Image for Paper Routes Audio Guide

Paper Routes Audio Guide

Paper Routes Audio Guide

Listen to the Paper Routes—Women to Watch 2020 audio guide.

Several of the artists featured in Paper Routes—Women to Watch 2020 discuss their inspirations, processes, and use of paper as a medium.

View audio transcripts, opens in new tab 
Cover of the Paper Routes exhibition catalogue. View in the museum shop.

Curator’s Introduction

Ginny Treanor, NMWA associate curator

Ginny Treanor introduces the exhibition, shares how the artists were selected, and highlights why the exhibition focuses on paper, a diverse and eclectic medium. 

A beige abstract sculpture with varied geometric angles positioned against a window. The sculpture has red painted lines extending onto the walls.
Jen Aitken, Lines+Planes, 2020; Paper, masking tape, pencil, and gouache, approx. 36 x 54 x 30 in.; Installation at Evans Contemporary, Peterborough, Ontario, Canada; Courtesy of the artist and Georgia Scherman Projects; Photo © Jen Aitken

Jen Aitken

Canada Committee

Jen Aitken discusses her site-specific work Lines+Planes (Temporary Structure 1), 2015 

A contemporary wall sculpture with cut wallpaper piece pasted onto the wall and objects and home furniture protrude from the wall and onto the ground covered in colorful floral wallpaper.
Elizabeth Alexander, All Things Bright and Beautiful (side 1), 2019; Cast paper and extracted wallpaper pattern, 92 x 124 x 40 in.; Courtesy of the artist; Photo by Mitchell Kearney

Elizabeth Alexander

Massachussetts Committee

Elizabeth Alexander discusses her two-sided installation, All Things Bright and Beautiful, 2019

Two symmetrical forms that appear as heads with enlarged crania face each other. A colorful background for the heads peek through behind thousands of cut paper letters.
Natasha Bowdoin, Contrariwise, 2011; Pencil, gouache, and ink on cut paper, 96 x 96 x 2 in.; Courtesy of the artist and Talley Dunn Gallery

Natasha Bowdoin

Texas Committee

Natasha Bowdoin discusses her work Contrariwise, 2011 

A round work with a bright yellow center. The surface is made up of images of white and beige blankets with heart-shaped designs on them
Mira Burack, Sun (son), 2015; Photography collage and paint, 84 in. diameter; Courtesy of the artist; Photo by Eric Swanson

Mira Burack

New Mexico Committee

Mira Burack discusses her works Sun (son), 2015, and (dark) Waterdrop, 2018 

A long rectangular wall with many silhouetted figures made out of brown paper. The figures are of men, women and children in different positions as if in a landscape. They are different sizes to indicate foreground, middle ground and background.
Mary Evans, Tableau Vivant, 2017; Kraft paper and ink, 9 ft. 8 in. x 45 ft. 9 in.; Courtesy of the artist; Photo by MuZee Ostend Belgium

Mary Evans

U.K. Committee

Mary Evans discusses her work Prospect, 2020 

Rachel Farbiarz, Memorial Hill, 2013; Graphite and collage on paper, 31 ½ x 71 ¾ in.; Collection of Tobie Whitman and Daniel Yates; Photo by Greg Staley

Rachel Farbiarz

Mid-Atlantic Region Committee

Rachel Farbiarz discusses her work Memorial Hill, 2013 

A trapezoidal abstract orange sculpture made of paper pulp with a top arch that connects the two sides. The sculpture is thin with a big void space in between the four sides.
Dolores Furtado, Desierto (Desert), 2018; Paper pulp, 18 x 14 x 3 in.; Courtesy of the artist; Photo © Dolores Furtado

Dolores Furtado

Argentina Committee

Dolores Furtado discusses her works Desierto (Desert), 2018, and Morocco, 2018  

Panels of white paper hung together to look like a long rectangular box suspended from the ceiling a few feet off the ground. Roughly torn holes in the middle of the sheets create a tunnel-like space.
Angela Glajcar, Terforation, 2012; Paper, metal, and plastic, 55 x 39 x 197 in.; Courtesy of K.OSS Contemporary Art; Photo © Angela Glajcar

Angela Glajcar

Germany Committee

Angela Glajcar discusses her work Terforation, 2012 

A floor to ceiling contemporary installation of blue square sheets patched together into a long panel that hangs down from two wires and partly rests flat on the floor. A dark blue object lays nearby.
Dalila Gonçalves, Desgastar em Pedra (segundo ensaio) (To Wear in Stone (second test)), 2018; Blue sandpaper and agglomerated sand, approx. 157 ½ x 78 ¾ x 70 ⅝ in.; Courtesy of the artist and Rafael Ortiz Gallery

Dalila Gonçalves

Portugal Committee

Dalila Gonçalves habla sobre su obra de arte Desgastar em Pedra (segundo ensaio) (To Wear in Stone [second test]), 2018. Audio y transcripción en español. 

Curator Ginny Treanor reads an English translation of Dalila Gonçalves discussing her artwork Desgastar em Pedra (segundo ensaio) (To Wear in Stone [second test]), 2018. Audio and transcription in English. 

The name ‘Rita Bianchi’ is inscribed in a cursive typeface and slightly raised off the surface of a thin white paper pulp base with frayed edges.
Julia Goodman, Rita Bianchi, from the series “Rag Sorters, 1964,” 2013; Pulped fabric, 10 x 11 ½ in.; Courtesy of the artist; Photo by Robert Divers Herrick

Julia Goodman

Northern California Committee

Julia Goodman discusses her work in the “Rag Sorters, 1964” series 

Julia Goodman discusses her work Waning & Waxing, 2020 

Installation view of thousands of small insects swarming out on the walls, ceiling, and onto the floor of a building lobby.
Joli Livaudais, All That I Love, 2012–present; Photography on kozo paper, aluminum, epoxy resin, and pins, dimensions variable; Courtesy of the artist; Photo © Joli Livaudais

Joli Livaudais

Arkansas Committee

Joli Livaudais discusses her work All That I Love, 2012–present 

A sleeveless rich blue full-length gown placed on a headless black mannequin with rounded base. The dress has white text and images printed on the surface.
Annie Lopez, The Liberation of Glycerine, 2016; Cyanotype on tamale wrapper paper, thread, zipper, and metal buckle, 51 x 48 x 52 in.; Collection of Eric Jungermann; Photo by Katie Jones-Weinert, Tucson Museum of Art

Annie Lopez

Arizona Committee

Annie Lopez discusses her works I Never Learned Spanish, 2013, Favorite Things, 2016, and The Liberation of Glycerine, 2016 

A rectangular work made up of blue and black pieces of paper interwoven together with currency amounts and words in Spanish.
Luisa Pastor, El azar del mestizaje: Negro/Azul (The Chance of Miscegenation: Black/Blue), 2016; Mexican National Lottery tickets, 33 ⅝ x 37 ¾ in.; Courtesy of Galería Nordés; Photo by Antonio Seva

Luisa Pastor

Spain Committee

Luisa Pastor habla sobre su obra de arte El azar del mestizaje: Negro/Amarillo (The Chance of Miscegenation: Black/Yellow), 2016, y Topología del pliegue (Topology of the Fold), 2018. Audio y transcripción en español. 

Assistant Curator Orin Zahra reads an English translation of Luisa Pastor discussing her artwork El azar del mestizaje: Negro/Amarillo (The Chance of Miscegenation: Black/Yellow), 2016, and Topología del pliegue (Topology of the Fold), 2018. Audio and transcription in English. 

Five panels of paper covered in gray charcoal in which there is a cut stencil of an image of a group of faceless people. The panels have portions of paper that flap and fold.
Sa’dia Rehman, Family, 2017; Powdered charcoal on cut newsprint, 96 x 180 in.; Courtesy of the artist; Photo by Michelle Burdine

Sa’dia Rehman

Ohio Committee

Sa’dia Rehman discusses her work Family, 2017

An image of two hands touching by their fingertips. The back of one hand is drawn on the paper and the palm of the other is embossed.
Natalia Revilla, Apipakotene, from the series “Veinte palabras” (“Twenty Words”), 2016; Ink on embossed paper, 21 ⅝ x 15 in.; Courtesy of the artist

Natalia Revilla

Peru Committee

Natalia Revilla discusses her works in the series “Veinte palabras” (“Twenty Words”), 2016 

Vibrantly colored strokes of watercolor in shades of magenta, orange, and yellow, flow across white paper, giving the impression of waves.
Lucha Rodríguez, Knife Drawing XX, 2018; Watercolor on paper, 30 x 22 in.; Courtesy of the artist; Photo by Paco Vergachette

Lucha Rodríguez

Georgia Committee

Lucha Rodríguez discusses her works in the series “Knife Drawing” 2018-2019

Dozens of pale, hollow, ghostly feet of different sizes made of translucent paper arrayed in pairs on a white background.
Hyeyoung Shin, Tide (detail), 2019–20; Cast Gampi paper, dimensions variable; Courtesy of the artist; Photo by Aaron Paden

Hyeyoung Shin

Greater Kansas City Committee

Hyeyoung Shin discusses her work Tide, 2019–present