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Xérographie : artistes femmes (1965-1990)

Xerography: Women Artists, 1965-1990

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Published on Tuesday, November 02, 2021 by Sarah Zingraff

Summary

This symposium offers a state of the field reflection on women artists’ use of xerography, a practice that, to date, has not been the subject of any in-depth study. Appearing in the artistic field during the 1960s, xerography (from the Greek xeros, “dry” and graphein “to write”) appears as an in-between practice bordered upstream by photography and downstream by the advent of the digital image. While male artists did explore the new technology in their work, the emergence of this phenomenon and its development, particularly on American soil, were essentially the work of female artists. Xerography was an Intermedial practice par excellence; it challenged the notion of medium specificity by the production of an infinitely reproducible mechanical image and was thus experienced as a threat to the dominant doctrine of medium specificity.

Announcement

Presentation

This symposium aims to offer a state of the field reflection on women artists’ use of xerography, a practice that, to date, has not been the subject of any in-depth study. Appearing in the artistic field during the 1960s, xerography (from the Greek xeros, ‘dry’ and graphein ‘to write’) appears as an in-between practice bordered upstream by photography and downstream by the advent of the digital image. While male artists did explore the new technology in their work—mostly notably in the Xerox Book coordinated by Seth Siegelaub—the emergence of this phenomenon and its development, particularly on American soil, were essentially the work of female artists. Often considered as mere followers, even as true copyists, women artists investigated the new technology in an artistic and cultural context in which the principle of originality was a supreme value. In contrast to the celebrated, and often masculine works of abstract expressionism, xerographic images diverted the photocopier's office use in order to produce compositions that challenged the simplistic distinction between the original work and its copy. The years 1970-1980 were the apogee of a feminism characterized by protest activism. In the reprographic workshops of art schools and copy shops, xerography became part of the staging of a social critique. This artistic production had much in common with the broader counter-culture which favored alternative means of distribution such as posters, zines, mail art, performance or artists’ books. Xerography was an Intermedial practice par excellence; it challenged the notion of medium specificity by the production of an infinitely reproducible mechanical image and was thus experienced as a threat from which a retrogressive doctrine of the medium came to dominate the debates of art criticism. By bringing together art historians, critics, curators, and artists, this event aims to fill a historiographical gap, bringing new perspectives to the art scenes of the 1960s-1980s, in which xerography participated actively and globally.

Program

Thursday, November 18th

09h15 Welcome

09h45 Opening of the symposium by Éric de Chassey, director of the INHA

09h55 Welcome from Andrew Perchuk, Deputy Director, Getty Research Institute

10h05 Introduction by Judith Delfiner (Paris Nanterre University) and Zanna Gilbert (Getty Research Institute)

Session 1 : Women Artists, Reproduction and Xerography

Moderated by Eric Robertson (Royal Holloway, université de Londres)

  • 10h30 Tamara Trodd (université d’Edimbourg) “A world blown from the bubble chamber of a photocopier”: Helen Chadwick’s Of Mutability (1986)
  • 10h55 Karen Di Franco (Chelsea College of Arts, UAL, Londres), Publishing the Self: Fiction and the Aesthetics of Self-Publishing in 1970s New York
  • 11h20 José R. Alcalá (université de Castille, Castille-La Manche), Pioneering Women of Copy Art in the Collection of the International Museum of Electrography of Cuenca, Spain

11h45 Discussion

12h30 Lunch

Session 2 : Alternative and Collaborative Spaces

Moderated by Annabela Tournon Zubieta (École nationale supérieure d’arts de Paris-Cergy)

  • 14h00 Mari Rodríguez Binnie (Williams College, Williamstown), With and Against the Grain: Vera Chaves Barcellos and Xerography
  • 14h25 Mara Polgovsky Ezcurra (Birkbeck, université de Londres), Electric Corpora: Electrography in Mexico, Snapshots of its Feminist History
  • 14h50 Jenni Sorkin (université de Californie, Santa Barbara), Reproduction and Resistance at the Los Angeles Woman’s Building

15h15 Discussion

  • 16h00 Paroles d’artiste : Marisa González

Friday, November 19th

09h45 Welcome

Session 3 : Collaborating with the Machine

Moderated by Peter Geimer (université Libre, Berlin)

  • 10h30 Richard Torchia (université d’Arcadie, Glenside), Pati Hill’s Xerographilia
  • 10h55 Taous Dahmani (université Paris 1 Panthéon-Sorbonne), Rita Keegan’s Art of Immediacy
  • 11h20 Jacob Lillemose (université de Copenhague), Hacking Machines, Generating Images: On the Artistic Practice of Sonia Landy Sheridan

11h45 Discussion

12h30 Lunch

Session 4 : Curatorial Practices

Moderated by Julie Jones (Centre Georges Pompidou)

14h00 Jean-Louis Boissier (université Paris 8), “Toutes les copies” in Les Immatériaux, 1985

  • 14h25 Michelle Cotton (Mudam, Luxembourg), XXerography
  • 14h50 Maurin Dietrich (Kunstverein, Munich), Pati Hill: Compare Me to Myself

15h15 Discussion

  • 16h00 Paroles d’artiste : Kameelah Janan Rasheed

19h00 Séance de films au Centre Georges Pompidou

« Thanks to Zerox »

Cinéma 2 (entrée libre)

Organisation

  • Judith Delfiner (Université Paris Nanterre)
  • Zanna Gilbert (Getty Research Institute)

Further information

All papers, with the exception of those of Taous Dhamani and Jean-Louis Boissier, will be given in English

https://agenda.inha.fr/events/xerographies-artistes-femmes-1965-1990?nc=eyJpbmRleCI6OCwidG90YWwiOjEwfQ%3D%3D

Places

  • salle Vasari, 1er étage - 2, rue Vivienne
    Paris, France (75002)

Event format

Full on-site event


Date(s)

  • Thursday, November 18, 2021
  • Friday, November 19, 2021

Attached files

Keywords

  • xérographie, photocopie, copy art, édition, media, reproductibilité

Contact(s)

  • Judith DELFINER
    courriel : judith [dot] delfiner [at] wanadoo [dot] fr

Information source

  • Judith DELFINER
    courriel : judith [dot] delfiner [at] wanadoo [dot] fr

To cite this announcement

« Xérographie : artistes femmes (1965-1990) », Conference, symposium, Calenda, Published on Tuesday, November 02, 2021, https://calenda.org/927179

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