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James Renwick Fellowships in American Craft

The James Renwick Alliance supports scholarly research in contemporary American craft.  Since 1988 the Alliance has contributed to the support of the Smithsonian American Art Museum and its Renwick Gallery fellowship program by funding over thirty James Renwick Fellowships in American Craft. These fellowships are residential and support full-time independent and dissertation research in art and visual culture of the United States.

For information about future fellowship opportunities, visit the Smithsonian American Art Museum at AmericanArt.si.edu/fellowships.

2013--14

 

Sarah Warren (senior fellow)

“Craft between Modernism and Counterculture: Rhinebeck and the Studio Craft Movement”

2011--12

 

Bibiana Obler (post-doctoral fellow)

“The Anti-Craft Tradition”

2009--10

 

Dana Byrd (pre-doctoral fellow)

“Reconstructions: The Material Culture of the Post-bellum Plantation, 1861–77”

2008--09

 

Janneken Smucker (pre-doctoral fellow)

“From Rags to Riches: Amish Quilts and the Crafting of Value”

2008--09

 

Caroline Hannah (pre-doctoral fellow)

“Between Art, Craft, and Design:  Henry Varnum Poor and the Making of a Modern American Artist”

2007--08

Cynthia A. Fowler (post-doctoral fellow)

“Hooked Rugs and American Modernism”

2006--07

Marie Frank (post-doctoral fellow)

“Denman Ross and American Formalist Aesthetics in the Early Twentieth Century”

2006--07

Kimberly Hyde (pre-doctoral fellow)

 “Louis C. Tiffany and the Business of Art”

2005--06

Vicki Halper (senior fellow)

“Voices in Studio Crafts”

2003--04

Oscar P. Fitzgerald (post-doctoral fellow)

“In Their Own Words: The History of Studio Furniture Makers, 1925 to Present”

2002--03

Tacey A. Rosolowski (post-doctoral fellow)

Articulate Touch: Creating a Critical Language of Contemporary Art Jewelry”

2002--03

Heidi Nasstrom Evans (pre-doctoral fellow)

“The Aesthetic Evolution of Simple Living in Jane Byrd McCall Whitehead’s Artistic Environs, 1860—1930”

2001--02

Elissa Auther (post-doctoral fellow)

Material that Makes a Difference: Non-Art Media and the Hierarchy of Art and Craft in the 1960s and 1970s

1999--2000

Justine Walden (graduate fellow)

American Textiles: Art, Craft, Design, and Industry, 1930—1950

1998--99

Elissa Auther (pre-doctoral fellow)

Material that Makes a Difference: Fiber in Art and the Cultural Hierarchy of Art and Craft in the 1960s and 1970s

1998--99

Anna Fariello (post-doctoral fellow)

The Appalachian Craft Revival: Production and Distribution Model for American Craft

1997--98

Kevin Melchionne (post-doctoral fellow)

A Philosophical Inquiry into the Crafts

1996--97

J. Susan Isaacs (post-doctoral fellow)

History of Twentieth-Century American Craft (concentration on post-1945)

1996--97

Jo Buffalo (senior fellow)

Ceramic Plates and their Makers

1995--96

Nancy Owen (senior fellow)

Culture and Consumption: Rookwood Pottery, 1876—1917

1994--95

Jane Addams Allen (senior fellow)

Modern American Studio Craft: A Quest for Identity

1994--95

Gerry Craig (senior fellow)

Sensation and Spirit: Pre-Verbal Philosophies

1993--94

Margaret Carney (senior fellow)

Charles Fergus Binns: His Life, Writings, Ceramics, and Justification of the Title, “Father of American Studio Ceramics”

1993--94

Lynn Jones Ennis (pre-doctoral fellow)

Penland School of Crafts: The Early Years

1992--93

Mary Douglas (senior fellow)

The Craftsman as Yeoman: An Ideology of Craft

1991--92

Susan L. F. Isaacs (senior fellow)

“Authenticity” and “Tradition”: The Meaning of Hand-Made Objects in Contemporary Society

1991--92

Yoshiko Iwamoto Wada (senior fellow)

The Development of Shibori/Tie-Dye/Shaped-Resist Dyeing in the U.S.A.

1989--90

Matthew Kangas (senior fellow)

Two Aspects of American Ceramics: Sculpture, Text

1989--90

Winifred Owens-Hart (senior fellow)

Black on Brown: African-American Clayworkers and Their Impact on American Culture

1988--89

Patricia Malarcher (senior fellow)

An Investigation of Critical Approaches to Art in Craft Materials

1988--89

Nancy Corwin (senior fellow)

A Critical History of Fiber Art as Part of the Post-World War II Crafts Revival in America

 

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