[lace] Modern vs Tradtional
Hi all, You will know that I am not a lace maker, but in my patchwork hobby life, we are experiencing the same slow evolution away from traditional patchworking. When it first started happening I "blamed" artists taking over our hobby, but now I see that it is a generational trait. We are living in a modern world where change is happening all around us, and our hobbies are part of that change. Not because of technology but new people entering the craft look at things differently. I just recommend enjoying what you do and like, and have fun. Don't waste time on moaning about the inevitable. I do know that there will always be a traditional stream in our crafts, because without it people will have nowhere to go to be "different!! Smile. I have to confess that in Patchwork , whilst I do make some traditional quilts, I am considered as being "modern" (sorry) Brian Blog: https://modernquiltjourney.wordpress.com/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Traditional and modern lace.
I started making lace in 1970, and in 1980 I started to learn Bucks point lace from Marjory Carter. I joined a week long course with her for several years. She was a wonderful teacher, and I enjoyed every minute. She certainly believed that Bucks point should always be traditional in design and worked in fine cotton, white ecru or black. New designs should always be “traditional” in concept. By this time I had started to design lace myself - not Bucks point - but trying to make lace “pictures”. I had designed a small picture of a sea horse among water weeds, in colour, of which I was quite proud, so, although it was not yet framed, I summoned up my courage and showed it to Marjory. She looked at it and said very little! But the next day she brought and gave me a frame which was perfect for my picture. >From this I realised that, although she loved traditional Bucks point, and >believed that It should stick to tradition, and she would only teach and >design it in this way, she was open to the idea that lace could be adapted to >“modern” methods and made in colour, especially if it was presented properly! > I think that this encouraged me to embrace both “traditional” and “modern” >lace, in whatever interpretation they appeared. Sent from my iPad - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Beiderman and Kliot
I will ask Jules Kliot if he remembers conversations with Beiderman regarding what appears to be Beiderman's disdain for modern art lace. They published her book so there must have been appreciation at least on their side. What do you know or remember about their relationship? - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] traditionalists and short-cutters
> some kind of tension between Gertrude Biederman, > holding a traditionalist point of view, and Kathe Kliot representing a > modern art-lace position Even today, there is tension between the traditionalist point of view and the modern art-lace position, but I recall the tension being much stronger in times past (I learned in 1981). Well into the 80s you might be told - in no uncertain terms - that lace must be made with fine white thread, preferably linen though cotton might be OK if you arenât making anything important. Certain techniques must be used, others can never be used, and no, you canât put in helping pins. Pinholes are there to be worked, and extra pins are simply not allowed. There were exhibitions that refused to display coloured laces. Then, along came the modernists, using all kinds of heavy threads or strings in all kinds of colours, using whatever techniques they needed to get the effect they wanted. Iâm sure by now you have looked at the Kliotâs book âBobbin Lace: Form by the Twisting of Cordsâ, published in 1973; many modern pieces are shown along with some traditional work. The Kliots also edited and published Gertrude Biedermannâs more traditional book, "Traditional Bobbin Lace: Patterns in Torchin, Guipure and Idriaâ. Same place, same era, different views. Hope this helps. Adele West Vancouver, BC - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] traditionalists and short-cutters
Im no expert. I began learning lace in 1981, from a woman who had coerced a German woman into teaching her. I remember Biederman and Kliot. I have Kliots book on lacemaking. As far as I can see its a difference in gauge. Biederman worked with the traditional fine threads and Kliot worked with threads that were appropriate to macrame. Same stitches, different sizes. Cynthia On May 16, 2018, at 11:41 AM, Sharon Ghamari-Tabrizi wrote: > 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 majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] traditionalists and short-cutters
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 majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] correction-Soviet Weekly, not the Daily Worker
I mistated the source of the article on Russian lacemaking. It was Soviet Weekly, not the Daily Worker. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace in San Francisco, 1970s
When I was the IOLI Historian I wrote some pieces culled from information in the earliest publications of the IOLI. I was intrigued that in addition to Kaethe Kliot, there was another major lace figure in San Francisco, Gertrude Biedermann, who espoused a more traditionalist point of view on lace. Could this be a possible source of dramatic tension in a work of fiction? I never met her, although she was very active, even writing a column in the nascent IOLI publication. It was also the practice to contribute articles about lace that had appeared in other publications. I was surprised to see that Biedermann had contributed a piece about lacemaking in Russia that had been published in the Daily Worker, a communist publication, leading me to wonder about a woman who had traditionalist leanings in lace, but possibly atypical political leanings. I had forgotten that Biedermann had predicted the demise of contemporary lace. I quote myself, "In, Lacemakers bobbin' along, the San Francisco Examiner profiles Martha Anderson and Gertrude Biedermann, "self-styled traditionalists and the only teachers of bobbin lacemaking in San Francisco. They demand equal time in their gentle warfare with contemporary approaches to lacemaking. 'It's a fad,' Mrs. Biedermann says. 'I'm not being critical, but I think contemporary lacemaking will phase out. It reminds me of the paintings you look at and ask, 'What is it?'" Unlike most readers of the San Francisco Examiner, those of us who are in the know, realize that at that very moment, technically outside the city limits of San Francisco, but in nearby Berkeley, Kaethe Kliot is cutting loose, making gargantuan examples of contemporary modern lace and teaching at her business Some Place, the precursor to Lacis. Kathe Kliot remains unnamed in this article, but even Mrs. Biedermann concedes that there are some issues with traditional lacemaking, "Mrs. Biedermann is mildly indignant at the impatience some students show when they take up lacemakingThey want short cuts. They want to hurry...That isn't possible in traditional lacemaking...It's like piano, if you don't practice your scales, you'll never play the concerto."[i]" [i] 1974, p. 64 - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
