors, Nest was born.

“Our work with artisans has given us the knowledge, relationships, and credibility to be the expert that major global brands turn to when it comes to handcraft,” says van Bergen. Nest’s Ethical Handcraft Program sets standards for wages, working environments, and representation for artisans and lesser-skilled handworkers in the developing world, who often work in their homes, not in factories. The Makers United program provides American makers with business development help, with an emphasis on BIPOC communities. All told, Nest works with 1,506 small businesses in 120 countries, supporting 279,000 craftspeople and, indirectly, more than a million family and community members.

The renowned quilters of Gee’s Bend, Alabama, partnered with Nest and the Souls Grown Deep Foundation, which supports Southern Black artists. That synergy helped 20 quilters set up Etsy shops via training programs in digital and financial literacy, product photography, and more. The resulting sales testify to the power of partnership: more than $522,000 has flowed into the community. Before the initiative, the quilters were making $1,403 per month; now they’re averaging $5,875.

buildanest.org | @buildanest

Nest founder Rebecca van Bergen
Photo by Wesley Law

Nest founder Rebecca van Bergen

  • A group of Nest participants in India.
    Photo courtesy of Nest

    A group of Nest participants in India.

  • Stella Mae Pettway, a quilter of Gee's Bend, Alabama.
    Photo by Stacy K. Allen Photography

    Stella Mae Pettway, one of the renowned quilters of Gee's Bend, Alabama, who have partnered with Nest.

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American Craft Editors