Re: [lace] modern/ Jane Atkinson

[Ilske Thomsen]

One problem, I think is, ironically, how long it takes to make lace.
Devon that's absolutly tru but meanwhile I could fill a small gallery 
with only my works what makes problem storing them in our flat. And 
because there is no gallery at the moment to show them  I put a serie 
of pictures taken from one piece actually two of the same shape, to 
show you that there are possibilities to work several our on one piece 
but afterwards have one you can decoraate every day in another way.

See under:

http://community.webshots.com/album/91823605klvXEA?start=12

And find out if you like it or not.
Greetings
Ilske

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Re: [lace] modern/ Jane Atkinson

[Aurelia Loveman]

No, dear Devon, your work surely isn't "all that bad!" I'm sure it's 
very good, in fact -- whatever "good" and "bad" might mean in this 
context. "Good" = very modern? "Bad" = not-so-modern?


However, here comes your problem with size. We lacemakers seem to 
have learned to think small, indeed to think tiny. Flower-petals; a 
leaf here and there. How did that happen? When I first began making 
lace, in the late nineteen-sixties, somebody informed me that lace 
took a square-inch an hour to make. How many decades did it take me 
to wonder what went into that square inch? The wall-hanging that I'm 
about to e-mail to you is 18 inches in diameter, and occupies a place 
on the wall that might well have hosted a painting.


Alas, getting a piece of lace entered in a show, even in a 
prestigious show, doesn't really change the lacemaker's prospects all 
that much. I say that from my own experience of resisting 
disillusion. In 1988 I had a needlelace fan (my "Ortolan Pie") 
exhibited for six months at the Walters Art Gallery. In 1989 my 
"Irises in a Lightning Storm" took a first in the Embroiderers' 
Guild's 12th Biennial, and was shown in the Liberty Gallery in 
Louisville. The subsequent nine years were a nightmare in my life, 
and I didn't make any lace; but after that, life and lacemaking 
resumed, and included shows and publications.


But that's the point. Having your lace exhibited is not enough. What 
has to change is the public conception of lace as fundamentally a 
decoration for lingerie. Why do people think that a drip-drip of oily 
pigment on a flat surface is so valuable? Why is it better than 
thread (or wire? even gold wire?)? No doubt because it has a far 
longer identification as art work. We lacemakers have to stop 
thinking of our lace as auxiliary (a mat under a teacup; an edging 
for a nightgown). That is going to take lots of time; lots of shows; 
items in the newspaper (quick! before newspapers all vanish!); and 
the courage to think of ourselves as artists. There is that empty 
place on the wall to fill...


Aurelia

Do note that Jane is actually having a gallery show of her modern lace work 
(Pinned in Place) which is something that we devotees of modern lace have 
been hoping and waiting for, a long time. Finally, Finally, Finally!


One problem, I think is, ironically, how long it takes to make lace. You 
could put all the lace I have made in my lifetime on a large sheet 
of paper. It 
would be pretty hard to fill a gallery. It is pretty difficult, especially if 
you sell your product, to have enough at one time to show. Three cheers for 
Jane. It looks like a great show.


Traveling now, into the range of dangerous thinking, I will tell you that a 
group I belong to, the Textile Study Group of New York, actually rented

gallery  space, and displayed the work of its members.


 A postcard was produced and  mailed to
people who might be interested in visiting the show. I visited the  show,
although I was too intimidated to enter it. I think that, with a few 
exceptions,

the people who were already established artists who regularly had  shows and
who I thought would be entering, did not enter this one, leaving the  field
clear for people who wanted to break into their first gallery show. Then,  of
course, you can put it on your resume that you were in a show. I 
have to say,  in
retrospect, I am kicking myself for not even giving it a try. My work isn't 
all that bad.


Devon





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[lace] modern/ Jane Atkinson

[Dmt11home]

Brenda wrote in response to Aurelia's query about Jane Atkinson,  >
 
Do note that Jane is actually having a gallery show of her modern lace work  
(Pinned in Place) which is something that we devotees of modern lace have  
been hoping and waiting for, a long time. Finally, Finally, Finally!
 
One problem, I think is, ironically, how long it takes to make lace. You  
could put all the lace I have made in my lifetime on a large sheet of paper. It 
 
would be pretty hard to fill a gallery. It is pretty difficult, especially if  
you sell your product, to have enough at one time to show. Three cheers for  
Jane. It looks like a great show.
 
Traveling now, into the range of dangerous thinking, I will tell you that a  
group I belong to, the Textile Study Group of New York, actually rented 
gallery  space, and displayed the work of its members. There was a set of 
rules, one 
of  which included that it had to sit on a shelf of a certain size, that went 
all  around the room. Many people had fun with the concept with overhangs,  
etc, others just had pieces that fit on the shelf. Someone with curatorial  
experience did the choosing and mounting. A postcard was produced and  mailed 
to 
people who might be interested in visiting the show. I visited the  show, 
although I was too intimidated to enter it. I think that, with a few  
exceptions, 
the people who were already established artists who regularly had  shows and 
who I thought would be entering, did not enter this one, leaving the  field 
clear for people who wanted to break into their first gallery show. Then,  of 
course, you can put it on your resume that you were in a show. I have to say,  
in 
retrospect, I am kicking myself for not even giving it a try. My work isn't  
all that bad.
 
Devon





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