Editor's note: While the author prefers the term "artists' books" (following the subject heading approved by the Library of Congress), she has graciously agreed to the use of the term "artist books" in order to maintain consistency throughout this publication. For this project I sought to bring together, for the purpose of comparison and contrast, the opinions of artists working in the zone created by the overlap of the production of handmade paper and artist books. My goal was to present the voices of these artists as directly as possible, to retain the vitality of a direct dialogue. I did minimal editing of their responses to the questions that I posed, and grouped the answers by question, instead of by artist. In this way, the ideas of each individual bounce off each other, one idea being viewed from many different directions in the space of a few pages. In order to represent a wide range of approaches to the use of handmade paper in the book format, I worked in consultation with various library colleagues, artists, and book dealers to compile a list of artists who work primarily in this specific intersection. I also included input from institutions that have significantly supported the book arts field over the years. I cast a wide net, inviting a number of artists and artistic directors to take part in the project. The Activated Page: Sharing Insights on Hand Papermaking in Artist Books jae jennifer rossman John Gerard, Shadows of Myself, 2004, 16 x 16 inches, artist book with stenciled paper pulp painting, edition of 16. Photo: Paul Clemens. Courtesy of the artist. John Risseeuw and Margaret Prentice, Spirit Land, 1996, 16 x 28 inches open, a collaborative artist book with poems by Gary Nabhan and Kim Stafford, woodcuts and letterpress on handmade plant fiber paper, edition of 50. Photo by and courtesy of John Risseeuw. - hand papermaking While some were not able to participate within my time frame, and others felt that their work did not fall into my nebulous definition, eleven chose to participate in the project: Brian Borchardt, Dorothy Field, John Gerard, Caren Heft, Jeffrey Morin, John Risseeuw, Robbin Ami Silverberg, Joan Soppe, Claire Van Vliet, Paul Wong for Dieu Donné Papermill, and Tatana Kellner for Women's Studio Workshop. In addition to highlighting the words of book artists who make their own paper, I included a bibliography that documents the pervasiveness of handmade paper in the world of book arts. Many artists, printers, and publishers utilize, in a significant way, handmade paper that they do not necessarily have a direct hand in creating themselves. As a curator, librarian, and publisher, I initially thought of hand papermaking as a traditional handcraft (not a negative idea in my opinion) and a classic rebellion against mass production, an attitude that is often associated with the intense materiality of the fine press tradition. During the investigative process of writing The Activated Page, I was significantly impressed with the consistently innovative and even avant-garde application of the hand papermaking practice that, at first glance, seemed to be squarely conventional. I came to understand that the underlying reasons for artists to incorporate handmade paper in their book projects are control and expression, forces that are common to all artists. The intense variety and many permutations of paper provide a wide palette of choices for these artists, who are often working with contemporary, sometimes controversial ideas. This may not seem like a great insight to the readers of this publication but, for those of us new to the world of hand papermaking, this was a stunning revelation. Experience of the hand papermaking process heightens the feeling of intimacy that is naturally part of the book format. The reader can imagine the sensation of hands feeling the pulp, the motion of the mould as it comes out of the vat. Readers familiar with paper production have an image of the maker's hands not just on, but inside, the paper. The artists have selected, touched, and manipulated the raw components, infusing the work with their ideas starting on the chemical and structural level. I often use the metaphor of baking when I describe the hand papermaking process. When an artist is conceiving of a book, he or she is creating the recipe, gathering the ingredients, combining and cooking them. The papermaker takes the additional step of grinding the flour, beginning from the most basic components. My use of the above analogy stems from my interest in food production and consumption patterns. Recently, I attended a talk by Michael Pollan, author of The Omnivore's Dilemma and many other titles. Listening to his concerns about how food production and consumption in the United States have become disconnected over the years, I started to think again about the parallels between food and art. Like food production, papermaking is connected to the land, as some of the components are grown and harvested, sometimes by the artists/papermakers themselves. There is an increasing interest in understanding where food comes from and how the land is taken care of during its production. The desire for a connection to nature and the craving to control and have a hand in something, are taking off in the world of food. Papermaking presents a similar opportunity for the art world. Papermaking can be organic and sustainable, but does not often use these words to describe itself. If we, the art and papermaking communities, could tap into this current trend, we could make more people aware of what we do and increase the visibility of and support for artists and art institutions. It may seem like a stretch to jump from the defined place of the book arts to the amorphous zone where food production and hand papermaking intersect. Yet I feel that there is a genuine link between the two. More people are asking important questions about their food: where does it come from? Who ismaking it? How can I become more directly involved? At the same time, people are realizing that nourishment also includes mental health. The arts contribute to the mental sustenance that we all need for a balanced life. The hand papermaking community could take advantage of this natural connection to inspire more people to ask these same questions about art. We could and should harness some of the excitement about food to develop a greater interest in art, particularly papermaking. I propose this idea to the readership in hopes of stimulating a discussion. I welcome your feedback. Sarah Peters, Necessary Disclosures, 2003, 6 ½ inches diameter, cast handmade paper with letterpressed text, created in an edition of 40 at the Women's Studio Workshop. Photo: Tatana Kellner. Courtesy of Women's Studio Workshop, Rosendale, New York. Richard Tuttle, Hiddenness, 1987, 16 ¼ x 22 inches open, text by Mei-Mei Berssenbrugge, etchings, relief printing, silkscreen, letterpress, poured linen and cotton pulp images on cotton papers, published in an edition of 120 by Library Fellows of the Whitney Museum of American Art, New York. Courtesy of Dieu Donné Papermill, New York