Clark Art Presents A Look at Women of the French Tapestry Revival

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WILLIAMSTOWN, Mass. — On Saturday, Feb. 8 at 2 pm, the Clark Art Institute presents "Women of the French Tapestry Revival: Artists, Dealers, Weavers," a talk by Kay Wells (University of Wisconsin-Milwaukee). 
 
This free lecture is given in conjunction with the Clark's exhibition "Wall Power! Modern French Tapestry from the Mobilier national, Paris," and takes place in the Clark's Manton Research Center auditorium.
 
According to a press release: 
 
French tapestry weaving was traditionally an elite luxury craft practiced by men, who passed prestigious weaving positions down from father to son for generations. But as modernists began to revive French tapestry weaving in the twentieth century, women took on increasingly prominent roles in the field as artists, dealers, and weavers. This talk by Kay Wells explores how women worked in these and other roles to produce modern French tapestries, how they carved out new careers in this dramatically changing field, and how they transformed the look and feel of modern art.
 
Kay Wells serves as Director of Graduate Studies and Associate Professor of American Art and Architecture at the University of Wisconsin-Milwaukee and is the author of "Weaving Modernism: Postwar Tapestry between Paris and New York" (Yale University Press, 2019).
 
Drawn from the celebrated collection of the Mobilier national from the 1940s to the present day, "Wall Power! Modern French Tapestry from the Mobilier national," Paris explores the resurgence of the ancient French tradition of tapestry-making, including works by Henri Matisse, Sonia Delaunay, and Kiki Smith.
 
"Wall Power! Modern French Tapestry from the Mobilier national, Paris" is organized by the Clark Art Institute and curated by Kathleen Morris, Sylvia and Leonard Marx Director of Collections and Exhibitions and curator of decorative arts.
 
Support for this exhibition is provided by George W. Ahl III, the Coby Foundation, and Robert D. Kraus. The exhibition catalogue is made possible by Denise Littlefield Sobel.
 

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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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