Rather than simply replicating images, xerographic artists cut and pasted, combined and recombined, folded and bound, and experimented with recopying, overlay, and other effects. The most engaging xerographic works frequently accomplish a level of détournement, rendering the familiar strange and disrupting our typical perceptual frameworks. In the 1986 issue, Rebecca Stuckey destabilized the comforting familiarity of domestic space by captioning images of a home with otherworldly titles like “possible wall,” “radiation,” and “darkens,” while Mitzi Humphrey created a similar effect with her facsimiles of rubbings of doily-like patterns. The works that appeared in The ISCA Quarterly were imaginative, formally innovative, and frequently undergirded by a difficult-to-pinpoint eeriness.

In light of these historical phenomena, copier artists’ critique of the originality-reproduction dichotomy takes on deeper, more political dimensions.Īrtists who experimented with xerography –– using photocopiers, laser printers, and the like to make and reproduce artworks –– did not merely use copy machines to distribute their artwork they also used their art to investigate the creative potential of the devices themselves. While the exhibition never raises the matter directly, lying behind the works on display is both a long history of women artists being dismissed as mere copyists and the simultaneous trend of women in the workplace being confined to tasks related to copying. A collective with a membership composed largely of women, ICSA was founded by Louise Neaderland in 1981 to promote the legitimacy of copy machine art. Smith, while a third area of focus was the International Society for Copier Artists (ICSA). Of the show’s four sections, two were devoted to individual women artists, Lesley Schiff and Barbara T.

Collectively, the pieces on display troubled the divide between creation and replication, terms often on opposite poles of a ne’er-the-twain-shall-meet binary. Image requirements: up to 2.March of 2018 marked the closing of Experiments in Electrostatics, an exhibition organized by Whitney curatorial fellow Michelle Donnelly that provided a sampling of works produced by American artists who used the photocopier as their medium between 19. Online submission of digital images via the website. The Best of Show winning artwork will be displayed as the poster of the show.Īll wining artists (Merit Award & Honorable Mention) will receive a digital award certificate. The gallery invites artists and photographers to share their artistic vision using any work with interpretation of botanical and floral art (flowers, herbs, fruit, leaves, plants and related floral subcjects). Who can enter: Open to all photographers, worldwide, 18+.Your images will be used only for marketing, promotional, and display purposes for any show organized by Grey Cube Gallery. Copyright: The artist shall retain all copyrights of any image they submit to Grey Cube Gallery.

Photocopy art