Devon seems to pose some kind of tension between Gertrude Biederman, holding a traditionalist point of view, and Kathe Kliot representing a modern art-lace position.
Yesterday afternoon I spent some time at Lacis in conversation with Jules Kliot. Lacis is an extraordinary place. He was particularly interested in showing me his book about Sprang. I am aware that his wife was a textile artist who made large lace pieces and installations. Setting aside the very large pieces, what are the specifics *that matter to you lace-makers* about the difference between traditionalists and the modernists in the 1970s? - To unsubscribe send email to [email protected] containing the line: unsubscribe lace [email protected]. For help, write to [email protected]. Photo site: http://www.flickr.com/photos/lacemaker/sets/
