Editing Xerox art (section)

==Recognition of the art form==
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'',<ref>Cushman, Barbara. "Copy art: San Francisco revolution." Umbrella {California} 3 (4): 97 (Summer 1980)</ref> curated and organized by [[Ginny Lloyd]], was also held at LaMamelle gallery.<ref>Lloyd, Ginny, ed. ''Copy Art Exhibition''. San Francisco: The Carbon Alternative, 1980.</ref> 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, San Francisco|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, Smithsonian Design Museum|Cooper-Hewitt Museum]] in New York and International Museum of Photography at George Eastman House.<ref>McCray, Marilyn, ed. ''Electroworks''. Rochester, New York: International Museum of Photography at George Eastman House, 1979. {{ISBN|0-935398-00-7}}.</ref> 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. [[File:Lesson Plan - Ginny Lloyd.jpg|thumb|Sample of copy art manipulation by Ginny Lloyd]]

Galeria Motivation of Montreal, Canada, held an exhibit of copy art in 1981.<ref>Charbonneau, Jacques, ed. ''L'ere du Copie Art''. Montreal, Canada. 1981</ref> PostMachina, an exhibit in Bologna, Italy, held in 1984, featured copy art works.<ref>Belleti, Fabio, ed, ''PostMachina''. Bologna, Italy. 1984</ref>

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."<ref>{{cite book|last1=Les artistes et les auteurs|title=Medium: Photocopie|year=1987|publisher=Editions de la Nouvelle barre du jour |isbn=2-89314-094-7|edition= 1987}}</ref> 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]].<ref name="library.fau.edu"/> 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.<ref>Thomoson, John. ''Tribune,'' September 22, 2010. ″The Carbon Alternative Exhibition″, Miami, FL.</ref> 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<ref>Lloyd, Ginny. ''Umbrella Magazine.'' Vol 5, #1. ″The Mail Art Community in Europe.″ Los Angeles, CA.</ref> 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.<ref>{{cite journal |last1=Eisen |first1=Erica |title=The Work of Art in the Age of Xerox Reproduction |journal=Lady Science |date=August 16, 2018 |page= 1 of reprint of article}}</ref>