Mail ART Exhlbltlons O COMPETITIONS
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Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995. -
Danish Artists in the International Mail Art Network Charlotte Greve
Danish Artists in the International Mail Art Network Charlotte Greve According to one definition of mail art, it is with the simple means of one or more elements of the postal language that artists communicate an idea in a concise form to other members of the mail art network.1 The network constitutes an alternative gallery space outside the official art institution; it claims to be an anti-bureaucratic, anti-hierarchic, anti-historicist, trans-national, global counter-culture. Accordingly, transcendence of boundaries and a destructive relationship to stable forms and structures are important elements of its Fluxus-inspired idealistic self-understanding.2 The mail art artist and art historian Géza Perneczky describes the network as “an imaginary community which has created a second publicity through its international membership and ever expanding dimensions”.3 It is a utopian artistic community with a striving towards decentralized expansion built on sharing, giving and exchanging art through the postal system. A culture of circulation is built up around a notion of what I will call sendable art. According to this notion, distance, delay and anticipation add signification to the work of art. Since the artists rarely meet in flesh and blood and the only means of communication is through posted mail, distance and a temporal gap between sending and receiving are important constitutive conditions for the network communication. In addition, very simple elements of the mail art language gain the status of signs of subjectivity, which, in turn, become constitutive marks of belonging. These are the features which will be the focus of this investigation of the participation of the Danish artists Mogens Otto Nielsen, Niels Lomholt and Carsten Schmidt-Olsen in the network during the period from 1974–1985. -
Ray Johnson Drawings and Silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding Aid Prepared by Finding Aid Prepared by Julia Lipkins
Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding aid prepared by Finding aid prepared by Julia Lipkins This finding aid was produced using the Archivists' Toolkit August 18, 2015 Describing Archives: A Content Standard Ray Johnson Estate January 2013 34 East 69th Street New York, NY, 10021 (212) 628-0700 [email protected] Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 Table of Contents Summary Information ................................................................................................................................. 3 Biographical Note.......................................................................................................................................... 4 Scope and Contents Note.............................................................................................................................. 4 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 6 Controlled Access Headings..........................................................................................................................6 Bibliography...................................................................................................................................................7 Collection Inventory..................................................................................................................................... -
Ray Johnson and the Mail Art Scene in Eastern Europe*
Kunsttexte.de/ostblick 3/2014 - 1 Kornelia Röder Ray Johnson and the Mail Art Scene in Eastern Europe* Introduction The 1983 video Zone1, by the artist Jakobine Engel, The aim was to be quicker and smarter. Birger Jesch was recorded secretly in the underground station for example used envelopes normally carrying letters between East and West Berlin before the wall broke of condolence. Paweł Petasz sewed his letters in order down. ‘Zone’ was an insulting term for the Eastern to prevent them from being secretly opened by steam. Part of Germany, and this metaphorical expression Endré Tot and many others mailed their letters from gives an idea of the real situation with its lack of com- different cities and/or several times in the hope that munication and understanding during the time of one would arrive. the Cold War. Likewise, the dark tunnel with the light- ning spots could be read as a metaphor for the import- ance of creating an independent network of commu- nication and exchange between the two parts of the world and their different political systems. The artist Guillermo Deisler, who emigrated from Chile to East Germany in 1986, described the import- ance of the network of mail art, he called it a window to the world. The performance TRANS IDEEA by the artists Doru Tulcan and Iosif Kiraly from Timişoara (fig. 1) visualised the feeling of many people in the countries of Eastern Europe. These Romanian artists put themselves in a large envelope with stamps, postmark and recipient’s address. To understand the Fig. 1 Doru Tulcan and Iosif Kiraly, Timişoara,TRANS importance of the network it is necessary to IDEEA, Performance, October 1982. -
Bern Porter Mail Art Collection, 1953-1992 (Bulk 1978-1992)
http://oac.cdlib.org/findaid/ark:/13030/tf267n98nz No online items Finding aid for the Bern Porter mail art collection, 1953-1992 (bulk 1978-1992) Finding aid prepared by Lynda Bunting. Finding aid for the Bern Porter 900270 1 mail art collection, 1953-1992 (bulk 1978-1992) ... Descriptive Summary Title: Bern Porter mail art collection Date (inclusive): 1953-1992 (bulk 1978-1992) Number: 900270 Creator/Collector: Porter, Bern, 1911-2004 Physical Description: 19.25 linear feet(39 boxes, 1 flat file folder) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American physicist, poet, publisher, editor of artists' books, illustrator and mail artist. Collection consists of five collections of mail art preserved by Porter from his own accumulation and those of fellow mail artists John Pyros, Carlo Pittore (née Charles Stanley), Robert Saunders, and Jay Yager. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Bern Porter was born Bernard Harden Porter on February 14, 1911 in Porter Settlement, Maine. Schooled in physics, Porter contributed to the Manhattan Project until 1945 when he quit shortly after he published Henry Miller's Murder the Murderer, an anti-war tract. Disillusioned by the misapplication of scientific potential, Porter began to express himself through a fusion of science and art. In 1959, he established the Institute for Advanced Thinking to encourage freelance physicists to develop ideas that combine physics and the humanities. -
Oral History Interview with Alison Knowles
Oral history interview with Alison Knowles This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Alison Knowles AAA.knowle10 Collection Overview Repository: -
In the Mid-1950S Artist Ray Johnson
In the mid-1950s artist Ray Johnson (1927-95) began to send collages, messages, and found and altered objects to a growing base of artists and friends, asking that they continue to expand this networked correspondence through the mail sys- tem, initiating what in the 1960s would be named the New York Correspondance School [sic]. Perhaps Johnson intended the name as a pun on the New York School, another name for the Abstract Expressionist movement based in New York, which had dominated the avant-garde since the late 1940s. Intentionally disconnected from traditional systems of art production and consumption, Johnson and other mail artists set their work within the present tense of social reality. "Mail Art," Johnson claimed, "has no history, only a present."1 Ray Johnson's work-collages, correspondence art, and performance events- remains mysterious and a bit hard to pin down. As a young artist, he studied at Black Mountain College, the progressive arts school in North Carolina founded in 1933. Johnson's early paintings nod to the Bauhaus heritage of his teacher Josef Albers. But soon after he settled in New York City in 1949, Johnson abandoned geometric abstraction and started making small collages. He moved in a new direction, toward chance-based expressions and explorations, more in line with John Cage and Merce Cunningham, whom he first encountered at Black Mountain, and their circle of friends in New York, including Robert Rauschenberg, Jasper Johns, and Cy Twombly. Johnson's collage approach was diaristic, a stream-of-consciousness flow through the matter and memory of his everyday life and surroundings, shifting from one topic to another, across all variety of things. -
“What I Did on My Vacation Or Interior Scroll”
Soft Network at Stanley and Sons The Art Building, Springs June 28, 2021 - July 31, 2021 “Interior Scroll or What I Did on My Vacation ” Taking its title from both the extraordinary Carolee Schneemann performance that was first staged in a gallery in East Hampton on August 29, 1975 as part of Joan Semmel and Joyce Kozloff’s feminist exhibition entitled Women Here and Now and a series of happenings organized by Allan Kaprow in 1967 throughout the Hamptons for CBS’s historic news program Eye on New York, Soft Network’s summer project gathers artwork, ephemera, performance and a moving-image program from a group of intergenerational artists in a sprawling, visual poem on mediation and re-mediation. Organized as a searching scroll of performance-related material, this project considers the fractured boundary between private and public as an endless performance of self, sometimes for no one and sometimes for many. Artists depicting other artists, their own personages, or correspondence reflective of one’s community and performance residuals convey the crucial role of both conversation and the record left after. Presenting this project at the Stanley & Sons store in the historic Art Building in the Springs, a space that once housed a darkroom and photo residency, is important to the organizers as it tempers the mythologized narrative of this specific East End location as mainly a center of mid 20th century painting and favors its rich collaborative history instead. The show is specifically situated during the summer months in a location associated as much with recreation as with art-making to propose an expansive view of performance for the camera or the page and looks at the complicated, yet integral role archival actions take in preserving fleeting, corporeal based work as well as artist networks. -
NAM JUNE PAIK: the Late Style
G A G O S I A N G A L L E R Y 31 August 2015 PRESS RELEASE GAGOSIAN GALLERY 7/F PEDDER BUILDING 12 PEDDER STREET T. +852.2151.0555 CENTRAL HONG KONG E. [email protected] HOURS: Tue–Sat 11:00am–7:00pm NAM JUNE PAIK: The Late Style Thursday, 17 September–Saturday, 7 November 2015 Opening reception: Thursday, 17th September, from 6:00 to 8:00pm I am a communication artist. —Nam June Paik Gagosian Hong Kong is pleased to present the first exhibition of Nam June Paik's work in Hong Kong, following the announcement of the gallery's worldwide representation of his estate. Born in Korea and living and working internationally, Paik brought television into the realm of art for the first time and treated it as a tactile and multisensory medium. Trained as a classical pianist, his early interests in composition and performance combined with his radical aesthetic tendencies brought him into contact with protagonists of the counter-culture and avant-garde movements of the 1960s, including Fluxus. Such engagement profoundly shaped his outlook at a time when electronic images were becoming increasingly present in everyday life. He embraced new technologies as material parts of his repertoire, which later included satellite transmissions, robots, and lasers. In 1974 Paik coined the term “electronic superhighway” to describe the exponential growth of new forms of communication. His installations, performances, and writings contributed to the creation of a media-based culture that expanded the very definition and aesthetic possibilities of making art. Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s. -
Crackerjack Kid * P.O.Box 978 * Hanover * NH 903755 USA
EDITORIAL Toda la información recogida en estas páginas ha sido extraida via Internet del Electronic Museum of Mail Art, ver en estas mismas páginas las formas de acceso, como la información es totalmente gratuita, en el caso de hayas comprado este P.O.BOX solo estás pagando el precio de coste de las copias. Para dirigirse via postal al EMMA, escribir a: Crackerjack Kid * P.O.Box 978 * Hanover * NH 903755 USA Merz Mail Welcome to Electronic Museum of Mail Art (EMMA) Welcome visitors to EMMA, The Electronic Museum of Mail Art. Your guide and director at EMMA is Chuck Welch a.k.a. Crackerjack Kid. EMMA is mail art's first electronic maiibox museurn wliere the address is ttie art, the web is your key, and admission is free. Tlie nonprofit credo at EMMA is: You don't make a iiving out of mail art, you make an art out of iiving. Objectives at EMMA are: 1) introduce the electronic and (snail) mail art cornrnunities to one another; 2) develop the concept of ernailart; 3) Encourage emaiiart interactivity through visitations into EMMA's rooms, gaileries, and iibrary; 4) promote irnage exchange. EMMA's objectives reflect ongoing efforts to netlink online and offline mail art communities through the Netwarker Telenetlink 1995. i EMMA encourages you to browse through its interactive gaiieries and rooms. Lost? Begin at the Information Center and browse through EMMA's Directory. Here you'll tind the Emailart Directorv which iists current addresses of oniine emaiiartists. Now take time to meet your guide Cracker-iack Kid. The kid will lead you to the EMMA Libraq where you can read emailart zines such as the current issue of whnker Online, or browse through the contents of Eiernal Network: A Mnil Arr Antholopv. -
MAIL ART H/STORY^Thefluxljs by Ken Friedman
Oisteanu, Valery: Illegal Mail Art (a poetical essay), in: Mail Art Then and Now, The Flue, Vol. 4, No. 3-4 (special issue), 1984 Winter, pp. 11-12. MAIL ART H/STORY^THEFLUXlJS Downloaded from http://artpool.hu/MailArt/chrono/1984/FluxusFactor.html snared works of Arman and Spoerri, the by Ken Friedman decollages of Hains and Dufrene and the world-embracing, massively realized projects of Christo. The issues and ideas that motivated La Bertesca FLUX the Nouveaux Realistes also emerged in via del Carmine the Pop Art of the late '50's and early 20121 M ilano POST telefono 87.4J.13 | '60's in Britain and the United States, CARD PARTIAL PROGRAM : G. Brecht (Ladder, Chair, A Play. Lamp) Robert t ser (Pat’ s Birthday) Earle Joseph Byrd (Birds) John Cage (h'33” ) Barney Childs (Fourth String Quartet) P h ilip Corner Lucia Olugot iwski Robert FI 11 too (111 I' trade Mo. I - a 53 kg. poem) Malcolm though Pop Art tended to be an art Goldstein Rad Grcxmu/Rudolph Burckhardt {Shoot the Moor) Al Hanse Dick Higgins (Oanger Musi s tla ls . Two fo r Hemi Bay) Spencer lay) J ill Johnston Brooklyn Joe Jones J Holst (Stories) Terry Jennings (Piece fo r String Quartet) Ray \n which took the real into its scope (Mechanical Music) Alison Knowles (Proposition, Nlvea Cream Piece for Oscei ! Child Art) Arthur Kdpcke (music while you work) Tekenhlsa Kosugl (Micro I, An lea 1) P hilip Kruam (Construction fo r Perfoi y Kuehn Peter Longezo (A Method fo r Reversing the Direction of Rotation of the Planets) George Meciunas (Place for ___ ___ , ___ ,0r Everyman, Plano Compositions) Jackson Mac Low emblematically rather than by direct (John Bull Pack; Night Walk; Adams County, Illin o is ; Poert-au-l ice; Sth Light Poem; Solo Readings) Robert Morris (Stories, Construction) Robin Page (Soto fo r Guitar) Ben Patterson (Pond, Paper Pl< Gloves, from Methods t Processes; Three movements fo r seeing - Can you incorporation or manipulation. -
On Exhibition Without Objects — Flatness, File Size, and Hard Drives a Report by Sadia Shirazi on Her Project, Exhibition Without Objects
Through the lens of her project “Exhibition Without Objects,” Sadia Shirazi explored her interest in and knowledge of generative and self-reflexive exhibitions. Since 2010, ICI has been presenting similar exhibitions that are adaptable to varied spaces and contexts, such as “Project 35” and the “Exhibitions in a Box” series. The following is a text by Shirazi, commissioned by ICI, on her exhibition and the legacy of traveling curatorial projects. On Exhibition Without Objects — Flatness, File Size, and Hard Drives A report by Sadia Shirazi on her project, Exhibition Without Objects EXHIBITION WITHOUT OBJECTS, Exhibition diagram, 2013. Image courtesy of Sadia Shirazi. LAHORE > DELHI > MUMBAI > KARACHI > DUBAI EXHIBITION WITHOUT OBJECTS (EWO) is an exhibition platform that transforms as it moves through cities along its designated route. Designed so that it travels the world solely on a hard drive, the show’s structure shifts attention away from the singular art object and focuses instead on artistic practice and discourse as well as curatorial methodology. The show aims to engage local audiences, to move bodies from one city to the next, and to build upon pre-existing networks to further strengthen, reinforce, and engage knowledge that exists at each locale. EWO travels only as a compilation of data and then, at each site, materializes as bodies, events, and hardware that manifest the data. With its interest in the (increasingly digital) movement of the art object, and in the exhibition as a formal mechanism itself, it continues the lineage of artistic and curatorial experiments with the traveling show ranging from Marcel Duchamp and Rrose Sélavy’s Le Boite en Valise to Fluxus Fluxkits, Mail and Correspondence Art, and Lucy Lippard’s Numbers Shows.