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HAND PAPERMAKING
NEWSLETTER
number 130 • april 2020
Newsletter Editor: Maria Olivia Davalos Stanton
Columnists: Sidney Berger, Donna Koretsky, Winifred
Radolan, Amy Richard
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>DEAR READERS
Dear Readers,
Prompted by Amy Richard’s article in Hand Papermaking Newsletter no. 129, January 2020, I wish to comment on Timothy Barrett’s proposed new definition of paper, as given in his recently published book, European Hand Papermaking:
Paper is a material made of cellulose fibers beaten or otherwise manipulated while moist for use as a substrate to carry writing or display images.1
As an artist who works on paper, I am concerned with the definition’s second part, here italicised. Consider this remark by Deanna Petherbridge in her book, The Primacy of Drawing:
No matter how beautiful an unused sheet of paper […] it is understood to exist in a state of desire for the line, which will simultaneously disrupt, mar and activate its surface. Artists who collect and admire papers understand this powerful and contradictory dynamic in the way they place the drawing on the sheet, the mise-en-page. For others, paper is always the medium that is less precious and less inhibiting than canvas, so that it can be used and abused, thrown away or cherished without a second thought. For these artists, paper is an emptiness waiting to be filled, not a fibrous material of rich tactility, texture and colour, whose deckle edge is as thrilling as its translucent watermark.2
Petherbridge acknowledges that paper is often used pragmatically, as “an emptiness waiting to be filled.” She is also clear that an artist’s sense of their papers may go further, and observes that the sheet itself can function as a spatial field, an intrinsic part of the dynamic in which a drawing is positioned on the sheet, “the mise-en-page.”
One example must serve here to indicate how far an artist may take the use of paper. In Kyoto in 2006, Siân Bowen made Shift, an installation of nine drawings on washi, each 185 x 156 centimeters [72.8 x 61.4 inches], suspended freely from the ceiling in an arrangement that produced a loosely enclosed space.3 This arose from Bowen’s interest in a teahouse made of paper that created a distinctive sense of diffused light within its interior. To create her version of such a structure, Bowen made drawings for a teahouse by using a heated tool to burn small holes into the sheets of washi. The result was a multisensory experience in which the hung sheets created “a space that stills everyone who entered it,” and in which the diffused light is accompanied by the pungent smell of burnt paper, and the feel and sound of the billowing and crackling sheets.4
The journal Hand Papermaking presents many more cases in which the material, dimensional, and sensory properties of papers are intrinsic aesthetic aspects of works of paper-based art. The essence of the problem addressed here may be that, while the first part of Barrett’s proposed definition, concerned with the material character of paper, extends our understanding of what paper is, the second part is more constraining and does not sufficiently recognise the open-ended utility of paper for which it is renowned.
Paul Griffiths
Rocbaron, France
1. Timothy D. Barrett, European Hand Papermaking: Traditions, Tools, and Techniques (Ann Arbor, MI: The Legacy Press, 2018), 316. Italics my own.
2. Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of Practice (New Haven and London: Yale University Press, 2010), 122.
3. Gill Saunders, ed. Siân Bowen: Gaze: A Drawing Residency at the Victoria & Albert Museum (Sunderland and London: Art Editions North, 2007).
4. Ibid., 24.
>ALONG THE PAPER ROAD...
In memoriam
BIO: Since 1998 this column has featured paper musings from Elaine Koretsky (1932–2018), renowned paper historian, researcher, and traveler. Since 2016, her daughter Donna Koretsky, co-founder and owner of Carriage House Paper, has continued the legacy.
ABSTRACT: In this issue, Donna Koretsky commemorates another formidable presence within the paper world, Sidney Koretsky (1921–2020).
I dedicate this column to my late father Sidney Koretsky, renowned paper historian and friend to all. After he retired from medicine in 1998, Sidney became involved full-time in researching and documenting paper history, joining his lifelong partner and wife Elaine Koretsky. He contributed his own important lectures, always aiming for the provocative. A crowd favorite, “Piss, Paper and People,” dealt with a discovery he made about the use of human urine in the processing of bamboo fiber for papermaking in rural China. I especially enjoyed his amusing lecture “A Linguistic Analysis of the Chinese Role in Papermaking,” which was actually a spoof, where he named and discussed numerous distinguished Chinese who were involved in the invention of paper, including Wa Xing, Bi Ting, Fo Mei Shen, and Ku Qing.
Sidney’s interest in papermaking focused entirely on its history and documentation. He never actually made a sheet of paper, yet he could methodically describe every step in great detail.
Following is Sidney’s obituary, published in The Boston Globe, on January 7:
Sidney Koretsky passed away peacefully at his Brookline home on January 4, 2020, days after celebrating his 98th birthday with his family.
The son of the late Harry Koretsky and Rachel (Greenfield), Sidney was born in Chelsea, Massachusetts, where he attended the local public schools. He received an AB degree in Biochemistry at Harvard in 1943 and an MD at Jefferson Medical College in 1946. He then served as a medical officer in the US Army from 1947 to 1949 in Korea and Japan. After returning from the Far East, Sidney spent 1949 to 1953 as a Resident in Internal Medicine at Boston City Hospital. In 1953, he married Elaine Stern and began to engage in the triad of patient care, the teaching of medical students at Tufts University School of Medicine, and research in cardiology at Beth Israel Hospital.
A deeply compassionate, devoted physician, Sidney maintained a medical practice for 40 years from an office within his Brookline home—the same home in which Elaine grew up and the same office used previously by Elaine’s father, Dr. David Stern, an internist. Sidney was a member of the medical staff of Beth Israel Hospital and Tufts New England Medical Center. He made house calls at night, often accompanied by his son Peter, a little boy at the time. In 1964, Sidney served as President of the Greater Boston Medical Society.
Sidney retired from medicine at the age of 76 and began to devote almost full time to research in paper history, assisting his wife who was a renowned scholar in paper history. An exceptionally talented amateur photographer and videographer, he became fully immersed in paper research, travelling throughout the world with Elaine, photographing the process of hand papermaking in remote places, and producing 17 documentary videos. In 2001, he received a Lifetime Achievement Award from the Friends of Dard Hunter, an international organization dedicated to papermaking. In 2008, he became an Honorary Member of the International Association of Paper Historians.
After being declared legally blind in 2001, Sidney began writing short stories, largely inspired by his experiences in paper history. Tales Along the Paper Road & other Short Stories was published in 2008. Sidney retained an avid interest in gardening throughout his life. Over the years he won numerous Blue Ribbons in the Massachusetts Horticultural Society’s annual flower show, including one year when, despite being blind and in his 90s, he won 5 First Prizes for the specimens he submitted. Sidney was deeply devoted to his family and meticulously documented family events on film and video. He later converted everything to DVD format, added classical music in the background, and produced a trove of family life treasured by all.
His marriage to Elaine was a marvelous partnership, each contributing unique skills and attributes to the other. Common interests such as horticulture and travel existed, fortified by a commitment to intellectual inquiry and the pursuit of knowledge as a means to promote intercultural discourse, enabled the two to follow their interests to an unimaginable level. During Elaine’s last years, Sidney was by her side twenty-four hours a day, bestowing love and comfort.
Sidney’s personal qualities greatly contributed to his success and exerted a profound effect on family, friends, and colleagues. He displayed an unimpeachable integrity. His organizational skills, attention to detail, and ability to focus inspired all around him. These characteristics were fueled by a self-discipline which he believed was the ultimate key to the attaining of one’s goals. Beneath a somewhat formal facade, which could be intimidating and softened considerably during his middle years, lurked an omnipresent playful sense of humor which, at times, could be shocking in its bawdiness.
Sidney is survived by his children Peter, David and daughter-in-law Anastasia, and Donna and son-in-law David Reina, and 7 grandchildren. He was predeceased by his beloved wife Elaine and brothers Schachna, Leo, and Irving, and sister Shirlee Ehrenberg.
Sidney, displaying a very large sheet of paper, following his presentation “Making Very Large Sheets of Paper in China” at the 2010 IPH Congress in Angouleme, France.
Renowned paper historians Sidney and Elaine Koretsky celebrating Elaine’s 81st birthday.
>TEACHING HAND PAPERMAKING
Back soon!
BIO: Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Her works, both paper and book, have been exhibited internationally and are in private collections.
ABSTRACT: In this issue, Winifred Radolan is on brief hiatus while looking forward to new teaching opportunities in her own studio.
At the moment that I write this, I find myself in a very interesting transitional period! My occasion to pack buckets of pulp into my car has been far surpassed by my call to fill all my pockets with training treats for the many dogs I’ve been teaching. At the moment, sadly, even my Abington Art Center Paper Studio class is on hiatus due to insufficient enrollment. I am working towards finding some hands to join me in the vats as we speak! But at the moment, I can simply reflect on how I ended up so currently dry-handed, as opposed to reporting on a current adventure with pulp.
It didn’t help that I had a forced dry spell with my broken wrist, thankfully now nicely healed and functional. Also, a recent move has been commanding a great deal of my attention. The good news is that I will once again have my own indoor/outdoor papermaking studio without having to cross state lines! When I reflect upon how much fun energy is going to the “four-leggeds,” I remind myself to hang in there and not close any paper doors! I also want to enjoy and share this new, wonderful paper studio space which is beginning to take shape!
In the immediate future, I look forward to two local workshops I have scheduled during the month of March. These will both be opportunities to introduce new people to the art form that I love! Meanwhile, I beg your patience through my “dry spell!”
Setting up the studio; the larger items are still en route!
>DECORATED PAPER
To collect decorated paper
BIO: Sidney Berger is Director Emeritus of the Phillips Library of the Peabody Essex Museum, and a professor on the faculty of the library schools at Simmons College and the University of Illinois at Urbana–Champaign. He and his wife Michèle Cloonan put together the Berger–Cloonan Collection of Decorated Paper (about 22,000 pieces), now in the Cushing Library at Texas A&M University.
ABSTRACT: In this issue, Sid advises on sources for the modern paper collector.
Over the years I have written about all kinds of decorated papers: what they look like, the techniques of their manufacture, the materials they are made of, the artists who make them, their many uses, where my wife and I made extraordinary acquisitions, collecting strategies, and so forth. But I have not spent much time on how to collect papers in the present day. For this column, I wish to look at some important current sources for modern papers.
To begin with—and as we found out from extensive experience—if you can determine the name of an artist at work today, it is likely that contact points can be acquired from the web. Many of these artists make a living—or supplement their income—with the papers they make, so they want to be locatable. Hence, they should have a good website with contact information. Failing this, the website AnyWho may give you a current address and phone number for free, if you have the name of the artist and the city in which they live. A phone call will allow you an opportunity for a rich conversation, and that could be the start of a beautiful friendship (to quote Rick Blaine at the end of Casablanca).
Remember that many paper decorators, like most artists, do not make much profit on their work, and it is always better, in building your collection, to go to the sources—the papermakers themselves—than it is to go to intermediaries like commercial distributors. The distributors have their own overhead and other expenses, so they must usually charge more than the artists do; and the artists generally need the direct business more than the companies do. You might even be able to get a volume discount from the artist if you are purchasing a large number of sheets.
One of the reasons this topic came to mind on the 28th of January, when I began writing this column, is the news that the greeting card store Papyrus will be closing all of its outlets.1 This was another place to acquire attractive papers, some from known artists, but mostly from foreign sources. Many of the store’s papers came from the Far East—Japan, China, Tibet, India, Thailand, Nepal, and other countries. (And of course, the names of the paper artists themselves are not known.) This is quite a loss for paper collectors, since a host of the papers they sold were quite lovely and not available anywhere else conveniently.
One company still going strong is The Paper Source, also selling quite attractive papers from many countries, and usually at reasonable prices. My own frequent visits to those stores reveal that they have new and attractive papers arriving regularly. They are a good source for someone wanting to start up a decorated-paper collection today.
We lost New York Central Supply in 2016, though it was reborn as Jerry’s New York Art Central (also listed as Jerry’s Artarama). Jerry’s has an extensive line of papers, but from their website it looks as if most of them are for artists; they have papers for painting, pastels, printing, printmaking, drawing, sketching, and so forth. The site does not mention decorated papers, and a search under that category yields nothing at their site.
As I have mentioned in my columns, the Japanese are truly in a class by themselves with respect to which country today makes the greatest number of decorated papers. And perhaps the number-one go-to place for them on this continent is the Japanese Paper Place, originally located in Toronto, but now in Etobicoke, Ontario, Canada. Nancy Jacobi opened the establishment in 1982, and soon they were carrying an unbelievable range and number of papers, most of which were the amazingly stenciled chiyogami sheets that I wrote about in an earlier column. On my last visit (when the store was still in Toronto) I was floored by the number of patterns available—thousands of them. If a collector (or anyone wanting beautiful Japanese papers) wishes to acquire the finest papers from the Far East, this is the place to begin.
The International Paper Connection in Providence, Rhode Island, also carries a great selection of Japanese papers, along with many specialty papers from Thailand, Mexico, and elsewhere. Anyone on the East Coast who is interested in decorated papers should visit this lovely shop. Lauren Pearlman Sugita is the proprietor of this excellent company, and her connections to Japanese papermakers give her direct access to a host of superb sources.
One other establishment that has a fine selection of Japanese and other papers is Hiromi International in Culver City, California. Hiromi Katayama is the wonderful owner, also with direct connections to the papermaking villages of Japan. She is knowledgeable, kind, funny, engaging, and helpful (and a dear friend). Several years ago my wife and I were heading to Japan, and Hiromi made it possible for us to have a superb and enriching day at the paper village of Echizen. A visit to Hiromi’s shop will be revealing, rewarding, and fun.
Many years ago I visited McManus and Morgan in Los Angeles. I was amazed at the great range of fine papers they had in stock, and I am happy to say that they are still in business. They too would be a fine place to visit to add to a collection of decorated papers.
In our travels we sought out paper stores in other countries, and we found many wherever we went, especially in Japan, Italy, and Germany. The ones I have mentioned here are on this continent, and all of them have websites from which you can acquire paper treasures galore. For me, however, one of the joys of such collecting is in the discovery—and that usually means shopping in person. It is always a pleasure to see a lovely decorated paper in a shop, to feel and smell it, listen to its rattle, and see how it glistens in one’s hands as the sheet reflects light. Collecting decorated papers, as I see it, is one of the most satisfying hobbies in the world. And a fulfilling part of that is connecting with artists and the wonderful proprietors who select decorated papers from throughout the world.
1. Noah Manskar, “Papyrus closing all stores after parent firm files for bankruptcy,” New York Post, January 24, 2020, nypost.com/2020/01/24/papyrus-closing-all-stores-after-parent-firm-files-for-bankruptcy/.
Papers from the Paper Source, an excellent resource for the modern paper collector.
A sheet of suminagashi from Hiromi International.
>PAPER CONSERVATION
National Gallery of Art Interview
BIO: Maria Olivia Davalos Stanton is a visual artist and art conservator to be. In this column series, Davalos Stanton shares interviews, resources, and news about paper conservation—bringing the paper cycle full circle.
SUBTITLE: In this issue, Maria Olivia interviews Amy Hughes, paper conservator at the National Gallery of Art in Washington, DC.
Maria Olivia (MO): What drew you to paper conservation?
Amy Hughes (AH): At the beginning of my career, I worked for three years as a paintings conservation technician in a private practice. I cleaned paintings, I lined paintings, I retouched and varnished paintings. It was a joy, but it was smelly and messy work. When I started grad school at NYU, I assumed that I’d continue with paintings—until I took my first paper history and technology course with John Krill and Betty Fiske. It was a revelation that started an obsession! Beyond paper history, the Zen aspects of paper conservation appealed to me. The solvent I work with most often is water, and I must keep my actions calm, clear, and deliberate.
MO: What is your day-to-day work like at the National Gallery of Art?
AH: The National Gallery of Art is a special place with rich resources, amazing colleagues, and a wonderful collection of around 100,000 works of art on paper spanning the Renaissance to today. With only three staff paper conservators here at the NGA, I’m required to juggle several projects at a time. I complete major and minor treatments, examine artworks, pursue research topics, serve on committees, and manage our very active loans program. Sometimes, I wish I had more time to spend hands-on with the objects, but museum conservation is not all about treatment. Our department approaches treatment conservatively and cautiously, founded on a great deal of research and discussion with our curators.
MO: What is it like conserving handmade paper as opposed to machine made?
AH: Treating paper made by hand from rag is a dream. It’s incredible that rag paper made 500 years ago retains its suppleness. Modern machine-made paper, however, presents a challenge. As your readers know, modern machine-made papers fibers are typically chemically processed, bulked with fillers, and often finished under high heat and pressure. It’s difficult, and often impossible, to achieve invisible repairs or to satisfactorily remove stains on modern paper. The surfaces of modern papers are particularly sensitive, and can be highly reactive to moisture. Honestly though, I love working with modern papers precisely because of that challenge. I enjoy devising new and creative ways to solve problems.
MO: You are involved with the International Association of Paper Historians 2020 Conference. Can you give us a sneak peak into what we can expect come September?
AH: It is a heavy responsibility to be part of the organizing committee, since it is the first IPH congress in the United States since 1982. The three hosts of the 35th Biennial Congress—the Library of Congress, the National Gallery of Art, and the National Archives and Records Administration—are trying to strike a balance between the traditional and the new. The theme is Investigating American Collections on Paper, and we hope that the conference program will appeal to a broad audience of paper enthusiasts including papermakers, paper historians, curators, archivists, librarians, collectors, scientists, and conservators. We would love to attract more young scholars to join this international group. We are extremely excited about our program of speakers. We will have 32 talks, with several specially invited speakers including our distinguished keynote speaker John Bidwell. We are planning several behind-the-scenes tours of Washington DC collections, including NGA’s Paper Conservation Department and the Paper Sample Collection.
MO: You recently wrote an article for our magazine about the intersections between printmakers and papermakers in the 1970s.1 How does this research impact your work, or vice versa, and how does your work inform your research?
AH: The article was written thanks to many people, most importantly Ken Tyler himself. In researching Tyler’s early use of handmade paper for printing, I began by looking closely at objects in the NGA’s collection, but I would not have grasped the bigger picture without speaking with Ken. With full service print/publishing houses like Gemini G.E.L., I’ve found that the artist’s paper choice is greatly influenced by the materials made available to them by the printer, and those materials are available based on the market. The experience of interviewing Ken greatly impacted my approach to the conservation of contemporary art. I’ve realized that it is crucially important to ask questions about materials while the makers are still around to point us in the right direction. I hope to continue to interview and discuss materials with artists for future projects related to treatment.
1. “Wild and Immaculate: Kenneth Tyler's Early Use of Handmade Paper at Gemini G.E.L.,” Hand Papermaking vol. 34, no. 1 (Summer 2019): 3–10.
>STUDYING HAND PAPERMAKING
Paper by definition
BIO: Amy Richard is a visual artist, writer, and proprietor of Amy Richard Studio in Gainesville, Florida where she produces original artwork, teaches papermaking, and tends to her kozo garden. In this column series, Richard explores the unique energy of handmade paper, the spiritual and healing characteristics of the process itself, and the opportunities for studying papermaking in colleges, universities, and other established art centers in the United States and abroad.
ABSTRACT: In this issue, Amy Richard continues to debate what it means to redefine paper.
As a long-time student of hand papermaking, being able to define paper as a material is an important part of my practice as an artist, educator, and “paper investigator.” Which is why I greatly appreciated it when Aimee Lee—artist, papermaker, leading hanji researcher and practitioner—reached out to discuss my last newsletter column, in which I expressed newfound enthusiasm for proposed changes to the definition of paper. Her goal in contacting me was to share her thoughts about the cultural and historical nuances that she’d been thinking about with regard to the definition of paper. I’m grateful she did as it resulted in the beginnings of more research and a greater understanding of the scope of this topic and what is at stake for all involved (artists, artisans, educators, historians, etc.). It also marked the beginning of a lively dialogue that I hope will continue.1
Lee reminded me of the panel discussion dedicated to this topic at the 2018 joint conference of the American Printing History Association [APHA] and Friends of Dard Hunter [FDH]—which I wasn’t able to attend.2 Thanks to Katherine Ruffin’s recap of the session in the APHA newsletter I was able to learn more about the debate3 and revisit both the long-standing definition and proposed alternative version.4 When reading, I noticed both definitions agreed on the use of paper (i.e., as a substrate to carry writing or display images) but diverged on details about how it is made: macerated cellulose fiber suspended in water and captured on a porous surface versus moist cellulosic fibers being “felted” or matted together.
After reading Ruffin’s succinct overview, I contacted both panelists from the session, Lisa Miles and Cathleen Baker, for more details. Miles, a papermaker, book artist, and recent recipient of a Fulbright U.S. Student Arts Research grant, said she began to think about an alternative definition while researching amate and other bark papers. As she describes: “I kept coming across the terms “false paper,” “not paper,” “proto-paper,” “near paper,” and “quasi-paper” to describe the beaten bark papers of indigenous cultures. It struck me as ethnocentric, limiting, and offensive…The whole argument against these substrates not being accepted as “paper” boils down to an extremely narrow point in production (tools) and ignores that fact that beginning materials, fiber preparation process, and end result are nearly identical.”5
She followed these thoughts with anecdotes of how bark papermakers in Indonesia and Mexico were confused and insulted when she explained that papermaking scholars refer to the paper they make as “not paper” and “false paper.” As she described, “They would look back at me and ask, “If it’s not paper, then what is it?”
Contrasting this perspective, Cathleen Baker, author and proprietor of The Legacy Press, provided her insights via email correspondence as well. From Baker’s vantage point as a paper and book conservator, and educator for over forty years, “changing the definition of paper to include essentially all like-material that is made from cellulose fiber, no matter how it is made, debases those non-paper cellulosic sheets, making them less special when they deserve to be regarded as technologically on a par with paper, if not superior to it.” As Baker suggests, “papyrologists would never give up the term "papyrus" in favor of calling it paper.” 6
This seemed to parallel comments from Aimee Lee. Like the others, Lee spent some time thinking about the debate and brought to the conversation a keen understanding of the challenges we face when navigating other cultures and languages. Her solution was similar to Baker’s, suggesting that instead of grouping papyri, amate, kapa, tapa and other cellulose-bark substrates under the paper umbrella, we should consider using the terminology provided by the culture of origin. As she explained, the term hanji means Korean paper and is sufficient on its own for describing the material, whereas the phrase “hanji paper” is redundant. And that makes a lot of sense too.
Of course, this is only a sampling of a larger discourse. As Lee and others helped me realize, there are many angles to consider and many voices missing from the conversation—far too many to tackle here. Perhaps in future issues, we will be able to hear from artisans and scholars from the countries of origin for these various substrates. And maybe they will be able to shed light on a host of questions that surfaced as I continued to ponder the definition of paper. For example:
When sharing my dismay about the complexities of this topic with another colleague, paper and book artist Leslie Smith (and dear friend), she reminded me that such debates are a good thing: “A discipline isn’t a discipline unless there are arguments or discussion about its theory and practice. We should be glad we are having these debates; it keeps the papermaking discipline alive and vibrant.”
Indeed. Perhaps our job for now is to continue to appreciate and celebrate the unique qualities of each of these cellulose-based substrates—woven with water or moistened and felted. No matter the definition, each process continues to put us in touch with something much bigger than ourselves, or our words.
1. Editor’s note: We encourage readers, like Paul Griffiths, to extend the newsletter as a forum to continue any discussions arising from one of our articles.
2. Find more information on this joint conference at printinghistory.org/2018-conference/#program.
3. The panel, moderated by Timothy Barrett, was titled “New definitions for “watermark” and “paper”?”
4. traditional [abbreviated version attributed to Dard Hunter]: paper is made from cellulose fiber that has been beaten, dispersed in water, strained out again to form a flat even layer, and then dried…primarily used as a substrate to carry writing or display images.
alternative: paper is a material made of cellulose fibers beaten or otherwise manipulated while moist to yield a flat material primarily used as a substrate to carry writing or display images.
5. Lisa Miles, email correspondence to the author, January 6, 2020.
6. Cathleen Baker, email correspondence to the author, January 11, 2020.
Tedi Permadi teaches daluang papermaking to a workshop participant in Bandung, West Java, Indonesia. Photo courtesy of Lisa Miles, 2018.
When charging a vat of abaca fiber, I find myself wondering if paper formed by straining cellulose fiber [i.e., that is suspended in water] is significantly different from felted cellulose substrates that are moistened and pounded together?
>UP NEXT
Web-only Content
ABSTRACT: In NEXT UP, readers will get a glimpse of what’s in store in the upcoming Hand Papermaking Newsletter and Hand Papermaking magazine issues.
For the upcoming issue of the magazine, which will look at Paper in Performance, papermaker and artist Beatrix Mapalagama contributes a profile of Tone Fink, an Austrian artist who works in a range of media including his dynamic use of paper costumes, masks, and objects in his performance installations. The article, translated from German for our print publication, is available in its original-German-language manuscript form on Hand Papermaking’s website at its “web-only content” webpage, http://handpapermaking.net/magazine/web-only/. Other material archived on the web-only content page includes full interviews conducted by Genevieve Wood for the article “On Chemistry in Paper: Professional Paper Collaborators Discuss Their Profession” from the Summer 2009 issue; original manuscripts in Italian from the Winter 2016 Italian Papermaking issue; and a web supplement to Simon Green’s “The Universal Solvent” article for the Summer 2018 Water issue with extensive list of links to articles about water quality and water testing compiled by Green’s colleague Dr. Robert Keirle.
Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. Contact each facility directly for additional information or a full schedule. The deadline for the April 2020 newsletter is February 15.
> CLASSES AND WORKSHOPS
Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking. Visit www.arrowmont.org/workshops-classes/ for information about the school’s series of National Workshops that run from April through early November.
The Banff Centre, Banff, Alberta, Canada, (403) 762-6100 or (403) 762-6180, www.banffcentre.ca. Artist residencies in fully equipped papermaking studio and other disciplines. Contact wendy_tokaryk@banffcentre.ca for registration info.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, bookartsla.org. Classes in printing, bookbinding, and other crafts in the Culver City neighborhood.
Bainbridge Artisan Resource Network, Bainbridge Island, WA, (206) 842-4475, bainbridgebarn.org. Community art center with classes and open studios in a variety of art fields, including book arts and printmaking.
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.
Papercutting: An International Craft (Scandinavian Week), March 8–14, with Lind Miller. Create cards, pictures, and 3D projects with a variety of papers using small scissors (provided) or a craft knife.
Paper Conservation, April 24–26, with Gian Frontini. Learn the basics of paper conservation and restoration: paper composition, properties of old paper, and how they relate to conservation.
Stitched Paper Boxes, May 31–June 5, with Claudia Lee. Explore various ways to add color and pattern to papers using wax resist and other techniques. Then learn how to create a pattern for the size and shape of the box you wish to make.
Carriage House Paper, Brooklyn, NY, (718) 599-7857, www.carriagehousepaper.com. Short, specialized, intensive workshops; private teaching sessions; artist collaborations; and group programs offered throughout the year at a fully equipped papermaking studio.
Center for Book Arts, New York, NY, (212) 481-0295, centerforbookarts.org. The Center for Book Arts is a contemporary arts organizations dedicated to the art of the book through exhibitions, classes, public programming, literary presentations, opportunities for artists and writers, publications, and collections.
Jiseung - Paper to Rope to Basket, March 7–8, with Aimee Lee. Students will learn jiseung, an old Korean tradition of twisting strips of paper into cord and weaving it like baskets.
Cottage Industry Technology Center, 20 Russet St., SSS Village, Marikina City, Philippines. Workshops, demonstrations, and technical consultancy in a variety of crafts and livelihoods, including hand papermaking and related crafts. Contact Loreto D. Apilado at Lor-Eto.DA@gmail.com or bookendshere2002@yahoo.com or (632) 942-3974.
Dieu Donné, Brooklyn, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes. Open studio sessions and community studio memberships are also available. For information, visit www.dieudonne.org.
Introduction to Contemporary Papermaking, April 4. This workshop offers an introduction to the papermaking process, including how to pull sheets of paper, as well as various papermaking and artistic techniques.
Casting With Molds and Laminate Casting, March 14. This intermediate course introduces two different sculptural papermaking techniques: casting with molds, which result in a solid sculpture composed of thick cotton pulp; and laminate casting, which results in a hollow sculpture made of thin paper.
Georgia Archives, Morrow, GA, (678) 364-3710, www.georgiaarchives.org/. The Georgia Archives identifies, collects, provides access and preserves Georgia’s historical documents. The Georgia Archives Conservation Department together with the Big River Bindery are excited to present four, 3-day workshops in 2020 on the conservation and preservation of books and paper artifacts. For more information, visit www.cvent.com/d/8hqvbq.
Introduction to Paper Conservation, April 17–19.
Book Conservation for Circulating and Reference Collections, May 8–10.
Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Haystack offers workshops in various disciplines, including papermaking and book arts. For more information, visit www.haystack-mtn.org/programs/.
Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Helen holds regular papermaking workshops at her studio in the heart of the Rocky Mountains, online, and around the world. For her upcoming schedule, visit helenhiebertstudio.com/calendar/.
Hook Pottery Paper, LaPorte, IN, (219) 362-9478, hookpotterypaper@comcast.net, www.hookpotterypaper.com. Hook Pottery Paper consists of a clay studio; a combined book, paper, and print studio; and a gallery shop. For information on residencies, workshops, and experiences at Hook Pottery Paper, visit www.hookpotterypaper.com/classes/.
A professional natural fiber papermaking workshop, June 24–27, with Andrea Peterson. This course is designed to experience and understand all aspects of natural fiber papermaking. The class will look at the flow of the studio, equipment pros and cons, sustainable possibilities and ergonomic choices within the work area with a holistic approach.
Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282. For more information on papermaking workshops with Ray Tomasso, contact him at ray@raytomasso.com or (303) 552-8256.
Jane Ingram Allen Studio, Santa Rosa, CA, (857) 234-2432, info@janeingramallen.com. For more information on papermaking workshops, individual consulting, and private use of her papermaking studio, visit janeingramallen.wordpress.com.
Kalamazoo Book Arts Center, Kalamazoo, MI, (269) 373-4938, info@kalbookarts.org, www.kalbookarts.org. The Center offers classes in book printing and binding, printmaking, hand papermaking, and creative writing.
Kitchen Scrap Papermaking, March 9, with Lorrie Grainger Abdo. Take this crash course in papermaking to create beautiful sheets of natural fibers and inclusions (that can all be found in your kitchen!).
Let There Be Light!, March 21–22, with Kim Hosken Eberstein. In just two days, you will create a lamp covered with your own handmade paper.
Paint with Paper? Yes!, April 18–19, with Kim Hosken Eberstein. Are you an image maker? A painter? This two-day class will allow you to explore paper pulp as a paint medium.
Karen Hanmer Book Arts, Glenview, IL. A private studio in north suburban Chicago offering workshops and private instruction to working practitioners and dedicated hobbyists, focusing on a solid foundation in traditional bookbinding skills. For more information, visit www.karenhanmer.com/calendar.
Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939, www.schooloftextiles.com. Maiwa School of Textiles offers an international roster of instructors. Learn from some of the most skilled hands working in textiles, dyeing, weaving, and many more. For information about upcoming workshops, visit www.schooloftextiles.com.
Papermaking with Natural Dyes, April 27–30, with Radha Pandey. Students will learn how traditional fibres used in Indo-Islamic papermaking are prepared, and how materials and tools were adapted through time.
The Book of North Country Shifu, May 6–10, with Velma Bolyard. North Country Shifu is Velma’s take on a traditional Japanese technique; students will make, spin, weave, and write on paper with stitch and colour.
Massachusetts School of Art and Design, Boston, MA, (617) 879-7200, pce.massart.edu, MassArt’s Professional and Continuing Education offers courses and workshops in fine art and design, professional design certificates, summer immersive programming, and more.
Minah Song Art Services, Arlington, VA, (646) 352-3828, Paper conservation studio in the Washington DC metro area which offers workshops. For more information on workshops and services, visit www.minahsong.com.
Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. A visual arts center that celebrates the art of the book, from letterpress printing to hand papermaking. The Center offers youth and adult classes, exhibitions, artist residencies, studio memberships, and more.
Introduction to Western Papermaking, Thursdays April 2–May 7, with Bridget O’Malley. Learn the tools, terminology, and procedures of Western-style papermaking.
Paper: An Ancient Medium in East Asian Contemporary Art, April 19 and 26, with Peng Wu. The class will start with a brief survey of paper as a historically significant medium and its presence in Asian contemporary art and design. Two sessions of hands-on papermaking will allow for open-minded experimentation and play.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, www.morganconservatory.org. The Morgan Conservatory Open Studio program provides artists and students access to studio space and equipment; gives them an opportunity to create art in areas of papermaking, letterpress printing, and bookbinding; and presents regular workshops in papermaking, printing, book arts, and mixed technique. For more information, visit www.morganconservatory.org/open-studio.
Papermakers of Victoria, at Box Hill Community, Arts Centre, Whitehorse, Victoria, Australia, phone
9885 2479. Papermaking studio offering workshops, exhibitions, and studio access. For more information, visit papermakers.org.au.
Watermarks, May 17, with Gail Stiffe. Learn about the history of watermarks and how to make permanent and temporary watermarks for your own moulds.
The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes taught in English or French in papermaking, marbling, 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. For information about upcoming workshops at PapierWespe, visit www.papierwespe.at/workshops/
Penland School of Craft, Penland, NC, (828) 765-2359, www.penland.org, Penland offers a full program of craft workshops, including papermaking and paper arts. For information on upcoming workshops in paper and book arts, visit penland.org/workshops/books-paper/.
Paper of Place, April 5–11, with Frank Brannon. In this workshop, intertwine the process of hand papermaking with an understanding of its wide-ranging history.
Body & Landscape: The Large-Scale Pour, May 24–June 5, with Hong Hong. An expansion on Nagashizuki and Nepalese papermaking, the large-scale paper pour is an active, environmental process and tudents will build their own 4 x 8 foot moulds for class and home use.
Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter.org, offers workshops in papermaking, printmaking, and book arts as well as residencies, apprenticeships, and internships. For more information, visit https://www.pyramidatlanticartcenter.org/workshops. Some upcoming classes include:
Plaster Papermaking Molds, April 7, 14, and 21, with Will Burke. This three session workshop covers the many exciting possibilities of creating plaster molds with the intent of casting shaped paper.
Parent and Child Papermaking, April 18, with Christy Ball. At the end of the class, you and your child will have pulled several sheets of paper to call your own.
DIY Make Your Own Mould and Deckle, May 17, with Gretchen Schermerhorn. If you've ever dreamt about having your own special size and shape of handmade paper, this workshop is for you.
Invasive Species Papermaking: White Mulberry, May 30–31, with Patterson Clark. Over the course of two days, the class will harvest and process the inner bark of the weedy tree into durable sheets of paper.
Robert C. Williams Museum of Papermaking. Atlanta, GA, (404) 894-5726, paper.gatech.edu. The EXPLORE! series consists of educational workshops dedicated to the art and science of paper. Perfect for homeschoolers or anyone looking to experience the diverse potential of paper. For upcoming workshops and other programming, visit paper.gatech.edu/upcoming-workshops.
Pulp Painting, May 9, with Chad Heyward. The process of pulp painting creates images that do not sit on the page, but are the page.
San Diego Book Arts, 8680 Washington Avenue, La Mesa, CA 91942, www.sandiegobookarts.com. The mission of San Diego Book Arts is to serve as an educational and creative resource for the community and to advance the book as a vital contemporary art form. For information on upcoming classes, visit www.sandiegobookarts.com/classes/.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, sfcb.org. Book arts classes, workshops, events, and exhibitions year-round. For information on upcoming classes, visit sfcb.org/workshops.
Korean Paper Magic: Bark, Thread, Weave & Color, April 20–24, with Aimee Lee. Come prepared for intensive hand work in a cooperative and collaborative classroom, and leave with a multitude of techniques, samples, and stories from a rich paper culture.
Sitka Center for Art and Ecology, Otis, OR, (541) 994-5485. www.sitkacenter.org. The Sitka Center offers workshops, residencies, and community events at its facility near Cascade Head and the Salmon River estuary in Oregon. For information on upcoming workshops, visit www.sitkacenter.org/workshop/workshopslist.
Snow Farm: The New England Craft Program, Williamsburg, MA, (413) 268-3101. www.snowfarm.org. Workshops at Snow Farm span eight subject areas, including printmaking and paper/book arts. For more information, visit www.snowfarm.org/workshops/class-listings.
The World of Korean Paper, May 17–23, with Aimee Lee. Explore a myriad of Korean techniques for making and transforming paper known as hanji.
The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@phillysoapbox.org, www.phillysoapbox.org, offers studio space, a zine library, and other resources for anyone interested in print-, book-, and zine-making. For upcoming workshops, visit www.phillysoapbox.org/events.
The Society for Contemporary Craft, Pittsburgh, PA, (412) 261-7003, contemporarycraft.org. Classes in fiber, book art, and other media in Pittsburgh’s historic Strip District. Information about upcoming workshops can be found at contemporarycraft.org/education/.
Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual papermaking classes can be scheduled for one person or a group. Studio time, consultation, and instruction available. For information on upcoming papermaking workshops, visit www.swschool.org/_community-classes/adults/papermaking.
Textile Art Center, New York City, New York. textileartscenter.com/, NYC–based resource center for textile art which offers classes, workshops, open studio rentals, and events. For information on upcoming workshops, visit textileartscenter.com/index.php?route=classes/category.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk. West Dean College of Arts and Conservation in West Sussex provides course work and degrees in creative arts and conservation fields, including papermaking, bookbinding, and printmaking.
Women’s Studio Workshop, Rosendale, NY, (845) 658-9133, info@wsworkshop.org,
www.wsworkshop.org. The Women’s Studio Workshop rents studio spaces in etching, papermaking, letterpress, silkscreen, book arts, and ceramics. Visit www.wsworkshop.org/rent-studios/ for current rates and details. Sneak peak of their 2020 Summer Art Institute, held July–August:
Oral Histories and Alternative Fibers: Experimental Papermaking, with Kelly Taylor Mitchell.
The Power of Electro-Etching, with Malgorzata Oakes.
Painting with Pulp: Beyond Papermaking, with Candy Alexandra González.
Let’s Make Hanji: Korean Papermaking, with Aimee Lee.
Handmade Paper and Encaustic, with Laura Moriarty.
Light as a Feather, Stiff as a Board: Techniques in Paper Casting, with Sarah Rose Lejeune.
> EVENTS
The Center for Book Arts is thrilled to honor the pioneering book and performance artist Alison Knowles at the center’s Spring Benefit and Art Auction, which will take place on April 2. The Board of Directors kindly invite you to join for cocktails, food, dancing, and performances in celebration of Knowles’ extraordinary work. Stay for an artists & publishers afterparty, with live performances and DJ. For more information, as well as to purchase tickets, visit centerforbookarts.org/knowles-benefit/.
The Morgan Conservatory invites you to their Studio Open House: Create & Take on April 18. Experience the basics of papermaking, woodblock printing, paper marbling, and indigo dyeing in one day and walk away with your own artwork. For more information, visit www.morganconservatory.org/open-house.
Join Arrowmont for Starry Night on May 22, an annual art and wine auction. The event provides a full evening of great food, wine, art, conversation, and fun. During and after dinner, you can dance the night away to live music under the clear tent letting in the night and the stars. For more information or to inquire about sponsorships, contact Fran Day, at 865.436.5860m, email fday@arrowmont.org, or visit www.arrowmont.org/visit/events/.
> RETREATS
The Institute of Preservation and Conservation at the Bavarian State Library in Munich, Germany is hosting East Meets West: traditional Japanese techniques for paper conservation. This weeklong workshop (August 24–27) invites professionals in the field of paper conservation to gain a deeper insight into the knowledge of the methods and materials of Japanese traditional conservation techniques and their adaptions. For more information, contact IBR-Sekretariat@bsb-muenchen.de or Rosemary.Marin-Loebard@bsb-muenchen.de.
Join Helen Heibert for her 2020 Red Cliff Paper Retreat, Woven Paper: Books/Vessels/Lighting. Come explore a variety of papers that can be made by hand cut, folded, stitched and woven to create books, wall hangings, sculpture, lighting and more. Taking place August 29–September 2, participants have the choice between a three or five day workshop. If you have questions, feel free to email Helen, helen@helenhiebertstudio.com.
Travel to historic Sunset Lodge on Lake Damariscotta in Jefferson, Maine with bookbinder Juliayn Coleman for a five day workshop on Repairing Children’s Books. Think your damaged books are beyond repair? Think again, and learn how to make them readable. For more information, visit sunsetlodgeworkshops.com/repairing-childrens-books/.
Radha Pandey leads an India Book Arts and Culture 2020 tour December 19–January 2, 2021. This intimate two-week tour of India offers a peek into the studios of various working artists and craftspeople in printmaking, papermaking, and dyeing. For more information visit www.radhapandey.com/tours.
> EXHIBITIONS
Women’s Eco Artist Dialog: The Legacy of Jo Hanson, an exhibition of environmental artwork curated from the Women Eco Artists Dialog (WEAD) directory, will be on view from March 12–June 18 at The Barn Gallery in Woodland, CA. Curated by Janice Purnell, Creative Director of Yolo Arts, the exhibition includes paper artist Jane Ingram Allen. For more information, visit yoloarts.org/the-barn-gallery/#.
The Sofia Paper Biennial 2020 in Sofia, Bulgaria is an art festival organized by the Amateras Foundation and Curator Daniela Todorova. With exhibitions beginning in April, the paper festival spreads the San Stefano Gallery to metro stations, the airport and more. For more information, email sofiapaperfest@amateras.eu.
Small is Beautiful in on view until May 1 at Royal Botanic Garden Edinburgh. This exhibition, curated by Sarah Roberts, highlights the beauty and intricacy of these fascinating organisms featuring expert scientific illustrations and contemporary artworks, including paper artist Joanne B Kaar and her embossed paper coat, “North”. For more information, visit www.rbge.org.uk/whats-on/small-is-beautiful/.
Sanctuary is a traveling art installation to be exhibited in medical centers, hospitals, art galleries, and academic sites across the US. Writer Emily Rapp Black and artist Carrie Scanga will interpret viewers’ stories of medical circumstances in visual and textual forms in an ever-changing paper installation accompanied by written text. For more information on its current exhibit at the University of New England, visit library.une.edu/blog/2019/12/17/sanctuary/.
PLACE: community, environment, cogitate is an exhibition (May 1–August 1) in which artists Chad Hayward, Lea Larzarus, and Andrea Peterson explore the idea of situation, region, and circumstance through each of their own personal lens. All of the works utilize pigmented paper pulp to create imagery. For more information, visit paper.gatech.edu/place-community-environment-cogitate.
The OPEN • SET competition and exhibition sponsored by the American Academy of Bookbinding, featuring finely crafted design bookbindings, will be traveling throughout the United States in 2020. For information on venues and dates, visit www.bookbindingacademy.org/open-set/.
> CALLS FOR ENTRIES
The 8th National Juried Exhibition at the Morgan Conservatory in Cleveland, OH, which will be on view March 27–April 25, is open for submissions until February 1. All submitted artwork must consist of at least 50% paper. For more information, www.morganconservatory.org/morgan-market.
Treewhispers is an ongoing installation of flat handmade paper rounds with personal stories, poetry, and art related to trees. The project, started by Pamela Paulsrud and Marilyn Sward, continues to seek contributions. For more information, visit treewhispers.com/here.
> OPPORTUNITIES
Wells College seeks applicants for the full-time (10–12 month) position of Director for the Book Arts Center. As Director, the successful candidate will possess a clear vision for a college Book Arts Center and will oversee all aspects of the vibrant and historic Book Arts Center. Review of applications begins on February 7. Interested candidates should apply online at www.wells.edu/employment.
Mills College has an opening for an adjunct instructor in the Book Art Program, Department of Art & Visual Culture, to teach Introduction to Book Art in Fall, 2020. This is a one-semester position and will remain open until filled. Details can be found here mills.interviewexchange.com/jobofferdetails.jsp?JOBID=121368.
> PUBLICATIONS, FILMS, VIDEOS
European Hand Papermaking: Traditions, Tools, and Techniques, by Timothy D. Barrett. In this important and long-awaited book, Barrett offers a comprehensive “how-to” about traditional European hand papermaking aimed at a variety of audiences as the companion volume to Barrett’s Japanese Papermaking: Traditions, Tools and Techniques. For more information, visit thelegacypress.com/barrett-papermaking.html.
Mark Lander’s papermaking videos on YouTube are soothing as they are educational. Seven videos are currently up, watch the series here: www.youtube.com/channel/UCtwOnNk8KcyEUdAALaMgm9w.
Paper Talk is an ongoing series of interviews by Helen Hiebert featuring artists and professionals who are working in the field of hand papermaking. New podcast episodes each month. Subscribe to Paper Talk in iTunes.
> MISCELLANEOUS
Seeking interns: Jim Croft, a bookbinder and papermaker who lives in the foothills of the Bitterroot Mountains in rural north Idaho, is seeking interns to help make books from raw materials. Particular focus will be on rebuilding a water-powered paper stamper. Also ongoing: flax, hemp, and cotton fiber processing; and medieval bookbinding using wooden boards and clasps. Interns have access to an extra wood-heated cabin with a board shear, guillotine, and fiber cutter. More information is available at cargocollective.com/oldway/Story-Place. Snail mail (Jim Croft, PO Box 211, Santa, ID 83866) is the best and quickest way to inquire about this internship opportunity.
Taller Leñateros is Mexico’s first and only Tzotzil Maya bookbinding and papermaking collective. Founded in 1975 by the Mexican-American poet Ambar Past, the workshop is dedicated to documenting and disseminating the endangered Tzotzil language, culture, and oral history. See their entry in Atlas Obscura, and visit their website at www.tallerlenateros.com/index.php to learn more.
The inaugural Chantry Library Subject Bibliographies focuses on South Asian Paper. Compiled by Jasdip Singh Dhillon, this entry features familiar names such as Dard Hunter and Edo Loeber. The Subject Bibliographies aim to support the work of conservators by providing curated information through up-to-date lists of key information sources about a given subject, chosen by a specialist. Visit chantrylibrary.org/chantry-library-subject-bibliographies-2/ to learn more.
> 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, and xuan. Mention this ad for 10% discount, paperwoman@paperconnection.com.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605.
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