Hand Papermaking Newsletter #122

HAND PAPERMAKING NEWSLETTER Number 122, April 2018

Newsletter Editor: Shireen Holman Dear Readers, Columnists: Sidney Berger, Maureen and The identification of local and avail- Simon Green, Donna Koretsky, Winifred able resources and their safe Radolan, Amy Richard conversion into something useful, Hand Papermaking Newsletter is published something needed, is a powerful quarterly. Annual subscriptions are $55 in human activity. I would like to spread North America or $80 overseas, including two the word about The Invasive Paper issues of Hand Papermaking magazine. For Project, which does just that. This more subscription information, or a list of back project is about material exploration issue contents and availability, contact: and community exchange, rather than Hand Papermaking, Inc. an initiative focused on the art and PO Box 50859, Mendota, MN 55150-0859 craft of making paper. Phone: (651) 447-7143 I had been intrigued when a E-mail: [email protected] friend told me that the youth from Web: www.handpapermaking.org the Student Conservation Association (SCA) were removing invasive weeds in Detroit. To me, this “waste” posed both an interesting The deadline for the next newsletter (July 2018) challenge and an opportunity. My research led me to the work of Patterson Clark, who has been is May 15. Please direct correspondence to making beautiful paper and art objects from invasive plants; Julie Johnson, who wrote about her the address above. We encourage letters from our experiences with invasives in Hand Papermaking;1 and of course Helen Heibert, who originally subscribers on any relevant topic. We also solicit taught me papermaking, and whose book Papermaking with Plants2 has been indispensable to me. comments on articles in Hand Papermaking I knew nothing like this existed in Detroit and I needed to lead the charge. The young people magazine, questions or remarks for newsletter from the SCA Detroit showed me how to skillfully remove Amur honeysuckle. Back at the studio columnists, and news of special events or activities. I successfully rendered a gentle, yellow-hued paper. Next, I gave garlic mustard a try. A different, Classified ads are $2.00 per word with a 10-word more rigid, and fragrant paper was the result. In exchange for their expertise, I had the youth minimum. Rates for display ads upon request. come to my studio to learn about papermaking. It was significant for these young people to Hand Papermaking is a 501(c)(3) non-profit convert the unwanted plants, plants they had spent countless hours removing, into some- organization. Staff: Michael Fallon, Executive thing of value with their own hands. The alchemical magic of papermaking wasn’t just for Director; Mina Takahashi, Magazine Editor; me, but something that I could share with others in a meaningful way. The photo above, by Shireen Holman, Newsletter Editor; Karen Kopacz, Eric Wheeler, shows us in one of the workshops. Designer. Board of Directors: May Babcock, Tom As the Invasive Paper Project travels beyond Detroit to other locales in the US, it acts as Balbo, Lisa Cirando, Kerri Cushman, Tatiana a method of sharing plant stories, landscape stories, and stories about how we situate ourselves Ginsberg, Joan Hall, Mary Hark, Steve Kostell, in our places. Follow the project at meganheeres.com or @megheeres on Instagram. Daniel Murphy, Alta Price, Michelle Samour, Megan Heeres Flora Shum, Teri Williams. Board Student Detroit, Michigan Representative: Sarah Luko. International Board of Advisors: Yousef Ahmad (Qatar), 1. See Julie Johnson, “Using Invasive Plant Fibers Responsibly,” Hand Papermaking 25, no. 1 Timothy Barrett (US), Simon J. Blattner (US), (Summer 2010). Kathryn & Howard Clark (US), Mandy 2. See Helen Hiebert, Papermaking with Plants: Creative Recipes and Projects Using Herbs, Coppes-Martin (So. Africa), Jane Farmer (US), Flowers, Grasses, and Leaves (1998). Peter Ford (UK), Helen Frederick (US), Peter & Pat Gentenaar (Netherlands), Simon Barcham Green (UK), Helen Hiebert (US), Dear Handmade Paperistas, Therese Hofmann (Brazil), Dard Hunter III (US), Kyoko Ibe (Japan), Winsome Jobling Western Renaissance papers have sharp curly marks impressed on the surface by the rough (Australia), Elaine Koretsky (US), Carolina woolen couching felts used by early papermakers. Optimal for chalk drawings and pastels Larrea (Chile), Roberto Mannino (Italy), (a Renaissance invention), this “tooth” established paper as an ideal medium for Old Master Beatrix Mapalagama (Austria), Bob Matthysen artworks. However, not everyone was happy with the rough surfaces. (Belgium), Radha Pandey (India), Giorgio Printers, and especially copyists and writers, required more even paper. Their demands Pellegrini (Italy), Brian Queen (Canada), were heard and met. Today, industrial paper is silky-smooth, perfect, and cheap. Machines Victoria Rabal (Spain), Vicky Sigwald (Argen- provide artificial random tooth only on purpose; no handmade-curly. tina), Lynn Sures (US), Aytekin Vural (Turkey). Unless one raids old book collections for end papers, our tooth has been lost and unavail- Co-founders: Amanda Degener and Michael able for the last couple of centuries or so. Meanwhile even sheep have gone soft, as Donald Durgin. Cont. on next page Farnsworth recounts in A Quest for the Golden > ALONG THE PAPER ROAD... But they obviously used an excellent retention Fleece,1 his description of his efforts to replicate agent. Brian immersed his hand into the Renaissance woolen felts. Since 1998 this column has featured paper mus- black pulp and when he lifted it out the water When I was visiting Rix Jennings in ings from Elaine Koretsky—renowned paper ran clear. Houston in mid-2017, he showed me a sample historian, researcher, and traveler. Her daughter Finally we arrived at the machine that of fiberglass “landscape fabric.” Experiment- Donna Koretsky now continues the legacy. In makes the cones, where each cone is made ing with a new vacuum table strainer in this description of her visit to Loudspeaker individually from pulp by a mechanized cast- November, I pressed paper and let it dry on Components, Donna surprises us with the details ing method. The cone-shaped mold is made this fabric. To my extreme surprise, the of how speaker cones are made from paper pulp. from thick metal that has quarter-inch holes surface looked ancient, museum-like “curly”! drilled into it and the back hollowed out. A think about paper pulp and paper a lot. It turns out that couching, pressing, and cone-shaped piece of brass screening is placed But the realization that paper can be a drying on conventional fiberglass landscape I on top of the mold. These two pieces are medium for sound is something I had never fabric from home improvement stores mimics fastened together and mounted on something considered until my recent visit to a factory quite well the gouges and sharp tooth loved called a mold wheel. that manufactures speaker cones from paper by Italian Cinquecento artists. A serendipitous It is a fascinating casting method. The pulp. I learned that nearly all speakers used discovery, this new/old Renaissance surface cone-shaped mold is suspended over a round in the music industry use paper-pulp cones, imitation is easy to achieve, and I invite stainless-steel trough filled with black pulp from tiny cones found in automobile speakers y’all to make it. Hand Papermaking being a that is constantly agitated to maintain con- to large cones used in high-end speakers. “journal of record” for all things papermaking, sistency. Suddenly the vat of pulp rises up, Loudspeaker Components, located I’m honored to share this innovation here, immersing the suspended cone in pulp. The deep in the farmlands of southwest Wisconsin, hopefully helping to increase interest and vat stays up for about two seconds during is the leading manufacturer in the US demand for what we make, especially among which time there is a powerful vacuum that of speaker cones made from paper pulp. charcoal, chalk, and pastel artists. sucks the pulp onto the form and the Thousands of paper cones are produced water is pulled through the holes of the mold. daily and shipped worldwide to customers When the trough of pulp is lowered, a cone such as JBL, who assemble the speakers. of pulp magically adheres to the mold. Next On a brisk wintry day, Brian Haas, who the drum rotates and there is another cone- owns the company along with Neil Kirsch- shaped form that is immersed into the pulp. baum, graciously showed me around their Meanwhile the newly vacuumed paper cone 55,000-square-foot facility and patiently rotates into an oven where it dries in sec- explained the cone-making process. onds and the machine operator pops it off The first part of the tour was familiar the mold. territory. Bales of paper pulp were piled high, Consistency is key and every cone is and numerous 55-gallon drums of sizing, I named my version Cinque Tooth. In weighed on a scale. If one does not meet a retention agent, colorants, and all sorts of the photo you can see mine (labelled B) in certain parameter, it is thrown in the trash additives were on their sides, obviously used between two Italian papers from the early and not recycled. Needless to say, at the end on a daily basis. Brian’s voice competed with 1600s. There is more information about my of the day I left the factory with a bag of the loud rumblings of the factory machines. research and fun on my site, papeltexano. cone rejects of all different sizes and shapes A 25-lb. Valley beater, along with two enor- org/cinque. Your comments and advice are and shades of black. I also collected a few mous refiners, process about 320 pounds of much appreciated. reject dust caps, which are small convex pulp a day. A combination of pulps is precisely domes that fit over the central hole of the beaten according the specifications of the Yama Ploskonka speaker cones. customer, depending on what type of cone Austin, Texas Loudspeaker Components makes other is being made. components besides speaker cones, and I I met John, the friendly pulp maker, 1. Donald Farnsworth, A Quest for the Golden briefly toured the areas where all sorts of Rube who was one of the 40 employees. John Fleece (https://magnolia-paper.squarespace.- Goldberg machines glue and seal fabric to looked more like a weathered Wiscon- com/s/QuestForTheGoldenFleece.pdf, 2017). paper, and cut and compress foam. Most sin farmer than a scientific technician as interesting was the state-of-the-art machine he took me into the laboratory testing room and demonstrated how he monitors every batch of pulp in a Canadian Freeness Tester. On NOTICE the counter were beakers, scales, Regarding the book review of They Made the lots of pulp residue, and a pot Paper at Tuckenhay Mill that appears in the of coffee that I wondered about. Winter 2017 issue of Hand Papermaking John expertly measured, poured, magazine: It has come to our attention that and manipulated valves—the in addition to the Legacy Press offset book, a procedure for testing the freeness fine-press edition is simultaneously on offer (rate of drainage) of the pulp. by Peter and Donna Thomas. Thirty deluxe- Next I was shown an edition copies of The Tuckenhay Mill: People enormous vat of black pulp and I and Paper—ranging in price from $970 to learned that the industry standard $1,695—include paper samples, booklets, flash is to color all speaker cones a shade drive with audio files and video, and other of black or gray. I could not tell if materials. this standard is merely aesthetic or if it is related to sound quality.

2 Hand Papermaking Newsletter shop where the metal cone forms are pre- pulp composition, sheet shape (or size), and cisely machined. sheet density. However, my goal is to create Brian describes the speaker-cone business paper that is tactile and visually pleasing, as a “relationship industry,” and he works upon which one can write, draw, paint, or closely with his customers to make precise print. Making paper with sonic characteristics cones with specific sound qualities. Pulp would certainly add a new dimension to composition, cone shape, and cone density my skills. all contribute to the sound quality of the After spending the afternoon in a speaker. Loudspeaker Components uses a paper-cone factory, my mind wandered and combination of different types of wood pulp, I began to think about the enormous cotton, abaca, and even kapok. Abaca is well possibilities of casting paper forms other known for its wet strength, and combinations than speaker cones. Perhaps lampshades of wood pulp and cotton produce the required or components for a huge art installation. density. If the cone’s density is too low, then the Brian admitted that he had also thought cone may have a “dead” sound. If it is too about other forms to create but was simply dense, then “cone cry” (squealing at certain too busy these days keeping up with his frequencies) will be more noticeable. Non- speaker-cone orders. cellulosic fibers such as fiberglass and Kevlar are also added to the pulp to make the cones stronger and lightweight. Cones are > TEACHING HAND PAPERMAKING made in a variety of diameters, heights, and angles, and sometimes have concentric rings Based in Philadelphia, Winifred Radolan operates or corrugations that affect the sound. The an itinerant teaching papermill, and has taught cone has to withstand high frequencies and low papermaking to thousands of adults and children. by the much smaller Barbara A. Bradley frequencies and it can’t be too deep or too Here Winnie describes a Guild of Papermakers Memorial Exhibition installed by friends of shallow because you don’t want it to “ashcan” exhibition containing work by many of her current one of our charter members to honor her (emit false sounds). These are all terms that and former students. memory and dedication to papermaking. We mean nothing to my non-discerning ears, but happily accepted the invitation and jumped I appreciate the industry’s sound connois- ast summer the director of the Abington into our preparations. seurs. Most of all, I am awed that so much LArt Center approached me to offer the The Abington Art Center is located in research has gone into listening to paper. Guild of Papermakers the opportunity to Jenkintown, a suburb of Philadelphia. As a hand papermaker who makes install our Paper Awareness exhibition in its Established in 1970, the center resides in custom paper for artists, I too work closely galleries in early 2018. She had been excited a part of Alverthorpe Manor, the former with my customers, placing importance on David Reina Designs Inc. Providers of quality equipment for the hand papermaker for over twenty years . . . offering Hollander Beaters, Hydraulic Presses, and Paper Drying Systems.

For more information, please contact: David Reina, (718) 486-0262, [email protected] 79 Guernsey Street, Brooklyn, New York 11222, USA

April 2018 3 zational structure, presently has about > PAPER HISTORY fifty to sixty members, who continue to be dedicated and steadfast in their Maureen and Simon Barcham Green, from love of paper as an art form. the United Kingdom, write a joint column Paper Awareness 2018 featured on paper history. Maureen is a paper historian, the work of thirty-one of our members, and author of Papermaking at Hayle Mill displayed on the walls and pedestals 1808–1987. Simon was the last of the Green of Abington’s three elegant gallery family to run Hayle Mill. He provides consult- spaces. The diversity of work in ing services to papermakers worldwide. In both two and three dimensions were this continuation of his “Paper Places” series Simon gives us a glimpse into the workings a testament to the versatility of of a large commercial papermill. paper as an artistic medium. Works ranged from figurative to abstract, his column may seem to have little to do diminutive in scale to large, and Twith handmade paper, but since we are often included combinations of all part of a much larger industry on a scale mediums. A number of our artists hard to imagine unless you experience it, I combine papermaking and print- offer a taste of a different sort of papermill. making. Some use hand-cast pulp If you are fascinated with paper, I strongly in both two and three dimensions. recommend taking—or making—opportu- Combinations with painting, photo- nities to visit large mills occasionally. graphy, encaustic, stitchery, and By the summer of 1967, I was ready assemblage were all represented. to travel further afield. Indeed my plan had And there were a couple of joomchi been to work in the United States in 1966, pieces as well. There was a large but this was vetoed by my parents, and I figurative piece created by using acquiesced. In 1967, my second cousin home of art patron Lessing Rosenwald. pulp-spraying techniques. As a Richard Green found me an employment opportunity in South Carolina. Richard The 52-room mansion with a heavy dose of newcomer to my papermaking studio class Art Deco styling was donated to Abington was at that time the Deputy Chairman of commented after viewing the work, the Township to be a public home for the Wiggins Teape Ltd., the very large fine- range of possibilities with this medium appreciation of art and culture. The 27-acre paper makers with many mills in their campus contains sculpture gardens as well is astonishing and exciting. The Paper portfolio. Henry Ralph, one of my fellow as a studio/school wing, which formerly Awareness 2018 was on view January 19 students at the University of Manchester housed Rosenwald’s extensive collection through March 24. During that time, we Institute of Science and Technology, was of rare books and prints, now housed in had three workshops and a gallery talk also going to be in the US. Our plan was Washington, DC. I have had the pleasure scheduled for the public. Rona Richter that each of us would work for eight weeks and privilege of holding my ongoing Paper- taught paper lithography, and I taught cast- and travel around the country by bus for making Studio classes at this location for paper vessels. And guest artist Jiyoung four weeks and 10,000 miles. several years. Chung gave a talk and a two-day workshop The mill I worked in was a complete For those unfamiliar with our Guild on joomchi. contrast to the smaller operations I had of Papermakers, here is a little history. Our I hope that this exciting collection of visited previously. Charleston Mill was at the first meeting was held at the papermaking work has inspired more artists to explore time part of the West Virginia Pulp & Paper 1 barn of Historic RittenhouseTown, also in paper as a medium. If you’d like to see more Company. It was a fully integrated mill Philadelphia, in the fall of 1991. Most of images from the exhibit, you can visit the processing logs from the one million acres our twenty charter members had learned Guild of Papermakers on our Facebook of forest the company owned. The pulp mill papermaking or taken workshops with page (https://www.facebook.com/Guild-of- had extensive lumber and chip storage, but our mentor Bobbie Lippman, who started Papermakers-133312157374239/). I had little engagement with it apart from the Papermaking as Art program there in the memorable smell, detectable for several the late 1980s. This initial gathering miles at times! I was effectively a laboratory of artists who worked in and with handmade technician on the papermill side. At that paper had the common goal of sharing time the mill specialised in kraft sack paper their artistic and technical expertise and using Clupak paper machines. The Clupak promoting public awareness surround- process was invented by Sanford Lockwood 2 ing paper as an art form. As founding Cluett who held over 200 patents, including director, I am proud to say that over the Sanforizing. The process micro-creped kraft years we have continued to meet almost sack paper so that it became extensible, or bi-monthly, and have held studio and stretchable, and absorbed energy when the gallery visits, sponsored workshops with sack was dropped. several nationally known paper artists, Much of my time was spent testing pulp and mounted an all-member Paper Aware- samples in the constant battle against ness exhibition nearly every year. We slime and foam. Warm papermaking pulp retain a handful of our charter members, provides ideal conditions for slimes that can and have welcomed many new paper- coagulate into particles that detach, leading makers who have joined us after taking to lumps and marks in the paper, blocking workshops or seeing exhibits. The machine wires, and causing other problems. Guild, which has quite a loose organi- Despite the addition of biocides, the slimes

4 Hand Papermaking Newsletter were constantly changing. In addition, foam operating it, a measure of strength can be > DECORATED PAPER formed readily in the pulp. The foamability obtained. When the machine is running, needed testing, as did the effectiveness of the felts are enclosed within the dryer hood Sidney Berger, a professor at Simmons College in various antifoam agents. The biocides and (probably 100 feet long by 30 feet high by Boston and director of the Phillips Library at antifoams interacted with other factors, so 20 feet wide) with the cylinders containing Peabody Essex Museum, has been collecting the environment was also constantly chang- high-pressure steam over the boiling point. and researching decorated paper for over forty ing. Since that time many of those biocides The machine had to be shut down and made years. The Berger–Cloonan Collection of and antifoam agents have been banned, but safe, the steam to the cylinders turned off, Decorated Papers consists of papers acquired the problems remain. and when it was just cool enough, I was over the period of many years by Sid and his wife. Charleston has a sub-tropical climate. sent inside the hood, along gangways, to the Here Sid introduces us to a new catalog contain- At about 4:30 p.m. every day there would be test site. The temperature was about 170˚F! ing samples of eighteenth- and nineteenth-century a massive thunderstorm. The temperature I succeeded in slipping down a few feet, decorated papers he had never seen before. in the shade averaged about 95˚F and the grazing my chin, and getting a tetanus shot. n putting together our collection of decor- relative humidity was about 95%. In the ma- But I also got the test results. ated papers, my wife and I went to a range chine house, temperatures were frequently Apart from the cultural experience of I of sources—artists, papermakers, book fairs, 130˚F, and an air-conditioned cabin was living and working in the Southern United ephemera fairs, the web, bookbinders, provided for the crew. This was fine when States, I learned a lot about the basics of printers, other collectors, and many others. the machine was running smoothly but not papermaking in practice, and how business But sometimes the sources came to us. when there was a major break with mounds works on the production floor. Slime and In our hunt, we met wonderful folks, and of broke piling up, or when the machine foam affect all papermakers and involve when they learned of our passion (Werner needing refeeding. organisms that are constantly changing. Munsterberger would have called it an “unruly On one occasion the machine Four- Attention to detail in measurement, and the passion”—see his book Collecting: An Unruly drinier wire was being replaced and the ability to analyse results objectively and pro- Passion: Psychological Perspectives [Princeton, opportunity was taken to test the dry felts pose changes (e.g., new combinations and NJ: Princeton University Press, 1993]), while they were stationary. These hold the proportions of various reagents) were also they filed our wants in their databases, and paper against the steam-heated drying cyl- useful lessons. I also realised that travelling we often heard from people about papers inders, and have a very stressful life. They and meeting people with different ideas and they had seen or from businesses that had need replacing just before they fail. Both experience was fascinating. I still find it so papers for sale. We even got surprise gifts failure and replacement mean expensive many years later. through the mail from people who thought down time. Since the felt is fitted to the 1. The mill now belongs to Kapstone we would love what they sent us, and we did. machine, that is where it has to be tested Paper, http://www.kapstonepaper.com/ A couple of days ago, a bookseller in with a portable device. This has two sets location/charleston-sc/. Germany who had heard of us sent us a copy of needles facing in opposite directions. 2. https://en.wikipedia.org/wiki/Sanford_ of a catalog that she had compiled—primarily By placing the device against the felt and Lockwood_Cluett. decorated papers, or objects covered in these

They Made the Paper at Tuckenhay Mill Interviews with Retired Hand Papermakers by Peter and Donna Thomas the Read the reminiscences of 8 men and women who worked for decades in the l Tuckenhay Mill (Devon, England) until ai it closed in 1970. The interviews reveal tr many details – some quite surprising – P er about the daily activities, processes, and ap techniques that represented the best in English hand papermaking in the first Handmade Paper & Book Arts half of the 20th c. This is the enlarged 2nd edition with additional images of Papermaking Supplies the Mill, taken ca. 1900, courtesy of the Raw Fibre – Dry Pulp – Additives Peter Bower Collection. Pigments – Equipment – Books softcover • 120 pages • 38 images 10 x 7 in. • $20.00 Marbling and Bookbinding Supplies Methocel – Inks – Equipment – Books

Please also note the new series from The Legacy Press Board – Sewing Supplies – Binding Posts Papermaker’s Tears Call, write, or e-mail for your free catalogue Essays on the Art and Craft of Paper Tatiana Ginsberg • Editor 135 Lexington Court, Unit 4 Waterloo, Ontario, Canada N2J 4RI If you are interested in contributing an essay, please contact: [email protected] 1-800-421-6826 Fax 1-519-884-9655

The Legacy Press • www.thelegacypress.com [email protected] http://www.papertrail.ca

April 2018 5 have mentioned Kopylov’s book in an earlier Japanese craft (which artists and bookbinders column, and I have given the full citation saw when papers came over on the Silk here to stress the importance of having the Road). The attempt by the paper decorator proper reference tools at hand when one to make a sheet that looks like suminagashi does research in this specialized field. and that uses traditional colors supports I said the sheet is stunning, and though this theory. it is only a black piece of paper, the embossing One of the strengths of the Berger/ is striking, and—more to the point—it is Cloonan Collection (now at Texas A&M exceptionally rare. Equally rare is item #39 University) is its eighteenth-century hold- in this remarkable catalog: a sheet of block- ings. And among those papers are more printed paper, done in three colors (thus, of than 80 full sheets of dutch gilt papers. course, requiring three separate wood- (See my article in Hand Papermaking 24, blocks) in a marbled pattern. In our collection, no. 2 [Winter 2009] and my column we also had such a sheet, but done in the in Hand Papermaking Newsletter, no. 81 nineteenth century, and quite crudely, using [January 2008] on this kind of decorated blocks to print light green, dark green, and paper.) Standard reference books on the red. Our sheet is particularly ugly, and one wonders why anyone would print in three colors to produce such a dreadful sheet when it would have taken much less time to produce an actual marbled sheet that was much more attractive. But the one that Kromp is offering is amaz- papers. The dealer, Daniela Kromp, Rare & ingly more attractive (though Unique Books (Heimeranstrasse 6380339, it has a fairly crude marbled Munich, Germany), offered 91 lots represent- pattern). But more important ing hundreds of wonderful pieces or full sheets is that the eighteenth-century of paper. One lot (#91) had 80 various samples sheet shown in this catalog of lovely block-printed papers from the middle looks strikingly like sumina- of the eighteenth to the early nineteenth century. gashi (the Japanese forerunner As I have said in the past, after being to marbling) and is done in a serious collector of paper for decades, I blue, green, and pink, quite sometimes think I have finally “seen it all,” reminiscent of some of the but frequently new things come along that classical suminagashi colors. are eye-openers for me. This catalog was full There is a theory that Western of truly amazing sheets, and a couple of them marbling was inspired by the were stunning. For instance, I was unaware that in the early-eighteenth century there were “mourning papers,” black sheets that were embossed! The bookseller’s description says of this loose sheet (item #24 in Kromp’s catalog): “Very probably formerly used as wrappers for a funeral oration or something similar. Between the [embossed] leaves and flowers, spiders, worms and insects are visible as symbols for rot and deterioration.” Kromp was able to place and date the paper, and even identify the maker as Johann Michael Schwibecher of Augsburg: “An example of the same printing plate used for a brocade paper (signed by Schwibecher) is reproduced in Kopylov (p. 155–157).” This is a reference to Christiane F. Kopylov, Papiers dorés d’Allemagne au Siècle des Lumières, suivi de quelques autres papiers décorés (Bilderbogen, Kattunpapiere & Herrenhutpapiere) 1680–1830 (Golden Papers of Germany in the Age of DIEU DONNÉ COMMUNITY PAPERMAKING STUDIO Enlightenment, followed by a few other decorated papers. Gallery of images, block- printed papers, Herrnhuter [paste] papers 1680–1830), Paris: Éditions des Cendres; Now open! Memberships available for 3 months−1 year at a low Verona: La Maison Bortolazzi, 2012. I monthly rate. For more info: www.dieudonne.org/communitystudio/

6 Hand Papermaking Newsletter ecently I had the opportunity to revisit community. Students and workshop participants Rthe famous baseball movie Field of Dreams come from all parts of the country, even Latin (a great flick if you haven’t seen it) and oddly, America and beyond. The bulk of what we it reminded me of hand papermaking. I offer comes in the form of workshops, and couldn’t help but draw parallels between largely on weekends, with occasional semester- the look on the characters’ faces when the long classes. Costs range from about $50– protagonist, portrayed by Kevin Costner, told $200 per workshop. For our Book Arts 101 his family he was going to turn his Iowa series we offer a self-determined tuition, cornfield into a baseball park. It was that which allows people to pay from as little as same blank stare many of us have experi- one dollar to two hundred dollars, depending enced when we try to describe our passion on the generosity of participants, many of for papermaking or perhaps our plans to whom are happy to give more so that others turn our garage or barn into a paper studio. can attend. We’ve also had a lot of great instruc- My husband and I experienced something tors. Kate Schmidt, creative writing instructor similar a few years ago, when we announced at FAU, taught a session on artist-book writing. we would be quitting our day jobs in Florida Jillian Bruschera, with her mobile papermill, to move to Iowa so I could study hand has taught workshops here,2 as have Emily papermaking. Martin and Radha Pandey, instructors from subject list many eighteenth-century dutch-gilt- It also reminded me of the blind faith so the University of Iowa Center for the Book.” paper makers, and we assume that all of many papermakers and book artists demon- The photo here shows Pandey in the midst them are known and recorded. The Kromp strate as they continue their work in a time of an Islamic-style papermaking demonstration. catalog amazingly lists a heretofore unrecorded when books and paper are considered by Cutrone is proud of the community support maker: J.G. Ackermann. He has printed his some as obsolete. And yet, as actor James Earl and rightfully so. A recent example is fiber artist Jones said so eloquently in the film, in his rich, Cindy Bartosek, who established a fund that name in the block used to impress the gold 1 pattern into the sheet. Though the bookseller baritone voice, “If you build it, they will come.” provides scholarships for students with financial is offering only two fragments, they are of John Cutrone and a handful of dedi- needs, allowing them to take a workshop for the utmost rarity; and, as she points out, cated staff and community supporters just the cost of materials. that they contain images of butterflies is at the Jaffe Center for Book Arts (JCBA) As far as the collection goes, over 6,000 particularly unusual for these lovely papers. have demonstrated a similar faith, and, items are currently cataloged with many more We are fortunate that the binder who used as a result, built something quite special in the wings. They include artist books, fine them used the part that had the maker’s in south Florida. It all started in 1998 with press books, broadsides, and more—even a name on it. Often on such bindings the the generosity of the late Arthur and Mata giant pair of hands that were constructed out of edges of the sheet are trimmed away, along Jaffe, who donated their entire collection paper for a theatrical production. Works by book with the maker’s name. Also, most of these of 2,800 books to Florida Atlantic University. artist Maureen Cummins of High Falls, New York, papers are not signed in the block or any- Two years later it was made available to the and Chicago artist Melissa Jay Craig are in the where else on the sheet. So we are lucky, too, public as a research collection, and from collection as well as works by local artists such that Ackermann chose to put his name on there has grown incrementally into a vibrant as Arthur Jaffe’s daughter, Jeanne Jaffe. the leaf. book arts program. In 2002 staff began An artist residency program is currently Though we have curtailed our purchase offering book arts workshops. In 2007 an being revamped so be sure to stay tuned. of papers since we parted with our collection, expanded version of the JCBA was unveiled my wife and I did order a few sheets, which with a letterpress print studio and bindery, 1. James Earl Jones portrayed a fictional I will report on in a future column. For followed by a papermaking lab/studio in writer named Terrance Mann in the film. now, I just want to reiterate that new offerings 2012. Since then it has become a hub in Phil Alden Robinson, dir. Field of Dreams. continue to surface and to amaze and amuse the southeastern United States for research Universal Studios, 1989. us. The world of decorated paper is endlessly and instruction in book arts and paper. 2. http://themobilemill.tumblr.com/ fascinating, and collecting it is for some a Cutrone, who was named director of serious addiction. the Center in 2012, describes the JCBA: “We think of the space as a hybrid of a library > columns for beginners can be seen at and an art gallery. handpapermaking.org/?page_id=30 Exhibitions, gallery > STUDYING HAND PAPERMAKING talks, films and perfor- mances, and our Amy Richard is an artist, writer, and proprietor popular Book Arts of a small art studio/papermill in Gainesville, 101 presentations all Florida, where she produces original artwork take place inside the and teaches workshops in the community and gallery in the midst beyond. Richard is an MFA graduate of the of this inspiring University of Iowa, Center for the Book, where collection of artists’ she studied paper and book arts as well as the books, as do univer- history and culture of the book. For this news- sity class sessions letter she explores papermaking programs in and community group colleges, universities, and other established art tours of the Jaffe Cen- centers in the United States and abroad. Here ter. Programming is Amy describes the book arts and papermaking wide ranging; it’s open program at the Jaffe Center for Book Arts. to FAU students and also to the broader

April 2018 7 Listings for specific workshops and other events Book Arts LA, Los Angeles, CA, (310) 722- as a fully self-contained system for forming in the following categories are offered free 9004, www.bookartsla.org. beautiful pulp-painted sheets of paper. of charge on a space-available basis. The Ecoprinting and Natural Dyeing for Book All About Flax: A Four-Day Intensive, May 29– deadline for the July 2018 newsletter is Artists, April 14–15, with Anne Covell. June 1. Explore the many incredible proper- May 15. Contact each facility directly for Explore the world of natural dyeing by ties of flax. additional information or a full schedule. experimenting and ecoprinting on cloth, Exotic Fibers, June 9. Use both Eastern and West- Teachers: Tell your students about Hand paper, tape, and thread. ern papermaking techniques to make paper Papermaking! Brochures and handouts from unusual fibers such as pineapple, bamboo. can be mailed to you or your institution. Intro to Western Papermaking, May 19, with Email [email protected]. Anne Covell. Learn the basics of proper Cottage Industry Technology Center, 20 Russet sheet forming, couching, pressing, and St., SSS Village, Marikina City, Philippines. drying papers made from cotton, abaca, Workshops, demonstrations, and technical > CLASSES AND WORKSHOPS and flax fibers. consultancy in a variety of crafts and liveli- John C. Campbell Folk School, Brasstown, hoods, including hand papermaking and Abington Art Center, Jenkintown, PA, (215) 887- NC, (704) 837-2775, www.folkschool.org. related crafts. Contact Loreto D. Apilado at 4882, www.abingtonartcenter.org. Classes, work- Classes in papermaking and other crafts in [email protected] or bookendshere- shops, and exhibitions in a variety of media. the mountains of western North Carolina. [email protected] or (632) 942-3974. Papermaking Studio Series, Thursdays, with Paint a Picture with Paper Pulp!, May 18–20, Dieu Donné Papermill, Brooklyn, NY, (212) Winnie Radolan. Explore a range of techniques with Chery Cratty. 226-0573, www.dieudonne.org. Beginning and pulps. See website for session dates and and advanced papermaking classes for adults times. Papermaking: Tools of the Trade, July 6–8, with Matthew English. and children. Open studio sessions also available. Arrowmont School of Arts and Crafts, Gatlin- Papermaking, Beyond the Basics, July 8–14, burg, TN, (865) 436-5860, www.arrowmont.org. with Claudia Lee. Introduction to Contemporary Papermaking, Apr. Classes and workshops in a variety of disciplines, 10, May 9, or June 5, with staff instructor. Make Your Own Kudzu Mural (Intergenera- including papermaking. Arrowmont’s series Learn the basic papermaking process, as well tional), July 15–21, with Nancy Basket. of National Workshops run from early April as various artistic techniques. A World of Fiber (Intergenerational), July 15–21, to late October. Visit https://www.arrowmont. Embedding, Blowouts, and Simple Watermarks, with Sandi Cirillo. org/wordpress/wp-content/uploads/2015/11/ Apr. 11, with staff instructor. Learn three tech- National-Sneak-Peek-Digital-opt_100917.pdf Carriage House Paper. Brooklyn, NY, (718) niques: embedding, blowouts, and watermarks. for a sneak peak of this year’s instructors and 599-7857, www.carriagehousepaper.com. subject areas. Pulp Painting, Stenciling, and Pigmenting, Short, specialized, intensive workshops, June 6, with staff instructor. Learn proper Paper Circuitry: Adding Light and Interactivity private teaching sessions, artist col- pigmenting techniques, use of stencils, and to Paper Craft. June 17–23, with Jie Qi. Learn laborations, and group programs offered pulp consistencies for pulp painting. to combine art with electronics by using throughout the year at a fully equipped Casting with Molds and Laminate Casting, conductive tapes and LED stickers to build papermaking studio. beautiful, functioning circuits. Open to all May 8, with staff instructor. Learn two dif- Sculptural Papermaking, April 7. Explore the skill levels. ferent sculptural papermaking techniques. sculptural possibilities of handmade paper Joomchi and Beyond, July 15–21, with Jiyoung using high-shrinkage unbleached flax and Haystack Mountain School of Crafts, Deer Chung. Explore joomchi, a unique Korean nylon stocking armatures. Isle, ME, (207) 348-2306, www.haystack-mtn. traditional way of making textured hand- org. Workshops in various disciplines, includ- Japanese Papermaking, April 21–22. Create an made paper using water and eager hands. ing papermaking and book arts, begin on June array of papers from mitsumata, gampi, and Open to all skill levels. 10 and continue through September 1. For kozo fibers grown in Brooklyn. Islamic-World Papermaking and Natural Dye- more information, visit https://www.haystack- Contemporary Watermarks, April 28. Create ing, July 28–August 4, with Radha Pandey. mtn.org/programs/summer-workshop-sessions. personal paper watermarks for stationery, Discover Islamic-world papermaking tradi- end papers, and artwork. Open to all leve Helen Hiebert Paper Studio, Red Cliff, CO, tions that have remained largely unchanged www.helenhiebertstudio.com. Helen holds since the 8th century. No prior papermaking Pulp Pouring/Pulp Painting, May 12–13. Learn how to use a pulp-pouring mould regular papermaking workshops at her stu- experience necessary. dio in the heart of the Rocky Mountains and The Paperwright Britt Quinlan, Owner Providing worldwide service and dedicated to creating moulds to meet your needs. We specialize in custom built laid moulds, hard to find sizes, basic pine to routed mahogany moulds and deckles with supported screens and personalized service for our clients. International orders are always welcome. Call 613-440-0580 or e-mail [email protected] or visit www.paperwright.ca

8 Hand Papermaking Newsletter online. For her upcoming schedule, visit Laurel Koss’s Los Angeles-Area Papermaking June 30, Cudahy Library, 5218 Santa Ana http://helenhiebertstudio.com/classes/. Program teaches basic papermaking at libraries St., Cudahy throughout Southern California. Participants Hook Pottery Paper, LaPorte, IN, (219) 362- learn the history of hand papermaking and Maiwa School of Textiles, Vancouver, British 9478, [email protected], its ecological advantages, then enjoy a hands- Columbia, (604) 669-3939, http://www.school- www.hookpotterypaper.com. Classes in paper- on papermaking session. Below is a list of oftextiles.com/. Maiwa School of Textiles offers making and pottery and a residency pro- upcoming locations and dates. an international roster of instructors. Learn gram in northern Indiana. from some of the most skilled hands work- April 3, La Puente Library, 15920 E. Central ing in textiles today. Western Marbling on Paper, April 29. Learn Ave., La Puente, California how to make stunning decorated paper using Papermaking with Natural Dyes, May 31–June 3, April 7, Walnut Library, 21155 La Puente Rd., traditional marbling techniques. with Radha Pandey. Learn the history and tech- Walnut In the Field: A Natural Fiber Professional nique of a style of papermaking practiced April 10, Bell Library, 4411 Gage Ave., Bell Papermaking Workshop, June 18–22. Learn in the Islamicate lands that has remained to transform raw plant fiber into beautiful April 12, Gardena Mayme Dear Library, 1731 unchanged since the 8th century. W. Gardena Bl., Gardena handmade sheets of paper. Minnesota Center for Book Arts, Minneapo- Paper Arts: Papermaking and Surface Design, April 14, La Verne Library, 3640 D St., La Verne lis, MN, (612) 215-2520, www.mnbookarts. July 10, 17, & 24. Learn basic papermaking April 25, Florence Library, 1610 E. Florence org. Classes at the Open Book center for and decoration on cotton and abaca papers. Ave., Los Angeles book and literary arts. Inter-Ocean Curiosity Studio, Englewood, April 28, West Hollywood Library, 625 N. Beater Training, first Tuesdays. Learn beater CO, (303) 789-0282. For more informa- San Vicente Bl., West Hollywood operation, safety procedures, and cleaning tion on papermaking workshops with Ray April 30, Charter Oak Library, 20540 E. Ar- for MCBA’s three beaters as a prerequisite Tomasso, contact him at ray@raytomasso. row Hwy., Suite K, Covina to renting the beaters for your own use. Open Studio, Paper Beater or Papermaking, com or (303) 552-8256. May 5, La Crescenta Library, 2809 Foothill Saturdays, with staff instructor. Beat fiber Bl., La Crescenta Kalamazoo Book Arts Center, Kalamazoo, for future sheet forming. Register for Open MI, (269) 373-4938, info@kalbookarts. May 12, Masao Satow Library, 14433 Crenshaw Studio sessions at http://www.mnbookarts. org, www.kalbookarts.org. Classes in book Bl., Gardena org/openstudio. printing and binding, printmaking, hand May 19, Lomita Library, 24200 Nrbonne Ave., Papermaking with Clothes! April 14–15, with papermaking, and creative writing. Lomita Dana LeMoine. Learn a new way to reuse and Surface Design: Suminagashi Paper Marbling, May 24, Lynwood Library, 11320 Bullis Rd., recycle in a class that covers papermaking basics. April 9. Learn the Japanese style of paper Lynwood Extreme Marbling, Apr. 28, with Sally Power. marbling, suminagashi, or “floating ink.” May 26, Live Oak Library, 4153 E. Live Oak Learn marbling patterns using a bouquet comb. Ave., Arcadia Dirty Works: Paper Marbling, June 1 with June 2, Carson Library, Suzanne Hughes. Explore paper marbling by 151 E. Carson St., Carson trying your hand at “throwing” color. Great for beginners. June 7, Angelo M. Iacoboni Library, 4990 Morgan Art of Papermaking Conservatory Clark Ave., Lakewood and Educational Foundation, Cleveland, OH, June 9, Castaic Library, (216) 361-9255, http://morganconservatory.org. 27971 Sloan Canyon The Morgan Conservatory Open Studio program Rd., Castaic gives artists and students access to studio space and equipment, and provides them with an June 16, Clifton Brak- opportunity to create art in areas of paper- ensiek Library, 9945 making, letterpress printing, and bookbinding. Flower St., Bellflower For more information visit http://www.mor- June 19, Lennon Li- ganconservatory.org/open-studio. The Morgan brary, 4359 Lennon Conservatory also presents regular workshops Bl., Lennox in papermaking, printing, book arts, and mixed

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April 2018 9 techniques. For more information about up- learned in SFCB’s Introduction to Marbling papermaking, printmaking, book arts, photo- coming workshops, visit http://www.morgan- workshops. graphy, and other media, at https://wsworkshop.org/summer-art-institute/. The Women’s conservatory.org/papermaking-workshops. Introduction to Paste Papers, Apr. 28, with Leigh Studio Workshop also rents studio spaces in McLellan. Learn about mixing the paste and etching, papermaking, letterpress, silkscreen, Papermakers of Victoria, at Box Hill Community pigment combination, and about the variety book arts, and ceramics. Visit http://www. Arts Centre, Whitehorse, Victoria, Australia, of tools and techniques that can be used to wsworkshop.org/rent-studios/ for details. phone 9885 2479. Workshop and exhibition decorate paste papers. information can be found at www.papermakers.org.au. Sitka Centter for Art and Ecology, Otis, OR (541) > EVENTS Papermaking with a Purpose, April 22, with 994-5485, www.sitkacenter.com. Workshops, Barb Adams. Learn how to make different residencies, and community events at a facil- The Oregon Coast Council for the Arts (OCCA) papers suitable for different purposes. Suit- ity near Cascade Head and the Salmon River presents the Newport Paper & Book Arts Festival able for beginners and advanced papermakers. estuary in Oregon. XXIII at the Newport Visual Arts Center, New- Suminagashi Paper Marbling, June 9, with Liz Coloring Paper with Natural Dyes and Clay, port, OR, http://www.coastarts.org/directory/ Walker. Learn how to create beautiful marbled May 20, with Gail Stiffe. Explore ways to color venues/n/newport-visual-arts-center/, April papers using sumi inks on rice paper. paper with natural dyes and found pigments. 20–22. This annual celebration of paper arts Ecoprinting & Natural Dyeing on Cloth & Paper, June includes workshops, an art exhibit, and lectures The Papertrail, New Dundee, Ontario, Canada, 20–22, with Anne Covell. Experiment with (800) 421-6826, www.papertrail.ca. Classes in and exhibits on surface design, papermaking, processes of natural dyeing and ecoprinting printmaking, sewing and design, calligraphy, papermaking, marbling, and related arts, and on cloth and paper with locally sourced plants. studio rental scheduled on an as-needed basis. Japanese dyed papers, silk and plant fiber. The Soapbox: Community Print Shop & Zine The 2018 Bay Area Printers’ Fair & Wayzgoose Pyramid Atlantic, Hyattsville, MD, (301) 608- Library, Philadelphia, PA, info@phillysoap- 9101, www.pyramidatlanticartcenter.org. will take place April 21 at History Park in San Jose, box.org, www.phillysoapbox.org. Workshops CA, and celebrates letterpress printing, typo- Workshops in papermaking, printmaking, in papermaking, bookmaking, and printmak- and book arts. graphy, book arts, ephemera, fine paper, and ing in West Philadelphia studio. allied arts. Enjoy demonstrations, tours, and One-on-One Papermaking Workshop, variable an array of vendors and goods, including letter- dates, with Gretchen Schermerhorn. Work at The Society for Contemporary Craft, Pitts- press-printed cards, art prints, book arts, fine your own pace and learn the basic techniques burgh, PA, (412) 261-7003, www.contempo- papers, ink, handset type, vintage books, of Western-style hand papermaking. Perfect rarycraft.org. Classes in fiber, book art, and printing presses, tools, and equipment for for beginners. other media in Pittsburgh’s Strip District. printing. For more information about the Crafts & Drafts: Papermaking from Hops, April Pronto Papermaking, May 2, with Penni Harden. fair, visit http://sjprintersguild.com. Quickly learn how to form, press, and dry 20, with Katy Dement. Using grains, fibers, sheets of handmade paper. Level: Beginner. and vines reclaimed from the brewing pro- PBI 2018, a.k.a. the Paper & Book Intensive, Spinning Paper Thread, May 26, with Saaraliisa cess, students will create golden handmade will take place at Ox-Bow in Saugatuk, MI Ylitalo. Prepare papers to make shifu, Japa- papers and will embellish the paper with hop from May 13–24. The general application nese paper thread. Level: Beginner. flowers and wet-on-wet collage. period began on January 1. Space is limited. Reinventing the Wheel: Handmade Paper with For more information, visit http://www. Robert C. Williams Paper Museum. Atlanta, GA, Texture and Collage, April 21, with Katy Dement. paperbookintensive.org/. (404) 894-5726, http://paper.gatech.edu. Learn about traditional papermaking while The Congress of the International Associa- Abaca and Inclusions Papermaking, April 24, exploring more modern papermaking techniques with color and texture. tion of Hand Papermakers and Paper Artists with Jerushia Graham. Explore creative ways (IAPMA) takes place in Sofia, Bulgaria, May 16– of couching items between translucent sheets 3-D Pulp Painting, May 5, with Albert Pantone. 20. The Congress will be hosted by AMATERAS of handmade abaca paper. Use yarn, string, sticks, wire, and cloth to Foundation, founded to champion cultural Natural Dyes, April 28. Learn about plants, build armatures onto which wet pulps such projects and creative exchange through exhi- fabrics, paper equipment, process, and as abaca and cotton will be sculpted. bitions, residencies, symposia, and lectures kirigami building. Southwest School of Art, San Antonio, TX, (210) related to artwork promotion in Bulgaria and Make It for Mother’s Day, May 8. Create a 224-1848. Individual papermaking classes can abroad. The event will coincide with the Sofia paper masterpiece that will make a perfect be scheduled for one person or a group. For cur- Paper Art Fest and the Sofia Night of the Mu- gift for the mother in your life. rent workshop info, visit www.swschool.org/. seums. For more info, visit www.iapma.info. San Diego Book Arts, at the Covell Studio, La West Dean College, Chichester, West Sussex, The Mills College Book Art Program announces Mesa, CA 91942, www.sandiegobookarts.com. U.K., (0)1243 811301, short.course@westdean. the third annual Summer Institute for Book Visit the website for info about upcoming classes. org.uk, www.westdean.org.uk. and Print Technologies from June 4–15. The summer institute is open to members of the Making Marbled Papers, May 9–11, with Louise San Francisco Center for the Book, San national book art community and will include Brockman. Learn how to produce beautiful hand- Francisco, CA, (415) 565-0545, www.sfcb. 5-day workshops taught at the master class marbled papers, both Eastern and Western sytles. org. Book arts classes and events year- level by well-known book and print artists round. An Introduction to Creative Papermaking, Samuel Feinstein, Sarah Bryant, Dorothy Tin Can Papermaking, Apr. 14, with Julia July 19–22, with Lucy Baxandall. Explore Yule, and Jessica Spring. To find out more Goodman. An introduction to the history of traditional papermaking techniques to create and submit an application, visit http://mills- handmade paper, with an overview of hand- paper artworks inspired by the landscape. bookartsummer.org/ or write to BookArt- [email protected]. made paper in contemporary art and DIY Women’s Studio Workshop, Rosendale, NY papermaking. 12472, (845) 658-9133, [email protected], The Friends of Dard Hunter (FDH) 2018 Paper Marbling Lab, Apr. 28. Guided by Ital- www.wsworkshop.org. Check for Summer Arts Conference, with the theme “The Social Life of ian marbler Pietro Accardi, practice techniques Institute workshops, which include classes in Paper, Print, and Art,” will be held as a

10 Hand Papermaking Newsletter joint event with the American Printing History of the Cleveland Institute of Art and Christina Germany. Artists can work in letterpress, Association (APHA) from October 25–27 at Vassallo of SPACES Gallery from submissions intaglio, etching, and woodcuts. Due June the University of Iowa Center for the Book of paper works made within the past three years 30; http://bit.ly/1Fh88P6. in Iowa City, Iowa. Visit www.friendsofdard- by artists from around the United States. hunter.org for more details. The Focus on Book Arts (FOBA) conference On Paper is an exhibition by the Arts Council seeks instructors for its fourteenth biennial Collection of paper as subject, rather than the conference, to be held June 26–30, 2019, at > EXHIBITS overlooked support for drawings. Included Pacific University in Forest Grove, OR. Instruc- are diverse sculptural objects; art made from tors may submit proposals for hands-on or In Search of Origins: The Research and Schol- burnt, torn, and cut paper; collages; paper problem-solving workshops of any length from arship of Dard Hunter, October 13, 2017 to June works that have been rubbed, folded, and 2–5 days. For conference details and an ap- 1, 2018, at the Robert C. Williams Museum of embossed; and works made of particular plication form visit focusonbookarts.org, or Papermaking in Atlanta, Georgia. A look at types of industrial papers. On Paper will tour email [email protected]. Dard Hunter’s travels and his research into the United Kingdom throughout 2018. For Proposals are due May 15, 2018. the techniques and traditions of hand paper- more info, visit http://www.artscouncilcollec- making. For more info, visit http:// tion.org.uk/exhibition/paper. Applications are being accepted through June paper.gatech.edu/current-exhibitions. 30 for the 36th Annual Handmade Papermaking Workshop in The Hall of Awa Japanese Hand- Knowing Paper: Five Contemporary Artists Us- > CALLS FOR ENTRIES made Paper in Tokushima, Japan, Aug. 17–21. ing Paper as their Expressive Medium, March The workshop will cover traditional methods 2–April 8, at Cathy and Jesse Marion Art Gallery Open Call for Solo or Two-Artist Exhibition Proposals of Japanese papermaking, including kozo bark of Fredonia State Univ. of New York. Curated for the Geoffrey A. Wolpert Gallery at the Arrow- preparation, cooking, cleaning, beating, sheet by Timothy Frerichs, this exhibition features mont School of Arts and Craft in Gatlinburg, forming, and drying. Capacity is only 18 students. the work of Tom Balbo, Aimee Lee, Bridget Tennessee. The Wolpert Gallery is a 202-square- Visit http://www.awagami.com/workshop01. O’Malley, Radha Pandey, and Peter Sowiski, foot foyer gallery located near the school’s main html for more information. representing techniques rooted in Western, entrance. Four two-month exhibition slots are Middle Eastern, and Eastern papermaking currently available in 2019, and preference will be Seeking interns: Jim Croft, a bookbinder and traditions. For information, call (716) 673-4897. given to artists whose work is contemporary papermaker who lives in the foothills of the but based in traditional craft practices. Pro- Bitterroot Mountains in north Idaho, is seeking Lines of Inquiry: Learning from Rembrandt’s posals are due April 2. Contact Kelsey Dillow, Etchings, February 6–May 13, at the Allen interns to help make books from raw materials. the Wolpert Gallery Coordinator, at kdillow@ Particular focus will be the rebuilding of a water- Memorial Art Museum, Oberlin College, arrowmont.org with questions, or visit www. in Oberlin, OH. This exhibition brings to- powered paper stamper. Also ongoing: flax, arrowmont.org/visit/galleries/call-for-entries hemp, and cotton fiber processing, and medi- gether 60 prints by the 17th-century master, for more information about this open call. focusing on his use of a variety of printing eval bookbinding using wooden boards and supports. Co-organized with the Johnson Mu- clasps. Interns have access to an extra wood- seum at Cornell, this exhibition introduces > OPPORTUNITIES heated cabin with a board shear, guillotine, Cornell’s Watermark Identification in Rem- and fiber cutter. Visit http://cargocollective. brandt’s Etchings (WIRE) project, a collaboration The Women’s Studio Workshop (WSW) in com/old-way/Story-Place for more info. Snail among museums, faculty, and students to Rosendale, NY 12472, (845) 658-9133, info@ mail (Jim Croft, PO Box 211, Santa, Idaho 83866) facilite digital access to Rembrandt watermark wsworkshop.org, www.wsworkshop.org has is the best wah inquire about this opportunity. scholarship. For more information, go to available the following artist residencies. www2.oberlin.edu/amam/LinesofInquiry.html. The Art-in-Education Workspace Residency is for > MISCELLANEOUS artists with teaching experience, a knowledge Paper/Print: American Hand Papermaking, of intaglio, silkscreen, or hand papermaking, The Radcliffe Red List of Endangered Crafts 1960s to Today, April 5–June 14, at the Inter- and an interest in working with public school was recently published online by the Heritage national Print Center New York (IPCNY). students. Applications are due April 1. See Crafts Association and The Radcliffe Trust. This is the first comprehensive survey of the http://bit.ly/1IXnADD for more information. The study assesses the vitality of traditional hand-papermaking revolution as an outgrowth heritage crafts, including papermaking, in The Chili Bowl Workspace Residency supports of the printmaking renaissance. Curated by the United Kingdom. For the full report, visit WSW’s annual Chili Bowl Fiesta! Residents Susan Gosin and Mina Takahashi, the exhib- http://heritagecrafts.org.uk/redlist. ition features 90 works by 65 artists, includ- divide their time between creating bowls, mugs, ing Rauschenberg, Hockney, Nevelson, and and tumblers for the Chili Bowl and working Stella. Public programs include a lecture by on their own ceramics project. Due April 1. See > CLASSIFIEDS Ken Tyler, studio visits to Dieu Donné and http://bit.ly/1h05CHE for more information. Pace Paper, and papermaking in the gal- The Studio Workspace Residency is open to artists Classifieds inHand Papermaking Newsletter lery. For more information, visit https:// who want 4–6 weeks of concentrated work time cost $2 per word, with a 10-word minimum. www.ipcny.org/. in any of our studios: etching, papermaking, Payment is due in advance of publication. letterpress, silkscreen, book arts, photography, Studio for Sale (in Ohio): Valley Beater, 24x30 Joan Hall: Sea of Heartbreak, May 19–July 29, or ceramics. Due April 1; http://bit.ly/1J1Vfxd. at the Newport Art Museum in Newport, press, large compressor, 2 sprayers, moulds Rhode Island. Hall’s stunning large-scale works Studio Residency in Malmo, Sweden: Four weeks & deckles, pulp, boards, felts, sieves, pans, of art and installations combine found or cast- at the KKV Grafik Studio or Sculpture Work- and more. $10,000. 419-699-4710. paper marine debris into handmade paper shop Monumental. Work in printmaking, wood- and explore the effects of plastic on the sea. working, ceramics, enamel, glass, metal casting, metalworking, model making, etc. Due June HAND PAPERMAKING Paper Trails, the sixth juried exhibition of paper 30; http://bit.ly/1TPspY1. loves to hear from readers: art at the Morgan Conservatory in Cleveland, Beisinghoff Printmaking Residency: Four weeks [email protected] runs March 30–April 28. Juried by Nikki Woods at Atelier Beisinghoff in Diemelstadt-Rhoden,

April 2018 11 > SPECIAL THANKS Elaine Akiko Nishizu, Mary O’Shaughnessy, David Marshall, Ceci Cole McInturff, Julie Lauren Pearlman, Brian Queen, Scott R. McLaughlin, Serge Pirard, Ken Polinskie, Hand Papermaking acknowledges these recent Skinner, Betty Sweren, Judy Tobie, Claire Van Margaret Prentice, Alta Price, Nicholas Price, contributors to our non-profit programs. All Vliet, Aviva Weiner, Beck Whitehead, Bruce Brian Queen, Amy Richard, Ingrid Rose, donations are greatly appreciated and tax deduc- Wilson, Therese Zemlin. Michelle Samour, Flora Shum & Paperhouse tible. Our tax ID number is 52-1436849. Call Supporters: James Barton, Jack Becker, Anne Studio, Megan Singleton, Julie Sirek, Claire or write for information on annual giving levels, Beckett, Carol J. Blinn, Elena Osterwalder Van Vliet. automatic monthly gifts, or about adding Hand Bonny, Inge Bruggeman, Bob & Annie Cicale, Founnding contributors to the Hand Paper- Papermaking to your estate plans. Michele Combs, Jennifer Davies, Jim & making endowment: 49er Books, Shirah Miriam Karla Elling, Sara Gilfert, David Lance (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Benefactors: Sue Gosin, Joan Hall. Goines, Viviane Colautti Ivanova, Kristin Timothy Barrett, Sidney Berger & Michèle Patrons: Yousef Ahmad, Tom Balbo, Lisa Kavanagh, Aimee Lee, M. P. Marion, Anne Cloonan, Tom & Lore Burger, Jeffrey Cooper, Cirando, Nancy & Mark Tomasko. Q. McKeown, Nancy Pike, Nancy Pobanz, Jeanne M. Drewes, Jane M. Farmer, Fifth Underwriters: Sid Berger & Michèle Cloonan, Melissa Potter, Margaret Prentice, Alta L. Floor Foundation, Helen Frederick, Sara Michael Durgin, Fifth Floor Foundation, Price, Dianne L. Reeves, Charles G. Raney, Gilfert, Tatiana Ginsberg, Susan Gosin, Joan Tatiana Ginsberg, Lois & Gordon James, Ingrid Harry & Sandra Reese, Kathleen Stevenson, Hall, Lois & Gordon James, Sally Wood Johnson, Rose, Michelle Samour, Teri Williams. Elise Thoron, Shirley Waters, Kathy Wosika. David Kimball, Elaine Koretsky, Karen Kunc, Sponsors: Tom & Lore Burgers, John Cirando, Friends: John L. Becker, Gerry Brock, Susan Barbara Lippman, Winifred Lutz, Susan Mackin Gail Deery, Michael Fallon, Jane Farmer, Helen Kanowith-Klein, Fran Kornfeld, Patricia Dolan, David Marshall, Peter Newland Fund Frederick, Helen Hiebert, Kyoko Ibe, Winsome O’Neal, Bonnie Reisman, Amy Richard, of the Greater Everett Community Foundation, Jobling, Nancee Killoran, Steve Kostell, Barbara Peter Sowiski, Peter Thomas, In-kind: Margaret Prentice, Preservation Technologies Landes, Julie McLaughlin, Peter Newland & Tom Balbo, Janet De Boer, Peter Ford, John L.P., Michelle Samour, Peter Sowiski, Marilyn Robyn Johnson, Laura Merrick Roe, Kimberley Gerard, Dard Hunter III, Microsoft Sward, Betty Sweren, Gibby Waitzkin, Tom Schenck, Mary C. Schlosser, Mina Takahashi. Corporate Citizenship, Steve Miller, Radha Weideman, Beck Whitehead, Paul Wong & Donors: Mary Ashton, Thomas Bannister, Pandey, Britt Quinlan. John Colella, Pamela Wood. Tim Barrett, Simon Blattner, Kathryn Auction donors: Cathy Baker & The Legacy Contributors to the Hand Papermaking portfolio & Howard Clark, Nancy Cohen, Michael Press, Tom Balbo & the Morgan Conservatory, archive fund: Tom Balbo, Simon Blattner, Copeland, Elizabeth Curren, Kerri Cushman, Laurence Barker, Gerry Brock, Ingrid Butler, om & Lore Burger, Jeffrey Cooper, Susan Amanda Degener, Susan Mackin Dolan, Jocelyn Châteauvert, Amanda Degener, Mackin Dolan, Drachen Foundation, Michael Sally Wood Johnson, Donald Farnsworth, Patricia Degener, Dieu Donné Papermill, M. Hagan, Joan Hall, Joyce Kierejczyk, Betty Maryannan Geary, Lata Gedala, Jamie Kamph, Lesley Dill, Susan Mackin Dolan, Michael L. Kjelson, Ann Marshall honor-ing David Lou Kaufman, Ellen Mears Kennedy, Joyce Durgin, Michael Fallon, Helen Frederick, Marshall, Julie Reichert, Laura Merrick Kierejczyk, David Kimball, Dirk Lee, Jennifer Peter & Pat Torley Gentenaar, Tatiana Roe, Richard H. Schimmelpfeng, Mary Lowen, Winifred Lutz, Katie MacGregor, Mary Ginsberg, Helen Hiebert, Barbara Landes, C. Schlosser, Mina Takahashi, Aviva Weiner, Lou Manor, Edwin Martin, Catherine Nash, Aimee Lee, Jill Littlewood, the estate of Beck Whitehead.

12 Hand Papermaking Newsletter