Posts Tagged ‘American Craft Council’
February 22 – 23, 2017 Wholesale
February 24 – 26, 2017 Retail
The American Craft Council has invited SNAG to participate in their Artist Invitational Program for their 2017 ACC Baltimore show. SNAG requires an application of interest along with submission of images of your work in order to be considered. Applications will be juried by Beverly Tadeu and Wayne Werner and the program is limited to 10 artists. This opportunity is open to any current SNAG member who has never shown at an ACC show before.
Applications are due by July 15, 2016.
Work Will Be Juried On:
To ensure a high level of quality in the work exhibited in American Craft Council Shows, each jury is instructed to adhere to these guidelines in making decisions:
- Work is handmade and reflects excellence and the unique vision of its maker
- Work is well conceived and skillfully executed, without technical faults
- All work must be the design of the applicant and made in the United States or Canada by the applicant or under his or her direct supervision.
- All work fits well with the ACC customer market.
ACC reserves the right to accept the final list of nominated artists. Artists are welcome to also apply through the regular ACC Jury Process.
What Is Eligible?
- Three-dimensional, handmade craft that meets the standards statements above
- 3D Printed objects and digitally fabricated objects are accepted.
- Small-studio production work under the direct supervision of the applicant. Direct supervision requires that artist oversees production work as it occurs and provides constant direction, feedback, and assistance. All work must be produced in the United States or Canada. The American Craft Council reserves the right to require authentication of the production process as needed and at any time during the application and exhibition process.
What Is Not Eligible?
- Commercially manufactured art
- Work assembled (wholly or in part) from commercially available kits. Such items, exhibits, and/or exhibitors may be removed from the show without prior notification and/or refund of booth fee.
- Two-dimensional art such as paintings, prints, or photographs
- Mixed media work that uses paint and canvas as its primary medium
- Screen-printed material
- Etchings, web- or sheet-fed offset printed matter
- Works that incorporate materials acquired from the killing of endangered species
- Elephant/Mammoth ivory (this includes fossilized ivory)
- Dried or silk flower arrangements
- Embellished commercially-made objects (e.g., T-shirts, notecards, etc.)
Format and Structure:
Artists chosen will be expected to attend and sell work at both the wholesale and retails days of the ACC Baltimore show. Please note that chosen participants will still need to pay for their booth space and all travel, room, and board.
Accepted artists may participate in the Artist Invitational program for three successive years following their invitation. Invited artists may organize a shared booth with one or more fellow invited artists from SNAG.
Recognition and Benefits:
Artists chosen will be given access to online resources where they can have their questions answered and learn more about what it entails to set up and sell from a booth. Each accepted applicant can be partnered with an existing ACC artist, if desired, for help on any issues that may arise or questions you may have.
Nominated artists will receive special coverage in ACC show promotional material, including a highlighted listing in the show directory, image use in show program and a feature on the ACC website in the week preceding the show.
Please fill out the attached form (see link below) and submit five (5) digital images of your work, along with a price sheet listing both wholesale, if applicable, and retail prices of the submitted images by July 15, 2016.
Please email any questions to Gwynne Rukenbrod Smith.
There is no application fee.
Applications are due July 15, 2016 by midnight PDT.
Notification of Acceptance mid- September.
2017 ACC Baltimore Application
_______ Completed application due July 15, 2016 to email@example.com
_______ Five images, correctly labeled and sized (see application form for details).
_______ Price list of attached images and catalog included, if applicable.
_______ Be a current SNAG Member.
_______ Have never participated in an ACC show.
Kimberly Bradshaw, registrar at The Metal Museum in Memphis, TN, has taken on the project of digitizing the slide archive that SNAG donated to The Metal Museum several years ago.
Thanks to a grant from the John & Robyn Horn Foundation and an ArtsFirst grant from the First Tennessee Bank Foundation, the SNAG slides are currently being cleaned, scanned, and color-corrected by a professional digitization vendor. This is The Metal Museum’s first major digitization initiative, and there are several organizations and individuals who have made this project possible, including American Craft Council (ACC) librarian Jessica Shaykett and their IT manager Eric Gjerde.
The newly restored digital images will be uploaded to the ACC Library Digital Collections on a rolling basis, so we encourage you to check back regularly for new content.
SNAG would like to take this opportunity to recognize our Corporate Members for their support: Aaron Faber Gallery, Halstead, Jewelers Mutual Insurance Company, and Pocosin Arts.
The American Craft Council has invited SNAG to participate in their Artist Invitational Program for their 2016 Baltimore show. This opportunity is open to any current SNAG member. Applications due by July 10th.
by Monica Moses, American Craft Council
Thank you to American Craft Council, who wrote and posted this article on their website and gave us permission to repost it here!
The annual conference of the Society of North American Goldsmiths took place in Boston May 20-23. The theme was “Impact: Looking Back, Forging Forward.” Here are eight lessons we took away from it.
Metalsmiths welcome other points of view. Main conference speakers Ruudt Peters, Liesbeth den Besten, and Helen Carnac are all from across the Atlantic. Michael Strand is American, but a ceramist. Joyce J. Scott from Baltimore often works with beads, but let’s face it, her sardonic, earthy, perspective (“I want to be in the stanky part of my art”) is not the mainstream. All were warmly, if not effusively, received. There were several standing ovations.
Many artists approach their work from a place of protest. Strand, who calls himself a “conceptual production artist,” brings together communities for social change. “We are constantly pressed down to be efficient,” he said in his dynamic talk, “and I can’t effing take it. Good things come from inefficiency.” Said Scott, who has explored sexual brutality in her work, “Now that men are being raped, maybe they’ll do something.”
Craft as an object is overrated, and, as a practice in the world, underrated. “Craft is far more meaningful than the anesthetized potential I was trained in,” said Strand. Another nugget from him: “It’s a false premise that people will care more if we make a better object.” Sam Aquillano of the Design Museum Boston, Jason Talbott of Artists for Humanity, and Gabriel Craig of The Rehabilitation Project all spoke to the potential of craft to change lives.
Making a living as a metalsmith may require herculean determination. There were two 90-minute Professional Development Seminars. “A unique, well-made body of work is just the beginning, just the baseline,” SNAG board member Brigitte Martin said in her introduction to the first. Goldsmith Ezra Satok-Wolman spoke convincingly of his tireless efforts over years to perfect his craft, promote his work, and establish his brand. “I learned how to deal with rejection,” he said, “an incredibly important part of my development.” His parting advice to jewelers: “Don’t worry about what others think of you. Unless they’re standing in front of you asking the price of something, it doesn’t matter.” Veteran jeweler Jim Binnion was equally sobering. Running a jewelry small business “is going to take every waking moment of your life if you’re going to make it.”
Metalsmiths, like so many artists, often have to overcome themselves to do their best work. Early-career artist Yong Joo Kim said she struggles frequently to “overcome the limitations of my own imagination.” In the same vein, mid-career metalsmith Hoss Haley reflected, “As makers we can get stifled by our own crap.” Avery Lucas has “learned my work does not need to be confined by what I thought I was capable of making.” Boris Bally, who stressed planning and networking, urged metalsmiths to keep their eyes wide open for opportunities. “The next worthy pursuit will appear in your periphery,” he said.
The public lacks an educated eye, but there is no consensus about how to fix that. “Society is uneducated,” said Dutch jeweler Ruudt Peters in his keynote. “Jewelry could be different.” But Binnion, always trying to make a living, was philosophical about the problem: “You can’t educate your customer into liking your work,” he said.
The display of jewelry in galleries and museums is problematic. Early in his career, Peters had male models wear his pieces at an exhibition opening. For the subsequent month, the jewelry was visible on jackets hung up in the gallery. Jewelry is challenging for curators because it is small relative to other objects. Emily Zilber and Emily Stoehrer of the Museum of Fine Arts, Boston, summed up the challenge: In a museum gallery with 18-foot ceilings and large paintings and sculpture, “How do you show small, intimate works and have them have the same power?” Liesbeth den Besten’s talk, “Lonely Objects: Jewelry in the Museum,” was focused on the challenges of jewelry display. “Human hands once made these objects,” she said, but “in a museum they become isolated….There is nothing enchanting about a piece of jewelry in a showcase,” she said. “We simply don’t know the best way to present jewelry.”
Artists are idiosyncratic, and that’s what makes them so fascinating. “When I make something, it’s not linear,” said Peters. Yeah, no kidding. His talk was a whirlwind, recounting the different phases of his career, connected by a logic only he could explain, which he did, in an unaffected, almost sweet way.
The American Craft Council has invited SNAG to participate in their Artist Invitational Program for their 2015 Baltimore show. SNAG has decided to require an application of interest along with submission of images in order to be considered.