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HISTORY OF ART SERIES: Paper as Social Practice, Engagement, and Interview, Panel 2
March 17, 2017, 6:30 pm - 8:00 pm
PAPER AS SOCIAL PRACTICE, ENGAGEMENT, AND INTERVENTION, will treat paper itself as an active maker of community development, social engagement, and activism. The panel will suggest the complex ways in which paper can unite and build communities or create cultural identity, and how that identity shows continuity or elicits calls for change.
Drew Matott, Handpaper Making and Recovery: Peace Paper Founder of numerous paper and art projects around the world, such as Combat Paper Projects, will speak about building communities and constructing/deconstructing personal and national identity.
John Risseeuw, Professor Emeritus at ASU, Making Paper Mean Something Risseeuw, a papermaker and printer whose own work on politics, society, and the arms trade, will speak about activist papermaking
Melissa Potter, Pulp Feminism: Radical Social Histories in Hand Papermaking Professor at Columbia College Chicago, will discuss the Seeds InService project which develops and documents Chicago communities, such as early 20th Century sex workers
Deborah Tlani Salahu-din, Paper and Social Protest in Baltimore Smithsonian Museum Researcher will discuss papers use in social protest and intervention, as demonstrated through artifacts such as paper leaflets and protest signs, as through artifacts from the 2015 Baltimore riots in the Black Lives Matter collection at the National African American History Museum.
The moderator for this panel is Jessica Cochran, curator and lecturer at School of the Art Institute of Chicago, and curator of the Center’s Winter 2017 exhibition, Pulp as Portal: Socially Engaged Hand Papermaking.
The Center for Book Arts’ 2017 History of Art Series is supported by a grant from the New York Chapter of the American Printing History Association. Additional support is provided, in part, by the New York State Council on the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.