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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!

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.

 

Kyoko Ibe’s work featured at Stockton University

Morning Glory

There’s still time to see paper artist Kyoko Ibe’s work at the Stockton University Art Galleries. Her exhibition “once upon a time…” runs through November 18, culminating in a series of special events and performances featuring the artist.

  • Gallery Talk, Kyoko Ibe
    Tuesday, November 14 | 2:30pm  | Art Gallery
  • Shirabyoushi Dance, Makiko Sakurai
    Wednesday, November 15 | 3:30pm  | CC Theatre
  • Biwa Tradition and Shomyo Chant, Shizu Arai and Makiko Sakurai
    Thursday, November 16 | 2:30pm  | Alton Auditorium
  • Noh Drumming, Shonosuke Okura
    Thursday, November 16 | 4:30pm | Alton Auditorium
  • Washi Tales performance and Talk Back: Cross-Cultural Storytelling, Elise Thoron and the performers [tickets required]
    Friday, November 17 | 7:30pm  | Art Gallery
  • Washi Tales performance [tickets required]
    Saturday, November 18 | 7:30pm | Art Gallery 

For more information or directions, please visit the galleries’ website.

It’s Easy to DONATE to Hand Papermaking

 

Donate

Hand Papermaking relies on DONATIONS from supporters like you to continue its work to advance traditional and contemporary ideas in the art of making paper by hand.

And so we make it easy for you to contribute a tax-deductible donation to Hand Papermaking in one of several ways: 

–You can DONATE money to us through Paypal at one of several donor levels.

–You can DONATE goods or services to our ANNUAL AUCTION, coming up on September 15-24, 2017.

–You can DONATE to our PORTFOLIO ARCHIVE FUND, which help us make our paper portfolios to accessible to a wider audience.

–You can DONATE to use through AMAZON SMILE, providing valuable funds to Hand Papermaking while you shop online.

–And, of course, you can PURCHASE a number of HAND PAPERMAKING PRODUCTS: Back issues, subscriptions, newsletter ads, limited-edition portfolios, and so on.

Thank you for your support of Hand Papermaking.

Happy International Tom Bannister Day

In celebration of our outgoing executive director, we hope you enjoy this video tribute to Tom Bannister.

https://handpapermaking.org/wp-content/uploads/TomBannisterTribute_Lores.m4v

Proclamation: International Tom Bannister Day

In honor of our recently retired executive director, the HAND PAPERMAKING Board of Directors has proclaimed that Friday, May 5, 2017 is International Tom Bannister Day.

May 5, 2017 – International Tom Bannister Day

SUMMER 2017: TEXTILES

coversum17aVolume 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.

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~ HAND PAPERMAKING, INC. ~ BOX 50859, MENDOTA, MN 55150 USA ~ phone (651) 447-7143 ~ info@handpapermaking.org

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