Society of Arts and Crafts

Boston, MA   |  https://www.societyofcrafts.org

Mission

The Society of Arts and Crafts’ (SA+C) mission is to support and celebrate craft makers and their creativity. Our vision is to build and sustain a vibrant community to shape the future of craft.

Ruling year info

1952

Executive Director

Ms. Brigitte Martin

Main address

POB 121229

Boston, MA 02112-1229 USA

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EIN

04-2103850

NTEE code info

Arts Education/Schools (A25)

Arts, Cultural Organizations - Multipurpose (W20)

Alliance/Advocacy Organizations (A01)

IRS filing requirement

This organization is required to file an IRS Form 990 or 990-EZ.

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Communication

Blog

Programs and results

What we aim to solve

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Our programs

SOURCE: Self-reported by organization

What are the organization's current programs, how do they measure success, and who do the programs serve?

Mineck Furniture Fellowship

John D. Mineck was a SA+C board member. A foundation was created in his name after his passing to commemorate his support for furniture makers and the SA+C.

The John D. Mineck Foundation created a fellowship to encourage and support a young-in-career furniture artist with financial assistance to help them succeed in their artistic journey. The fellowship has been designed to support a talented furniture artist looking to fulfill an apprenticeship, develop their skills, and/or make the transition to independence.

The John D. Mineck Furniture Fellowship is a cash award of $25,000 awarded annually to a furniture artist or a furniture artist collaboration. The award is administered by The Society of Arts + Crafts.

Past recipients:

Will Tracey (2009), Libby Schrum (2010), Bart Niswonger (2011), Nick Hollibaugh (2012), Vivian Beer (2013) Kimberly Winkle (2014), Sarah Marriage (2015), Annie Evelyn (2016), Jack Mauch (2017), Tom Shields (2018), Beatriz Mayorca (2019), Aspen Golann (2020).

Fellowship Criteria & Guidelines

The fellowship focuses on furniture makers whose work is contemporary and functional. Preference will be given to artists who live and work in the Northeast United States. International entries are not considered. Traditional and sculptural furniture makers as well as candidates from other regions in the United States may also be considered.


Population(s) Served
Adults

Where we work

Affiliations & memberships

MASSCreative 2019

Goals & Strategy

SOURCE: Self-reported by organization

Learn about the organization's key goals, strategies, capabilities, and progress.

Charting impact

Four powerful questions that require reflection about what really matters - results.

While we are proud of our current programming and its impact, we know unequivocally that we have the ability, drive and obligation to do more to meet the needs expressed by the community. Increasing the visibility and support of craft artists and expanding educational opportunities are paramount to the sustainability of our field. SAC’s vision is to expand our reach and become the center of a thriving community of artists and allied professionals, and be a relevant contemporary craft organization on par with other major cultural institutions in the Boston area, a destination for artists, craft collectors and general enthusiasts. To assist in achieving this vision, SAC identified five strategic themes to use as a road map.Strategic Theme I - ProgramsGoalEstablish SAC as the most important multi-program organization for contemporary craft in New England by revamping existing programs and initiating new ones that will reach a larger community and enhance the impact of our mission.Strategic Theme II - FacilityGoalRelocate SAC to a larger facility that will allow us to expand our programs and provide enhanced services for artists and the community. The new facility will position SAC as the premier craft destination in New England.Strategic Theme III - DevelopmentGoalExpand and implement donor opportunities to generate sufficient funding to materially advance SAC’s planned growth.Strategic Theme IV - Branding/MarketingGoalDevelop a clear, comprehensive and compelling identity to expand the audience for SAC’s programs and increase the audience for contemporary craft.Strategic Theme V - GovernanceGoalDevelop and maintain an effective, informed and committed Board of Directors whose governance and support roles will guide the growth of SAC.

Strategic Theme I - Programs

Objectives
• Increase attendance at CraftBoston by 10% and assess the CraftBoston business model annually aimed at increasing profitability within the next 18 months.
• Increase the number of artists benefiting from SAC’s professional development, grants, fellowships, sales and exhibition opportunities.
• Develop and curate exhibitions that provide maximum opportunities for education and outreach.
• Significantly expand education offerings directed at serving all facets of the craft community.
• Achieve profitability in the Retail Gallery within the next three years.
• Utilize website and e-commerce platforms more effectively to support all SAC’s programmatic objectives.

Strategic Theme II - Facility

Objectives
• Develop a detail plan outlining how the new facility will best support our members, artists, the public, and is financially sustainable within the next six months.
• Purchase or identify a lease, for an appropriate facility within the next 18 months.
• Move into a +/-10K sq. ft. facility that meets our requirements for visibility, accessibility, affordability and program goals within the next three years.

Strategic Theme III - Development

Objectives
• Task the development committee to expand membership, annual appeal, planned giving and friends programs to align fundraising initiatives with program goals.
• Identify one or more supporters who will pledge at least 20% of the project budget for a new facility within the next 18 months.
• Recruit board candidates with capacity to support ongoing growth within the next two years.
• Expand the artist award fund in order to increase the grant size for 2016.
• Develop programs or activities, to create new sources of earned income within the next two years.

Strategic Theme IV - Branding/Marketing

Objectives
• Form a Branding Task Force to rebrand the organization within the next year.
• Develop a comprehensive rebranding strategy and launch rebranding program within the next 18 months.
• Integrate comprehensive marketing plan with rebranding to maximize growth within the next two years.

Strategic Theme V - Governance

Objectives
• Create of culture of continuous improvement by developing processes of self-assessment that inform all aspects of our organization.
• Implement new ways to improve board effectiveness and the quality of the board meetings and committees within the next 12 months.
• Develop a schedule to review and update as necessary all organizational policies within the next six months.
• Develop a young Trustee, young Resource Council and Artist Trustee specific annual giving policy within the next 12 months.
• Improve diversity on board (age, artist, gender, ethnicity, giving capacity), within the next two years.

After a century of a proven commitment to craft, SAC has earned a reputation as a vibrant and edgy organization that is well regarded by its cultural peers, trusted to work honestly and diligently on behalf of artists, and is a resource for expert knowledge in the field of contemporary craft. The key to SAC’s success is, in part, its holistic approach to its mission. Our non-profit business model incorporates elements typically associated with museums, commercial galleries, large-scale craft shows and educational organizations. We believe that in order for the craft community to thrive, students, artists, collectors and the public must be connected to each other. SAC fosters these connections by acting as a cultural liaison through our staff, board, artists, donors and supporters. SAC prides itself on providing the opportunity for relationships between artists and the general public in a knowledgeable, patient and approachable manner. Our team is a vibrant group of creative individuals who consider craft to be a fundamental part of their core value system. All programming at SAC welcomes dialogue to best promote an understanding of and engagement with craft.

SAC's ultimate intended impact is to increase the audience for craft. With this result in mind, we have made great progress. Currently, our Retail Gallery represents and sells the work of approximately 250+ artists from across the country.The Exhibition Gallery Program includes 4-5 curated exhibitions annually, with a range of artwork from functional to sculptural and from traditional to contemporary. Exhibitions are designed to include a balance of one-person, themed group, and/or award recipient shows and represent a range of career levels from emerging to established. Currently, we are traveling Wendy Maruyama: Executive Order 9066 exhibition to more than five venues across the country.Craftboston Spring and Craftboston Holiday are our annual juried indoor craft shows with a total of 300 exhibiting artists, a lecture series and the Artist Mentor Program. The Craftboston shows provide artists with a professional venue and access to exhibit and sell their work to more than 10,000 craft enthusiasts.The biennial SAC Artist Awards support the work of New England craft artists. Three artists each receive a $3,000 cash award and participate in a group exhibition at SAC’s gallery. To date, $94,000 has been distributed. The John D. Mineck Furniture Fellowship ($25,000 annually) encourages and supports a young-in-career furniture artist. To date, $125,000 has been distributed. The Education Program includes artist lectures and presentations, day and weekend craft tours, staff led tours of our exhibitions for teens through adults, and guests who are blind and visually impaired and/or deaf and hard of hearing. SAC also has a strong Internship Program with recent interns hailing from 10 colleges and post-graduate programs from around the country.The SAC Mentor Program, launched in 2005, offers assistance and training for emerging artists in marketing, legal and insurance issues, portfolio development, pricing, selling, and booth design. Central to the program is a multi-year association with CraftBoston. Recognized for its innovative approach, the Mentor Program combines SAC’s resources with those of CraftBoston. Artists selected to participate in this program will be provided information and training from professionals in the field, and subsidized booths at CraftBoston Holiday.The primary obstacle to growth for SAC is space. SAC has leased a 2,000 sq ft brownstone on three levels for the past 40 years. Neither the Exhibition Gallery, nor the Retail Gallery are accessible. SAC has adapted to its space limitations by conducting many of its programs at off-site locations and by scaling down the scope of its programming.Ideally, SAC will be in a position to move to a more appropriate facility in the near future. Thus ensuring that programmatic decisions can be made less on limitations and more on possibilities.

How we listen

SOURCE: Self-reported by organization

Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.

done We demonstrated a willingness to learn more by reviewing resources about feedback practice.
done We shared information about our current feedback practices.
  • Who are the people you serve with your mission?

    Professional craft artists who make their living from selling their work and teaching their craft.

  • How is your organization collecting feedback from the people you serve?

    Electronic surveys (by email, tablet, etc.),

  • How is your organization using feedback from the people you serve?

    To identify and remedy poor client service experiences, To identify bright spots and enhance positive service experiences, To inform the development of new programs/projects, To identify where we are less inclusive or equitable across demographic groups, To strengthen relationships with the people we serve, To understand people's needs and how we can help them achieve their goals,

  • With whom is the organization sharing feedback?

    The people we serve, Our staff, Our board, Our funders,

  • Which of the following feedback practices does your organization routinely carry out?

    We collect feedback from the people we serve at least annually, We aim to collect feedback from as many people we serve as possible, We take steps to ensure people feel comfortable being honest with us, We look for patterns in feedback based on demographics (e.g., race, age, gender, etc.), We look for patterns in feedback based on people’s interactions with us (e.g., site, frequency of service, etc.), We engage the people who provide feedback in looking for ways we can improve in response, We act on the feedback we receive, We tell the people who gave us feedback how we acted on their feedback,

  • What challenges does the organization face when collecting feedback?

    It is difficult to get the people we serve to respond to requests for feedback,

Financials

Society of Arts and Crafts
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Operations

The people, governance practices, and partners that make the organization tick.

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Connect with nonprofit leaders

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  • Analyze a variety of pre-calculated financial metrics
  • Access beautifully interactive analysis and comparison tools
  • Compare nonprofit financials to similar organizations

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Society of Arts and Crafts

Board of directors
as of 8/19/2021
SOURCE: Self-reported by organization
Board co-chair

Mr. Gary Roberts

MIT Sloan School of Management

Term: 2024 - 2021


Board co-chair

Jeannine Falino

Lois Russell

Lois Russell Baskets

Mary "Polly" Allen

Retired

Lorraine Bressler

Retired

Jeannine Falino

Rhode Island School of Design

Beverly Gomes

Retired

Gary Roberts

Massachusetts Institute of Technology

Judith Obermayer

Retired

Paulette Werger

Paulette J Werger Jewelry

Arthur Pressman, Esq.

Attorney, Mediator

Jo Stealey

Retired, founding Director of the School of Visual Studies

Ellen-Deane Cummins

Collector, Life Trustee

Lynne Francis-Lunn

Retired, Peabody Essex Museum

Miguel Gómez‐Ibáñez

Retired, former President NBSS

Amy Nguyen

Fiber artist

Board leadership practices

SOURCE: Self-reported by organization

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section.

  • Board orientation and education
    Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations? Yes
  • CEO oversight
    Has the board conducted a formal, written assessment of the chief executive within the past year ? Yes
  • Ethics and transparency
    Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year? Yes
  • Board composition
    Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership? Yes
  • Board performance
    Has the board conducted a formal, written self-assessment of its performance within the past three years? No

Organizational demographics

SOURCE: Self-reported; last updated 8/19/2021,

Who works and leads organizations that serve our diverse communities? GuideStar partnered on this section with CHANGE Philanthropy and Equity in the Center.

Leadership

The organization's leader identifies as:

Race & ethnicity
White/Caucasian/European

Race & ethnicity

No data

Gender identity

No data

 

No data

Sexual orientation

No data

Disability

No data

Equity strategies

Last updated: 08/09/2021

GuideStar partnered with Equity in the Center - an organization that works to shift mindsets, practices, and systems to increase racial equity - to create this section. Learn more

Data
  • We have long-term strategic plans and measurable goals for creating a culture such that one’s race identity has no influence on how they fare within the organization.
Policies and processes
  • We have community representation at the board level, either on the board itself or through a community advisory board.
  • We help senior leadership understand how to be inclusive leaders with learning approaches that emphasize reflection, iteration, and adaptability.
  • We engage everyone, from the board to staff levels of the organization, in race equity work and ensure that individuals understand their roles in creating culture such that one’s race identity has no influence on how they fare within the organization.