Louise Neaderland ~ New York

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Louise Odes Neaderland is known as printmaker, book artist, and founder-director of the International Society of Copier Artists (I.S.C.A.). She studied literature and printmaking at Bard College, where she received a Bachelor of Arts. She received her MFA in Printmaking at the State University of Iowa.

Copier books section
Editioned books by Neaderland
Samplers section
Miniature book by Neaderland
Productions with ISCA

Information Please
By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2013. Edition of 12.

11.25 x 17"; 52 single sheets. Each signed and dated by the artist. Printed by an Epson WF7510 on acid free cover stock. Laid in paper portfolio.

Title page: "Each folio contains 52 signed image and text prints, which explore the purpose and meaning of life. They were created over the period of 1995-2013 by the artist — founder and director of the International Society of Copier Artists."

This folio represents the thoughts, reflections, paths, and detours of one woman's life. Part anecdote, part observation, part wail – a continuous quest, half-glimpsed but fully lived.

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Information Please
By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2013. Edition of 14.

11.25 x 17”; 56 pages. Inkjet printed. Spiral bound with clear cover page and black back page. Signed and numbered by the artist on the recto side of the prologue page.

Prologue: "Begun in 1995 and finally completed in 2013, these 52 inkjet prints began as ink drawings on 11 x 17” faux parchment. Over the years I made many revisions of the text and images and with the advent of inexpensive, large format, ink jet printers I was able to revisit this project and print a limited edition of 12 Folios, each containing 52 ledger size prints. This is a letter size version of that Folio. "

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The Disposable History of the World
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, 2010. Reissue of 1986 edition.

6.25 x 3.75 x 2"; 50 sheets. Tissue container box construction. Pages cut out from a newspaper.

Louise Neaderland: "Handmade tissue box containing 50 1-ply sheets of all kinds of news and advertising in several different languages. One side flap remains unglued to allow for refilling. These newsprint items are meant to fade and ultimately disintegrate. It is the artist's intention to comment on the fact that we learn very little from history and are forced to repeat the same mistakes; that advertisements for five hundred dollar shoes sit cheek by jowl with news of the latest disasters; that all items, in any language, seem to carry the same weight, and that they are all, in a sense, disposable."

The Disposable History of the World was originally published in 1986 under Bone Hollow Arts. Neaderland made a design modification to the box in 2010.

Louise Neaderland: "Bone Hollow Arts ceased to exist in 1990. It was created when my husband and I opened a gallery in our upstate barn on Bone Hollow Road. My earliest books were brought out under that name. The contents of both the first edition and the 2010 revised edition were chosen randomly, but always in three different languages. The reason for the 2010 revision was to re-design the box. A number of people complained that it was too difficult to view the contents without damaging the box. With the new box, the entire top half of the box opens, allowing the contents to cascade out. I made use of the contents of the discarded boxes, and added to it from more current items, still in several languages. The contents of the boxes have always been random and irrelevant. Some owners of the boxes have added their own contents. My own copy has been left to yellow and decay, since that is the real existential point of the book, for me. And yes, the 2010 edition is a variant of the same work and point of view."

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Copier Books Section

Louise Neaderland: "These books were created at the dawn of using the copier as a creative tool and true to the zeitgeist of the time they were not thought to be precious objects. They were printed on non-archival paper, they were inexpensive, often bartered for the work of other artists, or simply given away as a political statement. The remaining copies have, in some cases, yellowed somewhat and aged, as has the artist. Some are a little dog-eared around the edges but in no way defaced. ... They should be seen as a snapshot of a certain time in history when a humble piece of office equipment inspired artists to work in a way they had never worked before. "

Shock and Awe
By Louise Neaderland
New York: Louise Neaderland, 2003. Edition of 150.

8.75 x 5.25"; 7 pages. Accordion fold. Black-and-white inkjet.

Photo collages combined with found text draws parallels between ancient and modern history.

Louise Neaderland: "This book opens with an engineering drawing of a B-2 bomber raining rockets down on Iraq and ancient Sumerian gods going into battle. The remaining four pages show Babylonian artifacts, reliefs of battles, and prophesies from 600 BC in front of news photos of death and destruction in invasion of Iraq."

The irony and bombast of the "Shock and Awe" campaign is more evident today [August, 2010] than when the artist created this aptly cheap book.


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Distress Signals
By Louise Odes Neaderland
Brooklyn, New York: Bone Hollow Arts, 1999. Second Printing.
Edition unknown.

4.5 x 5.75"; 67 pages. Flip book. Off set printed. Glue bound. Red paper covers.

The first page is an excerpt from Henry David Thoreau's Walden: "The mass of men live lives of quiet desperation." The following pages, when flipped sequentially, reveal a single, growing word - Help - and that word is repeated on the book's bottom edges.

Where Can the Dark Matter Be?
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, [1993].

6 x 9" black paper envelope with metal tab closure. Black title letters pasted on envelope. Contents: 7.5 x 9.75" single sheet folded; 7 x 4.5" white envelope with clear pane. White envelope (stamped SARAJEVO 1993) contents: five piece paper puzzle. Photocopy in black and white.

Louise Neaderland: "Article about dark matter in space, and a jig saw puzzle of slaughter in Serbia. A description of axioms, WIMPS, and other particles, and a puzzling photograph of death on the streets of Sarajevo asks the question 'Where can
the dark matter be?'"


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By Louise Neaderland
New York: Bone Hollow Arts, 1990.

17 x 11"; 13 leaves. Spiral bound with illustrated cover and blank back cover.

Louise Neaderland: "A monologue between one nesting doll and herself.

1. Face to face
2. Back to back
3. Side by side
4. Alone and in company
5. I confront myself
6. and take cold comfort
7. The dialogue between us
8. Like Chinese food
9. Fools then feeds
10. My hunger

"Each page is the directly imaged doll with the exception of page 8 where there are two directly imaged Chinese food containers."

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La Strada
By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1986. Edition size unknown.

4.25 x 4.25"; 6 leaves. Offset printed in duotone. Stitch bound. Housed in envelope with title tipped on.

Third in Neaderland's series "Where is Home?" Each flip-up page grows in size, lengthening the view, until, on the last page, the people disappear and are placed by a mirrored surface, which literally brings the reader into the work.

Louise Neaderland: "Mylar mirror at the end reflects an empty road and the viewers reflection. On each page the road gets longer, giving the illusion of the two figures walking, the road moving further away. The finally disappear, leaving just the road, empty, and reflected in the mirror along with the viewer of the book."

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A Mideast Kaleidoscope
By Louise Neaderland
New York: International Society of Copier Artists, 1983.

4.5 x 8.5"; 39 leaves. Card stock. Bound by a single removable screw fastener. Includes pamphlet (4 x 4", 8 pages) attached with black thread.

Louise Neaderland: "35 card stock pages of the same image from the ill fated invasion of Lebanon by the Israeli army. With a drilled hole at each corner and a removable fastener which can be inserted in any one of the four Corners, the cards can be spread open (right or left) to form eight different configurations of image and text. The text is Menachim Begin's 'Happy is the nation whose warrior sons these are.'"

The pages can be spread open in a clockwise or counter-clockwise direction to produce a great variety of designs as well as statements about warfare. The book is based on a photograph by Fadi Mitri and a portion of Israeli government statement announcing a cease fire in Lebanon on June 11, 1982.

The foreword pamphlet gives a brief statement of the contents and photos of arrangements of the cards.

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Sadat's Journey
By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1982. Second edition.

9.5 x 8.5"; 4 pages. Accordion fold. Photocopy collage using two articles from The New York Times and a press photograph.

A tribute to Anwar el-Sadat.

Louise Neaderland: "Created from multiple copies of a photograph of Sadat in front of the pyramids shortly before his assassination. The book opens with the empty desert, the pyramids appear, Sadat appears then slowly disappears, the pyramids disappear, and the desert remains."

The Egyptian president appears as a standing figure throughout the cinematic panorama until, at the end, his presence is a cut-out silhouette, an empty space where his likeness used to be.

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Louise Neaderland: The following books were produced in very small editions , from ten to two hundred copies . They were hugely labor intensive and only as the need arose did the artist produce more copies. Many innovative book forms were created and everything was done by hand. Finally there are limited, signed and numbered editions. While many of the themes remain the same, the forms of these books are quite different. My intention has always been for the form of the book to enhance the message of the book. What has remained constant over the past thirty years is my use of the copier as a creative tool, a darkroom and a printing press and to think of multiples of a single image as a kind of mantra which can reveal a hidden narrative in the original single image."


Trump Wallpaper Borders
By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2017.

Edition of 17. 4.5 x 4.25 x 2" paper box containing 2 scrolls (36" each extended). Copier art. Signed and numbered by the artist.

Artist Louise Neaderland responds to President Trump's campaign promise to build a wall on the US-Mexico border. When unrolled, the two scrolls – one in black-and-white, the other in color – become paper walls decorated by with images of Trump and clowns (referencing an earlier work by Neaderland - Trump Circus) plus barbed wired across the top and immigrants streaming across the bottom.

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Trump Circus
By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2017. Edition of 24.

5.5 x 7.5" slider book consisting of a sleeve and two slide cards. Signed and numbered by the artist.

Artist Louise Odes Neaderland responds to the Trump presidency: a cage-like sleeve provides frames for images of Trump, clowns, and wild animals as two interchangeable viewing cards slip through the structure

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Boots on the Ground
By Louise Odes Neaderland
Brooklyn, New York: Louise Neaderland, 2016. Edition of 24 (Version I); Editions of 12 (Version 2).

Version 1: 8.5 x 7"; 24 pages. Bound in paper covers with sewn stab binding. Signed and numbered on the title page by the artist.
Version 2: 6.5 x 5.5" closed; 24 pages. Accordion structure. Signed and numbered on the artist.

Grainy images and a skeletal text that wavers as much as the responses to the situation present commentary on the immigration crisis in Europe. Yeats' poem "The Second Coming" provides a final shot of gloom.

Version I (Sewn) $ 35
Version 2 (Accordion) $ 45

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23 Sins
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, 2002. Edition unknown.

4.5 x 5.75"; 5 pages. Flag structure. Inkjet printed. Red covers with title illustration tipped on.

Louise Neaderland: "From sin to cynosure, to synergism, no sin, cyn, or cin can hide in this book."

By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1999. Edition unknown.

5.5 x 5.5"; 12 pages. The carousel structure opens to 11 x 11 x 5.75"

The second of Neaderland's books that combines and celebrates Roman letterforms and origami.

Louise Neaderland: "Alphabet + origami. Each book uses different decorated papers and opens into four configurations. Remove paper clip from front cover and clip front and back covers together. Then flip open and shut to create the 4 configurations."

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By Louise Odes Neaderland
New York City: Bone Hollow Arts, 1998. Edition of 10.

8.5 x 4.25" closed, origami triangle structure with 6 six-panel page openings. Color photocopy. Triangular shaped slipcase. Includes folded color illustrated sheet of possible configurations.

Louise Neaderland, catalog: "Origami based book sculpture was developed by the artist and deals with creation. True to her belief that the form of the book should enhance and relate to its content, the viewer can create many configurations of this book by pressing the velcro dots on the front and back together, flipping, inverting, flattening, and otherwise manipulating its flexible form. One can also, by disengaging the velcro, stretch the book open like an accordion. The images range from the text of Genesis, scientific descriptions of the universe, paste papers of whirling space and turbulent waters, and a picture of Albert Einstein."


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Black Holes
By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1997. Edition of 200.

4.25 x 5.5"; 10 pages. Star carousel structure. Photocopy process.

Louise Neaderland: "In open form the viewer can look into a black hole. By definition, a black hole cannot be seen, its presence must be detected through indirect evidence. Each page has different information about black holes with the cautionary note The search for the invisible requires sustained obsession."

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The Sound of One Hand Clapping
By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1995. Edition unknown.

5.75 x 6"; 22 pages. Gate fold structure with each side of the gate an accordion.

Louise Neaderland: "The book opens into a free standing pullout of a circular Civil War military cemetery. It was inspired by a 1995 news item about a special clock and electronic digital counter at the Imperial War Museum in London. Started in 1989 and programmed to end at midnight on the eve of the year 2000, the world was astonished to discover that one hundred million people had died from wars in the 20th century. This article provides the text for the book."

An ironic memorial to one dominant reality of the 20th century: it was a century of War.

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LENINGRAD: August 9th - 24th 1991 /
ST. PETERSBURG: May - June 1903 1992

By Louise Neaderland
New York: Bone Hollow Arts, 1992. Edition of 12.

8.5 x 5.5"; 88 pages. Stab binding. 11x 15" folded map laid in.

Louise Neaderland: "The artist was visiting a friend in St. Petersburg in August of 1991 at the time of the coup. She managed to take many photographs of what was happening on the streets and came across a series of picture post cards of 1914 St. Petersburg. This book documents the scene in St. Petersburg during the coup of August 9, 1991, contrasts it with the 1914 images, and adds news clippings, conspicuously not from Russian news media, which barely mentioned what was going on."


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The Heart of Lightness
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, 1985. Second edition.

2.5 x 8.5" closed, opens to 15 x 8.5". Fan construction with screw closure. Printed with rubber stamps.

The Heart of Lightness is constructed from narrow tapered pages that fan out to reveal the text and images.

I have often wondered why the closer to the flame I fly, the cooler I become.

Louise Neaderland (summer 2012): "I used rubber stamps frequently at that time [1984] and to create editions was very time consuming. The first edition was for the June Bookworks issue of the Quarterly [of the Society of Copier Artists], but somehow orders kept coming in so I created a 2nd edition. I think it appealed to people who were doing dangerous things at the time, and the 80's were full of that kind of behavior, protests and drugs and hippies, etc. I guess taking chances was exciting … the closer to the action (heat) … the cooler (braver) I become."

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By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 1985. Edition of 3.

12 x 6 x 1.5"; 11 leaves including title cover and back board. Photocopy pages dry mounted on boards set into an accordion binding.

Louise Neaderland, catalog: "This form resembles a stepped pyramid, a memorial ... This book is about the artist's father. Each page shows him at a different stage in his life. The images of his driver's license grow larger and more important as he progresses from youth to old age. In his last years he refused to give up this iconic symbol of his independence. A shrunken old man now, he can barely see over the wheel of the car, but refuses to give up driving. He dies with that license in his wallet. In NY state, as long as an elderly person can read the eye chart, the State cannot refuse to renew his license regardless of his mental or physical condition."

$450 (Last Copy)

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Through the years Neaderland has produced many books. She has put together a few sets of these in different subject areas.


Natural Selections
12 artists' books

By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2014.

9.75 x 8.25 x 2.25" box containing twelve books for various sizes and constructions. Edition size unstated.

Twelve books by Louise Neaderland: The Case for Gun Control; 23 Sins; Hazardous Waste; The Vanishing Act; American Ballet Theatre; Artist At Work; Brokers Study Vast Hole in Space; Open Roads Empty Nests; The Stones Roll On; The Heart of Lightness; alphagami; Where is Home?

The Case for Gun Control
Brooklyn, New York: Louise Neaderland, 1994. Second edition of 13. 5.5 x 4"; 12 pages. In wraps. Saddle stitched. Signed and numbered on back cover. Paper gun included.
Louise Neaderland: "A cut out of a directly imaged plastic gun and a booklet of excerpts, stamped 'EVIDENCE' from news articles about a rash of violent gun related crimes in N.Y.C. Streamers of red plastic pour from the muzzle of the gun."

23 Sins

Hazardous Waste
Brooklyn, New York: Bone Hollow Arts, 1996. First Edition. 5.25 x 4.5"; 14 leaves. Staple fold binding. Front cover presents a black and white photocopied image of an aerial photograph of the AIDS Memorial Quilt on public display. Original photo of the AIDS Memorial quilt taken by Marylin Humphries. A folded red ribbon pinned to the front cover. Book contains black & white folded photocopies with text.
Page 1 quotation: "In 1992 the World Health Organization found that 1 in every 250 adults in the world was infected with HIV, the virus that leads to AIDS."

The Vanishing Act
Brooklyn, New York: ISCA, 1982. 4.25 x 4.25" closed; 20 pages. Accordion. Photocopy of original photographs taken by Neaderland's son.
Neaderland walks among the trees, hiding, emerging, and finally disappearing behind two trees.

American Ballet Theater
Brooklyn, New York: Bone Hollow Arts, 2000. 4.25 x 5.5"; 8 pages. Photocopy of original photograph of steel workers by the artist. Text from Jack Kerouac's On the Road. In wraps with saddle stitch binding.
Louise Neaderland: "This is a revised edition of Homage to Jack Kerouac – the only change being the title and the cover. Text is from On The Road, 'then they danced down the street like dungledodies ... .' The book is a series of photographs taken by the artist, of steel workers erecting a gymnasium."

Artist at Work
Brooklyn, New York: Bone Hollow Arts, 1982. 6.5 x 4.5"; 4 pages. Accordion. In yellow wraps. Photocopy. Signed and dated by the artist.
Louise Neaderland: "The artist's cat, Noodles, sits upon a work in progress (Brokers Study Vast Hole in Space) to show who is really in charge here."

Brokers Study Vast Hole in Space
Brooklyn, New York: Bone Hollow Arts, 1982. 8.5 x 8" closed; 12 pages. Accordion. Black and white photocopy. A copy of a press picture of Wall Street brokers with the image punctuated by successive repetitions of parts and extension of the accordion.
Louise Neaderland: "The artist can't seem to get away from that vast hole in space. Perhaps a meditation on priorities and a sense of proportion is required of us."

Open Roads Empty Nests
New York City: Louise Neaderland, 1988. 5.5 x 8.5; 18 pages. Staple fold cover. Photocopy.
Louise Neaderland: "A series of photographs taken by the artist of her daughter when she bid farewell to Cornell University. Standing on some wooden steps in the woods, she spreads her arms, against a backdrop of a map, turns and continues up the staircase and disappears over the top leaving an empty staircase and a dictionary definition of the word NEST. In the final page the Graduate floats freely over a navigational map of the Pacific Ocean."

The Stones Roll On
Louise Neaderland, 1982. 6.5 x 8.5"; 8 pages. Accordion fold. Photocopy.
Louise Neaderland: "Multiple copies of a single news photo and article about a Rolling Stones concert are overlapped to create a dynamic image of a Mick Jagger performance while multiples of the text 'Refusing to Become Show Business-Slick' frame the action."

The Heart of Lightness

Brooklyn, New York: Bone Hollow Arts, 1998. 3 x 3" origami form.
Louise Neaderland: "Each book uses different decorated papers and opens into four configurations. Remove paper clip from front cover and clip front and back covers together. Then flip open and shut to create the 4 configurations."

Where is Home
Brooklyn, New York: Bone Hollow Arts, 1987. Revised edition. 7 x7.5"; 20 pages including wraps. Sewn binding. Photocopy.
Louise Neaderland: "Photographs taken by the artist of the words 'Where is Home,' written in the sand and washed out by the tide. Rubber stamp images of the sphinx, a chameleon and the rubber stamped words 'where is home?' as the tide washes everything away. The final page is of footprints in the sand and four photo mount corners with no photo inserted in them ... only the words, 'where is home?'."

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Pandora's Box
By Louise Odes Neaderland
Brooklyn, New York: Louise Neaderland / Bone Hollow Arts, 2011. Edition of 15.

9.75 x 8.25 x 2.25" box containing twelve books. Various sizes and construction.

A compilation of twelve copier books using the theme of war created by Louise Neaderland.

1) Distress Signals

2) Election Results

3) A Mideast Kaleidoscope

4) The Nuclear Fan

5) Shock and Awe

6) The Sound of One Hand Clapping

7) Where can the Dark Matter Be?

8) Cease Fire by Louise Neaderland
Brooklyn, New York: International Copier Artists, 1983.
5.75 x 3.75"; 9 leaves. Copier art. Bound in paper wrappers with saddle stitch binding.
Louise Neaderland: "This book is based on the same news photo as Mideast Kaleidoscope, but here, another figure is whited out from page to page 'and then there are none.' The final page is filled with black and gold stars."

9) Force Grim Force by Louise Neaderland
Brooklyn, New York: Louise Neaderland, 1983
8.25 x 8.5" closed; 7 pages. Accordion fold. Copier art.
Louise Neaderland: "Overlapped multiples of a news photo of a Shining Path guerilla and a Peruvian peasant reveals the silent suffering of the peasant population in Peru. Found poetry emerges and 'violence is legitimate politics' is the message."

10) Journeys by Louise Odes Neaderland
Brooklyn, New York: Louise Neaderland, 1996.
4.5 x 5.5" closed, opens to 17 x 11"; one sheet book. Stapled to interior back of paper wrapper.
Louise Neaderland: "Sometimes the end of a journey is not a place on a map. Journeys opens like a map to reveal the Nuremberg trials."

11) The Killing Machine Kosovo 1999 by Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 1999.
5.5 x 4.5" closed; one sheet book with four pages. Folded, with hole in middle for guillotine pop-up. Reinforced foreedges.
Louise Neaderland: "News photo from Kosovo of suffering, destruction, and devastation. The blade snaps open as the book opens, shuts when closed."

12) Stealth by Louise Odes Neaderland
Brooklyn, New York: Bone Hollow Arts, 1991.
8.5 x 5.25"; 12 leaves. Copier art. Bound in wraps with saddle stitch binding.
Louise Neaderland: "The Persian Gulf War as seen on a rubber stamped TV screen. Parts of a Stealth bomber appear on a screen on each page until a blizzard of dots including the Stealth bomber fill the final page."

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Original Copies
From the ISCA Quarterly of xerographic prints 1981-2003

By Louise Neaderland
Brooklyn, New York: International Society of Copier Artists, 2010. Edition of 20.

9.375 x 11.25"; 42 pages including front and back sheets. 26 (8.5 x 11") prints plus 5 double-page spreads. Prints slipped into clear archival plastic sheets. Three hole post binding. Numbered. Most prints are signed and numbered.

A compilation of prints that Louise Neaderland created for the ISCA Quarterly publication. Includes introduction by Neaderland.

Louise Neaderland: "The first generation of electrographic copiers were a far cry from modern laser machines. Very often the paper path was crooked, and the toner coverage sometimes unreliable, producing imperfect black coverage. So, viewer take note, these Original Copies should be appreciated for what they are, warts and all, not 'fine art prints.'

"All but a few of the prints presented here were remainders of original editions from my file cabinet. Those editions ranged in number from twenty-five for the first issue of the ISCA Quarterly, to one hundred fifty for later issues.

"In a few instances, an original print had to be reprinted on a computer printer after scanning in the original electrostatic copier print. Modern copiers cannot reproduce the feeling of those original prints, but it was possible to come close by using Photoshop to retrieve the feeling of the original print. This was true for two or three of the prints in this collection.

"All of these copier prints were created for inclusion in the ISCA Quarterly, the assemblage project of the International Society of Copier Artists. This Society, founded by me in 1981, was intended to provide a showcase for artists using the copier as a creative tool. The Society enjoyed a long life, with the final edition appearing in 2003. It was arguably the longest running international assemblage project in the world. Nothing remains of many of the prints I created for the Quarterly. I created four prints, and later, after the introduction of the June artist's book issue, three prints each year, for twenty-one years.

"Xerographic prints are now part of the long history of artists making use of new technologies, creatively. The copier was a camera, darkroom, and printing press for many artists. We could enlarge, reduce, distort, degenerate, and directly image material, instantly... and then press PRINT!

"The sequencing of the prints, while not strictly sequential in time, does reflect one artist's response to the events of a twenty-one year period of transformational historical, social, and political turmoil. The consequences of these events will shape our lives, for better or for worse, for the foreseeable future. I hope that these prints, warts and all, will speak to you."


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Louise Neaderland Out of Print Title:  

A Book of Short Stories
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, 1986. Edition of 25.

7 x 8.5"; 26 pages. Color photocopy on double leaves. Stab binding.

Louise Neaderland: "The text of the book is a letter from the artist's father written from the nursing home where her parents lived."

Dear Louise and family,
       Thank you for the dried fruits
you sent us. They tasted wonderful.
       Your mother constantly talks
of going home. But I ask her
where is home?
       As soon as it warms up a bit
we will look for something else.
                     Yours truly,
                     Pop and Mom

$45 (SOLD)

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Desert Storm / Desert Sand
By Louise Neaderland
Brooklyn, New York: Bone Hollow Arts, 1991. Edition of 10.

4.75 x 7.25"; 13 unnumbered loose pages (handcut rubber-stamped TV screens). Silk screen. Of the 13 pages: six with images of soldiers, planes, tanks; seven with text. In card stock envelope with paper colophon tipped on.

Louise Neaderland: "Glue was applied to the screened image on the container and shaken in a box of sand so that the sand adhered to the glue. The text is quotations from interview with elders during the first Gulf War.

"This was originally an edition of 200 but decided to make it just ten."


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Empress Bullet
By Louise Neaderland
Rosedale, New York: Women's Studio Workshop / International Society of Copier Artists, 1982. Edition of 100.

9.75 x 9"; 8 pages including cover. Accordion fold. Photocopy in black-and-white on a Xerox 9400.

Women's Studio Workshop, Synopsis: "This book is based on a news story by Steve Crist and a photograph by Vic DeLucia which appeared in The New York Times. It was created from multiple copies of a single image arranged in such a way as to create a visual narrative moving through time and space with discovered poetry emerging from re-aligned text. A Xerox 9400 was used to create the multiples."

Louise Neaderland: "A racehorse throws her rider, goes on to cross the finish line first but is disqualified from winning because she has no rider. Without a rider to rein her in she continues running until impaling herself on a safety barrier. Created from multiples of a single image and the article's text manipulated to create found poetry."

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Higher Dimensions
By Louise Neaderland
poem by Matsuo Basho
Brooklyn, New York: International Society of Copier Artists, 1999. Edition of 6.

10.5 x 7" closed, opens to 6.5 x 6.5 x 6.5"; 14 leaves. Slice book form. Interlocking pages. Housed in black paper envelope with tie closures. Signed and numbered.

Louise Neaderland, catalog: "The vocabulary of time and space runs along the top edges; i.e. 10th dimensions, time warps, curved space, hyper space, millennia, years, decades, was, is, will be. On the left side from back to front, a poem by the Edo period poet Matsuo Basho (1644-1694). On the right is a short poem by the artist.

The months and days that come and go are travelers of eternity. The years are also voyagers. ~ Basho

Sing to me of time and space, of weightless dreams on cruise control. ~ Neaderland


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A Slice Form Book

By Louise Odes Neaderland
Brooklyn, New York: Louise Odes Neaderland, 2001. Edition of 4.

15.25 x 8.5" closed, opens to 11 x 11 x 8.5"; four leaves, 3 panels each. Slice form construction. Housed in black and red envelope with title on flap. Signed by the artist.

A do-it-yourself book.The detached leaves are placed in slots to form a three dimensional view of the artist's balcony view.

Louise Neaderland, catalog description: "This book was created with photographs taken by the artist from her balcony overlooking the entry to her building, formerly a small private hospital with a large garden area and wrought iron fencing. Pictures taken looking down at the entry provide a birds eye view of residents coming and going. The open book can be viewed from the top revealing the bright red core of the maze and the trapped figure. Unfortunately, a photo detail of that does not have the same feeling. The exterior has twenty different picture panels."


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Nuclear Fan
By Louise Odes Neaderland
Brooklyn, New York: Bone Hollow Arts, 1999. Third edition.

8 x 2"; 10 leaves. Photocopy on pink card stock. Single screw post binding.

Fan construction. Slipped in V-shaped red paper case with red tassel.

Louise Neaderland: "Image of an atomic bomb explosion with text THIS IS ONLY A TEST THIS IS ONLY A TEST ... Fan yourself with a nuclear breeze."

This fan is an ironic reminder of the real dangers involved with the Cold War.

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Our Glass
By Louise Neaderland
Brooklyn, New York: Louise Neaderland, 1984.

8.25 x 9.5"; 7 pages. Hourglass-shaped pages handcut from card stock. Sand applied to pages. Photocopy book. Bound at top with red thread strung through two punched holes. Signed and dated by the artist.

Kristina Feliciana, Making Memory Books by Hand: "Here the artist depicts her mother's life, from young girl to old woman, with the sand starting at the top of the hourglass and filtering to the bottom as the pages (which are similar to calendar pages, another reference to time) are turned. This book is part of Neaderland's series, Where Is Home?, about her parents, the passage of time, and the endurance of sand. The books were made over a period of about four years when both her parents were in nursing homes, a traumatic time for the artist and her sister."


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Page last update: 04.17.17


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