nancy cohen "Unbroken" at Heidi Cho Gallery, New York March 9–April 15, 2006 For this exhibition, Cohen showed recent sculpture, what she calls her "collection of survivors." Cohen's quirky sense of composition and unusual combinations of materials—found objects such as egg beaters, sneakers, belts, and kitchen implements fused to hand-cast glass, abaca paper membranes, and chunky coatings of cotton pulp—reveal to us the frailty and resourcefulness of human life. This cast of characters is diverse in scale: wall-mounted, resting on tabletops, and standing on the floor. They are lightly veiled, some unclothed, exposing their wounds yet also showing us their perseverance through some unnamed peril or lingering grief. beck whitehead "New and Recent Works" at Robert C. Williams Paper Museum at Georgia Tech, Atlanta March 23–June 30, 2006 A participant in Hand Papermaking's most recent portfolio, The Art of Pulp Painting, Whitehead is a veritable master of the medium. This exhibition featured 18 works made between 1997 and 2006, ranging from 11 x 14 inch pieces to paneled diptychs, triptychs, and polyptychs up to 72 inches wide. With her distinctive painting style and choice of subjects (Pinocchio, pet dogs, a wellworn shirt), Whitehead awakens our quiescent memories and invites us to tell our own tales. eve ingalls "Facts on the Ground" at SOHO20/Chelsea Gallery, New York March 28–April 22, 2006 For Ingalls, a flat sheet of paper is a "thin piece of sculpture." In these new works, commenting on our current state of affairs, Ingalls sandwiched wires between Noted Exhibitions left: Nancy Cohen, Itinerant Couple, 2005, 28 x 56 x 50 inches, shopping carts, belts, abaca paper. Photo: Ed Fausty. Courtesy of the artist. center: Beck Whitehead, Pinocchio Tries to Get Another Perspective, 2002, right panel of diptych: 11 x 14 inches, abaca and flax. Courtesy of the artist. right: Eve Ingalls, detail of Empire on Course, Part 4, 2005, 65 x 48 x 50 inches, abaca paper, wire, stainless steel, pigment, ink. Photo: Ricardo Barros. Courtesy of the artist. opposite page left: Grimanesa Amorós, Between Heaven and Earth, 2004/2006, installation: 20 x 60 feet, cast abaca sculpture, video, lighting, sound. Photo: Jason Keeling. Courtesy of the artist and Longwood Art Gallery/Bronx Council on the Arts. center: Mona Dukess, central panel from Garden Calligraph, 2006, nine panels, each 8 x 6 inches, stenciled cotton pulp on abaca base sheet, pigment. Photo: Kevin Thomas. Courtesy of the artist. right: Mary Heebner, page spread from A Sacred Geography: Sonnets of the Himalaya and Tibet, published by simplemente maria press, 2005, 8 x 20 inches (open), pulp painting and letterpress printed text chine colléed on abaca and cotton paper debossed with impression of a fossil "saligram." Courtesy of the artist. Nancy Cohen, Itinerant Couple Eve Ingalls, detail of Empire on Course, Part 4 Beck Whitehead, Pinocchio Tries to Get Another Perspective winter 2006 - 39 newly formed sheets of huge, pulp-painted high-shrinkage abaca paper, allowing the mass to twist and warp into a somewhat grotesque, haunting landscape of high ridges, burned-out pits, and deep pools. Selected works from this exhibition traveled to the Netherlands to be shown in the Holland Paper Biennial 2006 at the CODA Museum of Apeldoorn and the Museum Rijswijk. grimanesa amorós "Between Heaven and Earth" and "Rootless Algas" at Longwood Art Gallery of the Hostos Center for the Arts and Culture, Bronx, New York March 29–June 17, 2006 Amorós exhibited two ambitious multimedia installations based on her recent travels to Norway and Iceland, two northern countries that differ remarkably from her Peruvian birthplace and New York City home, yet in some respects, feel intimately familiar to her. The works are multisensory environments consisting of handmade paper sculpture, video, lighting, and original music by celebrated Peruvian vocalist Susana Baca and noted Icelandic composer Hilmar Örn Hilmarsson. The Hostos Center published a fully illustrated 80-page exhibition catalog. mary heebner "Mani Wall and A Sacred Geography" at the UCLA Fowler Museum, Los Angeles June 11–Sept 10, 2006 In conjunction with "The Missing Peace," an exhibition featuring 88 contemporary artists (from 25 countries) inspired by the Dalai Lama, Heebner presented new paintings entitled Mani Wall and her new limited-edition book, A Sacred Geography. The book combines pulp-paintings, letterpress text, and debossed images in response to sonnets about Tibet and the Himalayas written by her daughter, Sienna Craig, an anthropologist and writer who lived in Nepal intermittently from 1993 to 2005. mona dukess "The Art of the Garden" at Provincetown Art Association and Museum, Massachusetts June 30–Aug 13, 2006 Curated by James Bakker and Christine McCarthy, this ninth annual exhibition featured handmade paper, oil, egg tempera, and pastel works by Dukess. A long-time resident of the Cape, Dukess has captured its landscape and flora in paper pulp over a 25-year collaboration with Paul Wong at Dieu Donné Papermill. Recent works show a shift from painting to line drawing, using a "blowout" stenciling technique that brings an elegant, abstracted quality to Dukess's rendering of nature. An illustrated 32-page catalog accompanied the exhibition. reviews Mona Dukess, central panel from Garden Calligraph Grimanesa Amorós, Between Heaven and Earth Mary Heebner, page spread from A Sacred Geography: Sonnets of the Himalaya and Tibet