2000s and Beyond: A New Generation Explores Legacy
Interest in decorated paper as craft and fine art evolved in the 2000s. Paper Legacy artists continued to promote their papers, artwork, wares, and custom supplies, taught workshops online and in-person, and published. Throughout the decade, growing interest in book arts, calligraphy, collage, rubber stamping, and scrapbooking gave rise to new uses for decorated paper. While some Paper Legacy artists ended their careers in the 2000s, Robert Wu and Madeleine Durham began theirs. Both created separate categories of paper for commercial sale and as fine art. The work of Tauba Aurbach and Sheryl Oppenheim further exemplifies a trend towards marbling as art.
Robert Wu (b. 1979)
Robert Wu, active 2006–present, is a formally trained decorated paper artist based in Toronto, Canada since 2006. He is primarily a marbler but also makes paste papers. Wu produces two genres of marbled paper: full sheets of paper with an overall pattern which are often used by bookbinders; and a trademarked line named Marbled Graphics, which includes marbled artworks depicting fanciful botanical or animal forms. Both are shown in this case.
Four marbled papers by Robert Wu
- Marbled paper, Peacock pattern, undated. Proprietary paint, on commercial paper.
- Blueberry Tree, marbled paper, 2017. Proprietary paint on Arches paper.
- Daisy Garden, marbled paper, ca. 2015. Proprietary paint, Arches paper.
- Marbled paper, Bouquet pattern, ca. 2018. Proprietary paint, on Hahnemühle Ingres paper.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Robert Wu
Robert Wu (b. 1979)
Sample book and an assortment of decorated papers. Marbled Paper by Robert Wu. Toronto: Studio Robert Wu, 2016.
This diminutive sample book of Robert Wu’s decorated papers was purchased from Wu’s Etsy site. Wu included an additional group of miscellaneous papers for the Watson Library. They include both marbled and paste paper samples and illustrate the broad range of patterns available he makes for sale or by commission.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Robert Wu
Madeleine McEvilly Durham (b. 1959)
Madeleine Durham, active 2011–present, of Santa Fe, New Mexico, makes paste papers as art and for use by others. Her inspiration comes from New Mexico’s desert landscape, her colorful dreams, and music. Durham teaches workshops and sells her work at conferences, art fairs, and through her website. Her work is highly desired by fine press publishers and book artists alike. While not technically a production artist, she has made editions of up to 100 sheets.
Three paste papers by Madeleine McEvilly Durham.
- Alluvial Fan, paste paper, 2017. Golden acrylic paint, on Arches text paper.
- Sweeping Lines and Waves paste paper, 2016. Acrylic paint, on Arches text paper.
- Landscape paste painting, 2019. Golden acrylic paint, Arches text paper.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Madeleine McEvilly Durham
Fine Art and Handcrafted Papers flyer. Santa Fe: Madeleine McEvilly Durham, 2017.
Objects which promote an artist’s line of decorated paper, such as sample books or advertisements like this, have lasting value to historians and collectors for the information and original paper swatches they hold. In the world of American decorated paper, these items are usually made to hand out at special events or to send to potential buyers.
Private collection
Photograph of the fireboat John J. Harvey.
In this photograph, we see the fireboat John J. Harvey painted with a marbled design by Tauba Auerbach for her exhibition Flow Separation (2018-2019) in New York Harbor.
Courtesy of the Tauba Auerbach and the Public Art Fund. Nick Knight, photographer
Tauba Auerbach. Marbles for the John J. Harvey. New York: Diagonal Press, 2018. Laser printing, screen printed plastic comb, plastic covers.
Tauba Auerbach is a visual artist working in many disciplines. Her exhibition Flow Separation (July 2018–June 2019), created for the Public Art Fund, featured her embellishment of the historic fireboat in New York harbor. In applying marbling to the boat’s exterior, Auerbach paid homage to dazzle camouflage, a form of patterning invented during World War. Her patterns also reference the motion that occurs in water as a boat moves through it.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Friends of the Thomas J. Watson Library Gift
Sheryl Oppenheim. Sea of Plates. New York: Small Editions, 2017.
Sheryl Oppenheim works in genres that lend themselves to private experiences, making paintings, collages, and artist’s books using marbled and suminagashi papers. Here we see both techniques blended in a dynamic and immersive unique book and its equally engaging protective and decorated drop-spine box. Oppenheim encountered marbling while working at TALAS and initially taught herself suminagashi from the Heyek Press’ book on the subject, later taking a workshop with Yukari Hayashida.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Friends of the Thomas J. Watson Library Gift