Search

Is paper passe? Your answer will most likely depend on whether you're reading this sentence on newsprint or on a screen. But it's safe to say that artists and designers aren't ready to quit the stuff, at least by the measure of the latest show at the Museum of Arts and Design. They are, however, willing to pierce, shred, carve and slice it. ''Slash: Paper Under the Knife,'' the third show in the museum's Materials and Process series, explores the sometimes violent, always intricate art of paper cutting. (It follows ''Radical Lace and Subversive Knitting'' and ''Pricked: Extreme Embroidery'' in 2007 and 2008.) [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Zarina: Paper Like Skin," by Zarina Hashmi at the Guggenheim Museum in New York City until April 21, 2013.

The article previews the exhibition "Works on Paper 1976-1977" at David Zwirner's Chelsea gallery in New York City through June 29, 2013, which will feature works on paper made by German abstract artist Blinky Palermo.

Folded paper transcends mere craft in the Parrish Art Museum's exhibition ''Paper Transformed -- Origami.'' Here is an astonishing array of lifelike animals made of nothing but folded paper. Some of them are life-size, like a heron, its neck crooked, greeting visitors at the entrance to the show. The nearly 100 sculptures on display here, by the world's leading contemporary origami artists, were made without cutting or gluing. According to the book that accompanies the exhibition, many of the pieces were made with a single sheet of paper. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Electricity Paper Vinyl..." at the Petzel Gallery in New York City, through February 16, 2013.

The article reviews the exhibition "Ken Price: Zoo" at the Franklin Parrasch Gallery in Manhattan, New York through July 26, 2013.

Reviews the exhibition `Kitsch to Corbusier: Wallpapers From the 1950's,' that presents designs of various types of wallpapers. Brief on some of the designs.

The article reviews the exhibition "A History of Graph Paper" at the On Stellar Rays gallery in Lower East Side, New York City, which features the photographs of John Houck.

The article discusses an exhibition entitled "The Unknown Monet: Pastels and Drawings" by artist Claude Monet, opening at the Royal Academy of Arts in London on March 17, 2007 and due to arrive June 24, 2007 at The Francine Clark Art Institute in Williamstown, Massachusetts. The exhibit was assembled by Clark curators Richard Kendall and James A. Ganz.

The article reviews the exhibition "Masters of American Comics," at the Newark Museum in Washington D.C. from September 15, 2006-January 28, 2007.

The article reviews the exhibition "John Mitchell: Works on Paper 1956-1992" at the Cheim & Reid Gallery in New York City during June 15-16, 2007.

Reviews the art exhibition 'Works on Paper,' at the Seventh Regiment Armory in New York City.

Reviews the exhibition Antonin Artaud: Works on Paper at the Museum of Modern Art in New York City. What the drawings meant to Artaud, who drew as a form of therapy; His influences; Personal life.

The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major ''isms.'' She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard. Then in 1977 -- just shy of her 41st birthday -- Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980. [ABSTRACT FROM PUBLISHER]

The article reviews a photography exhibition titled "Daniel Gordon: Thin Skin II," by Daniel Gordon at the Zach Feuer Gallery in New York City.

Reviews art exhibition of Lyonel Feininger at the Achim Moeller Fine Art in Manhattan, New York.

Reviews the art exhibit "Giuseppe Penone: The Imprint of Knowing," shown at the Drawing Center in Soho, New York.

Reviews the exhibition 'David to C é zanne: 19th Century French Drawings,' at the Pierpont Morgan Library in New York City until September 8, 2002.

Reviews the art exhibition "Works on Paper From the 70's, 80's and 90's," by Norman Bluhm at the James Graham & Sons in Madison Avenue, New York City.

Reviews several exhibitions featuring the art works of Ellsworth Kelly. `Ellsworth Kelly: The Early Drawings, 1948-1955,' at the Arthur M. Sackler Museum, Cambridge, Massachusetts; `Line Form Color,' at the Fogg Art Museum, Cambridge, Massachusetts; `Ellsworth Kelly: Drawings 1960-1962,' at Matthew Marks Gallery, New York, New York.

Reviews the architecture exhibition `Archigram 1961-74,' at the Thread Waxing Space, 476 Broadway, New York City, through April 13, 1998.

Reviews the exhibit of hallucinatory drawings by Achilles G. Rizzoli entitled `A.G. Rizzoli: Architect of Magnificent Visions,' which opened on January 17, 1998 at the Museum of Folk Art, in New York City.

Reviews the art exhibition `A Decade of Collecting: Recent Acquisitions in Contemporary Drawing' at the Museum of Modern Art in New York City through January 13, 1998.

Reviews the exhibition, `From Durer to Rauschenberg: A Quintessence of Drawing,' at the Soloman R. Guggenheim Museum at Fifth Avenue, New York.

Wallpaper has been around for centuries, but it wasn't always child-friendly. The first wallcoverings were hand-printed with water-soluble inks, so they couldn't be wiped clean -- the pigments would disappear. It wasn't until the 1870s that machine-printed papers that were easy to clean, affordable and designed for children became widely available. ''Wall Stories: Children's Wallpaper and Books,'' a delightful, nostalgic exhibition opening on Friday at the Cooper-Hewitt National Design Museum, offers a look at 30 of these early wallcoverings, along with related books. Items on display include a moralistic 1875 paper depicting ''The Pilgrim's Progress'' in shades of brown and beige; later, more playful designs featuring characters like Popeye and Christopher Robin with Winnie-the-Pooh at the North Pole, above; and the first scratch-and-sniff wallpaper. Through April 5 at 2 East 91st Street, (212) 849-8400 or cooperhewitt.org. [ABSTRACT FROM PUBLISHER]

The digital age may someday mean the demise of the paper Christmas card. That is one reason Stefan Nilsson, the creative director of Designgalleriet, a gallery in Stockholm, chose to make holiday cards the focus of his year-end exhibition, which runs through Dec. 22. Mr. Nilsson asked 24 well-known designers -- including the Turkish firm Autoban, Ilse Crawford of Britain, Matali Crasset of France, the Swedish architect Thomas Sandell and Manhattan's Harry Allen -- for their take on the traditional seasonal greeting. Mr. Allen enlisted Judy Ivry, a bookbinder, to make his card -- a money pad that folds into a money tree; Ms. Crawford's creation, left, has a gold paper angel perched on top. [ABSTRACT FROM AUTHOR]

The artist and poet Douglas Florian is best known for writing and illustrating award-winning children's books that are wittily educational, especially about animals. Working in gouache with collage, he depicts just about anything with an impressive combination of accuracy and improvisation and is similarly free with language. Mr. Florian, who always works on paper bags, has shown in art galleries since 1985, presenting work that is generally more abstract if no less playful than his illustrations. Here his excellent eye for color shines, and an organic multiculturalism is given full expression. Tantra, Elizabeth Murray, maps, free-range calligraphy, Marimekko handmade wrapping paper and Gerhard Richter all come to mind in this show of 33 small paintings, most done this year. [ABSTRACT FROM PUBLISHER]

THURSDAY night is gallery trolling night in Chelsea, so it was not surprising last week to find a crowd upstairs at the Max Lang gallery, examining the early works of the interior designer Scott Sanders. Under the proud eye of the curator, Shirley Sanders, the crowd examined drawings like ''Self-Portrait With Rosy Cheeks,'' a crayon on paper, from 1969, which showed a grinning little boy in dark glasses who looked eerily like the 47-year-old Mr. Sanders looks today; ''Colonial Home,'' a ballpoint pen on paper, from 1977; and ''Mega Mansion,'' a marker-pen drawing on paper, from 1975, of a great house set on a hilly landscape. [ABSTRACT FROM PUBLISHER]

The shabby-looking tube of wood and varnished paper diagonally mounted in a case is meant to be the climactic object of ''Galileo, the Medici and the Age of Astronomy,'' an important exhibition that opens at the Franklin Institute on Saturday. And it is certainly astonishing, though not in the way you might imagine. Its importance is the inverse of its appearance. The tube looks as if it was constructed out of the inner part of a huge roll of paper towels, but it is one of two surviving telescopes Galileo used in Florence in the 17th century, when he reshaped the cosmos with meticulous observations and startling interpretations. Those astronomical investigations are now being honored with international celebrations on their 400th anniversary. But by the time we reach that telescope and the imaginative gallery it introduces, we have seen things even more remarkable: ornately decorated quadrants of enameled brass, metal calipers, arcane charts, minutely inscribed maps, spheres within spheres like compass roses from other worlds, codexes and manuscripts, cylinders, dials, rings, rods and boxes. [ABSTRACT FROM PUBLISHER]