Farewell & Welcome

Farewell & Welcome


After 67 years in New York City, the American Craft Council has made a big leap to the Midwest.

It is with poignancy that we write our final Editors’ Letter. After 67 years in New York City, the American Craft Council has made a big leap to the Midwest. Saying goodbye is never easy, and it is even more difficult for this staff, whose individual contributions to American Craft amount to over 60 years’ worth of work. From the perspective of one of us who has worked here four short years and another who has dedicated 22 years to the Council and magazine, we both believe the person who can best speak to the place American Craft holds in our hearts is our senior editor, Beverly Sanders, who has spent an incredible 30 years here. Though we can’t help feel regret for the Council’s departure from New York City, we heartily wish it well in its handsome new digs in Minneapolis. We welcome the new editor in chief, Monica Moses, and feel assured that in her capable hands and, under the leadership of Chris Amundsen as executive director, the magazine and the Council will flourish in Minneapolis.Shannon Sharpe and Christine Kaminsky

Goodbye to All That

Back in the day—1980, to be exact—when I first began to work as an editor for the American Craft Council’s magazine, then barely a year into its incarnation as American Craft, I knew little about the field (though I’d learned to throw pottery, knit and make quilts) and its cast of already established artists and institutions. But I liked what I saw when I flipped through the pages of the magazine. In the nearly 30 years since, as I worked as an editor, I received an incomparable education in much that was bright and beautiful far beyond my previous university and teaching experiences. I found a home, indeed a family, at the Council, finding common purpose with cherished colleagues on the magazine and in our other programs in spreading the gospel of craft by bringing to light the abundance of talent all across the country and documenting it in our pages and presenting it in our shows. It’s been a joy to meet artists and writers, museum personnel, gallerists and collectors, whose dedication to the field has caused it to flourish even in difficult times.

It was a privilege over the past 20 years on Spring Street to work in an airy setting organized around the Council’s precious library, to feel that craft’s rich history— such as that extraordinary wall of catalogs—was a step away from my desk (who needed Google?), and that we at the magazine were contributing to that history through our coverage of the field, a wonderful synergy. (How surreal to be working in this space a week ago as the library was literally deconstructed for shipment to Minneapolis!) I’ve had a marvelous ride. Sometimes, while attending a gallery or museum opening or observing an artist in the studio, or tweaking the prose of a valued writer, or writing about a splendid book or exhibition, I’d say to myself, “Hey, it’s a dirty job, but somebody’s gotta do it.” I’m so grateful that that somebody happened to be me.

Beverly Sanders