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During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Created at the Visual Arts Center of the Massachusetts Audubon Society by Jane Ingram Allen and assistants. This nest was eventually lined with hundreds of handmade paper feathers created with pulp made from local plants and containing seeds to feed the birds and grow new plants as the paper dissolved into compost and released the seeds.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
One-month Trip to Georgia, Carolinas & Minnesota, Fall 2008
Photo: Atlanta, GA. Urban landscape reflection
On my first day in Atlanta I was going to bike to Stone Mountain, but it rained really hard all day, so I got out the umbrella and went on an urban hike. I found part of the The Path to walk along, was excited to see the georgia red clay earth again and Kudzu growing in the the trees. I lived in Stone Mountain, a suburb or Atlanta from 1980 to 1983. And my memory was stronger than I thought. I felt I was home. People were super friendly to me and I really enjoyed my time in Atlanta, especially hanging with Kyla. I also met my childhood friend Kim, explored Decatur, a neighboring town (the old cemetery was so cool), walked through "Squirrel Park" (Inman Park) and Little Five Points, had an amazing dinner at Kyla's parent's house, attended a 3 hour Yom Kippor service (Jewish high holy day) at Kyla's parent's church that used to be only gay & lesbian members. On my second day I took the Marta Train downtown, and visited the Center for Puppetry Arts - where I went as a kid (they had a jim henson exhibit - Labyrinth!), and a Papermaking museum at Georgia Tech, plus I took lots of "apocalyptic" photos of the new urban buildings among undeveloped fields.
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
For seven weeks from August to October 2013, Sarah Peters came to work in our letterpress, papermaking, and bookmaking facilities to produce The Moon Has No Weather, a limited-edition book about the moon as an archive of its history.
I am told by John Jack that the man with the black top on is Mick Keegan.
I think that these pictures would be early 1970's
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
I spent the better part of yesterday to make stationery as a birthday gift. A good way to spend a rainy afternoon.
Created at the Visual Arts Center of the Massachusetts Audubon Society by Jane Ingram Allen and assistants. This nest was eventually lined with hundreds of handmade paper feathers created with pulp made from local plants and containing seeds to feed the birds and grow new plants as the paper dissolved into compost and released the seeds.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
The Book Club of California’s 2016 summer exhibition, Fine Print: The Review for the Arts of the Book (1975-1990), focuses on the remarkable legacy of this San Francisco-based journal, which began as the vision of Sandy Kirshenbaum; grew and thrived with the efforts of a core editorial team that included Stephen Corey, rare book librarian, and two young printers, Linnea Gentry and George Ritchie, who were working for Andrew Hoyem at the time; and went on to achieve high standards of both content and form through the contributions of many talented collaborators from California and around the world. Throughout its fifteen year run, Fine Print not only provided a showcase for the best in fine press publishing, but attempted to integrate all of the book arts, including calligraphy, bookbinding, papermaking, wood engraving, and type design—the latter increasingly devoted to digitization and computer-generated types—while also offering important articles on the history of the book and creating a space for conversation among writers, scholars, and book artists from around the world. Fine Print’s many contributors included Martin Antonetti, Nicolas Barker, Charles Bigelow, Robert Bringhurst, John Dreyfus, Paul Hayden Duensing, Colin Franklin, EM Ginger, Steven Heller, Andrew Hoyem, Janet Ing, Paul Needham, Stan Nelson, Will Powers, Wesley Tanner, Benjamin Vorst, Hermann Zapf, and many others. As Robert D. Harlan has written, “The entire corpus [of Fine Print] will continue to be studied and admired by practitioners, students, and connoisseurs.”
Visit the BCC website to view all upcoming programs.
Find us on:
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
For seven weeks from August to October 2013, Sarah Peters came to work in our letterpress, papermaking, and bookmaking facilities to produce The Moon Has No Weather, a limited-edition book about the moon as an archive of its history.
Curious how creative communities can work to protect the environment, Sheila Nakitende brought her interdisciplinary practice to the papermaking studio. Check it out on our blog: bit.ly/sheila-nakitende
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Between the silkscreen and papermaking studios, Art-in-Ed resident Vanessa Adams creates a new signpost for her series "How to Regain Sight."
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Danielle Smith with Holden Bleyle, (and Holden's little sister Madi who popped in to see what he was doing).
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Papermaking at the Twinrocker mill. Peter Koch and Susan Filter recount their adventure publishing Joseph Brodsky's Watermark in Parenthesis 15. Image copyright Peter Koch.
Workspace Resident Maria Vonn worked for four weeks in our papermaking studio, using human hair and horsehair as line, embedding the strands in handmade paper. More details on Maria's work, which is born of her experiences with trichotillomania: bit.ly/mariavonn
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
The Book Club of California’s 2016 summer exhibition, Fine Print: The Review for the Arts of the Book (1975-1990), focuses on the remarkable legacy of this San Francisco-based journal, which began as the vision of Sandy Kirshenbaum; grew and thrived with the efforts of a core editorial team that included Stephen Corey, rare book librarian, and two young printers, Linnea Gentry and George Ritchie, who were working for Andrew Hoyem at the time; and went on to achieve high standards of both content and form through the contributions of many talented collaborators from California and around the world. Throughout its fifteen year run, Fine Print not only provided a showcase for the best in fine press publishing, but attempted to integrate all of the book arts, including calligraphy, bookbinding, papermaking, wood engraving, and type design—the latter increasingly devoted to digitization and computer-generated types—while also offering important articles on the history of the book and creating a space for conversation among writers, scholars, and book artists from around the world. Fine Print’s many contributors included Martin Antonetti, Nicolas Barker, Charles Bigelow, Robert Bringhurst, John Dreyfus, Paul Hayden Duensing, Colin Franklin, EM Ginger, Steven Heller, Andrew Hoyem, Janet Ing, Paul Needham, Stan Nelson, Will Powers, Wesley Tanner, Benjamin Vorst, Hermann Zapf, and many others. As Robert D. Harlan has written, “The entire corpus [of Fine Print] will continue to be studied and admired by practitioners, students, and connoisseurs.”
Visit the BCC website to view all upcoming programs.
Find us on:
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Workspace Resident Maria Vonn worked for four weeks in our papermaking studio, using human hair and horsehair as line, embedding the strands in handmade paper. More details on Maria's work, which is born of her experiences with trichotillomania: bit.ly/mariavonn
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Printing and papermaking provided occupational mobility for men, but roles allocated to women were more restrictive. Apart from brief periods (1860 to 1909 and during both World wars), it was practically unheard of for women to be employed within the main print house or papermill machine house.
As in this image, In printing firms, most worked in the bindery where their role was to collate, fold and hand sew books. In papermills women worked mainly in the ‘salle’ or overhauling department where paper was quality checked before being sent to customers. Women workers did not undergo the same intensive apprenticeship given to male counterparts. They learned on the job, often employed straight from school. Hours were long and wages low in comparison to men. Females were often paid piece rate; receiving a bonus depending on the number of items they completed per week.
As female labour was often used to undercut male wages, the response frequently was to exclude them from traditiona male spheres of work. In 1909 female compositors were banned from entry into the trade by an agreement between the union and the employers. Female unions were encouraged where there was no threat to the male workforce.
Edinburgh City of Print is a joint project between the City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by Edinburgh City Museums. For more information about the project please visit www.edinburghcityofprint.org