HAND volume 34, number 1 • summer 2019

Letter from the Editor 2

Wild and Immaculate: Kenneth Tyler’s Early Use of Handmade at Gemini G.E.L. 3 amy elizabeth hughes

Historical, Social, and Artistic Implications of Collaboration in Contemporary Hand Papermaking 11 katharine lark delamater

Intergenerationality: Collaborations in Handmade Paper 17 tatiana ginsberg

Life is a Curve 23 frida baranek & joan hall

Peace Work: Uniforms into Paper 28 drew cameron

Paper Sample: Combat Paper 31 drew cameron

Nor Boat Nor Fish No River: Using Collaboration and Teaching to Create a Cast-Paper Installation 32 winifred lutz & marie bannerot mcinerney, with corey antis and michael schonhoff

Paper at the Nexus of Being and Place: A Conversation on How Art and Science Interpret Human 38 Origins in Kenya lynn sures, with richard potts

Paper Sample: Beidler Blue Laid 42 andrea peterson, in collaboration with brien beidler

Review 44 michael durgin: Global Paper 4: International Triennial of Paper Art in Deggendorf

Authors 47

Advertisers and Contributors 48

front cover: Catherine Nash & Radha Pandey, Eclipse, 2016, 10 x 8 inches, handmade paper, red Sedona soil, blue sodalite paint, wax, PVA adhesive. One of fifteen works included in Hand Papermaking’s limited-edition portfolio, Intergenerationality, published in 2017. Photo: Jim Escalante. back cover: Robert Rauschenberg discussing the addition of screenprinted images with Kenneth Tyler, for Rauschenberg’s Pages and Fuses project, Richard de Bas , Ambert, France, August, 1973. Photo: Gianfranco Gorgoni. Gift of Kenneth Tyler. Courtesy of The Kenneth Tyler Collection, National Gallery of Australia, Canberra. © Gianfranco Gorgoni.

summer 2019 • 1 Historical, Social, and Artistic This article is adapted from a presentation given by the author, entitled “Shared Authorship in Book Arts: Historic, Social, and Artistic Implications Implications of Collaboration in of Collaboration in Craft,” at the 2018 joint conference of the Friends of Dard Hunter and the American History Association, held at the Univer- Contemporary Hand Papermaking sity of Iowa, in Iowa City, October 25–27, 2018. —Ed.

Over the past five years, through internship and fellowship opportuni- katharine lark delamater ties, I have worked at Dieu Donné and at Pace Paper, both in New York, and at the Oakdale Research Facility at the University of Iowa. Each has its own history, mission, and aesthetics; the opportunity to learn in these unique spaces has been deeply meaningful to me on both professional Lesley Dill, Rapture’s Germination, 2009, 19½ x 15¾ inches, and personal levels. My interest in collaboration has grown as I have silver linen paper on abaca and kozo blend base sheet with spent time with renowned collaborators Ruth Lingen, Paul Wong, Amy silkscreened paint and collage. Papermaker/collaborator: Jacobs, Lisa Haque, Tatiana Ginsberg, and Akemi Martin. Through os- Paul Wong. Edition of 50, published by Dieu Donné, New York, mosis, I have witnessed remarkable acts of collaboration firsthand. Time Collector’s Series. Courtesy of the artist and Dieu Donné. with these accomplished individuals has inspired me to study the history and current status of collaborative craft practices, particularly related to hand papermaking. Craftspeople have worked in teams for centuries because the pro- duction of their craft require it to make a living. In addition, a crafts- person’s responsibilities extend beyond the manufacture of goods. They also consider the economics, aesthetics, and communication necessary to sustain their businesses. Institutions and studios developed to manage this complex operation. One example from Western culture is the Italian bottega, which dates back to the Renaissance. Bottega translates to “work- shop” and defines a space where an established artist would host and train artisans to support the production of the host artist’s body of work.1

summer 2019 • 11 Joan Snyder, Rose Garden, 2010, 27 x 34 inches, cotton pulp, overbeaten and pigmented cotton pulp, tulle, rosebuds, acrylic polymer, 2010. Created in collaboration with Anne Q. McKeown, master papermaker, Brodsky Center for Innovative Editions at Rutgers. Photo: Peter Jacobs. Courtesy of Joan Snyder.

In this designated space, artisans acquired skills and experience is like traveling on a train or maybe a hot air balloon, looking for- to become future masters through an apprenticeship model, ward, looking back, all 360 degrees, pulling together memories which likely informed the current internship model at print and and speculation. . . . I remember choices not made in past projects, paper studios today. Analysis of the spaces where collaborators I look for a possible fit with a new project.”3 gained initial training helps us to understand the evolutions of Artists and collaborators correspond over time to share their their practice and aesthetic sensibilities. We can trace the evolu- vocabularies, often through studio visits and hands-on experi- tion of master collaborators to their educational institutions. One mentation. In certain cases, communication might rely on email, shared by many is the University of Wisconsin at Madison. As exchanges of samples and experiments, and involvement with we have seen with the Hand Papermaking Family Tree, it is fasci- third parties, like gallery representatives. Based on these consul- nating to discover the intersections of artists’ educations.2 These tations and preliminary discussions, collaborators may dive into training grounds, especially when paired with educational institu- their respective archives to reference didactics to guide the direc- tions, become central to the evolution of creative practice. tion of a project. Artist Lesley Dill, who has worked extensively The profession of master collaborator, however, is a different with master collaborators and with other artists, writes, “At first path from work as a professor or museum educator (though not it is like a blind date. Not just a blind date with the friendly first mutually exclusive). I define a master collaborator as a craftsper- meeting . . . but . . . a Meeting of Unknowingness of the width and son with exceptional experience in the technique of, in this case, depth of the creative psyches of all concerned. What skills, what hand papermaking, installed at a professional studio to foster ideas? It is important to be open, poignant, and risky with the relationships with emerging and established artists through the initial imagination.4 collaborative production of artworks and editions. To Dill’s point, in order to form a successful collaboration, Collaborators must oversee the technical execution of the art- both parties must be willing to be vulnerable. Each partner should work, and also have a firm grasp of the conceptual motivations arrive at the collaboration with an openness to possibility, to risks, of the artist. This deep understanding allows them to best tailor to failure, and to differences in practice. This vulnerability comes their recommendations and contributions based on their broad with the reassurance of partnership. Both the artist and collabora- experiences in the medium. On her experience as a master collab- tor have committed to embark on this endeavor together, rather orator at The Brodsky Center since 2001, Anne Q. McKeown ex- than alone. Artists seek professional collaborators (and vice versa) presses: “I have felt that there is a unique perspective from which to continue to challenge their practices and techniques while they a collaborator can see the breadth of a project.” She continues, “It also maintain a mutual respect for one another’s experiences,

12 • hand papermaking Tomoo Gokita, The Madmen #1, 2016, 22 x 17½ inches, stenciled pulp painting Daniel Heidkamp, Hollow Swallow, 2015, 43 x 32½ inches, hand-applied with pochoir. Papermakers: Ruth Lingen and Akemi Martin. Edition of 35, and stenciled paper pulp monoprint. Papermakers: Ruth Lingen and published by Pace Editions, Inc. Photo courtesy of the artist and Pace Prints. Akemi Martin, with assistance from Haejin Lee and Benjamin Herndon. © Tomoo Gokita. Published by Pace Editions, Inc. Photo courtesy of the artist and Pace Prints. © Daniel Heidkamp. aesthetics, and goals. As Anne McKeown notes, “Luckily there is This interpersonal exchange is also a shared act of transforma- trust in collaboration. Knowledge, time, and trust are important tion that affects each individual in the collaboration. The same can elements in collaborative work.”5 be said of the complex relationship between papermaker and fi- Each partner should feel comfortable to clearly share intu- ber, the core collaboration in hand papermaking. Fiber is naturally itions and communicate them in a clear, intentional way. A collab- occurring, living matter. Papermakers are aware that the engage- oration flourishes when both the artist and the collaborator share ment with fiber, to turn it into paper, is a collaboration in and of a deep interpersonal ability to read the needs of others, anticipate itself. Flexibility and reliance on something outside of ourselves their requests, and know at what point to push the envelope just directly informs our understanding that we cannot do this alone. a bit further. Partners in collaboration must be empathetic, flex- We might also consider collaboration in hand papermaking as ible, reflective, and considerate. On this relationship, Lesley Dill an act of translation. The collaborator assists artists in the transla- notes, “The development of a trusting rapport has to happen for tion of their conceptual and aesthetic goals from one medium to the ‘yesses’ in the artwork to emerge.”6 another. Translation is, of course, easier when assisted by a flu- Professional collaboration is a multi-faceted and nuanced ap- ent practitioner, which in this case, is the master collaborator. I proach to communication and craft that requires constant main- define translation in this sense as an intentional decision to make tenance, reflection, and revision, just like any other personal known in a different format. relationship that we foster over time. During my internships, I As a research assistant at the Oakdale Paper Facility at the learned much in the observation of techniques and mastery of University of Iowa Center for the Book, I have had the opportu- foundational craft skills. I also learned about studio management nity to work closely with the historic practices that involve team- as I watched master collaborators weigh decisions and navigate work which inform the processes at contemporary papermaking unforeseen circumstances, all while remaining focused on the studios. There is the human desire for success, not only for the success of the artwork and those around them. These intense, individual but the team. It is a humbling experience to be remind- immersive experiences have led me to understand that master ed of the physical limits of our body and the need for the help of collaborators are deeply intelligent, intuitive, observant artists others. There are also limitations on what an individual can dis- and communicators who viscerally understand the importance of cover on their own in a lifetime, which provides an argument for tone and gesture. To dedicate one’s career to the pursuit of refin- the importance of archiving development in craft. “In a sense, we ing these traits, while also aiding in the creation of extraordinary are all collaborating with papermakers gone before us,” says Tim artworks, is a profoundly generous act. Barrett. “Our work builds on theirs; we stand on their shoulders.

summer 2019 • 13 Eleanna Anagnos, Gift of Tongues, 2018, 19 x 20 x 4 inches, paper pulp mixture and . Photo: Sean Downey. Courtesy of the artist and High Noon Gallery, New York.

To what extent one wishes to collaborate or get into a dialogue Tatiana Potts. Now, at the University of Iowa, Anagnos has been with historical papermakers depends a lot on whether or not you consulting with Tim Barrett and learning about historical Chan- are drawn to their . Except in rare cases, they didn’t write cery paper production, all the while continuing her professional down much of anything about their materials or procedures. So, artistic practice. Anagnos speaks of her experience with paper- the papers they left us are encoded messages and we are left to making as both vexing and fascinating. In both historical produc- puzzle out how they accomplished what they did. If you are a tion and contemporary artistic work, a sense of humor helps to papermaker you already know part of the code; how to read the weather the unpredictability of handmade paper. paper you are intrigued with. Sometimes transmitted or raking While papermakers’ lives have been devoted to trying to con- light helps, or feeling and even smelling the sheet. Or listening to trol the craft, there is much to be learned in the practice of relin- it as it is moved gently in the hands. Regardless of the nature of quishing control and accepting the media for what it presents. your direction in papermaking, collaborating with those who’ve Anne McKeown writes, “I know how paper acted in past proj- left their beguiling creations behind is well worth considering.”7 ects. I have a good idea about what others are doing in handmade This collaborative partnership with historical craft continues paper. My suggestions come from understanding the fiber itself, to nourish the evolution of our discipline. Even the smallest glim- and working with paper’s internal identity. This is different from mers of insight into historical production or problem solving can projecting an idea on the fiber.”9 As an example, an artist might inform contemporary papermaking practice and discourse. Artist work primarily in wax, which holds light much differently than Eleanna Anagnos’s involvement at the Oakdale Research Facility a sheet of paper. However, the collaborator knows in their toolkit is a strong example of combining historical practice and contem- which fibers might best capture a similar quality of transmitted porary experimentation. light. In another example, with a less dramatic shift in media, it A Grant Wood Painting Fellow at the University of Iowa, El- is not a simple task to match colors between seemingly related eanna Anagnos, describes the transition in her painting practice materials, such as ink mixed from a Pantone guide, dabbed onto when she adopted paper as a medium in response to techni- watercolor paper, and pigmented paper fiber. Handmade paper cal considerations: “I have been using Hydrocal (a gypsum ce- simply holds color differently. The collaborator must select from ment similar to plaster) as a primary medium for almost a de- their mental archive to make suggestions to preserve certain qual- cade. . . . I began making larger work only to find [that] I could not ities of the original medium to the best of their ability. McKeown lift my own paintings. They were too heavy! . . . My research led me describes, “With knowledge of the intent of the artist with whom to a recipe using toilet paper in a mix of other household mate- I work, I make samples of what I see as solutions. Paper must rials. The medium is lightweight, clay like, and can be molded, dry! Drying time allows an opportunity to look at solutions after dyed or painted.”8 As a visiting assistant professor at the Univer- discussion is hours or days past. It is a way that the solution can sity of Tennessee–Knoxville in 2017, Anagnos was introduced to be observed with freshness.”10 It is in the interval—the time when the Hollander beater and rag pulp by Althea Murphy-Price and fiber becomes pulp and then becomes paper—where the magic

14 • hand papermaking Master papermaker Ruth Lingen (right) and the author demonstrate editioning techniques with the use of a Fogg-It nozzle during the 2018 Friends of Dard Hunter and American Printing History Association joint conference. Photo: Colleen Lawrence, 2018. Noel W Anderson, Time/d Tragedy, 2018, 24 x 18 inches, pigmented linen pulp paint silkscreen on cotton base sheet. Papermaker/ collaborator: Amy Jacobs. Unique work, created during a Workspace happens; where the transformation occurs between fiber, between col- residency at Dieu Donné, New York. Courtesy of the artist and laborators, between ideas, between the practice present and past. Dieu Donné. Projects like Hand Papermaking’s Intergenerationality portfolio (2017) highlight the importance of remaining connected with hand papermak- ers who have come before us and will come after us. I came to under- stand another aspect of collaboration when working on a piece for the portfolio with artist Melissa Jay Craig. While I had often seen artists come through the studios in New York, I had not gotten to experience first hand the “drawing board” stage of collaboration—where a table is littered with notes and color swatches and experiments from previous projects. Melissa and I worked together to create a piece that we felt equally represented each of our artistic viewpoints. The breadth of Melissa’s ex- perience included sculptural papermaking with kozo bark lace which we combined with my developing interest in printmaking with natural dyes. From the beginning, we recognized that the work would be one of shared authorship in which we would be given equal representation on attribu- tions such as object labels and portfolio documentation. For collaborations that take place in studios such as Dieu Donné and Pace Paper, the authorship resides with the artist. Generally, the artist enters into the collaboration with the intention to create work specifically Artist Noel W Anderson (right) and collaborator Amy Jacobs ladle in the medium of handmade paper in which they typically have little to highly beaten linen rag pup through silkscreen mesh onto partially no experience. The master collaborator provides insight into the techni- pressed cotton base sheet during his 2018 Workspace residency at Dieu cal possibilities, offers aesthetic support, and manages production. They Donné, New York. Courtesy of Dieu Donné. may produce samples and prototypes for artist approval and oversee or participate in the production of the project, all the while sharing their depth of experience and expertise developed from working with a wide array of artists over time. Artists enter this collaborative arrangement with the knowledge that they are the leader of this artistic endeavor, while gratefully accept- ing the contributions of the master collaborator. If this relationship lacked clear boundaries, the artist might feel uncertain about pursuing

summer 2019 • 15 Leonardo Drew, 12P, 2012, 66 x 70 inches, 3-color pigmented cast handmade paper. Papermakers: Ruth Lingen, Akemi Martin, and Michael Adams. Edition of 3, published by Pace Editions, Inc. Photo courtesy of the artist and Pace Prints. © Leonardo Drew.

a relationship in which their work may be susceptible to unfore- The author wishes to acknowledge the support of the University of seen intervention. The relationship works because the collabo- Iowa Graduate College, which funded the author’s 2018 summer re- rator understands and respects the agreed-upon boundaries of search fellowship in New York interviewing artists and collaborators. creative authorship. The author would also like to thank the following individuals for their Contracts and institutional administrators can help to man- support of this project and willingness to discuss their experiences: Sue age these parameters so that artists and collaborators can focus Gosin, Tatiana Ginsberg, Amy Jacobs, Ruth Lingen, Akemi Martin, on their desire to work and learn from one another and create Kat Savage, Chuck Webster, Rachel Gladfelter, Lesley Dill, Anne Q. the best possible project. While some may feel that discussion McKeown, Paul Wong, Tim Barrett, Eleanna Anagnos. of these nuts-and-bolts details detract attention from the artistic work at hand, the definition of clear expectations provides scaf- ______folding that supports collaborative efforts. notes Professional collaboration offers a means for a papermaker 1. Merriam-Webster Dictionary, “Bottega,” https://www.merriam-webster to be deeply involved with their craft, and remain engaged with .com/dictionary/bottega (accessed January 31, 2019). the art world, while they continue to work behind the scenes. The 2. Hand Papermaking Community, “The Online Resource for the distance from the spotlight may actually be what draws some to- Hand Papermaking Community Documentation Project,” https:// wards the role of collaborator. This tendency towards modesty handpapermakingcommunity.wordpress.com/2015/03/01/hand-papermaking- could explain why collaborators often remain a silent partner. family-tree/ (accessed January 31, 2019). It is my belief that papermaker-collaborators should be rec- 3. Anne Q. McKeown, email message to the author, January 6, 2019. ognized for their critical contributions in an artist’s collaborative 4. Lesley Dill, email message to the author, December 18, 2018. project by dealers, special collections, historians, and museums. 5. Anne Q. McKeown, email message to the author, January 6, 2019. Clear representation of collaborators acknowledges the dialogue 6. Lesley Dill, email message to the author, December 18, 2018. and unique conditions under which a particular project attributed 7. Timothy Barrett, email message to the author, December 17, 2018. to an artist is realized. Transparency about collaboration speaks to 8. Eleanna Anagnos, email message to the author, December 21, 2018. the real generative power of working together, in art, and, for that 9. Anne Q. McKeown, email message to the author, January 6, 2019. matter, in all aspects of life. 10. Anne Q. McKeown, email message to the author, January 6, 2019.

16 • hand papermaking