Dear Janice, I think the best photos would be the ones that are in the catalog, which will be available from Amazon for $30.00. Those people attending the opening and visiting the exhibit might like to buy the catalog from the museum to show support for them taking the risk of holding an exhibit of art made from lacemaking techniques. Three cheers for the Hunterdon Art Museum! Also, you could save money on postage. The catalog is 76 pages long and has photos of all the work except Manca Ahlinâs new piece, because it will only exist as of Sept. 23rd. There is an entry for each artist giving information about the artistâs work and background. Also, I asked each artist how they learned to make lace which I thought was interesting, since, as we know, it isnât the easiest thing to find instruction in. There is an essay by Dagmar Beckel-Machyckova describing the economic and governmental environment in Czechoslovakia that encouraged Czech modern lacemaking. The essay focuses on Milca Eremiasova who has taught and mentored Dagmar. There is also an essay by Lieve Jerger in which she explains the iconography of the Carriage of Lost Love, why she started it and what it means to her. I was overwhelmed by the generosity and skills of members of the Brooklyn Lace Guild who helped with the catalog. Elena Kanagy-Loux and Amy Mills did some sophisticated photo editing, hence the likely superiority of these photos to those that will be taken at the opening. Elena also did some great graphics for the glossary. Kathleen Collins spent an incredible amount of time designing and laying out the catalog and it shows. Kathleen works in art publishing and has decided to start her own press, Openwork Imprint. The mission of Openwork Imprint is to bring together new perspectives on textile-based processes and practices. I am also very thankful to Nancy Neff, a published author in her own right, two times over, for her help in editing. It was a wonderful experience working together as a team to produce this catalog. I thought it was very important to have a catalog because when a museum wants to put on a show the first thing they do is to collect catalogs of similar shows. Also, once the show is over, the only lasting record of it is the catalog.
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