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Announcing the 2025 Maxwell/Hanrahan Awardees

The Maxwell/Hanrahan Foundation awards five artists and craftspeople with unrestricted funding

A beaded figure with a long black braid faces away from the viewer, toward the golden backdrop. They are wearing a cowboy hat, sunglasses, long earrings, and a shirt.

The Future Looks Bright by Teri Greeves, 2024. Dyed hemp silk, various medium beads, semi-precious stones, German silver, 36 × 48 × 2.5 inches. Private collection.

Photo courtesy of the artist.

Author -USA Staff Date -05.21.2025

10 min. read

Today, the Maxwell/Hanrahan Foundation celebrates the 2025 recipients of the Maxwell/Hanrahan Awards in Craft honoring artisans, craftspeople, toolmakers, tradespeople and artists who bring unique problem-solving perspectives to the expansive field of craft. The five awardees will each receive $100,000 in unrestricted funding.

Launched in 2022 and administered by United States Artists (USA), the Maxwell/Hanrahan Foundation established the Awards in Craft to celebrate artists and craftspeople for their unique and visionary approach to material-based practice, stewardship of cultural traditions, and craft's potential to connect people, places and ideas. This unrestricted award seeks to recognize the complex, present, and ever-expanding role of artists and craftspeople by providing resources for them to continue their practice and advance their impact within our cultural fabric.

Through a range of innovative approaches, this year’s awardees reveal the expansive potential of craft to shape how we see and engage with the world. Grounded in the cultural and historical significance of their materials, their collective practices honor the lineages of their disciplines while creating new paths for future generations. Working across mixed media including clay, glass, stone and wood, their work is rooted in diverse artistic traditions and informed by ecological, personal and social narratives—together reflecting the rich, multifaceted realities of contemporary craft.

The Maxwell/Hanrahan Awards in Craft 2025 Recipients are:

  • Jolie Ngo is a ceramicist exploring the intersection of craft and technology. Working from her studio in Santa Barbara, Calif., Ngo expands the boundaries of ceramic art through a multifaceted and playfully subversive approach, stripping away the seriousness often associated with clay traditions and forging a new conceptual and experimental path.

An image of a colorful vessel comprised of various organic forms and shapes, sitting on a flat dark surface in front of a white backdrop. The surface of the vessel features numerous patterns, gradients, and textures. There are small gold, blue, and purple pieces affixed to the surface of the vessel.

Lantern Vessel in All-Over Print by Jolie Ngo, 2025. Glazed stoneware and luster, 16.5 × 25 × 14 inches.

Photograph by Logan Jackson, courtesy of the artist and R & Company.

  • Kevin Aspaas is a Navajo textile and fiber artist. Known for his work with the Navajo wedge weave technique, Aspaas practices a process he calls sheep to loom, which entails gathering and spinning wool from the small flock of Navajo-Churro sheep he raises in Shiprock, NM.

A woven tapestry features a zigzag motif of gold, beige, black, and various shades of blue. A border of solid blue and beige is at the top and bottom of the tapestry. There are loose blue threads collecting at the four corners of the tapestry.

Untitled by Kevin Aspaas, 2022. Textiles, wool, 32 × 46 inches. Gochman Collection.

  • Neal Thomas is a basket maker whose practice began while working in the timber industry in the late 1950s, when he met an elder woodworker who shared with him the art and skill of making split white-oak baskets. At the age of 85, Thomas is well-known across North Carolina for his dexterity and talent in fashioning baskets.

A Black man wearing a straw hat, a beige shirt, navy pants, and blue shoes holds up two large round baskets. An assortment of large baskets is placed on the grass around him, as well as various tools for wood carving. He stands in front of a building with two windows and a door that is ajar. Beside the building is a tractor.

Two bassinets by Neal Thomas, 2020. White oak, dimensions variable. Neal Thomas's farm in Johnston County, NC.

Photo by Earl L. Ijames.

  • Robert K. Mills is a Tlingit artist of the Tsaagweidi clan from Kake, Alaska. Working in metal, paint and wood, Mills' art is deeply rooted in the traditions of his ancestors while pioneering new expressions for future generations. Shaped by the land and waters of Lingit Aani, his work speaks to the complexities of colliding worldviews, exploring the resilience and depth of Tlingit life.

An image of a totem pole featuring colorful Tlingit motifs including stars, birds, and figures. The totem pole stands between streetlamps at the edge of a boardwalk beside a parking lot and a parking structure. There are cars and people visible in the parking lot. In the background, a mountain of lush green trees and a gray sky are visible.

L’eeneidí Totem Pole by Robert K. Mills, 2023. Red cedar, 28 × 384 × 4 feet. Juneau, AK.

  • Teri Greeves, of the Kiowa Tribe, is a Santa Fe, NM beadworker whose practice started when she was around eight years old. For Greeves, every stitch taken is an act of resistance and a prayer for ancestors and future generations. Through her beaded depictions, Greeves portrays Kiowa realities, oral histories and her own life experience.

The work is comprised of two panels separated vertically. The red panel on the right features a figure with gray braids, wearing a long skirt and a black top with a spiderweb on it. The blue panel on the left features a figure with long black hair who wears a long blue garment with green shapes that evoke the imagery of Earth. There are small stars dotting both panels and a beaded outline of a hand overlaying both panels and containing both figures.

Sunboy's Women by Teri Greeves, 2011. Raw silk, various medium beads, Swarovski crystals, 72 × 72 × 2 inches. Installed at Smithsonian National Museum of the American Indian.

Photo by Dan Barsotti.

The Maxwell/Hanrahan Awards in Craft are significant honors providing unrestricted support for craft practitioners to expand their creative visions, pursue new directions of experimentation and deepen their contributions to the discipline.

A rotating panel of craft practitioners, curators, educators and others guiding the field identify nominees each year for the Maxwell/Hanrahan Awards in Craft. Panelists for the 2025 cohort were curator and writer Angelik Vizcarrondo-Laboy; sculptor Raul De Lara; Threewalls Interim Artistic Director Sharbreon S. Plummer, Ph.D. and Nelson-Atkins Museum of Art Curator of Native American Art Tahnee Ahtone.

Previous recipients of the Maxwell/Hanrahan Awards in Craft include multimedia artist Adebunmi Gbadebo (2023); poly-disciplinary artist Antonius-Tín Bui (2022); furniture maker, artist and educatorAspen Golann (2023); ceramic sculptor Cristina Córdova (2024); beadwork and fashion artist Jamie Okuma (2022); stone mason artist and community activist Terrol Dew Johnson (2022); and sculptor Thea Alvin (2024).

About the Maxwell/Hanrahan Foundation

Maxwell/Hanrahan Foundation powers people who explore and ask, teach and try, conserve and connect, create and captivate. Our funding supports individual scientists, teachers, conservationists and creators whose diverse perspectives enable us to discover new things about ourselves and our world. Learn more about our partners and work at www.Maxwell-Hanrahan.org.


About the Maxwell/Hanrahan Awards in Craft

Exploration and insight require time and commitment. The Maxwell/Hanrahan Foundation Awards in Craft seek to make both possible for devoted craftspeople and artists from around the country who strive to express what we see and experience in our world through engagement and material. The award recognizes practitioners committed to material mastery and exploration with practices encompassing the stewardship of living cultural traditions, unique insight in material study, and the advancement of craft at the intersection of other fields including science. We recognize that arts funding, especially for craftspeople, is lacking in the US, and we encourage others to commit to these fields.