Louise Odes Neaderland

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Louise Odes Neaderland
Born(1932-08-23)August 23, 1932
New York City, U.S.
Died(2022-12-30)December 30, 2022
Alma mater Bard College, University of Iowa
Occupation(s)Artist and Lecturer
Known forFounder and Director of International Society of Copier Artists (ISCA)
Collator of ISCA Quarterly
Curator of ISCAGRAPHICS
Movement Xerox art, copy art
SpouseRalph Neaderland (1926 - 2013)

Louise Odes Neaderland (born August 23, 1932) is an American photographer, printmaker, book artist and founder of the International Society of Copier Artists (I.S.C.A.) and the I.S.C.A. Quarterly, a collaborative mail, book art, and copy art publication. She was the organizer of ISCAGRAPHICS, a traveling exhibition of xerographic art. [1] [2] [3]

Contents

Early life

Neaderland is an alumna of Bard College (1954) and received a Master of Fine Arts degree in printmaking from the University of Iowa in 1957. [4] In 1952, she was awarded a Yale University Norfolk Fellowship in Printmaking. In both 1960 and 1962 she received fellowship awards from the Huntington Hartford Foundation.[ citation needed ] In 1986 she was awarded a National Endowment for the Arts grant for artists' bookmaking.[ citation needed ]

Career

Neaderland began using the photocopier for making art during a residency at Women's Studio Workshop, WSW, in 1982 [5] [6] and received a residency grant from WSW in 1982. By the 1980s she had gained international recognition in the field of xerography. [7] In 1982, Neaderland founded the International Society of Copier Artists in New York City[ [8] ]. She is the author/artist of many xerographic limited edition books, some of which are still available to private collectors. [9] Later books by Neaderland include Where Could the Dark Matter Be? [10] and a compilation, Original Contributions, of her original pages contributed to the International Society of Copier Artists ISCA portfolios. [11]

Collections

Neaderland's art is represented in Special Collections of MOMA, the Metropolitan Museum of Art, [12] Getty Center, Brooklyn Museum of Art, Sackner Archive of Concrete and Visual Poetry in Miami, Florida, [13] and Jaffee Center of Art Book Art. [14] Her books are included in the book art collection at Harvard University Library [15] and in the Sydney, Australia collection Bibliotheca Librorum Apud Artificem. [16] Neaderland continues to direct ISCA and publish the ISCA Quarterly, of which one issue a year is dedicated to bookworks. 'this annual 'box of books' is a favorite of both artists and collectors. [17] More than a dozen museums and educational institutions subscribed to the I.S.C.A. Quarterly, helping to establish xerography as a legitimate art form. The Quarterly is thought to be the longest running international art assemblage project in the history of such collaborative projects. [18] Examples of her book art and that of other collaborators in the I.S.C.A. Quarterlies book art editions are in the Special Collections and Archives of the James Branch Cabell Library on the Monroe Campus of Virginia Commonwealth University.

Neaderland donated a complete set of I.S.C.A. Quarterlies to Bard College at Simon's Rock in Great Barrington, Massachusetts, along with copies of all of her books, 62 in all. [19] The Special Collections department at the University of Iowa in Iowa City has an archive of I.S.C.A. xerographic art. [20] Neaderland continues to make books, and she has created a book which is a catalog of her books. For thirty-five years she has used the photocopy machine as a creative tool, editioning prints and artists' books under the imprint (also known as the imprimatur) of Bone Hollow Arts, [21] located in Brooklyn, New York.

Some of Neaderland's works include Pandora's Box: 12 artists' books, The Nuclear Fan, and Force Grim Force: Violence is Legitimate Politics. Force Grim Force shows a picture of a Peruvian woman passing a Peruvian government soldier who is on patrol in Ayachucho, Peru.

Critical reception

Joanna Scott, a writer for Afterimage, discussed the "idiosyncratic appearances of artists' books," which she thought might confound a reader/viewer unfamiliar with the content of two of the ISCA quarterlies, ISCA Quarterly: First Annual Bookworks Edition [22] and ISCA Quarterly: Second Annual Bookworks Edition. [23] In addition, Scott categorized and reviewed the ISCA photocopy books according to their diverse forms (matchbooks, stamp books, scrolls, miniature calendars, slides, wallets, and envelopes), and according to their content (". . .self helps, which offer moral advice; narratives, composed of broken or progressives successions of images; anthologies, which collect borrowed images or parodies of familiar images; pattern pieces, a catchall category for works that use original images in nonnarrative form; and ideologues, which announce their purpose outright." [24]

In 1991 Tom Trusky, Director of the Idaho Center for the Book, interviewed and videotaped Neaderland in her studio at 800 West End Avenue in NYC, where her studio was located from 1967-1994. Roy Proctor, art critic for the Richmond News-Leader, said of Neaderland in a 1990 review of the exhibition Art ex Machina at 1708 Gallery, then located in Shockoe Bottom in Richmond, Virginia, "She's living proof that, when a new technology begins to be mass-produced, artists will be curious enough--and imaginative enough--to explore its creative uses." [25] In 1994 Proctor also reviewed Art ex Libris, a curated invitational exhibition of artist's books, including books by Neaderland, at Artspace in Richmond, Virginia, then on Broad Street in Richmond Virginia. Artspace received a Virginia Commission for the Arts Technical Assistance Grant to produce video documentation of all the exhibited books in Art ex Libris, including those by Neaderland. [26]

A short history of Xerox art in Fungiculture Journal profiles Neaderland and the development of the ISCA Quarterly in sections called "Laziness and the Invention of Tools" and "When the Muzak Ends." [5]

She experimented with various book art formats using xerographic processes, and Neaderland's books had a wide viewing audience in various fluxus and specific thematic or conceptual art shows, for example an exhibition featuring flip books. [27]

Related Research Articles

Xerox art is an art form that began in the 1960s. Prints are created by putting objects on the glass, or platen, of a copying machine and by pressing "start" to produce an image. If the object is not flat, or the cover does not totally cover the object, or the object is moved, the resulting image is distorted in some way. The curvature of the object, the amount of light that reaches the image surface, and the distance of the cover from the glass, all affect the final image. Often, with proper manipulation, rather ghostly images can be made. Basic techniques include: Direct Imaging, the copying of items placed on the platen ; Still Life Collage, a variation of direct imaging with items placed on the platen in a collage format focused on what is in the foreground/background; Overprinting, the technique of constructing layers of information, one over the previous, by printing onto the same sheet of paper more than once; Copy Overlay, a technique of working with or interfering in the color separation mechanism of a color copier; Colorizing, vary color density and hue by adjusting the exposure and color balance controls; Degeneration is a copy of a copy degrading the image as successive copies are made; Copy Motion, the creation of effects by moving an item or image on the platen during the scanning process. Each machine also creates different effects.

<span class="mw-page-title-main">Artist's book</span> Work of art in the form of a book

Artists' books are works of art that utilize the form of the book. They are often published in small editions, though they are sometimes produced as one-of-a-kind objects.

<span class="mw-page-title-main">Xerography</span> Dry photocopying technique

Xerography is a dry photocopying technique. Originally called electrophotography, it was renamed xerography—from the Greek roots ξηρόςxeros, meaning "dry" and -‍γραφία-‍graphia, meaning "writing"—to emphasize that unlike reproduction techniques then in use such as cyanotype, the process of xerography used no liquid chemicals.

<span class="mw-page-title-main">Photocopier</span> Device for reproducing documents

A photocopier is a machine that makes copies of documents and other visual images onto paper or plastic film quickly and cheaply. Most modern photocopiers use a technology called xerography, a dry process that uses electrostatic charges on a light-sensitive photoreceptor to first attract and then transfer toner particles onto paper in the form of an image. The toner is then fused onto the paper using heat, pressure, or a combination of both. Copiers can also use other technologies, such as inkjet, but xerography is standard for office copying.

Carol Heifetz Neiman was an American artist who was a member of the feminist art movement of the 1970s, known for her surrealist and xerox art. She also created etchings, and worked in pencil, pastels, and mixed media and was a painter.

<span class="mw-page-title-main">Sarah Jackson (artist)</span> American-Canadian artist (1924–2004)

Sarah Jeanette Jackson, was an American-Canadian artist. Jackson first became known for her sculptures and drawings, and then for her photocopy and digital art. She was an early user of the photocopier to make art, and used this practice to embrace mail art.

<span class="mw-page-title-main">Women's Studio Workshop</span>

Women's Studio Workshop (WSW) is a nonprofit visual arts studio and private press offering residencies and educational workshops, located in Rosendale, New York.

<span class="mw-page-title-main">Frank Brannon</span>

Frank Brannon is a book and paper artist, and the proprietor of Speakeasy Press.

Julie Chen is an American book artist and educator.

The International Society of Copier Artists (I.S.C.A) was a non-profit group founded by Louise Neaderland in 1981, intended to promote the work of photocopier artists who used the copier as a camera with which to scan and print original and experimental signed limited-edition compositions. I.S.C.A advocated for the recognition of copier art as a legitimate art form. The group is best known for producing The I.S.C.A Quarterly as well as for coordinating exhibitions of xerographic artwork, and the distribution of "The I.S.C.A Newsletter". Women made up the majority of the society's membership.

Linda Nishio is a Japanese-American artist whose conceptual pieces focus on self-image and issues of representation, using photographs, text, performance, and film. She taught at the Otis College of Art and Design in Los Angeles.

<span class="mw-page-title-main">Linda Lindroth</span> American artist and writer (born 1946)

Linda Lindroth is an American artist, photographer, writer, curator and educator.

<span class="mw-page-title-main">Terry Braunstein (artist)</span> American artist (born 1942)

Terry Braunstein is a photomontage artist based in Long Beach, California. Her work has used multiple media – photography, installation, assemblage, painting, printmaking, video, sculpture and large permanent public art. She also creates artists' books – some published, most one-of-a-kind artists' books.

Pati Hill was an American writer and photocopy artist known for her observational style of prose and her work with the IBM photocopier. While she was not the first artist to experiment with the copier, her work is distinguished by its focus on objects, her emphasis on the accessibility of the medium, and her efforts to unite image and text so that they may "fuse to become something other than either."

<span class="mw-page-title-main">Felicia Rice</span> American book artist

Felicia Rice is an American book artist, typographer, letterpress printer, fine art publisher, and educator. She lectures and exhibits internationally, and her books can be found in collections from Special Collections, Cecil H. Green Library to the Whitney Museum of American Art to the Bodleian Library. Work from the Press is included in exhibitions and collections both nationally and internationally, and has been the recipient of numerous awards and grants.

Sally Blakemore is a paper engineer and pop-up book packager based in Santa Fe, New Mexico. She is best known for NASCAR Pop-up: A Guide to the Sport, which includes two dozen pop-ups and a 12-second sound chip. Blakemore also heads Arty Projects Studio, a pop-up and novelty book packaging company.

<span class="mw-page-title-main">Klaus Urbons</span>

Klaus Urbons is a German photographer and xerography printmaker. He is a pioneer and leading figure of copy art in Germany and not only. He founded the Museum für Fotokopie, and is the author and translator of books on the history of Copy Art and photocopiers, as well as a curator and a collector.

<span class="mw-page-title-main">Candy Jernigan</span> American artist and designer

Candy P. Jernigan was an American multimedia artist, graphic designer, and set designer, instrumental in the avant-garde art scenes of Provincetown and New York City in the late 1970s and 1980s. She is best known for her vivid collages of found objects she described as "rejectamenta", presented in diagrams to absurd effect. Jernigan is also known for having designed the covers and jackets of dozens of music albums and books as a colleague of Paul Bacon.

<span class="mw-page-title-main">David Ruff</span> American artist and printer

David Ruff (1925-2007) was an American painter and print maker.

References

  1. ↑ "Louise Neaderland". Vamp & Tramp. Retrieved 7 March 2015.
  2. ↑ "International Society of Copier Artists". University of Iowa Library Collections. Retrieved 23 April 2015.
  3. ↑ Science, Lady (17 August 2018). "The Work of Art in the Age of Xerox Reproduction". The New Inquiry. Retrieved 23 August 2019.
  4. ↑ "Artist in the Age of the Copy Machine: Louise Odes Neaderland". Women Artists News. 13 (2): 17. Summer 1988.
  5. 1 2 "Laziness and the Invention of Tools". Fungiculture Journal. Retrieved 11 October 2015.
  6. ↑ Neaderland, Louise. "Empress Bullet: an allegory - Women's Studio Workshop". Women's Studio Workshop. Retrieved 4 August 2016.
  7. ↑ Neaderland, Louise. International Mail Copier Art Exhibition. Nova Scotia. OCLC   81534595.
  8. ↑ Witte, Mary Stieglitz (1993). "DOCUMENT RESUME" (PDF). Retrieved 20 May 2018.
  9. ↑ "Jaffe Center for Book Arts". www.library.fau.edu. Retrieved 15 January 2017.
  10. ↑ Neaderland, Louise. "Where Could the Dark Matter Be?". Vamp and Tramp. Artist's book. Retrieved 9 April 2018.
  11. ↑ Neaderland, Louise. "Original Copies". Vamp and Tramp. ISCA and Bone Hollow Press. Retrieved 9 April 2018.
  12. ↑ Neaderland, Louise. "Collection". The Metropolitan Museum of Art. Retrieved 15 January 2017.
  13. ↑ "A force on the Miami art scene, Ruth Sackner dies at 79". Miami Herald. Retrieved 13 October 2015.
  14. ↑ "Jaffee Center of Art Book Art" . Retrieved 23 April 2015.
  15. ↑ Jessica Brady. "Louise Odes Neaderland - Artists' Books - Research Guides at Harvard Library" . Retrieved 16 March 2015.
  16. ↑ "Shock and Awe :Bibliotheca Librorum Apud Artificem : Library for the artist's book, Sydney Australia".
  17. ↑ Walker, John A. (2006). "Copy This! A Historical Perspective on the Use of the Photocopier in Art" (PDF). Retrieved 21 May 2018.
  18. ↑ "Louise Odes Neaderland - Women's Studio Workshop". Women's Studio Workshop. Retrieved 4 August 2016.
  19. ↑ "Archived copy". Archived from the original on 2015-04-03. Retrieved 2015-03-16.{{cite web}}: CS1 maint: archived copy as title (link)
  20. ↑ "Records of the International Society of Copier Artists - the University of Iowa Libraries".
  21. ↑ "Louise Neaderland" . Retrieved 16 March 2015.
  22. ↑ Neaderland, Louise Odes (1986). The ISCA Quarterly: First Annual Bookworks Edition (Vol. 4, no. 4. ed.). New York, New York: International Society of Copier Artists.
  23. ↑ Neaderland, Louise Odes (1987). The ISCA Quarterly: Second Annual Bookworks Edition (Vol. 5, no. 4. ed.). New York, New York: International Society of Copier Artists.
  24. ↑ Scott, Joanna (January 1988). "You can't judge a book by its cover". Afterimage. 15 (6): 1, 4–5. doi:10.1525/aft.1988.15.6.4.
  25. ↑ Proctor, Roy (April 14, 1990). "1708 provides a showcase for photocopier art". No. Saturday Green Section. The Richmond News-Leader.
  26. ↑ Art ex libris. OCLC   34056111.
  27. ↑ "The Flip Book Show" . Retrieved 23 September 2015.
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