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Winter 2010


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Laurence Barker reflects on papermaking at Cranbrook in the 60s and presents his current thinking on the teaching of hand papermaking in the university art education environment.

Carol Brighton explains how she teaches her university-level papermaking course online.

Paul Denhoed profiles Timothy Barrett, a leading educator in papermaking and recent recipient of a MacArthur Fellowship.

Aimee Lee describes her experience learning papermaking directly from Korea masters and sharing it with the greater field via the Internet.

Lynn Sures & Beck Whitehead report on the Pulp Painting Symposium, a model “think-tank” event for intensive peer-to-peer exchange.

Lee Scott McDonald advocates for setting standards for learning and teaching hand papermaking at the college level. 

Lisa Switalski discusses the internship program at the Brodsky Center of Rutgers University.

Andrea Peterson presents her internship/mentorship program at Hook Pottery Paper (accompanied by 3 paper samples by former interns Andrea Mattson, Anna Brockmeyer, and Zina Castanuela).

Jonathan Korejko & Winnie Radolan compare their approach to teaching papermaking to children on either side of the Atlantic.

Dorothy Field addresses the rewards and challenges of introducing hand papermaking in South India, a culture with no previous papermaking tradition.

Michael Paglio ON Ray Tomasso.

Nancy Cohen reviews “Passages,” an exhibition by Fran Kornfeld.

Nancy Tomasko reviews Killing Green: An Account of Hand Papermaking in China by Elaine Koretsky.

Articles in this Issue