Editing Xerox art (section)

==Current artwork==
Copiers add to the arts, as can be seen by [[surrealism|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).

[[File:"Choreography for Copy Machine (Photocopy Cha Cha)" theatrical movie poster.jpg|thumb|Theatrical poster for "Choreography for Copy Machine (Photocopy Cha Cha)".)]] [[File:The unique technical set up created to generate the images for Chel White's animated short film Choreography for Copy Machine.jpg|thumb|right|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.<ref>{{Cite web|url=https://www.youtube.com/watch?v=u4k0pD20n5E/|title = Choreography for Copy Machine on YouTube &#124; Chel White| website=[[YouTube]] |date = 3 September 2013}}</ref> The Berlin International Film Festival describes it as "a swinging essay about physiognomy in the age of photo-mechanical reproduction.<ref>{{Cite web|url=https://www.berlinale.de/en/archiv/jahresarchive/1992/02_programm_1992/02_Filmdatenblatt_1992_19923179.php|title = &#124; Choreography for Copy Machine (Photocopy Cha Cah) &#124; Fotokopie Cha-Cha}}</ref> 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."<ref>{{cite web |url=http://www.austinfilm.org/page.aspx?pid=3586 |title=AVANT CINEMA 4.2: FEVER DREAMS |website=austinfilm.org |archive-url=https://web.archive.org/web/20151017012715/http://www.austinfilm.org/page.aspx?pid=3586 |archive-date=2015-10-17 |url-status=dead}}</ref> The film screened in a special program at the 2001 Sundance Film Festival,<ref>{{Cite web|url=http://history.sundance.org/films/2320/choreography_for_a_copy_machine_photocopy_cha_cha|title = Sundance Institute}}</ref> and was awarded Best Animated Short Film at the 1992 [[Ann Arbor Film Festival]].<ref>{{Cite web|url=https://www.imdb.com/title/tt0295517/awards?ref_=tt_awd|title = Choreography for Copy Machine (Photocopy Cha Cha) - IMDb|website = [[IMDb]]}}</ref>

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.<ref>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</ref>