gibby waitzkin "Fibers of Memory" at Pyramid Atlantic Art Center, Silver Spring, Maryland September 13–November 3, 2005 This exhibition featured collaged works composed of handmade paper embedded with photographs, scanned imagery, and dried and encaustic-preserved flowers from the artist's garden. Waitzkin is careful in selecting her natural materials as each one contributes symbolic meaning to the work: daisies evoke innocence; thistle reflects diligence; witch hazel signals peace. Produced at Pyramid Atlantic in collaboration with resident paper artists Mary Ashton and Amanda Degener, these pieces are intimate portraits of herself, her friends, and places dear to her. In her series What Miss Ellis Saw, Waitzkin puts the viewer at the very window where her 90-plus-year-old neighbor spent the last years of her life. "Paper Art Exhibition" at Erasmus Huis, Kuningan, South Jakarta, Indonesia October 5–30, 2005 This group exhibition, featuring eleven Dutch artists working in paper, took place at the Erasmus Huis, the cultural center of the Netherlands in Jakarta. Anne E. Kloosterboer, conservator of the Rijswijk Museum (the institution which hosts the Holland Paper Biennale), curated the exhibition in an effort to introduce the medium to Indonesian artists. "\[Indonesia\] has both natural resources for making paper and creative and talented people," she explained, "still, there seems to be hardly any paper artists." The exhibition included whimsically shaped paper constructions by Jaime Van Eijkelenborg, intricate paper sculptures by Marian Smit, and animated paintings and collage work by Aliza Thomas. A 28-page publication documenting the exhibition is available by contacting Erasmus Huis. Noted Exhibitions left: Gibby Waitzkin, What Miss Ellis Saw #3, 2005, 31 ½ x 34 ½ inches, paper made from bamboo-durability, longevity, graceful strength, embedded with photograph (printed on sunflower-adoration and abaca) and dried and encaustic-preserved flowers (fringe tree-peace; dogwood-love undiminished by adversity, faithfulness, durability; snowball hydrangeas-devotion, remembrance; lily of the valley-return of happiness, purity, delicacy; phlox-our souls are united, proposal of love, sweet dreams; verbena-family union), and mounted inside a window frame. Courtesy of the artist. center: Marian Smit, Geel Haar \[Yellow Hair\], 2005, 25 x 20 x 20 cm (9 ¾ x 7 ¾ x 7 ¾ inches), paper over foam and silicon. Courtesy of the artist. right: Sarah Brayer, Quicksilver, 2004, 48 x 28 inches framed, poured pigmented linen pulp. Courtesy of the artist. opposite page left: Eric Avery, Emerging Infectious Diseases, 1999, 44 x 31 inches, 2-color lithograph with linoleum block print on mulberry paper collaged into molded paper woodcut frame. Courtesy of Chicago Center for Book and Paper Arts. center: Carlotta Carzaniga, Poppyseeds (detail), 29 x 29 x 3 inches, cast cotton linter, paint. Courtesy of Robert C. Williams Paper Museum at Georgia Tech, Atlanta. right: Margaret Lanzetta, Relic Species, 2006, 90 x 124 cm (36 x 50 inches), enamel, acrylic, and pigmented pulp on paper mounted on canvas. Courtesy of the artist. Gibby Waitzkin, What Miss Ellis Saw #3 Marian Smit, Geel Haar \[Yellow Hair\] Sarah Brayer, Quicksilver summer 2006 - 37 sarah brayer "Light and Space" at Gallery Bonten, Shimonoseki, Japan November 12–December 12, 2005 Known for her rich palette and dynamic compositions, Kyoto artist Sarah Brayer (American, b. 1957) exhibited 30 poured paperworks in this port city at the southern tip of Honshu. Brayer produces her pulp paintings in both Eastern and Western methods, creating washi paperworks in the renowned Japanese papermaking village of Imadate, and pigmented linen pulp paintings at Dieu Donné Papermill in New York City. "Politics on Paper: Global Tragedies/Personal Perils" at Columbia College Chicago Center for Book and Paper Arts January 13–March 11, 2006 Throughout their careers, John Risseeuw, Eric Avery, and Robbin Ami Silverberg have each used the hand papermaking medium to express their personal responses to current political situations, global issues, and gender/identity politics. This exhibition included Risseeuw's frank documentation of landmines and landmine victims, Avery's personal campaign to raise awareness and support for AIDS causes in Africa and the United States, and Silverberg's meditation on the unappreciated work of mothers and her installation titled Semper Tedium that exposes cross-cultural misogyny seen through proverbs from around the world. For more information about the work of these artists, please see Michael Durgin's "Political Paper" in the Summer 2004 issue of Hand Papermaking (vol. 19, no. 1). "Third National Juried Collegiate Handmade Paper Art Show" at Robert C. Williams Paper Museum at Georgia Tech, Atlanta January 20–March 3, 2006 travels to Columbia College Chicago Center for Book and Paper Arts June 30–July 29, 2006 This exhibition, co-curated by Lynn Sures (Corcoran College of Art and Design) and Bonnie Bergstresser (Robert C. Williams Paper Museum at Georgia Tech), is the third in a series of triennial exhibitions designed to encourage art students to explore the medium of papermaking. Twenty-eight students representing eleven schools and university programs were selected (out of 78 entries) by jurors Barbara Korbel, book artist and conservator at the Art Institute of Chicago; Frank Paluch, director of the Perimeter Gallery in Chicago; and Marilyn Sward, paper artist and founder of the Chicago Center for Book and Paper Arts. margaret lanzetta "Vapor Trail" at Bernard Toale Gallery, Boston February 3–25, 2006 Lanzetta's new paintings are enamel and acrylic on pulp-stenciled handmade paper. These bold, vibrant works consist of fragmented, superimposed "stylized visual systems," referring to cultural overlap and global migrations. They are part of her Confection Series, which comments on the proposed deployment of U.S. military bases (known as "lily pads") throughout Central Asia and North Africa. Margaret Lanzetta, Relic Species Eric Avery, Emerging Infectious Diseases Carlotta Carzaniga, Poppyseeds