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Deadline Extended: Submit Proposals NOW for our Black Writers Fellowships

In this time of necessary societal transformation, we recognize that Hand Papermaking has been operating within a culture that perpetuates social inequities. We are resolved in taking concrete steps so we may fulfill our role as the journal of record that truly reflects the full breadth of work in our field. In solidarity with the Movement for Black Lives, Hand Papermaking is launching the Hand Papermaking Black Writers Fellowships, an evolving program that currently offers two opportunities for Black writers: Reporter and Researcher.

Hand Papermaking will host a virtual FAQ session on Monday, October 5, 7 pm ET,​ to answer questions from prospective applicants. To sign up for the session, please send an email to: bwfresearcher@handpapermaking.org​ by October 5, 5pm.

Hand Papermaking Black Writers Fellowship: Reporter

Deadline: Extended to October 19, 2020

The Black Writers Fellowship: Reporter is an opportunity for a Black writer to engage with “Celebrating #BlackPapermakers,” Hand Papermaking’s curated series, featured on our social-media channels, to uplift and center Black artists and papermakers. The Reporter will write an original profile on an artist of their choice who has been featured in “Celebrating #BlackPapermakers.” Applicants may also propose a Black papermaker who has not yet been featured in our curated series; if selected, Hand Papermaking will work with the Reporter and the proposed Black papermaker to feature their work on our social-media channels. The profile will be short-form and eligible for publication in Hand Papermaking magazine, Summer 2021 issue. Priority will be given to proposals that are framed through the lens of oral history, the theme of the Summer 2021 issue. The Reporter will receive a $300 award and a research stipend of up to $150 for expenses incurred.

For more information about the The Black Writers Fellowship: Reporter — including eligibility and submission requirements, deadlines, selection and notification processes, and Fellowship timeline, click here to download a full Fellowship RFP.

Hand Papermaking Black Writers Fellowship: Researcher

Deadline: October 19, 2020

The Black Writers Fellowship: Researcher is a research-based opportunity for a Black writer that will result in the publication of an original article in Hand Papermaking magazine. The applicant’s proposal must be related to the field of hand papermaking and indicate an ongoing investment in research and inquiry in the field. The article will be long-form and eligible for publication in Hand Papermaking magazine, Winter 2021 issue. The Researcher will receive a $1,000 award and a fellowship stipend of up to $1,000 for expenses incurred, including but not limited to research travel, resources, transcription or translation services, site visits, free attendance to a field-related conference, workshop attendance, and other professional development opportunities.

For more information about the The Black Writers Fellowship: Researcher — including eligibility and submission requirements, deadlines, selection and notification processes, Fellowship timeline, click here to download a full Fellowship RFP.

We invite you to read Hand Papermaking’s Statement in Solidarity with the Movement for Black Lives. And if you are interested in supporting Hand Papermaking’s Black Writers Fellowships, you can do so by clicking the button below.


Come to the Papermakers’ Swap Meet!

Hand Papermaking is excited to announce our first Papermaker’s Swap Meet.

Starts: 8 pm ET on Thursday, September 10
Ends: 8 pm ET on Sunday, September 20
Where: On Hand Papermaking’s eBay page.

Find bargains on dozens of papermaking- and paper-related items, including:

  • Tools such as paper moulds and deckles, sugetas, a Japanese beating stick, a wooden mallet, syringes for pulp painting, blotters, mould making materials;
  • Equipment such as a drying box, paper presses, a Whiz Mixer;
  • Supplies such as raw paper fibers, prepped/dried paper fibers, linters, dyes and pigments, paper additives; and
  • Instructional materials such as papermaking books, papermaking articles, magazines and journals, paper sample books, papermaking kits, and a Paper from Around the World Teaching Kit.

For more information, contact Hand Papermaking at info@handpapermaking.org. See you at the Swap Meet!

Between Eye and Light — Washi Tales in Performance

(Photo credit: Isaac Bloom.)

Thank you to everyone who attended this special online Zoom event to celebrate the publication of the Paper in Performance (Summer 2020) issue of Hand Papermaking magazine. If you missed it, never fear — you can watch a video of the event on Vimeo. You may also want to check out this video on Asia Society’s website of the full-length 2016 performance of Recycling: washi tales.

“Theater is the ideal place to show the beauty and variety of washi (Japanese paper),” states Japanese paper artist Kyoko Ibe, who will join us online from Kyoto, Japan, along with theater director Elise Thoron, to share clips of their stunning performance piece Recycling: washi tales, and behind-the-scenes video footage for a closer look at their set design and production methods. In a moderated discussion with Hand Papermaking magazine editor Mina Takahashi, Ibe and Thoron will discuss why they centered their production on washi culture and Japanese papermaking, and how they harnessed the aesthetic and working properties of washi to create their evocative performance piece. The discussion will be followed by a Q&A session with the audience. Hand Papermaking board member Jazmine Catusus will be our host; this event is free and open to the public with advance registration.

Japanese paper artist Kyoko Ibe is a pioneer in using washi and traditional papermaking techniques to create fine art and contemporary design. Elise Thoron is a playwright, director, and translator, who works cross-culturally within the US and abroad. Together they wrote and produced Recycling: washi tales, which has been presented at numerous arts centers including New York Asia Society and Los Angeles County Museum. A performance still from Recycling: washi tales is featured on the cover of the recently published issue of Hand Papermaking (vol. 35, no. 1; Summer 2020), which includes an interview by Elise Thoron with Kyoko Ibe titled “Between Eye and Light.”

Click these links to download pdf copies of “Between Eye and Light: An Interview with Kyoko Ibe” by Elise Thoron (from the Summer 2020 issue of Hand Papermaking) and “The Long Life of Echizen Washi” by Claire Cuccio (from the Summer 2014 issue of Hand Papermaking).

Hand Papermaking was thrilled to produce this free event and to offer an archival video of the event, along with our “Papermaking in Place” Instagram Live Events. If you’re enjoying this new distance-spanning programming, show your support by giving to our newly established Black Writers Fellowship or donating to Hand Papermaking on our website (any amount will help us continue producing this new alternative programming). Also, subscribe today to receive the Summer 2020 issue of Hand Papermaking magazine, Paper in Performance.

The Handmade Paper Wheel of Fortune!

The Handmade Paper Wheel of Fortune is an exciting new fundraiser in support of Hand Papermaking.

For this event, we asked contemporary papermakers and paper artists across the U.S. and around the world to donate bundles of 10-12 sheets of medium-sized handmade and/or hand-decorated paper. We received more than 60 pledges of papers of all sorts: Elegant Western-style papers, beautiful Japanese, Thai, and other traditional papers of Asia, experimental papers made from rare and unusual natural fibers, dyed and colored papers, hand-decorated papers, and much more!

Please note: The Wheel of Fortune chances have SOLD OUT. We apologize if you missed your chance to win — better luck next year!

The Wheel of Fortune drawing will take place on July 17. Every person who contributed to this fundraiser will receives an amazing surprise bundle of paper from one of our papermakers. We will email you soon about the paper you won, and all paper bundles will be mailed out by early August. Thank you to everyone who participated!

[100% of proceeds from Wheel of Fortune sales will go to supporting Hand Papermaking’s ongoing operations and programs, including Hand Papermaking magazine, Hand Papermaking Newsletter, our curated & thematic Portfolios of handmade paper, our free web and social media resources, and our newly established Black Writers Fellowship.]

Contributors to the Handmade Paper Wheel of Fortune
Annie Alexander • Jane Ingram Allen • May Babcock • Tom Balbo • Suzi Ballenger • Colin Browne • Bruce Bunting • Ingrid Butler/Moth Marblers • Jazmine Catasus • Lisa Cirando • Nancy Cohen • Elaine Cooper • Kate Couturier • Amanda Degener • Katherine DeLamater • Ilze Dilane • Pam DeLuco • Katy Dement • Susan Mackin Dolan • Nicole Donnelly • Emily Duong • Jane Farmer • Lata Gedala • Tatiana Ginsberg • Zoe Goehring • Joan Hall • Mary Heebner • Lesa Hepburn • Helen Hiebert • Kyle Holland • Dard Hunter III • Lois James • Ann Marie Kennedy • Susan Kristoferson • Barbara Landes • Aimee Lee • Thomas Leech • Anne McKeown • Todd Moe • The Morgan Conservatory • Jill Odegaard • Bridget O’Malley • The Paper Circle • Paper Connection International • Andrea Peterson • Alta Price • Brian Queen • Jackie Radford • Erica Spitzer Rasmussen • Lynn Sures • Margaret Rhein • Amy Richard • Steph Rue • Gretchen Schermerhorn • Peter Sowiski • Jennifer Spoon • Gail Stiffe • Mina Takahashi • Twinrocker Handmade Paper • Gibby Waitzkin • Beck Whitehead • Michelle Wilson • Paul Wong • Jenn Woodward/Pulp & Deckle

Share photos of your handmade papers on Instagram! Tag @handpapermaking and use #paperwof and we can feature your image in our posts and Stories.

The 2019 Year-End Broadside is HERE!

Hand Papermaking’s 2019 Year-End Broadside is here! And it is the stunning result of an amazing collaboration between three Pacific Northwest creative spirits: poet Kathleen Flenniken, papermaker Mary Ashton, and printer Jessica Spring.

With art direction by Hand Papermaking board member Alta Price, “The Language of Making” was printed at Springtide Press in the fall of 2019 to benefit Hand Papermaking, Inc. This poem has not been collected or published in any of Flenniken’s works. The base paper is a white text sheet composed of 25% abaca, 75% cotton fibers, with color blocks pulp-painted in red-pigmented, 100% cotton fibers. The print was composed and letterpress printed using Artcraft metal type and vintagewood type by Jessica Spring of Springtide Press.

Please consider donating today to Hand Papermaking’s annual Year-End Fundraising Campaign. Only the first 100 supporters who donate $125 or more will receive this year’s stunning, inspiring, limited-edition broadside! 

Your annual gift, whether it’s $1 or $1,000, directly supports Hand Papermaking as a contemporary, innovative, and forward-thinking organization that advocates for the art and traditions of handmade paper. Please donate and help Hand Papermaking continue to remain vibrant for many years to come. Thank you!

Winter 2019: International Connections

To celebrate and enhance the global paper commons, for the Winter 2019 (Volume 34, Number 2) issue of Hand Papermaking we invited colleagues to identify a papermaker or artist outside of their home countries to profile or interview, to create a collection of International Connections for this issue of the magazine. 

Helen Hiebert (US) interviews papermaker Gangolf Ulbricht (Germany)

Michael Durgin (US, currently in Germany) speaks with Italian artist Riccardo Ajossa

Emily Duong (US) writes about the paper artwork of Miriam Londoño (Colombia)

Radha Pandey (US/India/Norway) introduces us to Iranian papermaker Ali Pezeshk; accompanied by a sample of his Iranian wheat straw paper

Aimee Lee (US) profiles Argentinian papermaker and toolmaker Alejandro Geiler

Argentinian papermaker/artist Vicky Sigwald interviews Maureen Richardson (UK)

Susan Gosin (US) writes about traveling in India with Victòria Rabal (Spain) and Anne Vilsbøll (Denmark)

Anne Vilsbøll tells us about a German company developing Neptune balls as a sustainable insulating material

Victòria Rabal reports on a new generation of papermakers in Aoya, Japan

Amanda Degener (US) and Peng Wu (Chinese, living in the US) present the artwork of Miki Nakamura (Japanese, living in France)

Donna Koretsky (US), Winifred Lutz (US), Tin Tin Nyo (Burmese, living in the US), and Wu Zeng Ou (China) memorialize our beloved international paper historian Elaine Koretsky (US, 1932–2018)

Lisa Miles (US) contributes her interview with Tedi Permadi (Indonesia), with a sample of hand-beaten daluang paper

Sylvia Albro reviews Tim Barrett’sEuropean Hand Papermaking

AND

May Babcock gives us her take on the exhibition “Pulparazzi: Painting with Paper”

Summer 2019: Collaborations in Paper

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.

The collaboration theme is the perfect setting for Tatiana Ginsberg’s insightful essay accompanying Intergenerationality, Hand Papermaking’s 2017 portfolio which paired artists from two generations.

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.

Winter 2018: Paper Through a Feminist Lens

In Volume 33, Number 2, Hand Papermaking examines handpapermaking — the history, the craft, and art made in the medium — with a feminist lens. Today there is an unprecedented and widespread awareness of the devastating effects of patriarchal systems and structures imbedded throughout the culture. What can we learn from past, present, and future practice of hand papermaking to pulp the patriarchy?

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.

 

Summer 2018: Water

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.

Winter 2017: Paper as Evidence

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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