From classic Mexican papel picado to the art of origami, paper has long been a source of inspiration to artists and designers across the globe. Paper Works brings together an eclectic mix of designs and techniques, taking the reader on a visual journey of progression and transformation. Featuring sculptural carved book arts and installation art to avant-garde paper couture fashion, and examining the work of artists such as Jen Stark and Nikki McClure, this is an essential guide to one of the most fundamental, versatile but often overlook materials.

Described by The New York Times art critic Roberta Smith as a "precocious art star," German artist (Blinky) Palermo (1943-1977) has been associated with distinct twentieth-century art practices, from abstraction to Minimalism and Conceptual art. But his diverse body of work in fact defies easy classification. Throughout his brief and influential career- leading all the way up to his untimely death at the age of 33-Palermo executed paintings, objects, installations, and works on paper that mined various contextual and semantic issues at stake in the construction, exhibition, and reception of works of art, eternally "stretching and questioning" the boundaries of every medium he touched. This fully illustrated catalogue features new scholarship by Christine Mehring and Christoph Schreier and documents the 2013 exhibition at David Zwirner in New York. It is the first publication to tackle Palermo's late work, which is characterized by explorations of the tensions between material and color, surface and depth, and figuration and abstraction- focusing in particular on the paper works he produced between 1976 and 1977, the last year of his life. "Less a system builder than an analyst working on intuition," writes Schreier in his catalogue essay, Palermo "explored surface, shape, and color-the constituent elements of the image-with the aim of turning them into actors with a lively and delicately balanced play of forces." The simplicity of the artist's vision is beautifully evinced by the catalogue's vibrant color plates, which reveal every stroke and each grain of paper shining through from behind the pigment.

An intimate monograph of the professional and personal creations of a midcentury design legend. Irving Harper is the most famous designer you have never heard of. Working as an associate at the office of George Nelson in the 1950s and ’60s, Harper was responsible for such icons of midcentury design as the Marshmallow sofa, the Ball clock, and numerous Herman Miller textile designs. Harper’s unrecognized contribution to this seminal era of design, and his incredible paper sculptures (made in his spare time to "relieve stress"), are presented for the first time in this book. An essay by design critic Julie Lasky introduces Harper’s commercial design work, recognizable designs from graphics to domestic goods to furniture that are still coveted and appreciated today, designed for the offices of Raymond Loewy, George Nelson, and then his own studio Harper + George. The second part of the book documents Harper’s extensive paper sculptures, which have never been exhibited. More than three hundred works fill Harper’s house and barn in Rye, New York, where this array of fantastical people and animal sculptures was created from modest and inexpensive materials as diverse as spaghetti and toothpicks in addition to paper. Images of Harper’s home, filled with furniture and objects of his own design as well as his paper sculptures, offer a rare glimpse into a Modern design enthusiast’s paradise.Offering insight into an important era of American design as well as the prolific output of a creative mind, this book promises to be the first to recognize Irving Harper’s contribution to the field and will appeal to fans of Modern design.

Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati

This catalogue is the first publication of the Barnes Foundation's collection of over three hundred American works of art, including a treasury of important early-twentieth-century paintings by William J. Glackens, Maurice and Charles Prendergast, Charles Demuth, Alfred H. Maurer, Ernest Lawson, Horace Pippin, Marsden Hartley, Jules Pascin, and many others. Rich with compelling, firsthand accounts of the collector's methods and purpose, this definitive scholarly examination of the American paintings and works on paper assembled by Dr. Albert C. Barnes offers a long overdue exploration of his exceptional achievement.

Published to accompany the exhibition held at the Getty Research Institute, Nov. 6, 2007 to Feb. 10, 2008.

Amy Sillman: Works on Paper~ISBN 0-9743648-4-3 U.S. $45.00 / Hardcover, 10 x 11 in. / 100 pgs / 75 color. ~Item / June / Art Sillman is a painting lover's painter. --Peter Schjeldahl, The Village Voice