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Xerox art

April 09, 2024

Xerox art (sometimes, more generically, called copy art, electrostatic art, scanography or xerography) 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 (normal copy); 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.

Accessible art edit

Xerox art appeared shortly after the first Xerox copying machines were made. It is often used in collage, mail art and book art. Publishing collaborative mail art in small editions of Xerox art and mailable book art was the purpose of International Society of Copier Artists (I.S.C.A.) founded by Louise Odes Neaderland.[1][2]

 
Puppets, a 2002 photo of a lithograph from xerographic direct imaging of two 20th century hand puppets

Throughout the history of copy art San Francisco[3] and Rochester are mentioned frequently. Rochester was known as the Imaging Capital of the World with Eastman Kodak and Xerox, while many artists with innovative ideas created cutting edge works in San Francisco. Alongside the computer boom a copy art explosion was taking place. Copy shops were springing up all over San Francisco,[4] and access to copiers made it possible to create inexpensive art of unique imagery. Multiple prints of assemblage and collage meant artists could share work more freely. Print on demand meant making books and magazines at the corner copy shop without censorship and with only a small outlay of funds. Comic book artists could quickly use parts of their work over and over.

 
3D color copy art by Ginny Lloyd

Early history 1960s–1970s edit

The first artists recognized to make copy art are Charles Arnold, Jr., and Wallace Berman. Charles Arnold, Jr., an instructor at Rochester Institute of Technology, made the first photocopies with artistic intent in 1961 using a large Xerox camera on an experimental basis. Berman, called the "father" of assemblage art, would use a Verifax photocopy machine (Kodak) to make copies of the images, which he would often juxtapose in a grid format.[5] Berman was influenced by his San Francisco Beat circle and by Surrealism, Dada, and the Kabbalah. Sonia Landy Sheridan began teaching the first course in the use of copiers at the Art Institute of Chicago in 1970.[6]

In the 1960s and 1970s, Esta Nesbitt was one of the earliest artists experimenting with xerox art.[7] She invented three xerography techniques, named transcapsa, photo-transcapsa, and chromacapsa.[7] Nesbitt worked closely with Anibal Ambert and Merle English at Xerox Corporation, and the company sponsored her art research from 1970 until 1972.[8]

Seth Siegelaub and Jack Wendler made Untitled (Xerox Book) with artists Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, and Lawrence Weiner in 1968.[9][10]

Copy artists' dependence upon the same machines does not mean that they share a common style or aesthetic. Artists as various as Ian Burn (a conceptual/process artist who made another Xerox Book in 1968),[11] Laurie-Rae Chamberlain (a punk-inspired colour Xeroxer exhibiting in the mid 1970s) and Helen Chadwick (a feminist artist using her own body as subject matter in the 1980s) have employed photocopiers for very different purposes.

Other artists who have made significant use of the machines include: Carol Key, Sarah Willis, Joseph D. Harris, Tyler Moore, the Copyart Collective of Camden, as well as:

in continental Europe

in the UK

in Brazil

in Canada

in the US

In the mid-1970s Pati Hill did art experiments with an IBM copier.[17][18] Hill's resulting xerox artwork was exhibited at Centre Pompidou, Paris, the Musée d’Art Moderne de la Ville de Paris, and the Stedelijk Museum, Amsterdam, among other venues in Europe and the US.[19]

Recognition of the art form edit

San Francisco had an active Xerox arts scene that started in 1976 at the LaMamelle gallery with the All Xerox exhibit and in 1980 the International Copy Art Exhibition,[20] curated and organized by Ginny Lloyd, was also held at LaMamelle gallery.[21] The exhibition traveled to San Jose, California, and Japan. Lloyd also made the first copy art billboard (the first of three) with a grant from Eyes and Ears Foundation.

A gallery named Studio 718 moved into the Beat poet area of San Francisco's North Beach neighborhood. It shared space in part with Postcard Palace, where several copy artists sold postcard editions; the space also housed a Xerox 6500. At around the same time color copy calendars produced in multiple editions made by Barbara Cushman sold at her store and gallery, A Fine Hand.

In the 1980, Marilyn McCray curated the Electroworks Exhibit held at the Cooper-Hewitt Museum in New York and International Museum of Photography at George Eastman House.[22] On view at the Cooper Hewitt were more than 250 examples of prints, limited-edition books, graphics, animation, textiles, and 3-D pieces produced by artists and designers.

 
Sample of copy art manipulation by Ginny Lloyd

Galeria Motivation of Montreal, Canada, held an exhibit of copy art in 1981.[23] PostMachina, an exhibit in Bologna, Italy, held in 1984, featured copy art works.[24]

In May 1987, artist and curator George Muhleck wrote in Stuttgart about the international exhibition "Medium: Photocopie" that it inquired into "new artistic ways of handling photocopy."[25] The book which accompanied the exhibition was sponsored mainly by the Goethe Institut of Montreal, with additional support from the Ministere des Affaires Culturelles du Quebec.

The complete collection I.S.C.A. Quarterlies is housed at the Jaffe Book Arts Collection of the Special Collections of the Wimberly Library at Florida Atlantic University in Boca Raton, Florida.[2] The collection began in 1989 with several volumes donated by the Bienes Museum of the Modern Book, in Fort Lauderdale, FL. The Jaffe hosted an exhibition in 2010 of copy art by Ginny Lloyd, showcasing her works and copy art collection.[26] She lectures and teaches workshops at the Jaffe on copy art history and techniques. She previously taught the workshop in 1981 at Academie Aki, Other Books and So Archive, and Jan Van Eyck Academie in The Netherlands; Image Resource Center in Cleveland[27] and University of California - Berkeley.

In 2017–2018, the Whitney Museum of American Art in New York presented Experiments in Electrostatics: Photocopy Art from the Whitney’s Collection, 1966–1986, organized by curatorial fellow Michelle Donnelly.[28]

Current artwork edit

Copiers add to the arts, as can be seen by surrealist Jan Hathaway's combining color xerography with other media, Carol Heifetz Neiman's layering prismacolor pencil through successive runs of a color photocopy process (1988-1990), or R.L. Gibson's use of large scale xerography such as in Psychomachia (2010).

 
The set up Chel White created for his direct photocopy technique. In addition to four side lights (three of which are pictured), there is a top light positioned behind a sheet of frosted glass that allows for the silhouettes of people and objects to be visible.

In 1991, independent filmmaker Chel White completed a 4-minute animated film titled "Choreography for Copy Machine (Photocopy Cha Cha)". All of the film's images were created solely by using the unique photographic capabilities of a Sharp mono-colour photocopier to generate sequential pictures of hands, faces, and other body parts. Layered colors were created by shooting the animation through photographic gels. The film achieves a dream-like aesthetic with elements of the sensual and the absurd.[29] The Berlin International Film Festival describes it as "a swinging essay about physiognomy in the age of photo-mechanical reproduction.[30] The Austin Film Society dubs it, "Doubtlessly the best copy machine art with delightfully rhythmic sequences of images, all to a cha-cha-cha beat."[31] The film screened in a special program at the 2001 Sundance Film Festival,[32] and was awarded Best Animated Short Film at the 1992 Ann Arbor Film Festival.[33]

Manufacturers of the machines are an obvious source of funding for artistic experimentation with copiers and such companies as Rank, Xerox, Canon and Selex have been willing to lend machines, sponsor shows and pay for artists-in-residence programs.[34]

See also edit

References edit

  1. ^ Science, Lady (17 August 2018). "The Work of Art in the Age of Xerox Reproduction". The New Inquiry. Retrieved 12 December 2018.
  2. ^ a b "Jaffe Center for Book Arts".
  3. ^ Lloyd, Ginny. " 5 Cents a Page." Women Artists News 7 (6):11-12 (Summer 1982).
  4. ^ Lloyd, Ginny. "Copy Art: Europe and San Francisco." Art Com Magazine 4 (4): 39-40 (Spring 1982)
  5. ^ Brunet-Weinmann, Monique. Copigraphie: Éléments pour une histoire globale / Copigraphy: Elements for a global history. Les produits logiques LopLop (CD-ROM), éditeur, Montréal, 2000.
  6. ^ Firpo, Patrick ; Alexander, Lester ; Katayanagi, Claudia; Ditlea, Steve. Copy Art: The First Complete Guide to the Copy Machine. New York: Richard Marek Publishers, 1978. ISBN 978-0-399-90016-7. OOP
  7. ^ a b "Exhibitions: Finding Source Material in the Archives of American Art - Esta Nesbitt". Archives of American Art, Smithsonian Institution. Retrieved 2019-12-03.
  8. ^ "A Finding Aid to the Esta Nesbitt Papers, circa 1942-1981, in the Archives of American Art". Smithsonian Online Visual Achieve (SOVA). Retrieved 2019-12-03.
  9. ^ "Lawrence Weiner, Robert Morris, Joseph Kosuth, Douglas Huebler, Robert Barry, Sol LeWitt, Carl Andre. Untitled (Xerox Book). 1968". The Museum of Modern Art (MoMA). Retrieved 2020-09-12.
  10. ^ Kushins, Jordan (2013-09-12). "The Secret Role That Copy Machines Have Played in Modern Art". Gizmodo. Retrieved 2020-09-13.
  11. ^ a b Nairne, Eleanor (2014-01-03). "Reviews: Xerography". Frieze. No. 160. ISSN 0962-0672. Retrieved 2020-09-13.
  12. ^ Pioselli, Alessandra (March 2019). "Reviews – Bruno Munari. Translated from Italian by Marguerite Shore". Artforum. 57 (7). Retrieved 2020-09-12.
  13. ^ Medosch, Armin (2007-04-05). "Interview with Harwood / Mongrel: Between Social Software and the Poetic". Medienkunstlabor. from the original on 2007-11-15.
  14. ^ "Polaroid Spotlight Talks". MIT Museum. 2019–2020. Retrieved 2020-09-13.
  15. ^ Fifield, George (1981). "Electrophotographcopyinstantart". Views, the Journal of Photography in New England. 3 (1): 16–17.
  16. ^ Bonin, Vincent (2007). "Sonia Sheridan fonds : Process: Color-in-Color I, II (3M)". Daniel Langlois Foundation. Retrieved 2020-09-13.
  17. ^ Yardley, William, The New York Times, Arts, New York, NY, Sept, 23, 2014
  18. ^ "The Personal and Poetic Prints of a Female Pioneer of Copier Art". Hyperallergic. 20 April 2016. Retrieved 2016-04-21.
  19. ^ Torchia, Richard, ArtForum, Passages, New York, NY, 2014
  20. ^ Cushman, Barbara. "Copy art: San Francisco revolution." Umbrella {California} 3 (4): 97 (Summer 1980)
  21. ^ Lloyd, Ginny, ed. Copy Art Exhibition. San Francisco: The Carbon Alternative, 1980.
  22. ^ McCray, Marilyn, ed. Electroworks. Rochester, New York: International Museum of Photography at George Eastman House, 1979. ISBN 0-935398-00-7.
  23. ^ Charbonneau, Jacques, ed. L'ere du Copie Art. Montreal, Canada. 1981
  24. ^ Belleti, Fabio, ed, PostMachina. Bologna, Italy. 1984
  25. ^ Les artistes et les auteurs (1987). Medium: Photocopie (1987 ed.). Editions de la Nouvelle barre du jour. ISBN 2-89314-094-7.
  26. ^ Thomoson, John. Tribune, September 22, 2010. ″The Carbon Alternative Exhibition″, Miami, FL.
  27. ^ Lloyd, Ginny. Umbrella Magazine. Vol 5, #1. ″The Mail Art Community in Europe.″ Los Angeles, CA.
  28. ^ Eisen, Erica (August 16, 2018). "The Work of Art in the Age of Xerox Reproduction". Lady Science: 1 of reprint of article.
  29. ^ "Photocopy Cha Cha | Chel White". 3 September 2013.
  30. ^ "ESPN Went Two Hours Without an Ad Break After LeBron James Jilted Miami". 11 July 2014.
  31. ^ . austinfilm.org. Archived from the original on 2015-10-17.
  32. ^ "Sundance Institute".
  33. ^ "Choreography for Copy Machine (Photocopy Cha Cha) - IMDb". IMDb.
  34. ^ Walker, John A. Copy This! A Historical Perspective On the Use of the Photocopier in Art. Ann Arbor, MI: MPublishing, University of Michigan Library. 2006

Further reading edit

  • Copy Art Bibliography compiled by Reed Altemus for Leonardo/ISAST
  • Jaffe Center for the Book Arts Carbon Alternative exhibit
  • Urbons, Klaus (1991). Copy art : Kunst und Design mit dem Fotokopierer (in German). Köln: DuMont Taschenbücher. ISBN 3770126556.
  • Urbons, Klaus (1994). Elektrografie. Analoge und digitale Bilder (in German). Köln: DuMont. ISBN 3770132033.
  • Creative Photocopying (1997), Walton, S. and Walton, S. Aurum Press. ISBN 1-85410-476-4.
  • Lloyd, Ginny. Let's Make Copy Art On-Your-Own. Jupiter, FL. TropiChaCha Press. 2013. ISBN 978-0-9836070-8-3
  • Kate Eichhorn, Adjusted Margin: Xerography, Art, and Activism in the Late Twentieth Century, Cambridge, Massachusetts: The MIT Press, 2016, 216 p., ISBN 978-0-262-03396-1[1]
  • Erin Aldana, Xerografia: Copyart in Brazil, 1970-1990, San Diego, California: University of San Diego, 2017, 120 p., ISBN 978-0-9967593-4-2[2]
  • See also Reed Altemus's Copy Art Bibliography (last updated March 2003)
  1. ^ Kate Eichhorn: Adjusted Margin. MIT Press. 19 February 2016. ISBN 9780262033961. Retrieved 2020-09-13. {{cite book}}: |website= ignored (help)
  2. ^ "Publications - University Galleries". University of San Diego. Retrieved 2020-09-13.

April 09, 2024
xerox, sometimes, more, generically, called, copy, electrostatic, scanography, xerography, form, that, began, 1960s, prints, created, putting, objects, glass, platen, copying, machine, pressing, start, produce, image, object, flat, cover, does, totally, cover,. Xerox art sometimes more generically called copy art electrostatic art scanography or xerography 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 normal copy 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 Contents 1 Accessible art 2 Early history 1960s 1970s 3 Recognition of the art form 4 Current artwork 5 See also 6 References 7 Further readingAccessible art editXerox art appeared shortly after the first Xerox copying machines were made It is often used in collage mail art and book art Publishing collaborative mail art in small editions of Xerox art and mailable book art was the purpose of International Society of Copier Artists I S C A founded by Louise Odes Neaderland 1 2 nbsp Puppets a 2002 photo of a lithograph from xerographic direct imaging of two 20th century hand puppetsThroughout the history of copy art San Francisco 3 and Rochester are mentioned frequently Rochester was known as the Imaging Capital of the World with Eastman Kodak and Xerox while many artists with innovative ideas created cutting edge works in San Francisco Alongside the computer boom a copy art explosion was taking place Copy shops were springing up all over San Francisco 4 and access to copiers made it possible to create inexpensive art of unique imagery Multiple prints of assemblage and collage meant artists could share work more freely Print on demand meant making books and magazines at the corner copy shop without censorship and with only a small outlay of funds Comic book artists could quickly use parts of their work over and over nbsp 3D color copy art by Ginny LloydEarly history 1960s 1970s editThe first artists recognized to make copy art are Charles Arnold Jr and Wallace Berman Charles Arnold Jr an instructor at Rochester Institute of Technology made the first photocopies with artistic intent in 1961 using a large Xerox camera on an experimental basis Berman called the father of assemblage art would use a Verifax photocopy machine Kodak to make copies of the images which he would often juxtapose in a grid format 5 Berman was influenced by his San Francisco Beat circle and by Surrealism Dada and the Kabbalah Sonia Landy Sheridan began teaching the first course in the use of copiers at the Art Institute of Chicago in 1970 6 In the 1960s and 1970s Esta Nesbitt was one of the earliest artists experimenting with xerox art 7 She invented three xerography techniques named transcapsa photo transcapsa and chromacapsa 7 Nesbitt worked closely with Anibal Ambert and Merle English at Xerox Corporation and the company sponsored her art research from 1970 until 1972 8 Seth Siegelaub and Jack Wendler made Untitled Xerox Book with artists Carl Andre Robert Barry Douglas Huebler Joseph Kosuth Sol LeWitt Robert Morris and Lawrence Weiner in 1968 9 10 Copy artists dependence upon the same machines does not mean that they share a common style or aesthetic Artists as various as Ian Burn a conceptual process artist who made another Xerox Book in 1968 11 Laurie Rae Chamberlain a punk inspired colour Xeroxer exhibiting in the mid 1970s and Helen Chadwick a feminist artist using her own body as subject matter in the 1980s have employed photocopiers for very different purposes Other artists who have made significant use of the machines include Carol Key Sarah Willis Joseph D Harris Tyler Moore the Copyart Collective of Camden as well as in continental Europe Guy Bleus Alighiero Boetti Nove Xerox AnneMarie 1969 11 Bruno Munari Xerografie series begun in 1963 12 M Vanci Stirnemann Vittore Baroni Piermario Cianiin the UK Graham Harwood 13 Tim Head David Hockney Alison Marchant Russell Millsin Brazil Paulo Bruscky pt Leon Ferrari Hudinilson Jr pt Eduardo Kac Leticia Parente Mario Ramiroin Canada Evergonin the US Pati Hill Ginny Lloyd Tom Norton 14 15 Sonia Landy Sheridan 16 In the mid 1970s Pati Hill did art experiments with an IBM copier 17 18 Hill s resulting xerox artwork was exhibited at Centre Pompidou Paris the Musee d Art Moderne de la Ville de Paris and the Stedelijk Museum Amsterdam among other venues in Europe and the US 19 Recognition of the art form editSan Francisco had an active Xerox arts scene that started in 1976 at the LaMamelle gallery with the All Xerox exhibit and in 1980 the International Copy Art Exhibition 20 curated and organized by Ginny Lloyd was also held at LaMamelle gallery 21 The exhibition traveled to San Jose California and Japan Lloyd also made the first copy art billboard the first of three with a grant from Eyes and Ears Foundation A gallery named Studio 718 moved into the Beat poet area of San Francisco s North Beach neighborhood It shared space in part with Postcard Palace where several copy artists sold postcard editions the space also housed a Xerox 6500 At around the same time color copy calendars produced in multiple editions made by Barbara Cushman sold at her store and gallery A Fine Hand In the 1980 Marilyn McCray curated the Electroworks Exhibit held at the Cooper Hewitt Museum in New York and International Museum of Photography at George Eastman House 22 On view at the Cooper Hewitt were more than 250 examples of prints limited edition books graphics animation textiles and 3 D pieces produced by artists and designers nbsp Sample of copy art manipulation by Ginny LloydGaleria Motivation of Montreal Canada held an exhibit of copy art in 1981 23 PostMachina an exhibit in Bologna Italy held in 1984 featured copy art works 24 In May 1987 artist and curator George Muhleck wrote in Stuttgart about the international exhibition Medium Photocopie that it inquired into new artistic ways of handling photocopy 25 The book which accompanied the exhibition was sponsored mainly by the Goethe Institut of Montreal with additional support from the Ministere des Affaires Culturelles du Quebec The complete collection I S C A Quarterlies is housed at the Jaffe Book Arts Collection of the Special Collections of the Wimberly Library at Florida Atlantic University in Boca Raton Florida 2 The collection began in 1989 with several volumes donated by the Bienes Museum of the Modern Book in Fort Lauderdale FL The Jaffe hosted an exhibition in 2010 of copy art by Ginny Lloyd showcasing her works and copy art collection 26 She lectures and teaches workshops at the Jaffe on copy art history and techniques She previously taught the workshop in 1981 at Academie Aki Other Books and So Archive and Jan Van Eyck Academie in The Netherlands Image Resource Center in Cleveland 27 and University of California Berkeley In 2017 2018 the Whitney Museum of American Art in New York presented Experiments in Electrostatics Photocopy Art from the Whitney s Collection 1966 1986 organized by curatorial fellow Michelle Donnelly 28 Current artwork editCopiers add to the arts as can be seen by surrealist Jan Hathaway s combining color xerography with other media Carol Heifetz Neiman s layering prismacolor pencil through successive runs of a color photocopy process 1988 1990 or R L Gibson s use of large scale xerography such as in Psychomachia 2010 nbsp The set up Chel White created for his direct photocopy technique In addition to four side lights three of which are pictured there is a top light positioned behind a sheet of frosted glass that allows for the silhouettes of people and objects to be visible In 1991 independent filmmaker Chel White completed a 4 minute animated film titled Choreography for Copy Machine Photocopy Cha Cha All of the film s images were created solely by using the unique photographic capabilities of a Sharp mono colour photocopier to generate sequential pictures of hands faces and other body parts Layered colors were created by shooting the animation through photographic gels The film achieves a dream like aesthetic with elements of the sensual and the absurd 29 The Berlin International Film Festival describes it as a swinging essay about physiognomy in the age of photo mechanical reproduction 30 The Austin Film Society dubs it Doubtlessly the best copy machine art with delightfully rhythmic sequences of images all to a cha cha cha beat 31 The film screened in a special program at the 2001 Sundance Film Festival 32 and was awarded Best Animated Short Film at the 1992 Ann Arbor Film Festival 33 Manufacturers of the machines are an obvious source of funding for artistic experimentation with copiers and such companies as Rank Xerox Canon and Selex have been willing to lend machines sponsor shows and pay for artists in residence programs 34 See also editScanographyReferences edit Science Lady 17 August 2018 The Work of Art in the Age of Xerox Reproduction The New Inquiry Retrieved 12 December 2018 a b Jaffe Center for Book Arts Lloyd Ginny 5 Cents a Page Women Artists News 7 6 11 12 Summer 1982 Lloyd Ginny Copy Art Europe and San Francisco Art Com Magazine 4 4 39 40 Spring 1982 Brunet Weinmann Monique Copigraphie Elements pour une histoire globale Copigraphy Elements for a global history Les produits logiques LopLop CD ROM editeur Montreal 2000 Firpo Patrick Alexander Lester Katayanagi Claudia Ditlea Steve Copy Art The First Complete Guide to the Copy Machine New York Richard Marek Publishers 1978 ISBN 978 0 399 90016 7 OOP a b Exhibitions Finding Source Material in the Archives of American Art Esta Nesbitt Archives of American Art Smithsonian Institution Retrieved 2019 12 03 A Finding Aid to the Esta Nesbitt Papers circa 1942 1981 in the Archives of American Art Smithsonian Online Visual Achieve SOVA Retrieved 2019 12 03 Lawrence Weiner Robert Morris Joseph Kosuth Douglas Huebler Robert Barry Sol LeWitt Carl Andre Untitled Xerox Book 1968 The Museum of Modern Art MoMA Retrieved 2020 09 12 Kushins Jordan 2013 09 12 The Secret Role That Copy Machines Have Played in Modern Art Gizmodo Retrieved 2020 09 13 a b Nairne Eleanor 2014 01 03 Reviews Xerography Frieze No 160 ISSN 0962 0672 Retrieved 2020 09 13 Pioselli Alessandra March 2019 Reviews Bruno Munari Translated from Italian by Marguerite Shore Artforum 57 7 Retrieved 2020 09 12 Medosch Armin 2007 04 05 Interview with Harwood Mongrel Between Social Software and the Poetic Medienkunstlabor Archived from the original on 2007 11 15 Polaroid Spotlight Talks MIT Museum 2019 2020 Retrieved 2020 09 13 Fifield George 1981 Electrophotographcopyinstantart Views the Journal of Photography in New England 3 1 16 17 Bonin Vincent 2007 Sonia Sheridan fonds Process Color in Color I II 3M Daniel Langlois Foundation Retrieved 2020 09 13 Yardley William The New York Times Arts New York NY Sept 23 2014 The Personal and Poetic Prints of a Female Pioneer of Copier Art Hyperallergic 20 April 2016 Retrieved 2016 04 21 Torchia Richard ArtForum Passages New York NY 2014 Cushman Barbara Copy art San Francisco revolution Umbrella California 3 4 97 Summer 1980 Lloyd Ginny ed Copy Art Exhibition San Francisco The Carbon Alternative 1980 McCray Marilyn ed Electroworks Rochester New York International Museum of Photography at George Eastman House 1979 ISBN 0 935398 00 7 Charbonneau Jacques ed L ere du Copie Art Montreal Canada 1981 Belleti Fabio ed PostMachina Bologna Italy 1984 Les artistes et les auteurs 1987 Medium Photocopie 1987 ed Editions de la Nouvelle barre du jour ISBN 2 89314 094 7 Thomoson John Tribune September 22 2010 The Carbon Alternative Exhibition Miami FL Lloyd Ginny Umbrella Magazine Vol 5 1 The Mail Art Community in Europe Los Angeles CA Eisen Erica August 16 2018 The Work of Art in the Age of Xerox Reproduction Lady Science 1 of reprint of article Photocopy Cha Cha Chel White 3 September 2013 ESPN Went Two Hours Without an Ad Break After LeBron James Jilted Miami 11 July 2014 AVANT CINEMA 4 2 FEVER DREAMS austinfilm org Archived from the original on 2015 10 17 Sundance Institute Choreography for Copy Machine Photocopy Cha Cha IMDb IMDb Walker John A Copy This A Historical Perspective On the Use of the Photocopier in Art Ann Arbor MI MPublishing University of Michigan Library 2006Further reading editCopy Art Bibliography compiled by Reed Altemus for Leonardo ISAST Jaffe Center for the Book Arts Carbon Alternative exhibit Urbons Klaus 1991 Copy art Kunst und Design mit dem Fotokopierer in German Koln DuMont Taschenbucher ISBN 3770126556 Urbons Klaus 1994 Elektrografie Analoge und digitale Bilder in German Koln DuMont ISBN 3770132033 Creative Photocopying 1997 Walton S and Walton S Aurum Press ISBN 1 85410 476 4 Lloyd Ginny Let s Make Copy Art On Your Own Jupiter FL TropiChaCha Press 2013 ISBN 978 0 9836070 8 3 Kate Eichhorn Adjusted Margin Xerography Art and Activism in the Late Twentieth Century Cambridge Massachusetts The MIT Press 2016 216 p ISBN 978 0 262 03396 1 1 Erin Aldana Xerografia Copyart in Brazil 1970 1990 San Diego California University of San Diego 2017 120 p ISBN 978 0 9967593 4 2 2 See also Reed Altemus s Copy Art Bibliography last updated March 2003 Kate Eichhorn Adjusted Margin MIT Press 19 February 2016 ISBN 9780262033961 Retrieved 2020 09 13 a href Template Cite book html title Template Cite book cite book a website ignored help Publications University Galleries University of San Diego Retrieved 2020 09 13 Retrieved from https en wikipedia org w index php title Xerox art amp oldid 1200365301, wikipedia, wiki, book, books, library,

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