David Kaye Gallery » Barbara Klunder

Select Works With a Twist
January 16 - February 5, 2017
IDEA/EXCHANGE
Design at Riverside, 7 Mellville Street, Cambridge, ON

Featuring the work of Fernand Léger, Max Ernst, Jean (Hans) Arp, Joan Miro, Alexander Calder, Victor Vasarely, Andy Warhol, BARBARA KLUNDER, René Zamic, Jeff Jackson, Maurice Vellekoop, Jamie Bennett, James Marsh, and Steven Guarnaccia. Curated by Esther E. Shipman

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Naked Truth
October 29 - November 22, 2015

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GALLERY

Barbara Klunder, Untitled #1, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #2, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #3, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #4, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #5, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #6, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framedBarbara Klunder, Untitled #7, 2009, charcoal on paper, 23 3/4  X 17 3/4 in., 34 1/2 X 28 1/4 in. framed

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BulletProof Vests: papercut protection
May 30 - June 28, 2013… extended to August 25th.

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GALLERY

Barbara Klunder, DEATHBUG, 2013, various papersBarbara Klunder, OUTLAW BULLETS, 2013, various papersBarbara Klunder, AIM HIGHER, 2013, various papers, SOLD.Barbara Klunder, SKULLFISH, 2013, various papersBarbara Klunder, BLUEBIRD OF HAPPINESS, 2013, various papersBarbara Klunder, TARGET PRACTICE, 2013, various papersBarbara Klunder, IT’S EITHER LOVE OR FEAR, 2013, various papersBarbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.Barbara Klunder, BulletProof Vests: papercut protection, Exhibition installation view.

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LAURA SECORD: The Papercuts. The Textiles. The Book.
November 3 - 27, 2011

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LAURA SECORD: The Papercuts. The Textiles. The Book.

Telling the true story of our heroine on the eve of the 200th anniversary of the War of 1812, twelve intricate papercuts will be the Art for the Alphabet Book, the Wallpaper and the Textiles.

The War of 1812 was fought nearly 200 years ago. Laura Secord became a heroine for running 26 miles through forest and swamp to warn the British camp that the Yankees had just arrived in Queenston for a surprise attack, which resulted in the definitive winning battle for the British. Had the battle been lost, Upper and Lower Canada would have become American.
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The Globe and Mail
Saturday, November 19, 2011

R.M. VAUGHAN
THE EXHIBITIONIST

Barbara Klunder at
David Kaye Gallery

Until Nov. 27, 1092 Queen St. W., Toronto, Ontario
davidkayegallery.com

A young woman runs through a hot, dense forest. It is June 21, the summer solstice, the longest day of the year. Insects nip at her bare forearms, her ears, catch in her hair. Animals scurry before her hard tread, birds burst from trees.

She has left behind her wounded husband, her children, her farm, everything she knows and loves. Her young niece runs beside her, but eventually drops off, unable to match the woman’s frantic pace.

Finally, help arrives, from the chief of a Six Nations encampment, a chief who takes her to a British commander, a British commander who must be told: The Americans are planning a surprise attack.

Or so the story goes. And if you don’t recognize this now almost mythological account of the heroism of one Laura Secord, Niagara Peninsula farmer and shopkeeper, a woman whose actions decidedly tipped the scales in favour of Upper Canada in the War of 1812, go dig out your Grade 3 history reader.

Toronto multimedia artist (and no shrinking violet herself) Barbara Klunder explores the life and legend of Laura Secord via a spectacular series of madly intricate paper cut/silhouette works and layered paper assemblages at David Kaye Gallery – works that seek to reveal both the reality of the Secord story and the tale’s dreamy, forest gothic elements.
We may never know all the factual details of Laura Secord’s travails, but we can now, thanks to Klunder, imagine her trek through the fearsome woods in vivid, atavistic detail. Where history fails, art takes flight.

As ambitious as it is unnervingly delicate, Laura Secord is comprised of two main elements. First, a suite of small cut-outs – works packed with shapes of animals (birds, bats, stags, cats, frogs, squirrels, snails), farm tools, guns, flags, secret messages, trees in full leaf and plenty of flinty, Day of the Dead-style skeletons – that loosely unspool Secord’s narrative to create a kind of material biography, a tribute in soft, leaf green paper.

These small works are elaborated on by a handful of enormous, visually generous assemblages, (including an arresting, diaphanous paper dress); flat dioramas that make large the allegorical elements in Klunder’s tiny paper puppet show. Stuffed to the edges with dozens of symbolic and didactic creatures and props, the blanket sized, totemic kaleidoscopes – each rendered in firmly cut but onion-skin-thin Japanese mulberry paper – teem with febrile life.

As if that’s not enough, the show is further complemented by a painted treasure box, a decorated lamp, an accompanying Secord-based alphabet book, and a knotted rug and a knotted wool vest.

Laura Secord the show is thus both a literal picture book and a well-educated guess as to what exactly caused Secord to embark on her fateful journey. According to Klunder’s ample evidence, Secord simply had too much to lose, living a life brimming with domestic and natural wonders.

Klunder stages the interior of Secord’s racing mind with convincing emotional accuracy. The shadows and amorphous forms of a forest seen through frightened eyes are deftly recreated in crisp, but never cold, lyrical swipes of blade against flattened fibre.

Chatting with Klunder, one quickly realizes that the Laura Secord story is an ongoing passion with the artist (the two textile pieces in the current show are remnants from a previous exhibition, presented 20 years ago).

Indeed, anyone who has ever met Klunder knows the woman thrives on her passions. Our animated talk ranged from Secord studies to Canada’s cultural need for myths and heroes, to Klunder’s own life (she is kin to Secord herself) as a “loud-mouthed rebel.”

If the Yankees try invading again, Klunder will be ready to do her duty for Queen and country.

How are these intricate works made? They look so fragile.

These days, it’s less fragile, because I’m onto Japanese washi paper, and it is heaven to cut. I found my favourite washi weight, and I use a No. 11 Exacto blade, and zip – it’s like cutting through butter. I no longer have to think about the physicality of it as much, because when you have a bad blade or poor paper, you’re dealing too much with the materials, to think about other things.

In terms of process, I sketch the cutting out, but I take liberties while I’m cutting. But I like the difficulty. I love the difficulty! I always try to make it more difficult. Even looking at these works now, on the wall, I can see where I could go in and cut this here, turn that there …

Where is Barbara Klunder in this work, this story, both?

Ha! You know me, I’ve got lots of opinions! I totally have a sense of identification with Laura. There are things that are very wrong out there, in the world, and somebody has to speak up – and I don’t mind saying what I think.

I started this project with the little works, and then I hit my stride, and I knew it was going to go on, especially with the 200th anniversary of the War of 1812 coming up. But I had no idea Prime Minister Harper was going to copy me with his 1812 celebrations!

I knew I wanted Laura to get some respect.

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GALLERY

Barbara Klunder, Laura at 13, 2008, oil on canvas, 10 X 8 in.Barbara Klunder, OverLeaf, 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in.Barbara Klunder, OverLeaf (detail), 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in.Barbara Klunder, OverLeaf (detail), 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in.Barbara Klunder, Maple Leaf, 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in., SOLD.Barbara Klunder, Maple Leaf (detail), 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in., SOLD.Barbara Klunder, Maple Leaf (detail), 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in., SOLD.Barbara Klunder, Maple Leaf (detail), 2011, papercut, image 38 X 25 in., framed 49 X 35 1/2 in., SOLD.Barbara Klunder, Marathon Dress, 2011, papercut, image 52 1/2 X 35 3/4 in., framed 59 X 49 in., SOLD.Barbara Klunder, Marathon Dress (detail), 2011, papercut, image 52 1/2 X 35 3/4 in., framed 59 X 49 in., SOLD.Barbara Klunder, Marathon Dress (detail), 2011, papercut, image 52 1/2 X 35 3/4 in., framed 59 X 49 in., SOLD.Barbara Klunder, Marathon Dress (detail), 2011, papercut, image 52 1/2 X 35 3/4 in., framed 59 X 49 in., SOLD.Barbara Klunder, St. Laura, 2011, papercut, image 39 X 25 in., framed 45 1/2 X 33 in.Barbara Klunder, Laura’s Run, 2009, papercut, image 40 X 25 in., framed 46 X 30 3/8 in.Barbara Klunder, Laura Secord: the Alphabet, 2011, papercut, image 8 1/2 X 7 5/8 in., framed 18 3/4 X 17 1/4 in.Barbara Klunder,D, E, F, G, 2011, papercut, image 5 1/4 X 13 1/8 in., framed 13 5/8 X 21 1/4 in.L, M, N, O, 2011, papercut, image 3 7/8 X 11 5/8 in., framed 13 5/8 X 21 1/4 in., SOLD.Barbara Klunder, P, Q, R, S, T, 2011, papercut, image 4 X 11 1/2 in., framed 13 5/8 X 21 1/4 in., SOLD.Barbara Klunder, U, V, W, X, Y, 2011, papercut, image 4 1/2 X 4 in., framed 14 1/2 X 13 1/2 in.Barbara Klunder, War of 1812, 2011, papercut, image 6 X 5 1/2 in., framed 10 X 11 7/8 in., SOLD.Barbara Klunder, Swan Bonnet, 2011, papercut, image 8 1/2 X 11 in., framed 18 3/4 X 20 3/8 in.Barbara Klunder, Morning Glories, 2011, papercut, image 8 1/2 X 11 in., framed 18 3/4 X 20 3/8 in.Barbara Klunder, Rabbit/Butterfly, 2011, papercut, image 11 X 8 1/2 in., framed 21 X 18 in.Barbara Klunder, Rabbit/Flag, 2011, papercut, image 8 3/4 X 5 in., framed 18 3/4 X 14 1/2 in., SOLD.Barbara Klunder, Rabbit/Flag, 2011, papercut, image 8 3/4 X 5 in., framed 18 3/4 X 14 1/2 in., SOLD.Barbara Klunder, Bicycle Butterfly Lamp, 2011, papercut, 21 X 16 1/4 X 16 1/4 in. (with the help of Peter Jones)Barbara Klunder, Bicycle Butterfly Lamp (Bicycles- the Best Invention Ever), 2011, papercut, 21 X 16 1/4 X 16 1/4 in. (with the help of Peter Jones)Barbara Klunder, Bicycle Butterfly Lamp (Bike Beauty), 2011, papercut, 21 X 16 1/4 X 16 1/4 in. (with the help of Peter Jones)Barbara Klunder, Bicycle Butterfly Lamp (the Dream is to Fly on Wheels), 2011, papercut, 21 X 16 1/4 X 16 1/4 in. (with the help of Peter Jones)Barbara Klunder, Bicycle Butterfly Lamp (2 Wheels Good, 4 Wheels Bad), 2011, papercut, 21 X 16 1/4 X 16 1/4 in. (with the help of Peter Jones)Barbara Klunder, Laura’s Document Box, 2011, wood, paint, 10 3/4 X 13 1/4 X 9 3/4 in., SOLD.Barbara Klunder, Laura’s Document Box, 2011, wood, paint, 10 3/4 X 13 1/4 X 9 3/4 in., SOLD.Barbara Klunder, Laura’s Document Box, 2011, wood, paint, 10 3/4 X 13 1/4 X 9 3/4 in., SOLD.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.Barbara Klunder, LAURA SECORD: The Papercuts. The Textiles. The Book., Exhibition installation view.

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The Globe and Mail
Saturday, June 16, 2012

R.M. VAUGHAN
THE EXHIBITIONIST

Barbara Klunder
at Rodman Hall Art Centre

Until Sept. 9, 109 St. Paul Cres., St. Catharines, Ontario
brocku.ca/rodman-hall

If you missed the Toronto installment of Klunder’s stunning tribute to sturdy Laura Secord (done, counter-intuitively, in the most dainty medium – thin plates of cut and shaped paper), now’s your second chance. Rodman Hall is rumoured to be haunted, so if you hear the rustling of petticoats through the forest….

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Congratulations to BARABA KLUNDER

November 12, 2009
Each year, the Advertising & Design Club of Canada (ADCC), on behalf of a jury of independent professionals, presents the Les Usherwood Award. This Lifetime Achievement award is given to someone who has made a major contribution to the Canadian creative community. This honour, which was first awarded in 1983, is named for a man who was a friend and model to many: Les Usherwood. This year’s 27th recipient is BARBARA KLUNDER.

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Washi Revisited: a year later
Tawny Maclachlan Capon, Susan Farquhar, Barbara Klunder
June 4 - 28, 2009

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BARBARA KLUNDER: a retrospective exhibition
November 3, 2008 - January 9, 2009

First Canadian Place Gallery, 100 King Street West
Gallery Hours: Monday - Friday, 11:00 a.m. - 3:00 p.m.

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TORONTO LIFE Listing, November, 2008 Isssue

A favourite for decades on the local scene (she was the one who gave the legendary BamBoo Club its distinctive look), Barbara Klunder is getting her first-ever retrospective exhibition. The range of her work is notable—she has made puppets, purses and sundry sculptural objects—but she is foremost an illustrator. Her style is unmistakable: infused with whimsy, figures are finished with dramatic points, seeming in perpetual motion. It follows that among Klunder’s most well-known professional commissions are the dozens of posters she has made over the years for the Toronto Jazz Festival. Artwork $400–$15,000.—David Balzer

(It is best to call 416.862.6290 to make sure you are able to get into the gallery as it is used quite extensively for meetings, talks and lunchtime demonstrations. For the easiest access enter from the Adelaide Street West, just west of Bay Street and you will see the gallery on your left.)
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Deep Paper Cuts: recent work in washi
May 29 - June 29, 2008

This exhibition is part of the World Washi Summit happening in Toronto,
June 7 - 15, 2008. Washi is the Japanese word that refers to the traditional papers, made by hand from indigenous renewable plant fibres, which have been continuously produced and refined in Japan for 1400 years.
(Information at www.worldwashisummit.com)
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Barbara’s artwork is mentioned in Gary Michael Dault’s review “The Wonders of Washi” on page R17 in the June 14, 2008 issue of The Globe and Mail. He says:

“One of the boldest incarnations of what might be thought of as neo-washi works is a very witty and graphically forceful exhibition by Barbara Klunder called Deep Paper Cuts at the David Kaye Gallery. Klunder, who has always had a winning way with creatures, has generated a buoyant collection of winged, buzzy insects - a firefly, a wasp, a moth, a bee, a flying ant, a monarch butterfly and, most exotically, a Sugikama (cedar bark) Jazz Dragonfly, all intricately and ingeniously cut and assembled from sheets of washi. Each one is scarcely confined by its frame - Klunder often lets the creature’s wings overrun the picture’s edges, as if it is actually in the process of fleeing its ignominious life on a gallery wall.”

And be sure to look for page 132 in the July/08 issue of Canadian House and Home to see Barbara Klunder’s paper-cut Sugikama Jazz Dragonfly, 2008.

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GALLERY

Barbara Klunder, Wasp (detail), 2008, washi (Japanese handmade paperBarbara Klunder, Wasp (detail of abdomen), 2008, washi (Japanese handmade paperBarbara Klunder, Firefly (detail), 2008, washi (Japanese handmade paper)Barbara Klunder, Flying Ant (detail), 2008, washi (Japanese handmade paper), SOLDBarbara Klunder, Moth (detail), 2008, washi (Japanese handmade paper)Barbara Klunder, Moth (detail), 2008, washi (Japanese handmade paper)Barbara Klunder, Exhibition installation view, Left: Firefly, 2008, mixed washi papers, 45.5 X 33 in. framed; Right: Wasp, 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Firefly (detail), 2008, washi, mixed papers, 45.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Firefly (detail), 2008, mixed washi papers, 45.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Firefly (detail), 2008, mixed washi papers, 45.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Firefly (detail), 2008, mixed washi papers, 45.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Left: Firefly, 2008, mixed washi papers, 45.5 X 33 in. framed; Right: Wasp, 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Wasp, 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Wasp (detail), 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Wasp (detail), 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Wasp (detail), 2008, mixed washi papers, 47.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Moth, 2008, washi, mixed papers, 49 X 59 in. framed.Barbara Klunder, Exhibition installation view, Left: Moth, 2008, mixed washi papers, 49 X 59 in. framed; Right: Bee, 2008, mixed washi papers, 45.5 X 33 in. framed.Barbara Klunder, Exhibition installation view, Bee, 2008, mixed washi papers, 45.5 X 33 in. framed. SOLDBarbara Klunder, Exhibition installation view, Flying Ant, 2008, mixed washi papers, 45.25 X 58 in. framed, SOLDBarbara Klunder, Exhibition installation view, Left: Flying Ant, 2008, mixed washi papers, 45.25 X 58 in. framed; Right: Monarch Butterfly, 2008, mixed washi papers, 45.25 X 52 in. framed.Barbara Klunder, Exhibition installation view, Left: Monarch Butterfly, 2008, mixed washi papers, 45.25 X 52 in. framed; Right: Sugikama Jazz Dragonfly, 2008 mixed washi papers, newsprint, 30 X 43.13 in. framed.Barbara Klunder, Monarch Butterfly, 2008, mixed washi papers, 45.25 X 52 in. framed.Barbara Klunder, Sugikama Jazz Dragonfly, 2008, mixed washi papers, newsprint, 30 X 43.13 in. framed. SOLDBarbara Klunder, Sugikama Jazz Dragonfly (detail), 2008, mixed washi papers, newsprint, 30 X 43.13 in. framed. SOLD

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Ashkenaz Papercuts

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Ashkenaz, 1997

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Ashkenaz, 1999

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Ashkenaz, 2006, SOLD.

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Ashkenaz, 2008, SOLD.
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Barbara Klunder at the Other Goose book launch
Barbara Klunder at her Other Goose book launch, August 30/07
photo credit: Rick Simon

Other Goose: Recycled Rhymes for Our Fragile Times
Featuring the illustrations from the book
August 22 - September 16, 2007

TORONTO STAR
At the galleries

September 01, 2007 Page E10
PETER GODDARD

Barbara Klunder wants to help. She really does.

For years her loosey-goosey jazz-inspired drawings have been the face of the Toronto Jazz Festival. She gave the late lamented BamBoo club its squiggly look. She does wicked T-shirts, “hooked paintings” and other textiles.

This time around she’s bumped it up yet another notch. She’s trying to save the world with her book, Other Goose: Recycled Rhymes for Our Fragile Times (illustrations at David Kaye Gallery, 1092 Queen St. W. until Sept. 16).

That’s “other” as in “mother,” of course. One thing to know about Klunder – music is never very far from her imagination. For just about ever, Mother Goose rhymes have been retooled by jazz musicians (often in unprintable versions.) The Toronto artist puts her own spin on these familiar yarns by goosing their meaning with lots of eco-consciousness. For instance, Jack and Jill are horror-struck to find their well water polluted.

But Klunder also always does things in style. Just note the long-necked goose she’s chosen for her cover illustration. It’s wearing high heels. Class.

GALLERY

Barbara Klunder, 'Other Goose', Book Cover, 2007Barbara Klunder, Little Miss Muffet, 'Other Goose', 2007, pen & ink on paperBarbara Klunder, Old Mother Hubbard, 'Other Goose', 2007, pen & ink on paperBarbara Klunder, Humpty Dumpty, 'Other Goose', 2007, pen & ink on paper, SOLDBarbara Klunder, Sing a Song of Sixth Sense, 'Other Goose', 2007, pen & ink on paperBarbara Klunder, Other Goose: Recycled Rhymes for Our Fragile Times, window, August 22 - September 16, 2007Barbara Klunder, Other Goose: Recycled Rhymes for Our Fragile Times, east gallery, August 22 - September 16, 2007