Thank you, Jeri for drawing my attention to this interesting tome. I actually own it, a facsimile of the 1882 version published in 1972. I have virtually never thumbed through it. I must have bought it close to 1972 when my interests and goals were very different than today, and having once dismissed it as uninteresting, did not go back to reexamine that conclusion until today. What a gold mine of information! Who would have thought that Diaper is from Ypres! Regarding the black diamonds in the text of my writings, I do not see them when I receive the messages I have sent to Arachne. I do see them when I receive from Jeri a quoted version of my words. Are most people seeing these annoying marks? Jeriâs observations about the lack of interest in womenâs history by public institutions seems very apropos in this #MeToo moment. In fact, I am reading a book by Elissa Auther, published in 2010 entitled The Hierarchy of Art and Craft in American Art. I am still on the chapter entitled Fiber Art and the Struggle for Legitimacy which details the immense difficulty of getting the art world to recognize fiber art as fine art. However, the third chapter is entitled The Feminist Politicization of the Art/Craft Divide. I have a feeling that I know what is coming⦠It is hard to avoid the conclusion that the one thing that the art world knows about the difference between fine art and craft is that if women do it, it is probably craft. Devon
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