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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 |
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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." $85 |
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The Disposable History of the World 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. " |
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| 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. $10 |
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Distress Signals |
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Nuclear Fan |
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| 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?'" $12 |
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Dialogues Louise Neaderland: "A monologue between one nesting doll and herself.
"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 |
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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. $25 |
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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." $25 |
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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. $25 |
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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." |
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23 Sins |
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| ALPHAGAMI 2 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." $12 |
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Black Holes |
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The Sound of One Hand Clapping |
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LENINGRAD: August 9th - 24th 1991 /
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A Book of Short Stories
$45 (Last two copies) |
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Page last update: 03.27.12
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