An Annual Fund Update from Miriam Carter, Executive Director

The League is in the final days of its Annual Fund Campaign. The Annual Fund is vitally important to the League and its mission. Last year we surpassed our goal and raised $53K. This year we set our goal even higher hoping to reach $65K. At this time we are at a respectable $40K and we still have a little over two weeks to go before we end our fiscal year.

give to the annual fund

The staff and I do our best to keep our juried and supporting members informed on all of the activities at the League. Most notably our Exhibitions, Fine craft galleries and Craftsmen’s Fair make up a large part of our communications. Needless to say there is never a lack of work to be done at Headquarters. It dawned on me that in the midst of our Annual Fund Campaign it would be appropriate to share with you what is happening behind the scenes on behalf of our organization.

Sustainability Institute:

The League was accepted and is participating in this program offered by the NH Center for Nonprofits. This program will help us identify how we can secure our position in the nonprofit world. Divided into a series of webinars, in-person workshops, and phone coaching sessions, the six-month program will take participating organizations through processes to:

  • Develop a clearer understanding of their own dual bottom line – financial viability and mission impact
  • Identify strategic imperatives for sustainability
  • Receive professional advice and coaching to bring innovation and change to their nonprofit
  • Offer an opportunity for advanced leadership development to board and staff
  • Build capacity to fulfill their mission

We are about 1/3 of the way through the process and we are already beginning to see the benefits of this program.

Database:

Our database has been a challenge to our fundraising, development and outreach projects which affects every aspect in the business of operating a successful nonprofit. At this time, we estimate that we are approximately 40% through our data base update. This is revealing many opportunities to modernize the way we work in the office such as streamlining our application for the Fair, exhibitions and other events. We are also able to refine our data for grant applications and development (fundraising) efforts. We are looking forward to working with the new data base which is being tailored to support the unique needs of our organization and will save a tremendous amount of staff time.

Website:

Plans for our new website are well underway. We are now in the midst of the process to design and build the new website focusing on the needs of the organization and current website operating standards such as use on mobile devices. We are aiming to launch the new website in May.

As a self-employed artist and entrepreneur for over 30 years I am keenly aware of the cost of doing business and the needless waste which can occur with a lack of oversight. The staff at Headquarters makes every attempt possible to make efficiency one of our greatest priorities. We are regularly applying for grants and searching for funders for specific projects. The Annual Craftsmen’s Fair takes the majority of our attention and we strive to create a very well run and well promoted event which serves our juried members and the organization at large. However, the need for more revenue is constant and the Annual Fund plays an important part in our success.

give to the annual fund

I hope that these insights encourage you to support what we do on a daily basis to maintain and promote the importance of one of New Hampshire’s most iconic organizations, and the craftsmen we serve.
Thank you for your interest in and support of the League. We appreciate any contribution you are able to make to our Annual Fund – and if you have already donated, thank you again.
With your help we can reach our goal!

 


Miriam Carter, Executive Director

Join us for a Gallery Talk on Thursday, March 22, 2018!

 

It has been twelve years since the first exhibition which featured work in the colors of black and white; It’s All Black and White, January 2006. Ten of those original participants have work in the current exhibition, Black and White Encore, January 2018. This is pretty incredible!

My Greatest Influence

Join us Thursday, March 22nd from 5:00 to 7:00 pm for a Gallery Talk featuring exhibitors who have participated in both exhibitions! Hear and interact as our panelists give you insights into how their work has evolved in the twelve years since the first exhibition and about who or what has influenced, supported, and encouraged them. What are they looking forward to in the years to come?

Newly Juried Members: October 2017 – March 2018

Fiber/Stitchery 

Margaret Sheehan starts with a fabric that “talks” to her. Each of her art quilts has reverse appliqué, satin stitching, sheer fabric, overlay, mono printed fabrics, couching, free motion quilting, bobbin drawing with metallic threads, embroidery, and buttons/beads. 

Clay 

Rachel Montroy makes composed and constructed sculptural pieces. She incorporates a variety of textures all inspired by the natural world, particularly from coral, barnacles, seashells, mushrooms, seeds, flowers, and succulents.  

Connie Turin works exclusively in porcelain. All of her work is done in-hand using pinch techniques. Much of her work is finished with sgraffito drawings and hand painted using colored engobes that she mixes herself using Mason stains.  

Glass 

Andrew Dow uses the techniques of glass carving, sandblasting, and painting to create his work. He converts his drawings and photographs into stencils to be used on the glass. He then carves one or both sides of the glass, single or multilayered sandblasting, and sometimes uses an engraver for fine detail. He then paints by hand the areas he wishes to stand out.  

Wood/Turning 

Bruce Trull is a woodturner primarily focused on bowls, platters, hollow forms, and vessels. He mostly turns green wood either to finished dimensions or in preparation for a twice-turned piece. He especially enjoys making pieces from green wood provided by customers who want a piece as a memory from a fallen tree.  

Mixed Media 

Larry Antonuk produces whisk brooms made of traditional broom corn (sorghum, from Mexico), steel wire, hemp and synthetic twine, leather thongs, and basket reed. Design sources for this work have been from Shaker collections at Canterbury as well as the collection at Hancock Shaker village in Massachusetts.

Larry also makes classic Atlantic salmon flies. His work focuses on the reproduction of historical Scottish and Irish salmon flies. Techniques are quite similar to those used in the 18th century, but the tools and “foundation” materials are considerably more modern.  

Kimberly Leach creates fantasy creatures using cloth and paper mache techniques. She then paints them using acrylic airbrush paints. Her design sources come from movies and books she’s read and her imagination.  

Fiber/Felting  

Bonny Hall creates felted animals made with 100% wool. She forms the body by needle-felting to meld the fibers. She then uses soap and water to further felt the layers of fiber. The wet-felting shrinks and tightens the wool, creating a dense and very durable felted companion.  

Barbara Poole creates one of a kind and limited production felted art to wear. The work begins with wool that is sustainably harvested from organically and ethically raised sheep. Other textiles are used, mostly silks. The work is created seamlessly; there is no sewing except as a means to tack and stabilize the garment before the felting process begins.  

Wood 

David Bridgewater makes 1/6th scale wooden chairs that are reproductions of antique chairs up to the end of the 19th century. With the chairs that he has produced he has done a lot of miniature turning. Other techniques used so far have been seat carving, steam bending, basic milling, planning, and accurate cutting. 

Douglas Powers makes furniture. He is very interested in the grain and color of wood and tries to make pieces that work with the natural appearance and structure of the wood involved. He uses locally sourced, air-dried wood as much as practical and seldom uses stains or dyes.