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HAND PAPERMAKING N E W S L E T T E R
Number 103, July 2013
Newsletter Editor: Shireen Holman
Advertising & Listings: Mary Tasillo
Desktop Production: Amy Richard
Columnists: Eugenie Barron, Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Margaret Mahan, Winifred Radolan, Mary Tasillo
Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. For more subscription information, or a list of back issue contents and availability, contact:
Hand Papermaking, Inc.
PO Box 1070, Beltsville, MD 20704-1070
Phone: (800) 821-6604 or (301) 220-2393
Fax: (301) 220-2394
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org
The deadline for the next newsletter (October 2013) is August 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.
Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor and Office Manager; Mary Tasillo, Outreach.
Board of Directors: Shannon Brock, Zina Castañuela, Jeffrey Cooper, Kerri Cushman, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Mary Hark, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Amy Richard, Michelle Samour, Gibby Waitzkin, Eileen Wallace. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin.
Dear Readers,
In September of 2012, my husband, Jon Snyder, and I were invited to be artists-in-residence in Gmunden, Austria, by the members of the ARThaus4 collective studio and gallery. While in Austria, I wanted to do a project that would be of and about the place. Because I am a printmaker and book artist, the idea evolved to make paper using local cotton cloth. The paper would then be used for a collaborative project, perhaps a book. Ludwig Hobl, of Hobl+Sohn (Son), enthusiastically agreed to help produce the paper. Hobl+Sohn is a family run, hand paper making company operating within the Austrian Paper Making Museum, housed in a former paper mill in Steyrermuehl, near Gmunden. Ludwig, the son, is involved in the process of papermaking from start to finish. He makes beautiful custom-shade watermarks, has won the Austrian prize for outstanding handcraft, and recently developed a handmade paper for fine art printing. His hobbies are jewelry making, which gives him patience and skill to make the watermarks, and fire juggling, which gives him balance and motion for pulling sheets of paper.
The first step of our papermaking project was for ARThaus4 members Heidi Zednik, Donna E. Price, Anette Friedel, and Sylvia Vorwagner to collect fabric from family and friends. The fabric was then cut into small pieces, approximately one inch square. This fabric was delivered to Ludwig, who placed the three kilos of fabric into a large Hollander beater. It took five hours to turn into pulp. Since we didn’t want white paper, one favorite shirt was added to the fabric mix, which yielded a light blue paper. Unfortunately this made cleaning the beater a long job for Ludwig. We arrived the next day, with our rubber boots, ready to turn all the pulp into paper. Ludwig guided us through the entire process. He was wonderful to work with—patient and helpful and funny. It was an amazing day! After pressing the paper we laid the sheets, still on the felts, to dry in the loft. After drying, some of the sheets were pressed between boards for a smoother finish. The end result was approximately 150 sheets of A4 (about 8.5 inches by 11 inches) that the group used in various ways.
The paper was split up among the five artists; I returned to Philadelphia to make my book. I created several linoleum cuts to illustrate different details of my time in Austria and printed these images on some of the handmade paper. The text was written by me and either typed in Austria on an old typewriter, or printed in Philadelphia. Artwork on some of the paper was created by Heidi and Donna. I interleaved the Austrian paper with Twinrocker handmade paper that I painted with acrylic colored paste. The finished book evolved from the notes and drawings that I kept while in Austria. The book is bound in medieval style, in oak boards.
View the video at http://youtu.be/qqRc14-psh4 and view the web site for Hobl+Sohn at www.hobl-gmbh.at
Alice Austin
Philadelphia, Pennsylvania
www.amaustin.com
> TEACHING HAND PAPERMAKING
Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. This is Winnie’s column about her successful introduction of papermaking to a group of developmentally disabled young adults.
On two occasions earlier this year I had the extraordinary experience of introducing papermaking skills to a group of developmentally disabled young adults attending a day enrichment program at a special center located in Cherry Hill, New Jersey. The T.O.P.S. Program (To Our Positive Success) is designed for young adults who have recently graduated high school and have the ability to be independent in activities, meals, and life skills. The center is open twice a week and offers a schedule of activities designed to stimulate and engage the minds and bodies of participants. In addition to functional life skills, T.O.P.S. offers intergenerational socialization opportunities, physical fitness and culinary activities, music workshops, and creative art projects. The developmental disabilities of the group range from autism/ Asperger’s and personality development disorders to obsessive/compulsive disorders and Down’s Syndrome individuals. The program provides the 13-14 individuals attending, many of whom had difficulties “fitting in” in school, the opportunity to be “entirely who they are” in an accepting, nurturing, and understanding environment.
Prior to my first visit, I had been primed to expect blunt, outspoken honesty from the group about their papermaking experience. I had been cautioned about the possibility of an occasional outburst, or that I might not achieve full participation, but that, for the most part, I could expect a highly functioning audience that had enjoyed nearly all of the art projects to date. I assured Jane Abesh, the occupational therapist, that as a papermaker I was adept at “going with the flow” of group and individual needs, and I was used to making adjustments “mid-stream” if need be.
Upon arrival for my first visit, with my vats, bin of moulds and deckles, press, and bucket of pulp, I was overwhelmed by the group’s excitement and willingness to help me unload, carry, and set up the portable paper studio. I could barely give directions rapidly enough to keep pace with this wonderful assistance! Keeping this speedy enthusiasm in mind, I made my intro quite brief, and passed out moulds and deckles for a dry run of the motions to be performed at the vat to form sheets of paper. I gave everyone the opportunity to feel the wet pulp before the vats were charged, and to assist with agitation of the vats. Initially, I had few takers for that tactile experience! In fact, at this point, a single request for gloves soon had the domino effect through the entire group.
At the vats, I did a demonstration of pulling a sheet of paper. Then I advised the handful of supervisory staff on the best way to assist each papermaker to couch their paper onto pellon over wet blankets. Calling six young people at a time up to my three vats, I maintained a steady stream of vat-persons, until all had couched their base sheets. Then I showed everyone how they might place their hand(s) in a design, flat atop the moulds, to be dipped into contrasting colored pulp, then couched over their base sheets. Several pairs of gloves came off in order to achieve handprint designs. And all but one person made the second layer. By paper pressing time group attention was waning, as thoughts and appetite drifted rapidly toward lunch. But while they were eating their sandwiches, a few were interested in watching me roll all their paper out on a table top to dry.
My second visit with the group was scheduled very close to Valentine’s Day. Since I would be working with nearly the same individuals, I decided to offer a slightly more involved layering technique. I cut heart stencils from “Fun Foam” and brought red and purple “veil pulp” for the decorative heart layer. The dried paper could then be folded in half to make cards if desired. No gloves were requested during this session. Although some papermakers needed extra help with the more complex stencil, everyone managed a successful heart layer.
Since I found this group so rewarding to work with, and because the feedback was quite positive, I had a post-visit conversation with Jane Abesh, the occupational therapist in charge of programming. When asked about the benefits of papermaking, she mentioned that it was an opportunity to see and participate in a process that began with raw materials and ended with a finished product, allowing them to realize the effects of their own actions in creating something beautiful. She recognized papermaking as a very reinforcing medium, because no matter how the process should progress, the product is acceptable and beautiful, therefore a real boost to the self-esteem of the maker. Another important aspect for a group of individuals displaying rigid behaviors was the necessity to participate in a process without knowing how the product would turn out. She viewed this as a real growth experience for them. She mentioned that it might be difficult for me to realize their positive reaction to the experience. But I totally understood when during my second visit no gloves were requested, and the individual that walked out during the first papermaking session fully participated in the process for the second one. And I was very touched when one young lady, who initially did not feel like working, ended up jumping in later to assist a young man who was having difficulty with his heart stencil. I look forward to having a return visit in the future to introduce the group to paper casting, which I am sure they would also enjoy.
> PAPER HISTORY
Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. This column is entitled “Paper, the Fifth Element.”
By the 1850s paper, as a readily available and adaptable substance, was being used for so many purposes it was considered the ‘fifth element.’ Enthusiastic reports concerning recent paper applications became a regular feature in trade and other journals. A typical example is James Colquhoun’s article, Paper Collars, which appeared in the December issue of the Paper Trade Review in 1864:
I think the trade should know that this is now a leading article among stationers in England, and that in many places they sell better than daily newspapers, while the profit in them is much superior. They have this advantage also, that they are not useless and bad stock like the daily newspaper, on the day after publication.1
The preface to a small book entitled Prepared Papers and How to Make them: a Collection of Practical Receipts (1873) outlines the author’s intention to introduce to a wider audience the means by which they could create unique papers to serve specific needs:
The following collection of the methods for producing the various kinds and descriptions of paper enumerated, have been gleaned by the compiler from the pages of various stray medical, scientific, encyclopædic, and general publications, and works of authority, and in some cases, it must be confessed, of no authority. To those dwellers in great cities within the reach of houses of repute who manufacture these several papers, it may appear of little value; but as there are large numbers of country, and it may be colonial consumers not so advantageous situate, it may be a great convenience to have these wandering and scattered items of information placed on record and collected together for what they may beworth.2 Included in the author’s selection are several useful surface and other paper-based treatments for everyday ailments and household afflictions. FlyPaper Make an infusion of quassia chips, and sweeten it with moist sugar; cut pieces of blotting paper of any kind to a convenient size, and soak them in the infusion, and while in the wet state place then about on saucers, when they will be found very effective in attracting and killing flies, wasps, and winged insects.3 While this recipe can be made without concern for health and safety, due caution is necessary if replicating the recipe given below. Fly Paper (Another Mode) Dissolve, in one gallon of warm water, one ounce of arsenic and half-a-pound of lump-sugar, in which steep sheets of white filtering paper for a few moments until they are thoroughly saturated, during which time the solution should be kept agitated. 1. MacNiven & Cameron’s, Paper Trade Review, III-II (Edinburgh;London: Simpkin, Marshall & Co., 1864), p.88. 2. Prepared Papers, and How to Make Them: A Collection of Practical Receipts for the Production of all Kinds of Papers used for Artistic, Medical, and General Purposes (London: Groombridge & Sons, Paternoster Row, 1873) 3. More commonly referred to as Bitter-Ashor Bitter Wood, Quassia is a collective term for two plants from the Simaroubaceae family: Picrasma excels and Quassia amara. Quassia amara has insecticidal properties. To be continued . . . > DECORATED PAPER SidneyBerger, a professor at Simmons College in Boston and Director of the PhillipsLibrary at Peabody Essex Museum, has been collecting and researching decorated paper for over forty years. Here Sid explains that the digital age has not reduced our need or desire for paper of all sorts. In 1978, Frederick Wilfrid (Wilf) Lancaster coined the phrase “paperless society,” suggesting that the coming digital technology would get rid of the necessity for most people for accessing information in analog form. That is, so much reading material would be online that anyone wanting to read anything would be able to do so on a computer. Lancaster(incidentally, one of my most memorable and brilliant professors when I was in graduate school about 85 years ago) was obviously not speaking literally. He knew that there would always be paper and information delivered on paper. But many people took him literally and rebutted him by pointing out that there would always be a need for toilet paper. What actually happened was that, because of technology, the amount of paper created in the world skyrocketed. It was easier and easier to print out drafts and discard them for later drafts. More people became “authors,” and an increasing number of books—on paper—have been printed every year since his pronouncement (except in one year because of a downward blip in the economy), by an increasing number of publishers. I am talking about all kinds of paper, a medium so woven into our DNA that practically no one in any civilized culture in the world goes a day without handling some form of it.Naturally, paper is here for its utility, but it has an aesthetic dimension that has been the focus of my writing here for many years. There seems to be a hunger for decorated papers. Go into any Paper Source or Papyrus store, or NewYork Central Supply, or McManus and Morgan, or The Japanese Paper Place, or Hiromi International, or any of the hundreds upon hundreds of paper distributors viewable on the Web, and you will find a bewildering number of sheets available from all over the world. And every time you enter such a place, they have more and newer patterns. I have been collecting decorated papers for at least four decades, and I think, every now and then, ‘This has busted my budget for too long. Enough with the pasta and water! I’m gonna quit. For goodness sake, they can’t come up with anything the collection doesn’t already have!’ But the“they” are wily creatures, knowing there is a sucker out there, who cannot resist an original, wonderful piece of paper. And I continue to see a proliferation of new decorated papers all the time. What has astonished me over the years is that I keep seeing more, and then more, and more still: beautiful papers, handmade, unique, original—all challenging me not to buy them. The original rationalization—“The collection doesn’t have anything like this in it; I better get this one”—was mined out long ago. But the simple truth is, the amount of decorated paper in the world keeps expanding. Throughout Europe, then in India, then inCentral and South America, and then in Africa, people are making unusual papers. But the mystifying thing for me is, they are selling it too! They wouldn’t be making it if there weren’t a market for it. Some of the papers are just gimmicks: paper made from the droppings of elephants, elks, bears, horses, cows, sheep, kangaroos (Roo-poo paper), and other such fundamental materials; paper made from cacti and succulents (beautiful!); paper made with cork shavings; and so forth. Some papers are true works of art, like, of course, marbled sheets or those made with poured pulp or paste papers. Some are commercial products. It is fascinating to see the really beautiful, relatively inexpensive wrapping papers on the market today. Some come from third-world countries and are even handmade. In the store Anthropologie, my wife and I found some beautiful handmade papers being sold as gift wrap.
Printing and copying techniques have become so sophisticated in the last decade that companies are able to reproduce classic patterns (marbled and block-printed, for instance) for papers with many uses. Marbling is particularly popular as a decorative element on bindings and dust jackets. And a whole run of blank books, available in stores like Barnes and Noble, are covered in modern reproductions of old marbled and even dutch gilt patterns, along with copies of batik and real embossed papers. It is uncanny that these book makers are actually going back to a 300-year-old tradition in that such papers were themselves used in the eighteenth century for decoration in place of the more costly gilt leather bindings.
And while we look backwards, take a glance at Crane’s Paper and stores like Papyrus and others that are now offering real engraving for stationery and envelopes. This centuries-old technique imparts a three-dimensionality to a paper that no relief or planographic printing does, and it is a sign of elegance and beauty (and wealth). To add yet another layer of elegance and beauty, Crane’s lines its envelopes with Chiyogami or other exquisite papers, and it gives you the copper plate in case you want to come back for more stationery. This is decorated paper at its most decadent, and it really is beautiful. Even Staples, the poor man’s Crane’s, offers decorative papers for your printing and other projects.
Also, the Web is replete with sites offering an unimaginable range of decorated sheets for all kinds of craft projects: scrapbooking, assemblage, decoupage, collage, bricolage, and montage, and you can eat your potage and fromage (no matter what age you are) off placemats adorned through any of these decorative techniques.
I once made a list of the countries from which we have paper. There were dozens of them, including, other than the expected ones (U.S., England and Scotland, France, Germany, Japan, Italy), countries like Argentina, Brazil, Finland, Zimbabwe, Australia, New Zealand, Canada, Cost Rica, India, Portugal, Viet Nam, and too many more to mention. These are joined by the countries making proto-papers like amatl, pith papers, tapa, and papyrus. The point is that decorated papers sell, and knowing this, artists from all over the world are making it.
This is a great headache for a completist like me: I want at least one sheet of every design, material, and color. I know this is a pipedream, but I can dream, can’t I?
> FOR BEGINNERS
Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. Mary’s column for this issue is “On the Virtues of Practice, or How to be a Good Beginner.”
I am currently teaching a class in pulp printing, utilizing stencils of various kinds to develop imagery in papermaking, at Fleisher Art Memorial, a community art center in Philadelphia, Pennsylvania. One of my favorite things about Fleisher is the range of backgrounds the students bring to the classroom—attorneys, doctors, parents, museum professionals, teachers, retirees, and more who are seeking a relaxed creative outlet that they may not find in their day job.
My current students all have at least some experience in either making paper or silkscreening (pertinent to the silkscreen mesh stencils we are generating)—which sometimes means a student is not approaching what is in fact a new process to them with the humbleness of a true novice. We all know, in theory, that it takes practice to learn a skill and achieve facility with a process— but as adults it becomes harder to give ourselves permission to work out the kinks.
Sometimes this is particularly true for those professionals coming to this class for a relaxing time. They are in fields that allow little room for error, and start to forget what the luxury of learning, rather than performing, is like.
I even find that when I am out of practice on sheet forming, something I have now done countless times, it can take practice to get back into the groove of making sheets that meet my standards. If I am making an edition of 50 sheets, it seems to take me those 50 sheets to start forming really fantastic sheets that live up to my expectation. This experience gives a glimpse of what it is to be a master craftsperson—repetition, repetition, repetition.
In the Pulp Printing class, it seems to be easier for students to approach the sheet forming process with the attitude of the novice. However, when we bring the silkscreen stencils to the wet paper, students are stymied by imperfect results. And I remind them—it takes practice to achieve the best outcome.
In a community setting, it is easy to please passersby with the experience of a new process—spraying pulp through these mesh stencils onto a freshly made sheet of paper. In a classroom environment, the expectations for a clean print are higher and the stencils the students generate are more detailed, requiring more technique.
We review the tools at their disposal and I urge them to keep at it, experimenting with the variables. (Outside the classroom, your review is research—speaking with experienced papermakers, posting an inquiry to an email list, or searching the Hand Papermaking archives.)
In the next issue, we will review some tips and techniques for working with these stencils. No matter the technique you are learning, remember to have patience, to practice, and to experiment with the variables at your disposal.
> more for beginners at
newsletter.handpapermaking.org/beginner
> PAPER IN ACTION
Margaret Mahan, a member of the Peace Paper Project, brings papermaking to marginalized communities as a form of social action or art therapy. In this column, it’s a papermakers’ spring in Wisconsin.
Wisconsin was making paper before it was a state. Now, at a time when industrial mills are downsizing and shifting their focus to tissue products, the hand papermaking community is becoming simultaneously more visible. How is it that paper artists can thrive, let alone operate, in a state ranked in the bottom 20% in the nation for arts funding per capita? This spring, we learned that among various factors is the deep-rooted dedication to community building on the part of the artists.
Wausau Paper Company’s Rhinelander mill served as the backdrop for Peace Paper’s spring residency at The Mill Paper and Book Arts Center. It is bizarre and exciting to be a papermaker in a town full of papermakers, to hear snippets of conversation on the street describing the hang out session behind the paper mill, to feel so comfortable with a handmade process yet world’s apart from the industry employing most of the town.
The Mill Paper and Book Arts Center brings a wealth of workshops, classes, and tutorials to northern Wisconsin. The Mill is based out of Daniel Goscha’s letterpress and darkroom studios in Rhinelander and Debbie Jircik’s paper and clay studio in Eagle River. Collectively, The Mill covers a range of processes, building from one to the next, wet to dry. Much like Peace Paper, The Mill can be located anywhere it needs to be, with portable papermaking and printmaking capabilities.
After working on the road for months, The Mill’s letterpress studio was just what we needed to complete pieces, play around, and develop new projects. After writing this, I will have spent the afternoon and evening pulling type and letterpress printing some 600 Panty Pulping Manifestos to hand out on the streets of Chicago. With the right intention, Art as Social Action can happen behind closed doors late at night in a print studio. Another focus of our time with The Mill has been getting Debbie and Daniel’s beaters up and running. Debbie purchased a portable Oracle by Lee McDonald, which she has already successfully put to the test in workshops. Daniel has collected an old Valley from the Rhinelander paper mill, which he is cleaning and rewiring. This summer, the Northwoods will be ringing with the sound of pulpers!
Every week, Drew Matott and I taught a class at Edgewood College in Madison, Wisconsin. Two years ago, we brought a Paper as Art Therapy workshop to the college with art therapist Gretchen Miller. The response was so positive that Edgewood built a paper studio in their new arts building. We trained art therapy professor Janice Havlena on proper sheet formation and beater finesse last summer, and were honored to teach the first Papermaking as Community Engagement course this spring. Our students have been able to use Edgewood’s own portable beater by Lee McDonald to hold workshops for adults with cognitive disabilities and other vulnerable populations.
Ours was not the only papermaking class in Madison however. We had the delight of connecting with Mary Hark over at University of Wisconsin-Madison (UW) for a Panty Pulping workshop with her students in February. It was so exciting to be in the same city as Mary this spring. She also travels internationally with her Oracle, teaching papermaking in Ghana and elsewhere. In initiating the papermaking program at Edgewood, we certainly took inspiration from Jim Escalante’s stunning paper studio at UW. It was validating to know that there are not one but two papermaking programs in Madison. It certainly feels like paper is gaining momentum in the academic setting.
In traveling from Rhinelander to Madison we took refuge at the farm of Robert Possehl and his mother, Marilyn. The harsh Wisconsin winter felt a bit warmer in Robert’s studio we helped to insulate, and we made a habit of visiting after our Edgewood classes. In addition to developing his Hollander beater collection (complete with his new wooden beater), Robert welcomes the collaboration of blossoming papermakers. On one occasion, we got to witness the making of Poison Ivy paper. A cold winter can do a number on a papermaker’s mind.
In the midst of following paper connections from north to south, there were several events pertaining especially to hand papermaking that we had the chance to witness. Scholars Joshua Calhoun and Jonathan Senchyne presented on nature, culture, and paper in an interesting humanities lecture. Timothy Barrett’s talk on the future of handmade paper brought us together to feel inspired and hopeful. After his lecture, our students actually went back to the studio and made paper all night!
We are sad to leave this paper state, because connections are sparking left and right and it certainly is a good place to make paper right now. But we leave with confidence that this community will continue to grow while Peace Paper is needed elsewhere.
> FROM THE REGISTRY
Eugenie Barron is a papermaker from Durham, New York. Her mission for this column is to reveal and engage with the artistic vision expressed by diverse individuals in the Hand Papermaking Registry. Here Eugenie has chosen to highlight the artist Jacki Parry.
In the last newsletter, Tim Barrett encouraged papermakers to participate in the Hand Papermaking Documentation Project: a family tree in several dimensions providing teaching and historical information and hopefully branching out to share artistic perspective. Please take the survey so that there is a broadly inclusive linkup among all of the “trees” in our 3D “forest.” The beauty of the idea and dedication to its execution depends upon all participants making an effort so that we may further research and maintain contact.
For this issue I chose to research printmaker, papermaker, and sculptor Jacki Parry. Talk about an Internet hunt! After viewing her photos in the registry I sought out more material on YouTube where there are several interviews and a film showing her most recent works. I also asked a few papermaking friends who are familiar with her. Amanda Degener was kind to send me an out-of-print catalogue of Jackie’s work. The following are some of my findings.
Originally from Australia, Jacki moved to the United Kingdom in the mid-sixties, ultimately landing in Scotland. She studied papermaking with Lawrence Barker in Barcelona and Tadeo Endo in Shiroishi, Japan. She was a founding member of the Glasgow Print Studio, eventually bringing handmade paper to her own work as well as sharing with others through teaching and by establishing The Paper Workshop.
“Rainmaker,” a sculpture done in the late 80s and shown during a one-woman exhibition called “Visible Traces,” reveals the quintessence of her art. This sculpture displays all of the features of her work that captured me: complexity of meaning, mystery, primal presence in her forms, and her ability to reduce and reshape meaning into one object with quiet deliberation.
“Visible Traces” is also the title of a series of watermark sheets produced after the disappearance of Parry’s brother in a 1986 boating accident. It is a chronicle of her internal inquiry and how she dealt with the bureaucracy of a governmental investigation and the resulting report. The watermarks offer traces of insight into her experience of inquiry itself, as she sought details of what may have occurred, shedding light on a haunting sequence of events and unknowns. As she interpreted her experience artistically through the sheet-forming process, she literally pulled the images out of the water and brought them to light. The images are displayed sequentially, imparting a sense of composure and deliberation in their order.
Through another of her exhibitions of the late 90s, “Ways of Editing,” Parry’s cast paperworks carry an aura of containment, being shells of simple objects such as woodworking tools, a pillow, a vessel; each shape compelling in its simplicity. She pulls thin sheets and casts them over sand moulds or objects. The castings are presented in groups or singularly. Each casting is a husk of an ordinary object, delicate, yet brittle, reminiscent of the shed chrysalis of a butterfly or bug. When positioned alongside its neighbors, it is as though each is a cast off memory of the object, somehow highlighted by its having been selected.
YouTube provided considerable information about Jacki’s most recent exhibitions at Glasgow Print Studio Gallery and at Peacock Visual Arts, in Aberdeen, Scotland. “Resonance (Paper as Memory)” displays a range of her prints, bookworks, and casting pieces. In an interview, she describes the creation of “memory weavings,” prints that she sliced and used as warp and weft. She also discusses her motive and method while producing a floor installation piece titled “Ocean,” alluding to her concern with rhythm in landscape.
For a woman of containment, Parry shares her research prodigiously.
Enjoy the video at http:// youtu.be/20XGOo5vG-I showing an interview with Jacki Parry in which she describes “Rainmaker,” its significance and the process involved in its creation.
Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the October 2013 Newsletter is August 15. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures and handouts can be mailed to you or your institution.
Email newsletter@handpapermaking.org.
> CLASSES AND WORKSHOPS
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont .org. Classes and workshops in a variety of disciplines, including papermaking.
From Traditional to Contemporary–Casting with Japanese Paper Fibers, July 14-20, with Catherine Nash. Cast Eastern bark fibers into lashed wooden armatures to create sculptural forms.
Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking.
From Pulp to Paper and Beyond, July 22-26, with Bridget O’Malley. Explore the coloring and dye techniques that are the cornerstone of the Cave Paper designs, using indigo, walnut, and persimmon dyes on flax paper.
Papermaking from Local Fibers, November 8-10, with Frank Brannon. Discover techniques for forming sheets of handmade paper using pulp prepared from trees, shrubs, and flowers.
John C. Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts in the mountains of western North Carolina.
Playing with Paper, August 18-23, with Sigrid Hice. Design paste papers, recycle scrap paper into beautiful handmade papers with inclusions, and create books and objects from decorative papers.
Green Papermaking, September 13-15, with Frank Brannon. Using plant fibers of the southeastern U.S., learn the complete process of making paper by hand while examining issues of environmental sustainability.
Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermaking workshops offered in a new studio space. Visit website for workshop schedule.
Center for Book Arts, New York, NY, (212) 481-0295,www.centerforbookarts.org. Dozens of book and paper workshops offered in midtown Manhattan. Paper Marbling, July 13-14, with Lauren Rowland. Practice the basics of water-based (Turkish) paper marbling using acrylic and tempera paints, making your own marbled papers and patterns. Dieu Donné Papermill, NewYork, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. Introduction to Contemporary Papermaking, July 9, August 6, or September 10, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. CreativeTechniques for Artists with Open Studio, July 16, August 13, or September 17, with staff instructor. Explore advanced techniques and their application for two-and three-dimensional projects, with a different focus at each session; experiment on your own with studio pulps, making sheets up to 11 x 14 inches. EurekaSprings School of the Arts, Eureka Springs, AR, (479) 253-5384, www. esartschool.org. Offering learning opportunities in multiple media including fiber arts. Papermaking from Plants, July 8-12, with Leandra Spangler. Learn the process of making paper from common local plants. Skin & Bones - Sculptural Forms of Reed & Paper,July 15-19, with Leandra Spangler. Use traditional basket making techniques to create armatures for sculptures incorporating handmade papers. Fine Line Creative Arts Center, St. Charles, IL, (630) 584-9443, www.fineline.org. Providing year-round classes in papermaking, textiles, and other art forms. Herron School of Art,Indianapolis, Indiana. Hosting this workshop of the Midwest Guild of Bookworkers. To register, contact Mary Uthuppuru at mary@springleafpress.com. Paper in Three Dimensions, August 10-11, with Helen Hiebert. Investigate papermaking, paper folding, model making, and other techniques to create a sampling of small sculptural forms that expand and collapse, open and close, fold, and unfold TheHall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com.Kozo Papermaking, August 13-18, with studio instructors. Learn Japanese papermaking in-depth from bark preparation to papermaking to drying. HaystackMountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn .org.Workshops in various disciplines, including papermaking and book arts. Writing for the Artist’s Book, August 11-23, with Beck Whitehead and Audrey Niffenegger. Explore the relationship between words and images, content and form, with writing exercises that lead to image making. These images will be developed through papermaking and pulp painting. Paper Sculpture, August 25-31,with Matthew Shlian. Discover the medium of paper and create moveable works of art using popup books as a starting point. Hook Pottery Paper, LaPorte, IN,(291) 362-9478, jonandrea@hookpotterypaper .com, www.hookpotterypaper.com.Classes in papermaking and pottery and a residency program in northern Indiana.Hand Papermaking Intensive, June 27-29, with Andrea Peterson. Use a variety of fibers and techniques in this studio intensive. Basic Papermaking, July 13,July 27, with Andrea Peterson. Learn to make paper from cotton rag, blue jeans, and wheat straw. Watermarking, August 3-4, with Helen Hiebert. Explore multiple techniques for creating watermark screens, experimenting with several pulps.
Designing and Making Stationery, August 9-10, with Andrea Peterson. Make stationery paper using cotton rag and translucent fibers, followed by applying decorative surface techniques.
Natural Dyes with Paper, August 17, with Andrea Peterson. Work with a walnut dye bath as well as commercially available dyes to produced patterned papers.
Open Paper Studio, August 24, with Andrea Peterson. Work independently alongside other artists, using a variety of fibers.
Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalbook arts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing.
Large Sheet Papermaking, July 6, with Jeff Abshear. Use large molds to create sheets of paper that can be used for drawing, painting, and printmaking.
Massachusetts College of Art and Design, Boston, Massachusetts, www.massart.edu, (617) 879-7000. Offering workshops in a range of media through the Continuing Education program.
Korean Papermaking, July 9-12, with Aimee Lee. Explore traditional papermaking techniques and paper manipulation secrets that include cording, felting, and dyeing hanji (Korean handmade paper.)
The Mill Paper and Book Arts Center, Rhinelander, Wisconsin, (715) 360-3804, info@the millbookarts.org. Classes, studio access, and other resources in paper, book, and print arts in Northern Wisconsin.
Papermaking: Creative Sheet Forming Techniques, August 17, with Debbie Ketchum Jircik.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. Workshops in hand papermaking and the arts of the book in an innovative green environment.
The Poetics of Narrative: Pulp Paint and Collage, June 29-30, with Jo Stealey. Focus on innovative ways to develop narrative and conceptual ideas through surface explorations on handmade paper using under beaten and overbeaten abaca.
Plant Alchemy AS Paper and ON Paper, July 20-21, with Velma Bolyard. Make plant papers and learn the gentle art of eco-dyeing.
Armatures and Couching Stands: Two Ways to Paper Sculpture, July 26-28, with Frank Brannon. Explore two different forms of paper sculpture, using cloth muslin armature filled with sand and working directly on the papermill couching stand to initially form the sculpture and then transform it through the drying process.
Korean Papermaking and Hanji Crafts, August 3-4, with Aimee Lee. Discover the process of preparing fiber from mulberry bark, making large sheets (2 x 3 feet) using the unique side-to-side Korean formation method, and drying hanji.
Big Ass Papermaking Part II, August 9-11, with Julie McLaughlin. Create sheets of 6’x9’ kozo paper and other smaller-yet-still-large sheets made from kozo and abaca fibers.
Unusual 3D Techniques for Paper, August 23-25, with Melissa Jay Craig. Learn intriguing methods that are used specifically for kozo and high-shrinkage fibers, including the creation of molds, armatures, and mounting strategies, and the use of fiber-reactive dyes for vibrant color.
Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043, traditional hand@gmail.com, http://www.traditional hand.com/oldway/. Workshops with Jim Croft in making books from old tools and materials.
Old Ways of Making Book from Raw Materials, July 9-24, with Jim Croft. During this 14 day workshop you will learn how to create bookarts tools by hand, how to process hemp and flax for paper and thread, how to make paper, and how to make books with wooden boards and brass clasps.
The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail. ca. Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis.
PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria, (0676) 77-33-153, office@papierwespe.at, www. papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna.
Fantastic Papers, July 5-7, with Helen Hiebert and Beatrix Mapalagama.
Paper Balloons, Tubes, and Vessels, July 12-14, with Helen Hiebert.
Large Sizes, August 31-September 1, with Beatrix Mapalagama.
Colored Paper, September 21-22, with Ilse Mühlbacher.
Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking.
East Meets West Papermaking, June 23 to July 5, with Peter Sowiski. Compare Asian and European traditions of sheet forming, exploring fiber types, preparation, color, and texture and looking toward the possibilities of shape, dimension, and pulp painting.
Unusual 3D Paper Techniques, July 21 to August 6, with Melissa Jay Craig. Focus on the specific, unique qualities of kozo and high-shrinkage fibers to make compelling paper forms, and the use of fiber-reactive dyes to create brilliant color.
Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts.
Papermaking Around the World, July 19-23, with Jane Ingram Allen. Use such fibers as lokta from Nepal, kozo from Japan, abaca from the Philippines, and black palm from Bali, and use Asian/Japanese, Nepalese, and modified Western techniques for sheet forming and free-form techniques.
Sculptural Papermaking, July 26-30, with Jane Ingram Allen. Explore different fibers and techniques for creating 3-D forms and sculpture installations with handmade paper.
Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter .org. Workshops in papermaking, printmaking, and book arts.
Papermaking Society, Third Thursdays. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramidpaper@gmail.com.
Make Your Own Postcards, June 30, with Laura Kinneberg. Learn basic sheet forming techniques to create postcards, with the option of registering to letterpress print on them July 20.
Backyard Papermaking, July 6 and 13, with Lee Marchalonis and Gretchen Schermerhorn. Transform common plants into elegant sheets of paper.
Introduction to Western Papermaking, July 7 or August 11, with Laura Kinneberg. Learn to prepare fibers in the Hollander beater, how to form sheets of paper and how to color pulp with aqueous pigments.
Large Sheets, July 14, with Lynette Spencer. Beat kozo and mix it with abaca to form large scale sheets of paper.
Shifu: Paper Thread, July 27, with Saaraliisa Yliato. Prepare Japanese papers for transformation into thread, weaving them on the loom.
Watermarking Paper, August 3, with Lynette Spencer. Use mixed cotton abaca paper to create brilliant watermarks.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Pastepapers Old and New, June 29-30, with Michael Burke. Explore making your own historical decorated papers, then experiment with contemporary designs and inventive techniques.
Tin Can Papermaking, July 11 & 18, with Julia Goodman. Learn creative ways to make paper with minimal equipment.
Sarvisberry Studio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmade paper in the heart of the Blue Ridge Mountains.
Open Studio Days, call for schedule. Make your own paper and work on personal projects.
Seastone Papers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www. seastonepapers.com. Scheduled classes, open studio, and private workshops in hand papermaking, surface design, and book arts. For further information, email Sandy Bernat at sandy@seastonepapers.com.
Seaweed in Paper, July 3, July 15, or August 7, with Sandy Bernat. Gather selected seaweed from Vineyard waters for inclusion in pigmented pulp.
Collage and Paint with Wet Pulp, July 5 or August 12, with Sandy Bernat. Practice the essentials of the papermaking process, then experiment with interesting ways to work with wet fiber for surface decoration and image making.
Papermaking Sampler, July 17 or 31, with Sandy Bernat. Enjoy six vats of various pigmented and/or natural fibers, available to dip, stencil, laminate, collage, and experience many ways to create decorative papers with wet fiber.
Upper Arlington Cultural Arts Commission, Upper Arlington, Ohio. For more information, contact arts@uaoh.net or (614) 583-5310 or email gibby@sarvisberry.com.
Exploration into Papermaking, September 21-22, with Gibby Waitzkin.
Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop .org. Summer Arts Institute includes workshops in papermaking, printmaking, book arts, photography, and other media.
The Word as Image: Text in Handmade Paper, July 8-12, with Mary Tasillo. Explore a variety of ways to incorporate text into your handmade paper, working with hand-drawn text, stencils, pulp printing, lead type, and watermarking to create imagery and impressions directly in the wet pulp.
Cross Pollination: Handmade Paper + Encaustic, July 15-19, with Gretchen Schermerhorn & Cynthia Winika. Create contemporary waxed handmade paper works, creating collages by applying an array of papermaking and encaustic techniques.
Eastern Papermaking and Sculptural Techniques, July 22-26, with Aimee Lee. Learn to process and form paper with traditional and hybrid eastern techniques, transforming these sheets into sculptural form as they are sliced, spun, crumpled, woven, felted, and pasted in an evolution of the ancient arts of jiseung (paper weaving), joomchi (paper texturing and felting), and shifu (paper cloth).
Paper & Place, July 29-August 2, with Ann Marie Kennedy. Construct 2- and 3-D works of paper, using material that becomes part of the content, such as mineral colors, natural dyes, and plant and seed textures.
Cast Paper: Form and Image, August 5-9, with Cynthia Thompson. Create a variety of pieces experimenting with solid cast forms, shell forms and armatures.
Papermaking Sampler, August 12-16, with Tatana Kellner. Explore papermaking techniques for two-dimensional expression, including basic paper chemistry, coloring, layering, laminating, embedding, and pulp painting, to establish a vocabulary of techniques to draw upon to create unique paper pieces.
> EVENTS
The Focus on Book Arts conference features a series of workshops and related programming, including Korean papermaking techniques, batik papermaking, even papermaking from mushrooms! The event will be held at Pacific University in Forest Grove, Oregon, June 25-30. Information about the classes, faculty, financial information and associated activities is available at www. focusonbookarts.org.
Marilyn Wold will teach Paper Making 101 with Exotic and Local Plant Fibers in Beaverton, Oregon, August 24-25. For more information, contact Marilyn Wold at (503) 641-7162 or ww.washi@yahoo.com.
The 2013 Hangzhou Triennial of Fiber Art will take place September 19-24 in Hangzhou, Zhejiang Province, China, featuring a dialogue spanning a thousand years of silk and fiber history in the region, and addressing the relationship between traditional craft and contemporary art. Over 40 international artists will participate in Fiber Visions, an exhibition at the Zhejiang Art Museum and the China National Silk Museum. For more information, visit www.ETN-net.org or www. fiberarthangzhou.com.
The Friends of Dard Hunter will hold its annual meeting and conference this October in Saint Louis, Missouri. This event features workshops, demonstrations, presentations, and tours. Pre-conference workshops will take place October 14-17, with the conference taking place October 17-19. For more information visit www.friendsofdardhunter.org.
IAPMA, the International Association of Hand Papermakers and Paper Artists, convenes in 2014 in Fabriano, Italy. For more information as the date approaches, visit www.iapma.info.
The Canadian Bookbinders and Book Artists Guild Conference takes place July 11-13 at the University of Calgary in Alberta, Canada. A trade fair, banquet, Rocky Mountain tour, and many presentations are planned, including Hand Decorated Papers by Victoria Hall. See http:// cbbag.ca/conf2013.html for all the details.
> EXHIBITS
The Paper Discovery Center hosts Paper Around the World. Learn about the culture and papermaking in Brazil, Finland, France, and Italy. Hands-on activities and crafts are planned. Come any day in September or October during open hours. No registration required. For more information, visit www.paperdiscoverycenter. org or call (920) 380-7491.
The gallery at Paper Circle in Nelsonville, Ohio, features the work of professional paper and book artists from around the country as well as local and regional artists. The exhibition season runs from September through June, with openings every other Final Friday. Upcoming artists include Danielle Wyckoff in August, and Stephanie Sherwood in October. Visit www.papercircle.org or call (740) 753-3374 for more information.
Dieu Donné presents a new body of work by internationally acclaimed artist Do Ho Suh. These unique thread drawings will be on view in the Dieu Donné gallery June 29. Do Ho Suh continues his thematic exploration of identity, individuality, and collectivity in this series of works in handmade paper, employing a vibrant color palette to create rich and dynamic images using strands of thread as the drawn line. For more information, contact Kathleen Flynn at (212) 226-0573 or kflynn@ dieudonne.org, or visit www.dieudonne.org.
Circle Works: Selected Works by Amanda Degener, Bridget O’Malley, James Kleiner, and Former Interns is on view at Morgan Conservatory in Cleveland, Ohio, through July 27. As co-founders of Cave Paper in Minneapolis, Amanda Degener and Bridget O’Malley have been working side by side making and selling handmade paper for almost twenty years. In 2012, former intern James Kleiner joined the Cave family as the first studio assistant. Their aesthetic differences enhance their work collectively as Cave Paper, as they each approach papermaking and art making in unique ways. The title Circle Works is inspired by such ideas as cycles within nature (birth, life, death, and rebirth), the poetry of I Ching, the sun and moon, sacred geometries, Tai Chi, vortices and spirals, to name a few. In a meaningful effort to express circularity, Cave Paper has included the artwork of interns and students from over the years in this exhibition. For more information, visit www.morganconservatory.org or call (216) 361-9255.
Our Backyard: Artists Consider the Environment is an exhibit juried by Tatana Kellner of Women’s Studio Workshop and Heige Kim of Roos Arts featuring work addressing the environment, in all media, on topics such as Climate Change, Evolution, Global Warming, Fracking, and Alternative Energy. The exhibit takes place at Roos Arts in Rosendale July 13 - August 17. Visit www.roosarts.org or call (718) 755-4726.
Trans-Fiber & Paper is an exhibition of two- and three-dimensional works of art in paper and fiber curated by Char Norman and Elena Osterwalder at the Concourse Gallery at The City of Upper Arlington in Ohio. The exhibition will take place August 27 to October 25. For more information, visit the Exhibits section of www .uaoh.net/culturalarts or call (614) 583-5310.
> PUBLICATIONS AND VIDEOS
Authentic Visual Voices: Contemporary Paper and Encaustic is a new survey of international artists whose work explores the diversity of paper combined with the unique properties of encaustic wax in collage, photography, printmaking, sculptural paper, and artists books by Catherine Nash. More information about this multi-media DVD publication rich with images and interviews is available at www.authentic visualvoices.com.
Rebecca Redman has started a Papermaking Resource Guide at papermaking.wikispot .org. Simply go to the site, click on new user, and add your information.
Shu-Ju Wang has put together a short video of the Guangxing Paper Mill in Puli, Taiwan, viewable at: http://youtu.be
/fad8AuAwt8o
Aimee Lee has posted a new video of hanji sheet formation at the Morgan Conservatory in Cleveland, at http://youtu.be/Z -iTDduStF4. A comprehensive feature about Aimee Lee’s work is published in the Spring 2013 issue of Shuttle Spindle & Dyepot (http://weavespindye.org/ pages/?loc=1-60-00&p=cover.html).
Abington Art Center has published the first catalog of the works of Winifred Lutz featuring 75 images of Lutz’s work in conjunction with an exhibition of her sculptural work in handmade paper. The catalog includes essays selected and edited by the guest curator for the project, Janet Kolopos. Contributors include Carol Franklin, Mina Takahashi, Elaine King, and Richard Torchia. For more information, visit www.abingtonartcenter.org or call (800) 821-6604 to order the catalog.
The latest issue of Book Arts Canada (Arts du Livre Canada), published by the Canadian Bookbinders and Book Artists Guild, includes an illustrated article by Don Taylor profiling the work of Susan Warner Keene, and her latest project Water Books, at David Carruthers’ Saint Armand papermill in Montreal. Become a member at www.cbbag.ca to receive your copy.
Carol Barton’s The Pocket Paper Engineer Volume 3 covers the V-Fold pop-up and its many variations. Ten do-it-yourself projects can be constructed right out of the book. This is the final workbook in the series, covering some of the more challenging pop-up structures. Contact www.popularkinetics.com for more information.
Verdant is the second annual collaborative artists’ book by Corcoran College of Art + and the Book Program. Verdant, a scroll book, provides a unique reading and viewing experience for the present-day bibliophile and book connoisseur. The scroll was crafted with handmade paper composed of recycled materials and abaca, and incorporates text and imagery from each artist. For more information about the book and Marginalia Press, visit www.ccadmarginalia. wordpress.com.
Papyrus Making 101 is a concise introduction and a nicely illustrated slide show at www.lib.umich.edu/papyrus_making/#
Visit the Iwano Paper Mill in Japan by viewing vimeo.com/43022391. Mr. Heizaburo Iwano is known for creating very large, thick paper for printmaking, drawing, calligraphy, and conservation use.
The Spring 2013 issue of Fine Books & Collections features Richard Minsky’s interview with provocative papermaker John Risseeuw. Purchase the issue at http://store. finebooksmagazine.com/spring-2013.aspx
A full-page article with images and video featuring performance artist Diana Marto appeared in the February 7 issue of the Marin Independent Journal. Her work combines modern dance with cast handmade paper whale bones. Search for Marto at www.marinij.com.
> MISCELLANEOUS
Helen Hiebert is soliciting contributions for a new installation called The Wish, featuring a giant dandelion sculpture. She is collecting audio wishes, which will play during the installation. If you live in the US, call (970) 306-6175 and follow the prompts to leave a recording. Find out more or link to an online submission form under the Make a Wish page at www.helenhiebertstudio.com.
The Morgan Conservatory in Cleveland, Ohio, welcomes Walter Duvall as the new Chief Operating Officer. He is a seasoned professional and long-time friend of The Morgan. Tom Balbo takes on a new position as Artistic Director, overseeing paper research and production, garden and building activities, all while continuing to provide the artistic vision that is the spirit of The Morgan. More information about The Morgan can be found at www.morganconservatory.org.
Dieu Donné Papermill announces new artists-in-residence for 2013. Workspace artists are Firelei Baez, N. Dash, Fabienne Lasserre, and Saul Melman, who will explore a new medium while developing their work in collaboration with studio collaborators. B. Wurtz, Lab Grant artist-in-residence, will join Ann Hamilton, James Siena, and Do Ho Suh in the mid-career artist residency program. For more information as it develops, visit www.dieudonne.org or call (212) 226-0573.
> CLASSIFIEDS
Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication.
Unbleached Philippine Abaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452
Need affordable paper for workshops? We offer authentic hanji, lokta, washi, & xuan. Mention this ad for 10% discount. paperwoman@paperconnection.com
50 Ton Hydraulic Paper Press with 24” x 29 3/4” Platen for Sale: $3500. 716/374-5580; marylynnutting@yahoo.com
Business Opportunity. Well-established online papermaking and stationery studio is selling its turnkey operation. Interested in learning more? E-mail sherylwkeese@ gmail.com for more information.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. 910-739-9605.
Abundance
Everything fuels the muse
in this, heaven and earth unite
nature made it first: weathered and watered
cellulose, chewed, spat or beaten
to pulp, connected dehydrated substrates
carrying dreams across centuries, continents, oceans
bearing our marks, our image, our encoded breath, scores
of our sounds, conveyor of our visions, this unwoven
sheet can be cloth, might be sewn, shaped, sculpted
with oil, resist rain
I, who used so much of it, scribbling
and loved its many incarnations
now make it too: in my pantry
piles of greyed milkweed offer dazzling options
For slow weeks, I crack hard stems and strip bast,
pluck pods’ feathery bounty: tiny white-winged chutes,
detach their freight: seeds, sifting, separating
each from their weight and duty, preparing
After cooking, beating, water and water,
pulling, couching and pressing, drying
the fluff like kozo, sheer and strong
will make light gold paper. pale bast
will yield different delights
Cattail, burdock, teasel, chickory
papermaking teaches abundance
roadsides crowded with possibilities
horsetail, foxtail, Queen Anne’s Lace,
timothy, knotweed, corn husk, straw,
kenaf, old jeans, worn cotton, no waste
so much everywhere, to make more
Akua Lezli Hope
> SPECIAL THANKS
Hand Papermaking acknowledges these recent contributors to our non-profit programs. All donations are greatly appreciated and tax deductible. Our tax ID number is 52-1436849. See our profile on GuideStar. Call or write for information on annual giving levels, premiums, automatic monthly gifts, and in-kind contributions; or details on adding Hand Papermaking to your estate plans.
Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo, Sid Berger & Michele Cloonan, Jeffrey Cooper, Susan Gosin, Kenneth & Marabeth Tyler. Underwriters: Susan Mackin Dolan, Nancy & Mark Tomasko, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Simon Blattner, Nina Brooks, Tom & Lore Burger, Carolee Campbell, Gail Deery, Michael Durgin, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Ingrid Rose Paper Conservation, Lois & Gordon James, Barbara Landes, Jill Littlewood, Peter Newland & Robyn Johnson, Kimberly Schenck, Richard H. Schimmelpfeng, Beck Whitehead. Donors: Shirah Miriam (Mimi) Aumann, John Babcock, Carol J. Blinn, Velma Bolyard, Kathryn & Howard Clark, Nancy Cohen, Jennifer Davies, Linda Draper, Karla Elling, Jim Escalante, Kathy Fitzgerald, Sara Gilfert, Lori B. Goodman, Guild of Papermakers, Robert Hauser, Mervi Hjelmroos-Koski, Milena Hughes, Lou Kaufman, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, Sandy Kinnee, Betty L. Kjelson, Karen Kunc, Winifred Lutz, Mary Lou Manor, Anne Q. McKeown, Julie McLaughlin, Dennis Morris, Edward W. Mudd Jr., Catherine Nash, Mary O’Shaughnessy, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Laura Merrick Roe, Michelle Samour, Mary C. Schlosser, Gordon Sisler, Scott R. Skinner, Jean Stufflebeem, Betty Sweren, George Thagard III, Claire Van Vliet, Aviva Weiner, Therese Zemlin. Supporters: Denise Anderson, Mary Ashton, James Barton, Sarah & Joshua Dickinson, Cynthia J. Fay, Kathryn Flannery, Rose Folsom, Mabel Grummer, Beverly Harrington, Eve Ingalls Von Staden, Hedi Kyle, M. P. Marion, Edwin Martin, Kathryn Menard, Ann Miller, Margaret Miller, Janice Nelson, Patricia L. O’Neal, Dianne L. Reeves, Leonard Rosenband, Kim Schiedermayer, Kathleen Stevenson, Deborah Stone, Marie Sturken, Women’s Studio Workshop. Friends: Bonnie Stahlecker. In-Kind: Adobe Systems Inc., Tom Bannister, Deborah Bevenour, Carol Blinn, John Bordley, Kathy Crump, Kerri Cushman, Janet DeBoer, Amanda Degener, Mindell Dubansky, Michael Durgin, Karla & Jim Elling, Jim Escalante, Peter Ford, Dorothy Field, Robert Hauser, Mildred Monat Isaacs, David Kimball, Sidney Koretsky, David Marshall, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Lourene Miovski, Katharine Nix, Margaret Prentice, Britt Quinlan, Jim Reeder, Amy Richard, Margaret Ahrens Sahlstrand, Mina Takahashi, Rose Hunter Valentine, Claire Van Vliet, Pamela Wood. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois & Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin- Dolan, David Marshall, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies L.P., Michelle Samour, Peter Sowiski, Marilyn Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood.