The long history of print and paper is a rich and varied one, and guest editor Georgia Deal delves into this topic in the Winter 2020 issue. In it, we learn how contemporary artists, working at the intersection of both media, approach their work. How their paper is made, chosen, and used in their artwork is as diverse and nuanced as can be imagined. From the use of thin translucent papers to add subtlety and depth to printed images to sculptural cast paper as components of a print, each decision impacts the final work. All of these artists will likely agree that paper is as integral to the final work as the ink used and print medium employed.
Tom Bannister, former executive director of Hand Papermaking, writes on paper and print’s long history in an exchange article with the American Print History Association’s Printing History journal.
Karen Kunc discusses her decisions in choosing both commercial and handmade papers in her beautiful print and book projects, as well as collaborations with other well-known papermakers.
Sammi McLean and Ingrid Schindall of IS Projects in Florida have organized and exhibited a “paper forward” exchange portfolio, Extra Pulp, in which invited artists showcase their use of paper as predominating over the printed components.
Christina Taylor, a paper conservator and printmaker at the Harvard Art Museums, writes on the aquatints of Dan Flavin that were printed in relief, rather than the traditional intaglio inking methods—results are stunning!
Ruth Lingen, longtime master papermaker of Pace Paper in Brooklyn, shares the complex details in making Li Songsong’s large dimensional monoprints. The step-by-step process she leads us through is truly intriguing!
Lynn Sures‘ interview with Helen Frederick, artist and founder of Pyramid Atlantic in the Washington DC area, covers Helen’s impressive history, including both past and current projects in paper, printmaking, and installations.
Guest editor Georgia Deal contributes the issue’s paper sample, a paper-print collaboration with Penland School and Pyramid Atlantic, aply titled Community.
Cynthia Nourse Thompson contributes an impressive article on the history of papermaking in Philadelphia and its status as a contemporary center for print, paper, and the book arts.
Mary Hark’s work in Kumasi, Ghana with her aim to develop high-quality handmade papers there, led her to meeting artists Atta Kwami and Pamela Clarkson. She shares in her article their many projects and work in their Ayeduase studio.
Julie Chen introduces readers to a group of West-Coast book artists, whose works involve incorporating handmade paper as a key element in their approach to making artist books.
And Susan Gosin reviews three exhibitions for this issue: a show celebrating the thirty-year anniversary of Robbin Ami Silverberg’s Dobbin Books; as well as two memorial exhibitions honoring the legacy of Walter Hamady (1940–2019).