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School for American Crafts

March 05, 2023

The School for American Crafts (originally the School for American Craftsmen, SAC) was founded by Aileen Osborn Webb and the American Craftsmen's Council (ACC) in the 1940s. It sought to provide training in traditional crafts and "to develop and raise the standards of the hand arts in the United States."[1][2][3]

School for American Crafts
2018 logo
EstablishedJanuary 14, 1945; 78 years ago (1945-01-14)
FounderAileen Osborn Webb, American Craftsmen's Council
Websitewww.rit.edu/artdesign/school-american-crafts
Formerly called
School for American Craftsmen (1945–1992)

The objective of the school was to train students who would be able to earn an independent living with their craftsmanship skills, whether as a craftsman, a designer of handmade objects, a teacher, or an industrial worker using fine skills.[1] Initially, potential students included those affected by the Great Depression and World War II.[1] Ceramics and other craft arts were seen as both profitable and therapeutic for soldiers returning from the war.[4]: 16 

The School for American Craftsmen officially opened on January 14, 1945, at Dartmouth College in Hanover, New Hampshire.[5] It moved to Alfred University in Alfred, New York in July 1946,[6] before finding a permanent home in 1950 within the Rochester Institute of Technology, Rochester, New York.[1] In 1992, the name was shortened to the School for American Crafts.[4]

By affiliating itself with universities, rather than vocational schools, the School for American Crafts placed itself in a context of liberal and creative arts, not just technical ability.[7] It was the first American school to create a complete professionally-based curriculum focused specifically on craft, rather than including craft as part of a broader course of study.[1] It has been described as "the blueprint for contemporary fine craft education in the United States".[8]

History

Dartmouth College

 
Woodworking at the School for American Craftsmen, 1963

The School for American Craftsmen was formally opened at Dartmouth College in Hanover, New Hampshire on January 14, 1945.[5] The American Craftsmen's Council and Aileen Webb organized the program in cooperation with the Dartmouth College Student Workshop. Virgil Poling, directory of the workshop and a member of the Council, became the School's Director of Training.[5][9][10] In Dartmouth Alumni Magazine, Dartmouth College stated that their support was meant to be temporary, a two-year commitment to get the School started.[5]

The first group of teachers included Linn Lovejoy Phelan[11] and Marianne Haile in ceramics, Alden Hewes Wood and Miss Sammy Tate in metalworking, Robert Frederic Heartz in weaving, Eva Crockett in textiles, and Ernest Brace in woodworking.[5][12] The first students were a Marine and a Seabee, veterans funded through the G.I. Bill.[5] Seabees were uniformed men who did construction work in combat areas as part of the United States Naval Construction Battalions.[13]

The first classes were held in Hallgarten Hall and Bissell Hall,[5] built in 1867 as the College's gymnasium.[14] The top floor of Bissell Hall hosted the woodworking shop while the basement provided space for the ceramics shop. At Hallgarten Hall, the main floor and basement were devoted to metalworking, and another two floors to textiles.[5] The Council also purchased a mill in Lyme and a retired church in Haverhill for future use as continuation centers.[5]

The training program planned to offer three terms in the "freshman" year, with a potential for continuation of up to two years.[5] Because of the emphasis on becoming self-supporting, all teachers were producing craftsmen. Mornings were spent on classes; afternoons on production work. Classes included theory, technique, use of tools, design, marketing and pricing. Students worked cooperatively in craft-specific shops in a setting for large quantity production. The ability to engage in production work in a group setting was seen as good training for specific skills and as offering a potential career avenue, which could enable craftsmen to support themselves while doing "creative work of an individual character."[1]

Student designs, if approved by a specialist committee, could be put into production and sold through America House in New York city or other craft organizations. A "good product" was defined as one that displayed "beauty of design", was technically well executed, was functional (meeting a "real need of use or decoration"), could be part of a ‘line’ of other products, was compatible with fashion trends, and had a reasonable price point for production.[1] In this way, America House provided a "clinical laboratory" and "testing ground" for the SAC artists.[15]

Alfred University

In July 1946 the School for American Craftsmen relocated to Alfred University in Alfred, New York.[6] There it was given space in the former Crandall Hall barn.[16] The program was framed as a two-year certificate program, the major crafts offered being metalsmithing, wrought iron, pottery, textiles, and woodworking.[6] The class schedule required a commitment of 40 hours per week and 11 months a year. Producing marketable goods and selling them through America House was still a major focus, but there was no longer an industry-style production system.[1]

An influential voice at the school was Frances Wright Caroé, the director of America House. She served on the review committee,[1] and taught classes on production and marketing.[15] As of January 1947, faculty included Ernest Frank Brace (woodworking), Edwin Blanchard Brown (design), Ethel Irene Mitchell (textiles), Linn Lovejoy Phelan (pottery), Herbert H. Sanders (pottery), Alden Hewes Wood (metalsmithing) and Laurits Christian Eichner (metalsmithing).[6] Other early faculty included Charles Reese, and Philip Morton. Early students included Ronald Hayes Pearson and his sister, Lorna Pearson Watson.[1][17]

Harold James Brennan became director of SAC in 1948, and focused much of his work on seeking out skilled faculty.[1][18] Faced with a lack of qualified American craftspeople, he recruited faculty from Denmark for metalsmithing and woodworking.[1][19] Among the new faculty was Danish-trained silversmith John Prip, who was born in New York but grew up in Denmark.[1] He apprenticed as a silversmith in his father's business, and attended Copenhagen Technical College where he worked with Evald Nielson. He joined the School for American Craftsmen in 1948.[20][21][22] Prip has been credited with helping to connect the design and craft cultures of Europe and America.[23]

Danish studio furniture designer Tage Frid was also recruited in 1948, to teach woodworkinug at the School for American Craftsmen.[19][24][25] His work was Danish-modern in style with light, delicate lines and curves that emphasized natural qualities of the wood.[26] Frid is considered an originator of the studio furniture movement and credited with having "tremendous impact" on studio furniture making through his own work and the work of his students.[27]

 
Aileen Webb at the Third Annual Conference of American Craftsmen, 1959

Rochester Institute of Technology, Rochester, New York

In 1950 the School for American Craftsmen moved again, to the Rochester Institute of Technology, which was then located in downtown Rochester, New York.[1] Mark Ellingson, President of RIT, approached Aileen Webb about the potential for the school to move to RIT.[28] Webb served as a trustee at RIT and its predecessor the Mechanics Institute for over 20 years.[29] A basis for developing an advanced art and crafts curriculum already had been laid by Susan Bevier (1822-1903). Bevier had given the Mechanics Institute her $70,000 art collection and her $300,000 estate. Thus, the school benefited from not one but two great women benefactors of art education, founder Aileen Osborn Webb and donor Susan Bevier.[28]: 73, 306 

The appointment of ceramist Frans Wildenhain as a faculty member in 1950 also had a broad impact on the school. Wildenhain had studied at the Bauhaus in Germany, and spent the war working as a teacher and production potter in Holland. Mature and experienced, he influenced all departments of the craft school, emphasizing creative and aesthetic concerns.[1]

As part of a better-financed institution, the School for American Craftsmen had its own separate building. The move also gave it access to a larger cultural community[1] and made it possible to open a shop and gallery to sell fine craftwork. Shop One (sometimes called Shop 1) was founded in 1952. It was not officially related to the school, but was organized by SAC faculty and alumni John Prip, Frans Wildenhain, Tage Frid and Ronald Pearson.[30] Before Shop One opened, faculty and students had no local outlets for selling crafts; they had to drive to America House in New York city to sell their work. Shop One became a professional and social gathering place for craftspeople from the school and the wider area.[30][1][31][28]: 21  As recognized in the 2014 exhibit "Shop One: Then and Now", its artistic impact was "vast", influencing generations of artists through a network of faculty and students.[30]

When John Prip left the school in 1954, his chosen successor was highly respected Danish-born silversmith Hans Christensen.[1] Christensen had studied at the College of the Technical Society in Copenhagen, Denmark and the School of the Arts and Crafts in Oslo, Norway. He worked with silversmith Georg Jensen as an apprentice and later became lead silversmith in the prototype department at Georg Jensen A/S. Christensen’s hollowware designs were noted for simplicity, balance, clean lines, natural curves, and the interaction of light and shadow on surfaces, combining both form and function.[32] Christensen combined Danish Modern style, technical knowledge and a trade background, all assets to the SAC metalsmithing department.[1]

As of 1963, the school's program involved four areas: "ceramics and sculpture; metal and jewelry; weaving and textile design; and woodworking and furniture design".[33] Three degree programs were offered: Associate in Applied Science (two years), Bachelor of Fine Arts (four years) and Master of Fine Arts (five years).[33]

Rochester Institute of Technology, Henrietta, New York

In 1961, the Rochester Institute of Technology decided to move to Henrietta, New York, now a suburb of Rochester. Construction at the new site began in 1964.[34] Aileen Webb was vice chairman of the Building Committee for the new campus, helped to select the architects, and served on the committee that selected artwork for the buildings.[35] The new campus was officially opened at a dedication ceremony in October 1968.[34]

Around this time, the emphasis on production work at the school decreased. An increasing perception of the craftsperson as artist rather than artisan was personified by the appointment of American modernist Albert Paley to the metalworking faculty in 1969. In the metalsmithing department, the 1960s saw a shift away from the production of traditional holloware, to the creation of individualist contemporary jewelry. In 1972, Gary S. Griffin replaced Paley. The requirement of "functionalism" was subsequently dropped, aligning the program's requirements with the emerging perception of the craftsperson as artist.[1]

Brennan recruited American furniture maker Wendell Castle to the faculty in 1962. Castle had studied sculpture at the University of Kansas. At SAC, Castle pioneered the technique of stack lamination in furniture design. He often created combined pieces of furniture with sweeping curves.[36] Castle taught at the School for American Crafts from 1962 until 1969, at SUNY Brockport from 1969 until 1980, and founded the Wendell Castle School in 1980. He returned to SAC as an artist-in-residence in 1984. In 1988, the Wendell Castle School became part of the woodworking program at the School for American Craftsmen at RIT.[37] Castle continued to be a tenured professor and artist-in-residence at the School for American Craftsmen.[38][39]

In 1992 the school shortened its name to the School for American Crafts.[4] Archives of the school are held by the Rochester Institute of Technology libraries.[40]

Notable faculty and students

Many notable American craft makers have been associated with the school as faculty or students.[41][30]

Ceramics, pottery and glass

Metalsmithing and jewelry

Weaving and textiles

Woodworking and furniture design

References

  1. ^ a b c d e f g h i j k l m n o p q r s t Norton, Deborah (1985). "The School for American Craftsmen (SAC) - Ganoksin Jewelry Making Community". Metalsmith Magazine. Ganoksin (Winter). Retrieved January 22, 2023. In the early years especially, he recruited vigorously in Scandinavia because there were almost no master craftsmen in America... In 1948 one of the newly hired Scandinavian teachers was John Prip. Although Prip was born in the United States, his family returned to their native Denmark when he was 10 years old. Sixteen years later, as a fourth-generation silversmith...
  2. ^ a b c d e f g h Lauria, Jo; Fenton, Steve (2007). Craft in America : celebrating two centuries of artists and objects (1st ed.). New York: Clarkson Potter. ISBN 978-0-307-34647-6.
  3. ^ Edwards, Julie Eldridge (March 21, 2019). "Historic Champion of the Craft Movement". Shelburne Farms. Retrieved January 29, 2023.
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  6. ^ a b c d School for American Craftsmen: Catalogue Number 1947-1948. Vol. XXIII. Alfred, New York: Alfred University. January 15, 1947.
  7. ^ a b Alfoldy, Sandra (2005). Crafting Identity: The Development of Professional Fine Craft in Canada. Montreal, Quebec: McGill-Queen's Press - MQUP. p. 59. ISBN 978-0-7735-2860-4. Retrieved February 5, 2023.
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  13. ^ Building the Navy's bases in World War II. History of the Bureau of Yards and Docks and the Civil Engineer Corps 1940-1946. WASHINGTON, D.C.: UNITED STATES GOVERNMENT PRINTING OFFICE. 1947.
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  20. ^ "Onion teapot John Prip (American, 1922–2009)". MFA Boston. Retrieved February 17, 2023.
  21. ^ McCreight, Tim (1983). "Master Metalsmith John Prip". Metalsmith Magazine. Ganoksin. Retrieved February 17, 2023.
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  39. ^ "Wendell Castle". Smithsonian American Art Museum. Retrieved February 8, 2023.
  40. ^ "School for American Crafts records and slides, RITArc.0318 Finding Aid" (PDF). Rochester Institute of Technology libraries. Retrieved February 20, 2023.
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  53. ^ "Sharon Church". Senior Artists Initiative. Retrieved December 30, 2021.
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  57. ^ Johnson, Jean (2002). Exploring Contemporary Craft: History, Theory & Critical Writing. Coach House Books. ISBN 978-1-55245-107-6.
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  66. ^ Koplos, Janet. (2010). Makers : a history of American studio craft. Metcalf, Bruce, 1949-, Center for Craft, Creativity & Design. Chapel Hill: University of North Carolina Press. ISBN 9780807895832. OCLC 658203695.
  67. ^ Stender, Thomas W. (2006). "Jere Osgood". The Penland Book of Woodworking: Master Classes in Woodworking Technique. Sterling Publishing Company, Inc. pp. 134–. ISBN 978-1-57990-768-6.
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March 05, 2023
school, american, crafts, originally, founded, aileen, osborn, webb, american, craftsmen, council, 1940s, sought, provide, training, traditional, crafts, develop, raise, standards, hand, arts, united, states, 2018, logoestablishedjanuary, 1945, years, 1945, fo. The School for American Crafts originally the School for American Craftsmen SAC was founded by Aileen Osborn Webb and the American Craftsmen s Council ACC in the 1940s It sought to provide training in traditional crafts and to develop and raise the standards of the hand arts in the United States 1 2 3 School for American Crafts2018 logoEstablishedJanuary 14 1945 78 years ago 1945 01 14 FounderAileen Osborn Webb American Craftsmen s CouncilWebsitewww wbr rit wbr edu wbr artdesign wbr school american craftsFormerly calledSchool for American Craftsmen 1945 1992 The objective of the school was to train students who would be able to earn an independent living with their craftsmanship skills whether as a craftsman a designer of handmade objects a teacher or an industrial worker using fine skills 1 Initially potential students included those affected by the Great Depression and World War II 1 Ceramics and other craft arts were seen as both profitable and therapeutic for soldiers returning from the war 4 16 The School for American Craftsmen officially opened on January 14 1945 at Dartmouth College in Hanover New Hampshire 5 It moved to Alfred University in Alfred New York in July 1946 6 before finding a permanent home in 1950 within the Rochester Institute of Technology Rochester New York 1 In 1992 the name was shortened to the School for American Crafts 4 By affiliating itself with universities rather than vocational schools the School for American Crafts placed itself in a context of liberal and creative arts not just technical ability 7 It was the first American school to create a complete professionally based curriculum focused specifically on craft rather than including craft as part of a broader course of study 1 It has been described as the blueprint for contemporary fine craft education in the United States 8 Contents 1 History 1 1 Dartmouth College 1 2 Alfred University 1 3 Rochester Institute of Technology Rochester New York 1 4 Rochester Institute of Technology Henrietta New York 2 Notable faculty and students 2 1 Ceramics pottery and glass 2 2 Metalsmithing and jewelry 2 3 Weaving and textiles 2 4 Woodworking and furniture design 3 ReferencesHistory EditDartmouth College Edit Woodworking at the School for American Craftsmen 1963 The School for American Craftsmen was formally opened at Dartmouth College in Hanover New Hampshire on January 14 1945 5 The American Craftsmen s Council and Aileen Webb organized the program in cooperation with the Dartmouth College Student Workshop Virgil Poling directory of the workshop and a member of the Council became the School s Director of Training 5 9 10 In Dartmouth Alumni Magazine Dartmouth College stated that their support was meant to be temporary a two year commitment to get the School started 5 The first group of teachers included Linn Lovejoy Phelan 11 and Marianne Haile in ceramics Alden Hewes Wood and Miss Sammy Tate in metalworking Robert Frederic Heartz in weaving Eva Crockett in textiles and Ernest Brace in woodworking 5 12 The first students were a Marine and a Seabee veterans funded through the G I Bill 5 Seabees were uniformed men who did construction work in combat areas as part of the United States Naval Construction Battalions 13 The first classes were held in Hallgarten Hall and Bissell Hall 5 built in 1867 as the College s gymnasium 14 The top floor of Bissell Hall hosted the woodworking shop while the basement provided space for the ceramics shop At Hallgarten Hall the main floor and basement were devoted to metalworking and another two floors to textiles 5 The Council also purchased a mill in Lyme and a retired church in Haverhill for future use as continuation centers 5 The training program planned to offer three terms in the freshman year with a potential for continuation of up to two years 5 Because of the emphasis on becoming self supporting all teachers were producing craftsmen Mornings were spent on classes afternoons on production work Classes included theory technique use of tools design marketing and pricing Students worked cooperatively in craft specific shops in a setting for large quantity production The ability to engage in production work in a group setting was seen as good training for specific skills and as offering a potential career avenue which could enable craftsmen to support themselves while doing creative work of an individual character 1 Student designs if approved by a specialist committee could be put into production and sold through America House in New York city or other craft organizations A good product was defined as one that displayed beauty of design was technically well executed was functional meeting a real need of use or decoration could be part of a line of other products was compatible with fashion trends and had a reasonable price point for production 1 In this way America House provided a clinical laboratory and testing ground for the SAC artists 15 Alfred University Edit In July 1946 the School for American Craftsmen relocated to Alfred University in Alfred New York 6 There it was given space in the former Crandall Hall barn 16 The program was framed as a two year certificate program the major crafts offered being metalsmithing wrought iron pottery textiles and woodworking 6 The class schedule required a commitment of 40 hours per week and 11 months a year Producing marketable goods and selling them through America House was still a major focus but there was no longer an industry style production system 1 An influential voice at the school was Frances Wright Caroe the director of America House She served on the review committee 1 and taught classes on production and marketing 15 As of January 1947 faculty included Ernest Frank Brace woodworking Edwin Blanchard Brown design Ethel Irene Mitchell textiles Linn Lovejoy Phelan pottery Herbert H Sanders pottery Alden Hewes Wood metalsmithing and Laurits Christian Eichner metalsmithing 6 Other early faculty included Charles Reese and Philip Morton Early students included Ronald Hayes Pearson and his sister Lorna Pearson Watson 1 17 Harold James Brennan became director of SAC in 1948 and focused much of his work on seeking out skilled faculty 1 18 Faced with a lack of qualified American craftspeople he recruited faculty from Denmark for metalsmithing and woodworking 1 19 Among the new faculty was Danish trained silversmith John Prip who was born in New York but grew up in Denmark 1 He apprenticed as a silversmith in his father s business and attended Copenhagen Technical College where he worked with Evald Nielson He joined the School for American Craftsmen in 1948 20 21 22 Prip has been credited with helping to connect the design and craft cultures of Europe and America 23 Danish studio furniture designer Tage Frid was also recruited in 1948 to teach woodworkinug at the School for American Craftsmen 19 24 25 His work was Danish modern in style with light delicate lines and curves that emphasized natural qualities of the wood 26 Frid is considered an originator of the studio furniture movement and credited with having tremendous impact on studio furniture making through his own work and the work of his students 27 Aileen Webb at the Third Annual Conference of American Craftsmen 1959 Rochester Institute of Technology Rochester New York Edit In 1950 the School for American Craftsmen moved again to the Rochester Institute of Technology which was then located in downtown Rochester New York 1 Mark Ellingson President of RIT approached Aileen Webb about the potential for the school to move to RIT 28 Webb served as a trustee at RIT and its predecessor the Mechanics Institute for over 20 years 29 A basis for developing an advanced art and crafts curriculum already had been laid by Susan Bevier 1822 1903 Bevier had given the Mechanics Institute her 70 000 art collection and her 300 000 estate Thus the school benefited from not one but two great women benefactors of art education founder Aileen Osborn Webb and donor Susan Bevier 28 73 306 The appointment of ceramist Frans Wildenhain as a faculty member in 1950 also had a broad impact on the school Wildenhain had studied at the Bauhaus in Germany and spent the war working as a teacher and production potter in Holland Mature and experienced he influenced all departments of the craft school emphasizing creative and aesthetic concerns 1 As part of a better financed institution the School for American Craftsmen had its own separate building The move also gave it access to a larger cultural community 1 and made it possible to open a shop and gallery to sell fine craftwork Shop One sometimes called Shop 1 was founded in 1952 It was not officially related to the school but was organized by SAC faculty and alumni John Prip Frans Wildenhain Tage Frid and Ronald Pearson 30 Before Shop One opened faculty and students had no local outlets for selling crafts they had to drive to America House in New York city to sell their work Shop One became a professional and social gathering place for craftspeople from the school and the wider area 30 1 31 28 21 As recognized in the 2014 exhibit Shop One Then and Now its artistic impact was vast influencing generations of artists through a network of faculty and students 30 When John Prip left the school in 1954 his chosen successor was highly respected Danish born silversmith Hans Christensen 1 Christensen had studied at the College of the Technical Society in Copenhagen Denmark and the School of the Arts and Crafts in Oslo Norway He worked with silversmith Georg Jensen as an apprentice and later became lead silversmith in the prototype department at Georg Jensen A S Christensen s hollowware designs were noted for simplicity balance clean lines natural curves and the interaction of light and shadow on surfaces combining both form and function 32 Christensen combined Danish Modern style technical knowledge and a trade background all assets to the SAC metalsmithing department 1 As of 1963 the school s program involved four areas ceramics and sculpture metal and jewelry weaving and textile design and woodworking and furniture design 33 Three degree programs were offered Associate in Applied Science two years Bachelor of Fine Arts four years and Master of Fine Arts five years 33 Rochester Institute of Technology Henrietta New York Edit In 1961 the Rochester Institute of Technology decided to move to Henrietta New York now a suburb of Rochester Construction at the new site began in 1964 34 Aileen Webb was vice chairman of the Building Committee for the new campus helped to select the architects and served on the committee that selected artwork for the buildings 35 The new campus was officially opened at a dedication ceremony in October 1968 34 Around this time the emphasis on production work at the school decreased An increasing perception of the craftsperson as artist rather than artisan was personified by the appointment of American modernist Albert Paley to the metalworking faculty in 1969 In the metalsmithing department the 1960s saw a shift away from the production of traditional holloware to the creation of individualist contemporary jewelry In 1972 Gary S Griffin replaced Paley The requirement of functionalism was subsequently dropped aligning the program s requirements with the emerging perception of the craftsperson as artist 1 Brennan recruited American furniture maker Wendell Castle to the faculty in 1962 Castle had studied sculpture at the University of Kansas At SAC Castle pioneered the technique of stack lamination in furniture design He often created combined pieces of furniture with sweeping curves 36 Castle taught at the School for American Crafts from 1962 until 1969 at SUNY Brockport from 1969 until 1980 and founded the Wendell Castle School in 1980 He returned to SAC as an artist in residence in 1984 In 1988 the Wendell Castle School became part of the woodworking program at the School for American Craftsmen at RIT 37 Castle continued to be a tenured professor and artist in residence at the School for American Craftsmen 38 39 In 1992 the school shortened its name to the School for American Crafts 4 Archives of the school are held by the Rochester Institute of Technology libraries 40 Notable faculty and students EditMany notable American craft makers have been associated with the school as faculty or students 41 30 Ceramics pottery and glass Edit Judi Whipple Danforth 42 43 Julia Galloway 44 Richard Hirsch 45 Charles Loloma 46 Otellie Loloma 47 Daniel Rhodes 7 243 Michael Rogers 48 Frans Wildenhain 2 Betty Woodman 49 50 Metalsmithing and jewelry Edit Hans Christensen 51 52 Sharon Church 53 Arline Fisch 54 55 Philip Morton 22 Albert Paley 56 Ronald Hayes Pearson 57 John Prip 22 Ronald Senungetuk 47 Olaf Skoogfors 58 59 Leonard Urso 60 61 Weaving and textiles Edit Junco Sato Pollack 62 Dorian Zachai 63 64 Woodworking and furniture design Edit Wendell Castle 2 Tage Frid 19 2 Dan Jackson 2 William Keyser 2 Wendy Maruyama 2 65 Judy Kensley McKie 66 Jere Osgood 2 67 Doug Sigler 68 Rosanne Somerson 19 References Edit a b c d e f g h i j k l m n o p q r s t Norton Deborah 1985 The School for American Craftsmen SAC Ganoksin Jewelry Making Community Metalsmith Magazine Ganoksin Winter Retrieved January 22 2023 In the early years especially he recruited vigorously in Scandinavia because there were almost no master craftsmen in America In 1948 one of the newly hired Scandinavian teachers was John Prip Although Prip was born in the United States his family returned to their native Denmark when he was 10 years old Sixteen years later as a fourth generation silversmith a b c d e f g h Lauria Jo Fenton Steve 2007 Craft in America celebrating two centuries of artists and objects 1st ed New York Clarkson Potter ISBN 978 0 307 34647 6 Edwards Julie Eldridge March 21 2019 Historic Champion of the Craft Movement Shelburne Farms Retrieved January 29 2023 a b c Lynn Martha Drexler January 1 2015 American Studio Ceramics Innovation and Identity 1940 to 1979 Yale University Press ISBN 978 0 300 21273 0 a b c d e f g h i j W C E 1945 SCHOOL FOR CRAFTSMEN Dartmouth Cooperates in a New Educational Approach Dartmouth Alumni Magazine No March pp 11 13 Retrieved January 28 2023 a b c d School for American Craftsmen Catalogue Number 1947 1948 Vol XXIII Alfred New York Alfred University January 15 1947 a b Alfoldy Sandra 2005 Crafting Identity The Development of Professional Fine Craft in Canada Montreal Quebec McGill Queen s Press MQUP p 59 ISBN 978 0 7735 2860 4 Retrieved February 5 2023 Bargmann Kara April 23 2018 Mind the Gap Art Jewelry Forum Retrieved February 8 2023 Virgil Ellsworth Poling papers SOVA Smithsonian Online Virtual Archives Retrieved February 5 2023 A Departure in Teaching Design 46 7 6 8 March 1 1945 doi 10 1080 00119253 1945 10742358 ISSN 0011 9253 Phelan Andrew L 2012 Becoming the village potter the life of Linn L Phelan Norman Okla Quail Creek Eds ISBN 978 0978857073 Weber Bruce July 30 2021 The High and Lows of Reeves Brace 1898 1932 A Tragic Tale of the Woodstock Art Colony Part 2 Woodstock Art Colony Retrieved January 28 2023 Building the Navy s bases in World War II History of the Bureau of Yards and Docks and the Civil Engineer Corps 1940 1946 WASHINGTON D C UNITED STATES GOVERNMENT PRINTING OFFICE 1947 Dartmouth College Encyclopedia theodora com Retrieved January 28 2023 a b Neyman Bella August 6 2012 The America House that Mrs Webb Built The Magazine Antiques Retrieved January 22 2023 Norwood John Nelson 1957 Fiat lux The story of Alfred University Alfred University p 267 Retrieved February 5 2023 Braznell W Scott 1999 The Early Career of Ronald Hayes Pearson and the Post World War II Revival of American Silversmithing and Jewelrymaking Winterthur Portfolio 34 4 185 213 doi 10 1086 496789 ISSN 0084 0416 JSTOR 1215256 S2CID 161447141 Retrieved January 22 2023 Oral history interview with Harold James Brennan Smithsonian Institution Retrieved January 22 2023 a b c d Temin Christine May 7 2004 Tage Frid furniture designer inspired generations at 88 Boston Globe Retrieved February 18 2023 Born and trained in Denmark Mr Frid was recruited in 1948 by the American Craft Council to establish the woodworking program at the School for American Craftsmen Onion teapot John Prip American 1922 2009 MFA Boston Retrieved February 17 2023 McCreight Tim 1983 Master Metalsmith John Prip Metalsmith Magazine Ganoksin Retrieved February 17 2023 a b c Koplos Janet Metcalf Bruce July 31 2010 Makers A History of American Studio Craft Univ of North Carolina Press ISBN 978 0 8078 9583 2 Society of American Silversmiths 2005 Award Winner John A Prip www silversmithing com Retrieved February 17 2023 Wellman Bill May 8 2004 Tage Frid 88 Woodworker And Danish Modern Designer The New York Times Retrieved February 18 2023 Fitzgerald Oscar P January 1 2019 Studio Furniture of the Renwick Gallery Smithsonian American Art Museum Fox Chapel Publishing ISBN 978 1 60765 489 6 Rainford Bill August 16 2022 The Lasting Influence of Tage Frid Popular Woodworking Retrieved February 17 2023 Zig Zag Chairs and Wobbly Mirrors Twentieth Century Furniture from the RISD Museum February 7 2003 April 27 2003 PDF RISD Museum Retrieved February 17 2023 a b c Gordon Dane R 2007 Rochester Institute of Technology Industrial Development and Educational Innovation in an American City 1829 2006 RIT Cary Graphic Arts Press ISBN 978 1 933360 23 2 Mathews Kasey April 11 2020 Etched in Stone The Names Behind RIT The Reporter Retrieved February 5 2023 a b c d De Palma Donna October 26 2014 Shop One masters highlighted in RIT exhibit Democrat and Chronicle Retrieved February 8 2023 McGoey Elizabeth ed January 1 2016 American Silver in the Art Institute of Chicago The Art Institute of Chicago amp Yale University Press ISBN 978 0 300 22236 4 Farlowe Allie August 11 2020 Hans Christensen Journeyman s Piece Kamm Teapot Foundation Retrieved February 17 2023 a b Emergence Student Craftsmen New York City New York American Craftsmen s Council Museum of Contemporary Crafts 1963 Retrieved January 31 2023 a b History of RIT Rochester Institute of Technology Retrieved January 23 2023 Mrs Webb Dies at 87 Founded Crafts School PDF News and Events Vol 11 no 27 August 30 1979 p 5 Retrieved February 5 2023 De Tillio Samantha In Memoriam Wendell Castle 1932 2018 Museum of Arts and Design Retrieved January 22 2023 Weekly Nancy January 25 2018 Reflections on Wendell Castle Burchfield Penney Art Center Burchfield Penney Art Center Retrieved February 17 2023 Castle School to Join RIT s Woodworking Program PDF RIT News amp Events Vol 19 no 11 February 18 1988 Retrieved February 8 2023 Wendell Castle Smithsonian American Art Museum Retrieved February 8 2023 School for American Crafts records and slides RITArc 0318 Finding Aid PDF Rochester Institute of Technology libraries Retrieved February 20 2023 The Maker s Hand Antiques And The Arts WeeklyAntiques And The Arts Weekly Antiques and The Arts Weekly October 28 2003 Retrieved February 8 2023 Leahy Patrick December 17 2015 RECOGNIZING DANFORTH PEWTER PDF PROCEEDINGS AND DEBATES OF THE 114 Th CONGRESS FIRST SESSION 161 184 S8789 Retrieved February 8 2023 Craft Vermont Lifetime Members Judi amp Fred Danforth Vermont Hand Crafters Inc Retrieved February 8 2023 Wilson Lana Julia Galloway Part 1 Julia Galloway Utilitarian Pottery Clay Times Retrieved February 5 2023 Hirsch The Marks Project Retrieved February 5 2023 Adamson Glenn 2021 The State of American Craft Has Never Been Stronger Smithsonian Magazine No January Retrieved February 8 2023 a b Falino Jeannine October 4 2013 Crafting Modernism Hand made Objects in Postwar America InCollect Retrieved February 8 2023 Glass Lives Interview Michael Rogers North Lands Creative October 19 2020 Retrieved February 5 2023 Betty Woodman Smithsonian American Art Museum Retrieved February 6 2023 NOMA remembers pioneering ceramicist Betty Woodman New Orleans Museum of Art January 3 2018 Retrieved February 8 2023 Hans Christensen 58 Teacher Of Metalsmithing and Design The New York Times January 18 1983 Retrieved January 29 2023 Sandretto Thomas M Hans Christensen Biography Society of American Silversmiths Retrieved January 29 2023 Sharon Church Senior Artists Initiative Retrieved December 30 2021 Geske Norman 1976 American Metal Work 1976 Lincoln Nebraska Sheldon Museum of Art Catalogues and Publications p 14 Lewin Susan Grant 1994 One of a kind American art jewelry today New York H N Abrams ISBN 9780810931985 Yarrington James 2005 Sentinel The Design Fabrication and Installation of the Monumental Sculpture by Albert Paley at Rochester Institute Of Technology RIT Cary Graphic Arts Press ISBN 978 0 9759651 4 6 Johnson Jean 2002 Exploring Contemporary Craft History Theory amp Critical Writing Coach House Books ISBN 978 1 55245 107 6 Olaf Skoogfors 20th century Goldsmith 1930 1975 January 22 February 17 1979 Philadelphia College of Art Philadelphia Pennsylvania April 6 August 19 1979 Renwick Gallery of the National Collection of Fine Arts Smithsonian Institution Washington D C Philadelphia PA Philadelphia College of Art 1979 Reinhardt Richard 1987 A Dedication to Olaf Skoogfors Ganoksin Jewelry Making Community Metalsmith Magazine No Winter Ganoksin Retrieved January 29 2023 Leonard Urso Art on Campus RIT www rit edu Retrieved February 5 2023 Leonard Urso Burchfield Penney Art Center Retrieved February 5 2023 About Junco Sato Pollack Retrieved February 17 2023 Patterson Karen September 18 2019 Lenore Tawney Mirror of the Universe University of Chicago Press ISBN 978 0 226 66483 5 Dorian Zachai Kohler Foundation Inc Retrieved February 6 2023 A Long Engagement Wendy Maruyama and Her Students PDF San Diego California School of Art and Design at the San Diego State University 2015 Retrieved February 8 2023 Koplos Janet 2010 Makers a history of American studio craft Metcalf Bruce 1949 Center for Craft Creativity amp Design Chapel Hill University of North Carolina Press ISBN 9780807895832 OCLC 658203695 Stender Thomas W 2006 Jere Osgood The Penland Book of Woodworking Master Classes in Woodworking Technique Sterling Publishing Company Inc pp 134 ISBN 978 1 57990 768 6 Teacher Mentor Friend Remembering Doug Sigler The Penland Sketchbook Penland School of Craft May 1 2018 Retrieved February 8 2023 Retrieved from https en wikipedia org w index php title School for American Crafts amp oldid 1142960919, wikipedia, wiki, book, books, library,

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