Ginny Treanor introduces the exhibition, shares how the artists were selected, and highlights why the exhibition focuses on paper, a diverse and eclectic medium.
Jen Aitken discusses her site-specific work Lines+Planes (Temporary Structure 1), 2015
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
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
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
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
Angela Glajcar discusses her work Terforation, 2012
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.
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
Joli Livaudais discusses her work All That I Love, 2012–present
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
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.
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
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
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
Hyeyoung Shin, Tide (detail), 2019–20; Cast Gampi paper, dimensions variable; Courtesy of the artist; Photo by Aaron Paden
Hyeyoung Shin
Greater Kansas CityCommittee
Hyeyoung Shin discusses her work Tide, 2019–present
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Discover exhibitions showcasing work by established and emerging women artists from around the world.