The International Connections issue of Hand Papermaking will feature a series of profiles and interviews of colleagues and organizations working today in hand papermaking and related fields worldwide. All authors will be featuring someone outside of their own home country, creating a collection of International Connections in hand papermaking for the Winter 2019 issue.
In Volume 34, Number 1, Hand Papermaking examines and celebrates the “we.” Collaboration is a core aspect of our medium, our practitioners, and our output. At its essence, papermaking is a “we” process in which fiber partners with water, through hydrogen bonding, to create paper. In this issue, our authors discuss methodologies and sensibilities of collaboration in the studio, and issues surrounding authorship, agency, and the multiplying effect in collaborative practices.
Amy Hughes traces Kenneth Tyler’s ground-breaking use of handmade paper with his artists for publishing projects at Gemini G.E.L.
Katharine DeLamater discusses how the role of collaborator has evolved from historical models and ways in which the field can acknowledge new forms of assisted and shared authorship.
Frida Baranek and Joan Hall share their conversation about their fruitful give and take in the studio.
Winifred Lutz and faculty collaborators at the Kansas City Art Institute outline Lutz’s extraordinary exhibition project combining an immersive learning process for KCAI students and the creation of an ambitious site-integrated installation for the KCAI Crossroads Gallery.
Accompanied by a sample of Combat Paper, Drew Cameron reflects on the project, which after fifteen years and countless workshops for war veterans, continues to be a critical resource that engages the participatory art model.
Lynn Sures speaks with paleoanthropologist Rick Potts about mutual endeavors in science and art to discover and interpret human origins.
Andrea Peterson and Brien Beidler contribute a paper sample and provide twin accounts on how they worked together to design Beidler Blue Laid, a new “contemporary historic” bookbinding paper.
And the issue closes with Michael Durgin’s take on “Papier Global 4,” an international triennial of paper art which took place last year in Deggendorf, Germany.
Elizabeth Boyne makes the case that the earliest papermakers were most likely women.
Erin Zona speaks with Ann Kalmbach and Tana Kellner about founding Women’s Studio Workshop in 1974.
Melissa Hilliard Potter traces the history of the Los Angeles Woman’s Building and its impacts with two of its papermaking instructors, Sukey Hughes and Patricia Reis.
Ferris Olin interviews Judith Brodsky, along with Gail Deery and Anne McKeown, about the feminist origins of the Brodsky Center.
Alisha Adams profiles the People’s Paper Co-op’s Women in Reentry program.
Neysa Page-Lieberman introduces us to Seeds InService, an ecofeminist seed-saving and papermaking project by Melissa Hilliard Potter and Maggie Puckett in Chicago.
Feminist painter Natalie Frank describes her powerful experience with pulp painting.
Anne Osherson brings feminist context to the survey exhibition “Paper/Print.”
Two handmade paper samples round out the thematic focus of this issue:
- Kenaf paper, made at Women’s Studio Workshop;
- And Underpaper, by Margaret Mahan Sheppard and workshop participants in solidarity against sexual and domestic violence.
In addition, Jamye Jamison reviews an important exhibition of Rembrandt’s etchings that focuses on paper and a watermark identification project.
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Included in our most recent, exciting, beautiful, all-color! (Summer 2018) issue of Hand Papermaking:
- Three (!) stunning samples of handmade paper that reveal the artists’ intimate relationship with water
- A profile of the artist Joan Hall, whose work “The New Normal: In with the Tide” (2018) graces this issue’s cover and is shown in part in the banner image above
- Articles and reviews examining the work of a some amazing paper artists who explore water as a subject, medium, and conceptual underpinning
- “Paper is the Thing,” a new poem by Richard Tuttle
And much, much more!
In Volume 33, Number 1, Hand Papermaking focuses on water: its central role in our process, the notion of “flow” in art produced in our aqueous medium, and the ways in which artists and papermakers are addressing the growing risks to our planet’s precious and finite water resources.
Simon Green provides a fascinating primer on water and its importance to papermaking.
Amy Richard tests out her hunch that the oxygen-rich papermaking studio may result in an enhanced sense of well-being.
Artist Michele Oka Doner muses on water’s capacity to connect us, fiber, and time immemorial.
Donna Gustafson introduces the work of Saul Melman who is employing ice, carbon, and water (hot and cold) to address climate change.
Jill Powers describes her environmentally grounded sculptural and installation work focused on ocean health; algae scientist Dr. Kathy Ann Miller weighs in on her interdisciplinary exchange with Powers.
Artists May Babcock and Megan Singleton share their conversation about their collaborative site-specific installation work that address human impact on waterways and watersheds.
Francine Weiss presents the dynamic paper sculpture of Rhode Island–based artist Joan Hall who investigates the effects of plastic pollution on oceans and marine life.
Sally Wood Johnson reminds us of the cyclical flow of water and nature, as she recycles her paper art from 1986 into a new work twenty-eight years later.
This issue also features three (!) distinctive paper samples:
- Simon Green documents the making of a custom paper order for Arion Press’s Moby-Dick, evoking the “cold and unyielding ocean;”
- Joan Hall contributes a sample from one of her large-scale, pulp-painted collagraph prints, related to her work, The New Normal: In with the Tide, that is featured on the cover of this issue;
- And paper marbler extraordinaire Steve Pittelkow presents a dazzling example of his work, using water movement to capture a moiré pattern on Tom Balbo’s signature engraver’s paper.
by Simon Barcham Green with assistance from Dr. Robert Keirle
Published in Summer 2018 issue of Hand Papermaking magazine
Some notes by Dr. Robert Keirle on the complexity of US-EPA water regulations:
From: Robert Keirle Sent: 05 September 2017 23:30
To: Simon Green Subject: RE: water quality information
You’re right about the situation in the USA being complicated. When I was with a UK water and environmental consultancy a couple of years ago, one of the projects I was working on involved contacting all 50 States to determine what their approach was to drinking water quality. Even now I don’t think I fully grasped the situation! Just for your interest (and maybe the information could be useful for your paper), the following quotes are taken from the US Environmental Protection Agency’s (EPA) website:
- The Safe Drinking Water Act (SDWA) is the federal law that protects public drinking water supplies throughout the nation. Under the SDWA, the EPA sets standards for drinking water quality and with its partners implements various technical and financial programs to ensure drinking water safety.
- The EPA identifies contaminants to regulate in drinking water to protect public health. The Agency sets regulatory limits for the amounts of certain contaminants in water provided by public water systems. These contaminant standards are required by the SDWA. The EPA works with states, tribes, and many other partners to implement these SDWA provisions.
- The National Primary Drinking Water Regulations (NPDWR) are legally enforceable primary standards and treatment techniques that apply to public water systems. Primary standards and treatment techniques protect public health by limiting the levels of contaminants in drinking water.
- The EPA has established National Primary Drinking Water Regulations (NPDWRs) that set mandatory water quality standards for drinking water contaminants. These are enforceable standards called “maximum contaminant levels” (MCLs) which are established to protect the public against consumption of drinking water contaminants that present a risk to human health. An MCL is the maximum allowable amount of a contaminant in drinking water which is delivered to the consumer. In addition, the EPA has established National Secondary Drinking Water Regulations (NSDWRs) that set non-mandatory water quality standards for 15 contaminants. The EPA does not enforce these “secondary maximum contaminant levels” (SMCLs). They are established as guidelines to assist public water systems in managing their drinking water for aesthetic considerations, such as taste, color, and odor. These contaminants are not considered to present a risk to human health at the SMCL.
It’s interesting to note that “although state health agencies and public water systems often decide to monitor and treat their supplies for secondary contaminants, federal regulations do not require them to do this”, despite the fact that many of the parameters could have an adverse impact on papermaking.
This paper gives a good insight with some of the things that can readily go wrong with paper that may be attributable to metal contamination:
Sarah Bertalan, c Condition Problems in Modern Papers and the Role of Inorganic Additives.” American Institute of Conservation: The Book and Paper Group Annual 34 (2015).
Water requirements of the pulp and paper industry, by O.D. Mussey. U.S. Government Printing Office: 1955
Iron in water and processes for its removal. By John F. McPeak and Harold L. Aronovitch Hungerford & Terry, Inc., Clayton, N.J. 08312 21st Annual Liberty Bell Corrosion Course September 22, 1983 Philadelphia, Pennsylvania
Copper in drinking water – Government of Western Australia Department of Health
Volume 32, Number 2 of Hand Papermaking explores the evidentiary nature of paper, as well as its capacity to conceal secrets, and what a forensic analysis of paper can tell us about our culture.
Donald Farnsworth recounts his discovery of a special “maker’s mark” in a sheet of 17th-century paper.
Tim Barrett instructs us on how to “listen” closely to paper.
Michael Durgin speaks with Marian Dirda on how the National Gallery of Art Paper Sample Collection sheds light on works of art on paper.
Amy Hughes explains how the NGA Paper Sample Collection helped her figure out how to conserve a Max Weber print.
Gary Frost hails the codex book structure as a key preservation device for paper.
Izhar Neumann follows a lead from an historical treatise to make a mould and paper from the samar plant; accompanied by a paper sample.
Barbara Rhodes outlines early methods for secret writing in handmade paper.
Frank Brannon and Jeff Marley talk about their site-specific paper installations.
Robert Riter introduces the work of Chris Davenport and Crane Giamo who both use handmade paper as applied ecological evidence for environmental forensics.
Susan Mackin Dolan interviews the artist Hong Hong.
And we close with a roundup of recent exhibitions, and reviews of two books: Minah Song’s take on Sylvia Albro’s book about the history of Fabriano, and Bernie Vinzani’s thoughts on Peter and Donna Thomases’ interviews with retired papermakers from Tuckenhay Mill.
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Volume 32, Number 1 marks Hand Papermaking’s commitment to printing the magazine in full color going forward! In this issue, we look at the use of paper as cloth and fabric. In addition to technical discussions of how paper has been used in the production of textiles, we hear from makers about the aesthetic, symbolic, and working properties of paper that make it a compelling material for weft and warp.
Carolina Larrea outlines her practice of shifu-making as an active woven meditation.
Velma Bolyard shares powerful testimonials on shifu’s capacity to facilitate healing, accompanied by a sample of her North Country shifu.
Mandy Coppes-Martin recounts her travels with two other paper artists working with paper thread, Atsuko Yamagata and Asao Shimura.
Steph Rue introduces us to the extraordinary paper weavings of Emiko Nakano.
Aimee Lee offers her thoughts on transforming paper into textile.
Dorothy Field tells us about Kim Kyung’s unique collection of Korean objects made using paper-textile techniques.
Steeve Buckridge brings forth new scholarship into Jamaica’s early-colonial lace-bark-cloth production.
Erica Spitzer Rasmussen writes about her remarkable paper garments.
Andrea Peterson interviews Melanie Teresa Bohrer on her performative art practice with paper as shroud.
Michael Gill speaks with Julie McLaughlin about her artwork in kimono form.
Julie Poitras Santos describes Katarina Weslien’s art project “Walking Kailash,” alongside a momigami sample made by Andrea Peterson.
Jordana Munk Martin writes about large-scale paper tapestries by Nancy Cohen.
And we hear from Anke Neumann about her beguiling jewelry made of paper and light.