Contemporary artists PAPER. Mira Pearlman, Subito, 2010 at Caren Goldman Fine Art’s booth at Pulse NYC. Photo by Anna Daley. .

Contemporary artists

PAPER

• Mira Pearlman, Subito, 2010 at Caren Goldman Fine Art’s booth at Pulse NYC. Photo by Anna Daley.

• http://gallerycrawl.typepad.com/gallery_crawl/page/3/

• Belinda Smith • presents ‘Cumulus’ which

describes a process, a sculptural form and an expression of experiences. It is an exploration of how simple shapes build upon each other to create a complex and unpredictable form. Paper discs are pieced together by sewing, forming a floral motif. By repeating this process a form develops becoming a structure that is more akin with organic matter or cloud formations.

• http://www.art-in-tropical-australia.com/art-events-2009-archived.html

• Susan Stockwell• Paper Pom-Pom 1994 http://suizou.wordpress.com/

For the joy of a visual blast

Paperworks and a styrofoam installation by German sculptor and jazz listener Andreas Kocks.

http://www.ifeelasphalt.com/index.php/tag/paperwork/

German artist Andreas Kocks massive explosion of black paper that captures the dynamism of wet paint thrown violently against a wall.

Fran Siegel© Courtesy of the artist & Margaret Thatcher Projectsan idiosyncratic unplanned layout, where architecture collides with natural land contours. Through an

intricate process of accumulative layering, drawing and stitching, Siegel pieces together multiple aerial viewpoints that explore shifts in light, perspective and atmosphere, while implying continuing motion outside of the frame.

http://www.artslant.com/ny/events/show/122601-transient-borders

British artist Chris Kenny will creates new, fictional cities, from deconstructed maps

http://www.englandgallery.com/artist_work.php?mainId=51&groupId=none&_p=5&_gnum=8&media=Constructions%20%26%20mixed%20media

Beatrice Coron's inspiration comes from a text, a poem, the news or from a philosophical concept that can be reduced to a mere title. She researches collective memories and myths, questioning the notions of identity and belonging. For each theme, I explore various narratives: one story leads to the next, and the creation process weaves different layers of our relations to the world.

http://figurativeartists.blogspot.com

/

Olafur Eliasson’s book via Space InvadingCommissioned by MOMA, Olafur

Eliasson creates 454 page, 85:1 scale, laser-cut negative space rendering of his home [SpaceInvading]Video of Rirkrit Tiravanija serving up vegetarian curry at a grafitti’d construction installation at David Zwirner

http://artobserved.com/2009/01/

Tomas Rivas, from Chile, carves ordinary sheetrock into classical architectural ornaments and trim. 'Declinacion lineal, Linear declination'. Plasterboard, screws, graphite.

http://wwwnew.vca.unimelb.edu.au/gallarchive09/

Thomas Demand, 1995, based on a still of Olympia by Leni RiefenstahlEveything you see in this picture by German artist Thomas Demand is made of Paper! In Boijmans

you can visit his exhibition Nationalgalerie, about German identity and collective memory.The model of his environment is destroyed and only the large-scale photographic print remains as

the final document. http://www.glamcult.com/?tag=thomas-demand

• Tom Friedman’s White Cloud, 1989, installed at the University Gallery of UMass Amherst

http://www.artnet.com/magazineus/features/darcy/darcy7-24-06_detail.asp?picnum=13

Friedman's materials are even more base in Inside-Out, a construction assembled between 1991 and 2006. Out from an inverted cardboard box extends a peninsula of stunningly delicate trash and ephemera that seems laced together like a 3D collage. Friedman's gentle kind of fleurs-du-mal construction

Photo-sculptures by Oliver Herring

"Most people are much more

unusual and complicated and eccentric and playful and

creative than they have the time to express," says the German-born, Brooklyn-

based artist Oliver Herring in an interview for

"Art: 21" on PBS

"Art: 21" on PBS.http://www.minnpost.com/artsarena/2010/04/19/17475/a_playful_take_on_communitycreated_art_at_the_twin_cities_task_partyhttp://art340440.blogspot.com/

American artist

Nava Lubelski Is interested

in paper as the record of human interaction.

She uses paper documents—letters, receipts, ticket stubs, Post-It notes—shredding them into strips, rolling them into small bundles, and assembling them in new forms that resemble the cross-sections of a tree.

http://lorraineglessner.blogspot.com/2009/01/nava-lubelski.html

Cildo Meireles ‘I wanted to construct something that would be a kind of mathematical equation, very simple and direct, connecting

three elements: material power, spiritual power, and a kind of unavoidable, historically repeated consequence of this conjunction, which was tragedy’. The resulting work comments on the human cost of missionary work and its connection with the exploitation of wealth in the colonies: the ceiling is composed of 2,000 bones, while the floor comprises 600,000 coins. Symbolically joining these two elements is a column of 800 communion wafers.

http://www.grayareasymposium.org/blog/category/home/page/3

Scottish artist Georgia Russell shredded Gombrich’s The Story of Art, flaying its pages and preserving it under a glass bubble, like a taxidermy specimen. http://thepostfamily.com/community_posts/310-georgia-russell

These amazing sculptures are the work of British artist Su Blackwell, who carefully dismembers books in order to create a visual interpretation of their contents.

Blackwell's sculptures are composed entirely from a single book — that is, she only uses the pages in the book itself to create her three-dimensional marvels.

http://jezebel.com/5325499/su-blackwell-destroys-books-creates-wonders

Video Animations with Paper :

Lotte Reiniger’s 1926 film Prince Ahmed

http://www.youtube.com/watch?v=yS4jit16Fd8

http://www.youtube.com/watch?v=j0NjcykUVM8&feature=related

Kara Walker http://www.youtube.com/watch?v=XD_djwe919k&playnext=1&list=PL53A2579DBB716949&index=2

http://whitney.org/Exhibitions/KaraWalker

“Ms. Walker’s style is magnetic. . . . Brilliant is the word for it, and the brilliance grows over the survey’s decade-plus span. And then there is the theme: race. It dominates everything, yet within it Ms. Walker finds a chaos of contradictory ideas and emotions.” —The New York Times

• Landscapes | Rob Carter• My videos and photographs examine paper as both a physical object and a

malleable document of time. The imagery often relies on theatrical manipulation or illusion, but uses these mechanisms in order to inform or expand the meaning or reading of the imagery, rather than to fool the viewer’s sense of what is real.

My recent work employs video animation and photographic ‘re-constructions’ that use the theatricality of architecture and landscape as

a platform to spotlight the iconic and political structures of sports stadia.http://arkinetblog.wordpress.com/2010/02/15/landscapes-rob-carter/

Over the course of two months these combined scenes were repeatedly photographed, revealing the growth and subsequent interference of the plants with the landscape, as they gradually knit the two scenes together: Rob Cater in Times Square:

http://www.creativetime.org/programs/archive/44half/index.html http://www.creativetime.org/programs/archive/44half/emerging2010.html

Rob Carter (born 1976 in Worcester, UK; lives and works in Brooklyn, NY) uses stop-motion animation and photographic re constructions of architectural forms to bring to life historical narratives. His meticulous technique combines paper images and living plants to create imaginative retellings of urban development. Carter received his BFA from the Ruskin School of Drawing and Fine Art at Oxford University and his MFA from Hunter College. He has exhibited his work in the U.S. and abroad, including the Museum of Art and Design, New York, NY; and the Fondazione Pastificio Cerere, Rome, Italy.

• Adam Fowler’s deeply meditative and process-oriented work emerges from the fusion of near-polar actions. Beginning with sweeping, automatic drawings of organic lines, ellipses and circles, Fowler lays down graphite on sheet after sheet of archival paper.

• After the initial drawings are formed, the artist begins the painstaking work of removing all the unmarked space with an X-acto knife, tracing each arch and curve to create lacelike, skeletal objects. The sheets are then stacked one on top of another, forming dense, complex compositions. The result is neither drawing nor sculpture, but hovers in a newly carved space between the two.

Adam Fowler’s deeply meditative and process-oriented work emerges from the fusion of near-polar actions. Beginning with sweeping, automatic drawings of organic lines, ellipses and circles, Fowler lays down graphite on sheet after sheet of archival paper. After the initial drawings are formed, the artist begins the painstaking work of removing all the unmarked space with an X-acto knife, tracing each arch and curve to create lacelike, skeletal objects. The sheets are then stacked one on top of another, forming dense, complex compositions. The result is neither drawing nor sculpture, but hovers in a newly carved space between the two.

http://www.thatcherprojects.com/exhibition_01.cfm?exh=795 http://adamfowler.com/untitled_08_graphiteonpaper_13x14_20.aspx