A great abstract oil on canvas by the noted artist Louise Odes Nederland (b 1932). This oil is signed and dated 1969. it depicts a man with a bow amongst circles. It is out of an estate collection of her work that has not been seen since the early 1970’s where they have been in storage. Black frame has been re-painted.
A brief biography follows from wikipedia:
Louise Odes Neaderland (born August 23, 1932) is an American printmaker, book artist and founder of the International Society of Copier Artists (I.S.C.A.) and the I.S.C.A. Quarterly, a collaborative mail, book art, and copy art publication. She was the organizer of ISCAGRAPHICS, a traveling exhibition of xerographic art.
Neaderland is an alumna of Bard College and has a Master of Fine Arts degree in printmaking from the State University of Iowa. In 1952 she was awarded a Yale University Norfolk Fellowship in Printmaking. In both 1960 and 1962 she received fellowship awards from the Huntington Hartford Foundation.[citation needed. In 1986 she was awarded a National Endowment for the Arts grant for artists’ bookmaking.
The art of Louise Neaderland is represented in Special Collections of MOMA, the Metropolitan Museum of Art, Getty Center, Brooklyn Museum of Art, Sackner Archive, and Jaffee Center of Art Book Art. Her books are included in the book art collection at Harvard University Library and in the Sydney, Australia collection Bibliotheca Librorum Apud Artificem. More than a dozen museums and educational institutions subscribed to the I.S.C.A. Quarterly, helping to establish xerography as a legitimate and collectible art form. The Quarterly is thought to be the longest running international art assemblage project in the history of such collaborative projects.
Neaderland donated a complete set of I.S.C.A. Quarterlies to Bard College at Simon’s Rock in Great Barrington, Massachusetts, along with copies of all of her books, 62 in all. The Special Collections department at the State University of Iowa in Iowa City has the archive of I.S.C.A. Neaderland continues to make books, and she has created a book which is a catalog of her books. For thirty-five years she has used the photocopy machine as a creative tool, editioning prints and artists’ books under the imprint (also known as the imprimatur) of Bone Hollow Arts, located in Brooklyn, New York.
Critical reception
Joanna Scott, a writer for Afterimage, discussed the “idiosyncratic appearances of artists’ books,” which she thought might confound a reader/viewer unfamiliar with the content of two of the ISCA quarterlies, ISCA Quarterly: First Annual Bookworks Edition[9] and ISCA Quarterly: Second Annual Bookworks Edition.[10] In addition, Scott categorized and reviewed the ISCA photocopy books according to their diverse forms (matchbooks, stamp books, scrolls, miniature calendars, slides, wallets, and envelopes), and according to their content (“. . .self helps, which offer moral advice; narratives, composed of broken or progressives successions of images; anthologies, which collect borrowed images or parodies of familiar images; pattern pieces, a catchall category for works that use original images in nonnarrative form; and ideologues, which announce their purpose outright.”
In 1991 Tom Trusky, Director of the Idaho Center for the Book, interviewed and videotaped Neaderland in her studio at 800 West End Avenue in NYC, where her studio was located from 1967-1994.
Roy Proctor, art critic for the Richmond News-Leader, said of Neaderland in a 1990 review of the exhibition “Art ex Machina” at 1708 Gallery, then located in Shockoe Bottom in Richmond, Virginia, “She’s living proof that, when a new technology begins to be mass-produced, artists will be curious enough–and imaginative enough–to explore its creative uses.” In 1994 Proctor also reviewed “Art ex Libris”, a curated invitational exhibition of artist’s books, including books by Louise Neaderland, at Artspace Gallery, then on Broad Street in Richmond Virginia. Artspace received a Virginia Commission for the Arts Technical Assistance Grant to produce video documentation of all the exhibited books in “Art ex Libris”, including those by Neaderland.