Grace

November 10, 2023

Dear Peters Valley Friends,

Thanks to your generosity, Peters Valley School of Craft has thrived for more than five decades, evolving into a nationally recognized, vibrant, and robust craft school. Peters Valley empowers individuals to explore their artistic passions, fosters creativity, and opens doors to personal enrichment and potential career opportunities in the arts. Your support makes it all possible.

With your help, 2023 was a year of continued growth and increased impact. Highlights from this year include: 

• A record-high number of 828 students took a diverse array of more than 160 on-campus and virtual workshops  

• We approved a new Strategic Plan, which charts Peters Valley’s course for the next 5 years, and can be found here

• We secured a three-year grant from the Windgate Foundation to help foster both the professional and creative development of black craft artists, with the aim to encourage the sustainability and success of their artistic practice, and enhance the equitability and diversity of the craft field through this  annual professional learning program on campus

• Significantly expanded our Artist Residency Program, welcoming 26 artists this fall for funded residencies

• In a public/private partnership with the National Park Service, completed restoration work on Valley Brook Farm House, one of the historic buildings on campus used for artist lodging

• Undertook campus-wide facilities improvements, including gallery front steps replacement, installing air conditioning in dorms, and studio electrical system upgrades

• Awarded nearly 100 scholarships, ensuring artists from diverse backgrounds can take part in the Craft School Experience

Increasing Impact in 2024

As we approach the end of 2023, our goal is to raise $125,000 by December 31. These funds will allow Peters Valley to continue to increase Mission impact, strengthen our infrastructure, and expand our capacity across 

our many activities, allowing us to better serve an ever-growing community of artists. At Peters Valley, tuition and fees cover only 43% of our total budget, making individual donations critical to our ability to thrive and make a meaningful difference to artists.

This year, your support is more important than ever as the impact of inflation, as well as increasing our resources to better serve our Mission, has significantly increased operating costs.  Your contribution today can ensure our continued success. 

Will you support Peters Valley today? Of course, your contribution, no matter the size, will directly and positively impact Peters Valley’s ability to provide a structured environment for creative learning, support emerging artists, and continue to play a critical role in the cultural and economic life, not only of the State of New Jersey but of the craft field as a whole. 

To make a donation, simply click here. 

Thank you in advance for your support of Peters Valley. Together, we will continue to foster creativity, build and support the artists of today, and inspire and train the craftspeople and artists of tomorrow!

With gratitude,

Kristin Muller, Executive Director

Robert Martin, Board President

Last weekend was one of Peters Valley’s rainiest craft fairs in history! Even though the weather was cold and wet, we saw this show as a great success, and it was because of everyone who came out. Thank you so much to all who attended! Your many compliments of the craftsmanship displayed and dedication to the craft fair mean so much to us here at Peters Valley. THANK YOU!

Thank you so much to our artist demonstrators and exhibitors for being a part of this show. We could not have a craft fair without you all and are so grateful that you chose to show your work through us. THANK YOU!

In case you missed this year’s craft fair, or you want to look back on any work you saw, or want to get a head start on your holiday shopping, all the 2023 exhibitors and their websites are listed on Peters Valley’s Craft Fair web page (Just scroll down past the craft fair info).

This year’s craft fair judges were Monica Hampton, Executive Director of The Furniture Society, and Katrin Zimmermann, jeweler and adjunct professor for Pratt Institute. They said it was a difficult decision, there was so much talent and fine craftsmanship displayed at the fair – you all should be proud! Congratulations to this year’s winners:

Gold Award/Best in Show: Corrinn Jusell of Made by Corrinn
Silver Award: Katie Strano of Heddle Over Heels
Bronze Award: Janis Cutler Gear of Nature’s Nest Pottery
Emerging Artist Award: Sarah Grace Cheek
Honorable Mention Award: Lisa Hess of Treehouse Crafts LLC

This year we had the pleasure of having music entertainment by Mike & Anne Baglione under the AG Pavilion and The Lost Ramblers, who were rambling from building to building to play their music.

Thank you to our delicious food vendors, too! This year we had oven-baked pizza from Emily’s Hearth, burgers, chicken fingers, and other warm comfort foods from The Barnyard, hot pretzels from Global Reach Industries, and fresh roasted cinnamon glazed nuts from Totally Nutz.

Finally, THANK YOU to our wonderful Craft Fair sponsors who help make this event a success for Peters Valley!

Save the Date for the 54th Annual Craft Fair: September 21-22, 2024! See you then!

We are excited to share that Peters Valley has received a grant of $126,496 to undertake critical exterior envelope and structural repairs to Munson House, one of the historic buildings on our campus, currently used for artist lodging. This grant is made possible through a partnership of the New Jersey Historic Trust and the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.

Whether you have walked by, driven by, or even stayed at Munson House, you may know that it is an essential part of the Peters Valley Historic District and currently serves as artist lodging for those visiting the school. This major grant will facilitate crucial renovations to the building, addressing deferred maintenance issues and ensuring its long-term preservation for future generations.

The planned improvements for Munson House encompass comprehensive repair work, which includes but is not limited to: Extensive repair to the porch to restore it to its former grandeur; mud sill and rim joist repairs to reinforce the building’s structural integrity; repair of damaged clapboard to maintain the historical authenticity of the structure; and foundation crack repair and resurfacing to provide a stable and secure foundation.

Munson House has five bedrooms and is currently used as a residence for visiting teaching artists, workshop students, and artists participating in immersive residencies at Peters Valley. This funding will not only rectify essential maintenance needs but also ensure that the building remains a welcoming and inspiring space for future artists.

We are deeply grateful to the New Jersey Historic Trust and the New Jersey State Council on the Arts for their support of this important project. Their generous contribution will help preserve the historic character of Munson House and ensure the house has a viable use for years to come as an important seasonal housing facility on campus.

We remain committed to preserving Peters Valley’s rich heritage and providing artists with a conducive environment to explore their craft. This grant represents a significant milestone in our journey to maintain and enhance our historical assets.

We are excited to share that Peters Valley has been awarded two grants to support its Fall Guest Artist Residency Program! We received a grant of $45,000 over three years to support the Fall Guest Artist Residency program from The Maxwell/Hanrahan Foundation, as well as a grant of $20,000 from the New Jersey State Council on the Arts to specifically support residencies for New Jersey craft artists in 2023.

The Maxwell/Hanrahan Foundation Grant: The grant funds from The Maxwell/Hanrahan Foundation will give artists either 2 weeks or 1 month each in Peters Valley’s fully equipped studios immersing themselves in time dedicated to their craft. All artists will receive a private room in a fully furnished shared house and unlimited access to a fully equipped studio (all utilities included) at no cost. This residency opportunity will also pay the artist a stipend of $500 for two-week long residencies and $1,000 for month-long residencies to help off-set the costs of materials and travel. There is no restriction on where the artists are from. 

New Jersey State Council on the Arts: The grant funds from the New Jersey State Council on the Arts will specifically fund artists from New Jersey who will spend either 2 weeks or 1 month at Peters Valley’s studios. Similarly, these artists will receive a private room in a fully furnished shared house and unlimited access to a fully equipped studio (all utilities included) at no cost. 

Both programs will accept artists working in Blacksmithing, Ceramics, Fibers, Fine Metals, Wood, Drawing/Painting/Collage or Printmaking. 

Peters Valley’s location in the Delaware Water Gap National Recreation Area provides tranquility and inspiration in a supportive artistic community, and the Maxwell/Hanrahan Foundation and New Jersey State Council on the Arts grants allow the opportunity to make a residency at Peters Valley accessible and possible for many more artists.

The residencies will be offered in October and November. The program is open to all artists, from emerging to professional; however artists must have experience with the tools and equipment and be able to work independently. Due to the rural nature of Peters Valley’s campus, a personal vehicle is required. The deadline for artists to apply is August 1st, 2023. 

For more information, visit https://petersvalley.org/opportunities/artist-residencies/.

 

May 19, 2023

Dear Friends of Peters Valley,

Spring is finally upon us, and as we welcome the warmer weather and energy of this season, we are reminded of the beauty and vitality that creativity brings to our lives. At Peters Valley School of Craft, we are committed to providing a space for artists to explore their craft, develop their skills, and share their knowledge with others.

With your support, we made significant operating improvements and capital investments over the last year: The Ceramics studio was upgraded with new Whisper Shimpo Pottery Wheels and stools. We invested in a back-up generator for the fibers, fine metals, wood, and special topics studios on Thunder Mountain so classes can continue through weather-related power outages. We also renovated and painted bathrooms in Valley Brook Dorm and on Thunder Mountain, and replaced the roof on the Special Topics studio. And, thanks to your donations to last year’s Spring Appeal, our failing Facilities Truck was replaced with a newer truck!

As we look forward to another season of workshops, exhibitions, and events, we are faced with the ongoing challenge of maintaining and improving our campus and facilities. From taking care of our buildings and grounds, to investing in new technologies and studio equipment, we are constantly working to ensure that Peters Valley remains a vibrant and welcoming community for all who seek to create and learn.

This is where we need your help. Peters Valley relies on the support of generous donors like you to continue our mission of enriching lives through craft. For this Spring Appeal, your donation will go directly toward our general operating fund, allowing us to continue to make critical investments in our studios, facilities, and staff.

Specifically, your donation will help us to:

• Award 10 full workshop scholarships to college students (undergraduate or graduate) who show financial need through the “Making their Mark” Scholarship Program ($12,000)
• Invest in new Wood studio tools and equipment to enhance the learning experience for our students, including replacing our tired planer($5,000) 
• Purchase a walk-in refrigerator/freezer for the dining hall to replace a failing unit ($12,000)
• Provide a reliable backup power source during weather-related power outages in our Ceramics Studio by purchasing a back-up generator ($14,000)

In addition, your gift will help us expand our outreach programs to underserved communities, providing access to the transformative power of craft. We will also continue to develop new opportunities for artists and artisans to showcase their work and connect with audiences around the world.

 Join us in reaching our goal of raising $50,000 to make crucial investments in Peters Valley’s campus and facilities. Together, we can make these much-needed improvements a reality. Your contribution today will go a long way towards supporting our mission of fostering creativity and craftsmanship. 

We are proud of the impact that Peters Valley has had on the lives of so many people, from students and artists to visitors and supporters. With your help, we can continue to inspire creativity and foster a love of craft for generations to come.

Thank you for your support, and we look forward to welcoming you to Peters Valley in the not too distant future.

With gratitude, 

 Kristin Muller 

Executive Director

Upon the closing of Traditional Basketry and Beyond: Steven R. Carty an exhibition on view at Peters Valley’s Sally D. Francisco Gallery from March 19-April 23 , 2023, we wanted to share this essay, written by artist and friend of Peters Valley, Daryl Lancaster. An excerpt from this essay was included in a take-away brochure at the gallery during the show. Here is the extended version. We hope you enjoy!

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Steven R. Carty learned basket weaving using traditional basketry materials from his mother, award winning basket maker Mary Carty, at a young age.  But it wasn’t until he discovered the celebrated herbalist, folklorist, naturalist, philosopher and basket maker Doug Elliott that he found beauty and the challenge of foraged materials.  

This exhibition features 13 of Carty’s containers or vessels, not all are considered baskets in the traditional sense, if one defines basketry as a weaving or twining technique.  The stark contrast of the naturally foraged materials against the whitewashed walls of the gallery gives definition to each piece, allowing undistracted study of the subtle pattern surfaces of the bark or other components.

Carty spends many days seasonally, foraging for native trees, and more importantly invasive species.  In fact, much of his foraging is turning towards harvesting invasive species like wisteria, though the invasive wild grape vine, a mainstay of basket makers for decades, is becoming threatened by the Spotted Lanternfly.

Carty uses simple tools, many of which are on display in cases in the gallery.  Foraging technically requires only a sharp knife, as indigenous/First Nation peoples used in their practices of gathering materials from nature.  In fact, according to Carty, the materials for each of the baskets/containers in the exhibition could have been foraged using only a knife; but Carty yields to more helpful tools, like cutters, hand saws and a draw knife to relieve some of the stress that foraging for a living can do to the body.

Carty explains that though he must kill a tree—typically hickory, brown ash, or tulip poplar— he takes land management and stewardship of the forests, specifically his native Pine Barrens in Southern New Jersey, ancient Lenape lands, very seriously.  He will only take a tulip poplar or hickory tree in a grove or tight cluster to help thin and allow other trees to grow stronger with the available light and nutrients.  He takes advantage of areas of growth that will be destroyed when land is sold to be cleared for development.  And of course, removing invasive species helps the natural world and protects native plants. He is keenly aware of climate change and sees its effects all around.  He is shifting more of his foraging focus on invasive species to help protect what is left of the native plants and species.

When looking at each piece in the exhibition, it is impossible to really understand that each basket or container represents only a small percentage of the effort of its creation.  A table in the exhibition shows some of the gathered materials: a length of tulip poplar, some wisteria vines, and other favorite materials.  Wisteria vines are an extremely invasive species with a short shelf life; once harvested, they must be used within the year, otherwise it becomes too brittle.  The wisteria can be stripped of its bark, which can be used for making cordage.  Carty makes his own cordage by twisting and plying the paper-thin stripped bark from vines as thin as ¼”.  His favorite plant for making cordage is dogbane, a perennial also known as Indian Hemp, which is poisonous if ingested and can only be harvested in the late fall.  Carty’s seasonal calendar is marked and controlled by what can be harvested safely and when.

His bark containers are especially intriguing, as careful overnight soaking is necessary for the bark sheets to lay flat.  An oval shaped scoring in the middle of the length of the bark allows the single sheet to fold creating a bottom and two sides.  The bark surface, along with all its imperfections shows nature as its truest self. Carty takes complete advantage of those imperfections. Knot holes and natural striations and cracks are used for lashing to hold the hickory bark container in place.  All the holes for lashing, if they aren’t there already from imperfections in the bark, are created with a knife, no drills or electric tools are used in either foraging or creating Carty’s vessels.

One of the most impressive pieces is a very tall vessel, from Tulip poplar bark, with hickory lashing, and a brown ash rim and internal supports.  His mother, Mary, made a connection with the Passamaquoddy Tribe, a First Nations People from Maine, who use Brown Ash for their renowned ash baskets.  Growth rings of the Brown Ash will split off from the round of the cut tree to create the perfect rim for some of Carty’s containers.

Each container in this exhibition represents a beautiful marriage of materials, including both native and invasive. Carty takes advantage of each material’s characteristics, including the hair-like rootlets left intact as the runners in baskets such as the one pictured below.  It is supported with shaved Tulip Poplar staves that also form the complex woven rim. The cordage is from shaved wisteria bark.  

Another vessel is created entirely of solid hickory including the lashing and rim.  It takes advantage of the reverse side of the bark, with a beautiful tiger stripe surface.  Listening to the materials and allowing them to guide shape and function is one of Carty’s strengths.  Carty and his materials work closely as a team.

There is a simplicity in Carty’s shapes and construction that contrasts sharply to the efforts involved in foraging, harvesting, drying, stripping, storing and rewetting natural materials.  Carty teaches foraging and basket making techniques to many different types of groups, at places like Peters Valley School of Craft, historical groups, naturalist groups, and reenactment organizations that want to go back and learn techniques that modern technology has all but wiped out.

Carty continues to explore and develop a symbiotic relationship to the natural world, as he ponders the idea that bark can be edible; could someone make a vessel or container from slippery elm or wild sarsaparilla that could ultimately be pounded down and eaten in an apocalyptic setting?  This exhibition is more than 13 baskets and a few tools.  This exhibition explores our roots, acknowledgement of Indigenous peoples’ skills which have mostly been lost, and the most basic need of mankind, to contain something. Carty has become a folklorist, naturalist, philosopher, herbalist and basket maker in his own right preserving traditions and teaching those traditions to others.

Adrienne Sloane was a resident at Peters Valley in the Fall of 2022, thanks to the generosity of the Maxwell/Hanrahan Foundation. Below, she writes about her work, her residency, and what she’s been up to since:

“As a mixed media artist with a focus in fiber techniques, my work frequently responds to the moral and political landscape of the day. By using iconic imagery to visually address these frayed and unraveled places, I look to promote thoughtful dialogue as we navigate the difficult times we live in.

My residency at Peter’s Valley in late fall gave me a wonderful chunk of time to focus on several of the pieces that I already had in process.  The large tables and ample space allowed me great luxury of spreading out so that I could cycle between various pieces as I chose, as they spoke to me… and each other.

Two of these pieces, only recently, finished address gun violence. I am pleased to note that this work will be shown in an upcoming exhibit titled, Through These Eyes, which will run from March through May at the PEG Center for Arts & Activism in Newburyport, MA.

A small section of a work in the exhibit at the Peters Valley gallery inspired yet another piece. Adopting a section of this quilting technique, I created Radiant Heartbreak, a companion piece to an earlier work, An Incalculable Loss, both of which which use the all obituary front page of the New York Times from May 24, 2020 as a backdrop for a conversation on the ravages of covid and beyond.

The New York Times just recently published ‘The Revolutionary Power of a Skein of Yarn’ by Peggy Orenstein. As the relationship, both historical and current, between fiber arts and politics continues to seep into the public eye, I am happy to consider myself a part of this movement.”

 

Margaux Thys was a resident at Peters Valley in the fall of 2022, thanks to the generosity of the Maxwell/Hanrahan Foundation. Below, she writes about her experience on campus:

“While at Peter’s Valley the past two weeks, I’ve been working on a series of projects related to both of my loves: Architecture and Weaving. By day I’m an architectural designer in the New York area, but by night and weekend I work with textiles, creating and learning the intricacies of the craft. I’ve often thought of these as two separate things, but the more I work in both the more I see them as cousins with common ancestors. Though both have commercialized evolutions through corporate developer driven projects, there is space to recognize that slow building and slow textiles are still worthwhile. Both connect to the human making the item for the humans that will be using them. The way a door detail is drawn makes all the difference in the way people move from room to room. You don’t notice it if it’s done well, but if a tile and a wood floor sit at different heights, something feels off when you step from one to the other. In the same way, if a textile’s pattern or texture is too scratchy or inharmonious, the person drying their hands notices the irregularity. When people design architecture and textiles, these elements have to be taken into account because of that functional element. The larger ideas of both crafts are their inherent details and intricacies. I often refer to weaving as “mental gymnastics”. The outputs of a loom are dependent on the inputs: the intersection of threading, tie-ups and treadling. In a particular warp, you can have multiple outputs depending on those factors and decide how you want to express it. The two progress shots below show how you can have two styles come out of the same threading, one more modern and sporadic and one more traditional and calculated.

In the same way as weaving, architecture is also about the intersections of pieces at larger scales. These ideas play with dimension, color and perspective through the details of their construction. With the time I’ve had at Peter’s Valley, I’ve been able to explore how those motifs can translate to handwoven pieces and express the same
architectural features. Though all of the pieces are woven, architectural movements like Bauhaus and De Stijl as well as modern textile artists such as Susie Taylor and my grandmother, Margriet Carrico, help to inform the ways in which I’ve approached textile design through architecture. Intersections of weft weight and color choices force certain perspectives and perceptions of the pieces, creating the dimension found often in architectural projects. These projects are still in progress and will hopefully be off the looms and into the washing stages very soon, but experimenting with these two ancient crafts has helped to prove that they are not separate art forms, but heavily related and harmonious when given the correct inputs and details.”

November 20, 2022

Dear Peters Valley Friends,

For 52 years, Peters Valley has been a community created through craft.   Every day we are inspired by the talented artists who gather together to learn, collaborate, share,develop skills and ideas, and build lifelong friendships on campus. Whether you were a student, instructor, craft fair attendee, gallery artist , donor, or visitor, you made 2022 a special year for Peters Valley!

Thank you for your support this year. It allowed us to hire more staff, strengthen our commitment to inclusion, diversity, equity, and accessibility, (IDEA), forge new partnerships, make improvements to studios, and reach new audiences across the state and country through virtual offerings and outreach programs. As we reflect on all that was made possible, the essence of Peters Valley can be summed up by our core values  to the right. Peters Valley is an essential part of what makes a “craft ecosystem” in our field, providing opportunities for artistic exchange, collaboration, community, skill building and advancement. 

Launching into 2023

Building on our progress, in 2023 we plan to sharpen our focus on engaging more people and creating new creative and professional opportunities for makers. Some examples of what your gift today will support: 

• Expanding our workshop schedule to meet increased demand
• Broadening access to the craft school experience for new groups of people through additional scholarships and new partnerships
• Completing facility upgrades, like the gas forges installations in the Blacksmithing studio,  new seating for Metalsmithing and Ceramics studios and replacing old equipment
• Expanding our footprint in order to reach new communities within New Jersey and across the country
• Continuing to invest in initiatives like our Artist Fellowship, Studio Assistantship and Artist-in-Residence program that offer artists opportunities for professional development

Your continued support is critical to the future of Peters Valley. We have a goal to raise $125,000 before the end of 2022. Will you consider a gift to support Peters Valley to end the year? 

As we face the current effects of inflation on our operating costs, we ask that you please consider increasing your generosity this year if you are able. Tuition and fees cover just 41% of our annual budget. The remainder must come from generous donations from individuals in our community, like you. Everything that happens at Peters Valley is made possible by the generosity of donors like you. Donations can be made clicking this link, which will take you to our campaign’s GiveLively fundraising page. 

Thank you in advance for supporting Peters Valley!

With gratitude,

Kristin Muller

Executive Director

P.S. Visit our Give Lively donation page now to make your donation!