Daniela Barzaghi, The Body Number One, 2015, 45 x 30 x 15 centimeters (17.7 x 11.8 x 5.9 inches) cardboard, papier m.ch., acrylic. Photo: Giampietro Agostini. Courtesy of Mus.e de Charmey, Switzerland. right, upper: John LaFalce, £€$$, 2012, 22 x 30 inches, pulp print on handmade paper, produced as part of the Combat Paper project. Courtesy of the artist and St. Lawrence University, Canton, NY. right, lower: Tanja Hehmann, ANDRA, 2017, 30 x 40 centimeters (11.8 x 15.75 inches), oil on handmade paper. Part of her DARK MATTER series, the title of this piece refers to ring accelerators at a particle research facility of a physics institute in Hamburg. Courtesy of the artist and St. Lawrence University, Canton, NY. facing page, left, upper: Installation view of "Ursula von Rydingsvard: Visionary Woman," at The Galleries at Moore College of Art and Design, Philadelphia, September 9–November 11, 2017. In foreground, Manilla, 2016, 70 x 38 x 31 inches, cedar. Courtesy of the artist and The Galleries at Moore, Philadelphia. facing page, right, upper: Ursula von Rydingsvard, Untitled (2017.012), 2017, 34. x 22 inches, fabric, pigment, and linen handmade paper. Photo: Etienne Frossard. Courtesy of the artist. facing page, left, lower: Nathalie Boutt., Autochrome II, 2016, 37. x 291⁄8 inches, collage of Japanese paper, ink. ˝ Nathalie Boutt., courtesy Yossi Milo Gallery, New York. facing page, center, lower: Nathalie Boutt., Jeune homme à la fleur rouge, 2016, 293⁄8 x 18 inches, collage of Japanese paper, ink. ˝ Nathalie Boutt., courtesy Yossi Milo Gallery, New York. facing page, right, lower: Dard Hunter illustrations for A Catalog of Some Books and Things Made by the Roycrofters, 1906, 7. x 12 inches open. Hunter's logo, a reverse "D" joined to the letter "H" can be seen in the lower left corner on the right page. Courtesy of the Robert C. Williams Museum of Papermaking, Atlanta. 9th international paper triennial Musée de Charmey, Switzerland May 28–November 12, 2017 Since 1993, the Mus.e de Charmey has hosted a triennial competition open to paper artists worldwide. For this ninth iteration, 69 artists from nineteen countries were selected to participate in the exhibition, representing a wide range of concerns and approaches from recycling and papermaking with plants to collage, paper cutting, and papier m.ch., employing fibers such as cigarette paper and dragon tree pulp. Prizes were awarded, public workshops were offered, and a publication was printed in conjunction with the show. (www.musee-charmey.ch) turn the page, sing a line, form a sheet: hand papermaking for artistic expression and social justice Richard F. Brush Art Gallery, St. Laawrence University, Canton, NY August 23–October 8, 2017 For this group exhibition, curators Drew Matott and Jana Schumacher introduced the hand papermaking medium to eleven German artists at St. Pauli Paper in Hamburg. The studio, co-founded by Schumacher, is the European base of Peace Paper, an ongoing project started by Matott focused on papermaking as a form of art therapy, social advocacy, and creative expression. The exhibition at St. Lawrence featured a diverse range of work produced by these artists, along with pieces created through Matott's Combat Paper and Peace Paper projects worldwide, and works selected from the university's permanent collection. (www.stlawu.edu/gallery) nathalie boutté "Crossing-over" at Yossi Milo Gallery, New York September 7–October 21, 2017 French artist Nathalie Boutt. re-creates historical photographs—both iconic and vernacular in nature—into mesmerizing handmade collage works. The artist cuts thousands of narrow strips of Japanese paper and assembles them into dense, feathery rows. Color, texture, and tone are introduced by hand coloring with ink, burning, or printing letterforms onto the paper prior to cutting. The mood and material sensibility of the original photograph informs Boutt. on her selection of paper and how she will build each image. To mimic the vivid colors of an autochrome (an early form of color photography), Boutt. used stark white and brightly-inked Japanese paper as her collage material. For her interpretation of Seydou Keita's famous 1958 black-and-white portrait of a young man holding a flower, Boutt. generates a rich, continuous tone with type-printed paper strips (sometimes overstriked for deep black), and adds a splash of color to the flower petals with paper type-printed in red, orange, and yellow inks. Her inventive process, artistic license with the source imagery, and her delicate, steady hand result in captivating paper works. (www.yossimilo.com) ursula von rydingsvard: visionary woman The Galleries at Moore College of Art and Design, Philadelphia September 9–November 11, 2017 Recipient of a 2017 Moore College Visionary Woman award, sculptor Ursula von Rydingsvard showed a unique pairing of one of her signature, complex sculptures, alongside a selection of handmade paper works that she produced in residency at Dieu Donn. Papermill in New York. Known for her monumental wooden sculptures made up of smaller fragments of carved and cut cedar planks, von Rydingsvard approached papermaking with a similar methodology, by manipulating and layering cut pieces of fabric, lace, and thread into wet sheets of pulp. By presenting von Rydingsvard's distinctive material explorations side by side, the exhibition conveyed her brilliant and sensitive translation from hard to soft substances, and from three to two dimensions. (moore.edu/the-galleries-at-moore) in search of origins: the research and scholarship of dard hunter Robert C. Williams Museum of Papermaking, Atlanta, Georgia October 13, 2017—June 1, 2018 Dard Hunter traveled around the world in the early 1900s, investigating hand papermaking techniques and traditions. He wrote twenty books on papermaking, publishing his research in exquisite, limited-edition handmade volumes that, to this day, continue to serve as the basis of scholarship in the field. This exhibition features all of Hunter's original editions, including his own first-edition copy of Papermaking: The History and Technique of an Ancient Craft, exhibited for the first time, with his hand-written notes for revision and a handmade envelope containing articles and ephemera he wished to include in the second edition. (paper.gatech.edu)