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."