Crackerjack Kid * P.O.Box 978 * Hanover * NH 903755 USA
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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. -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. 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 Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
Mal K ART NEWS
MAl k ART NEWS If you would like to display work at the exhibition, send your artistamps to Artistamp Congress, The Stamp 2080 artists postcards in 2080 days, one by one Art Gallery, 466 - 8th St., San Francisco, CA 94103. handmade in a rich variety of themes and techniques by Work will not be returned, but all entering will obtain Angela and Peter Netmail and mailed out derring the last documentation from the exhibition, including a list of 20000 days of this millenium equals a unique project of names and addresses of all participating artists. inail as art In the long tradition of artists postcards which Running concurrently with the Pacific Rim Artistamp st:u.tocl soon after the invention of the "correspondence Congress exhibition, the Stamp Art Gallery will be card" over 100 years ago. This includes lots of hosting the exhibition, Fe-Mail Adlstampers, which ~tehvorkingevents and homages to other mail artists. will display the work of over 100 artists ( 4 January - 28 ?'he collection was shown for the first time in Holland as February 1997). For further information, contact John an "exhibition in progress" with a new add-to daily. The Held, Jr., Artistamp Congress, Stamp Art Gallery, 466 - Netmails are looking for more exhibition sites. Please 8th St., San Francisco, CA 94103. let them now if you are interested in showing this singular collection. Mail to Angela & Peter Netmail, An exhibition by Emiko Shimoda at the Bruce R. Lewin P.O. Bo:< 2644, D-32383 Minden, Germany. Gallery in New York City shows portraits of people with smiles--much like the portraits E. -
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. -
3, PDF File, 15.1 MB
79 0849 Attack Wace 2. A4 phc. after a collage work on a ruled paper. Marked by a studio stamp. (~1985) 0850 Europeans cry... A4 phc. after a collage on squared plotting paper. Marked by studio stamp. (~1985) 0851 The Year... A4 phc. after a collage on squared plotting paper.Marked by a studio stamp. (~1985) 0852 !Pelas! A4 phc. after a collage work on a ruled paper. Marked by a violet studio stamp. (~1985) 0853 0855 BANG. A4 phc. after a collage work on a ruled paper. Marked by a violet studio stamp. (~1985) 0854 Reagen & Co. A4 phc. after a collage work on a ruled paper. Marked by a studio stamp. (~1985) Esting, Paul. Nordtoft 13, Aalborg, DK-9000 0855 The Look. A4 size full page, recto-verso printed xerography after collage works. Marked by a studio stamp. (1985) Evans, John. 199 East 3rd Street #2B, New York, NY-10009 0856 Soho NYC – Alhambra. Letter-size Canon Laser Print after an original to Guy Bleus. Copied signature and date: 24 Mai 1993. Numbered by pencil: 7/11. 0856 Back: handwritten data by Evans. 0857 Long-size envelope with butterfly rubber stamps, sent to GP. 01:06:93. Back: elaborated by rubbers. Fallico, Arturo G. 22700 Mt. Eden Road, Saratoga, CA-95070 0858 Ray Johnson Mail Art. Postcard by B/W phc. after a collage. Back: Signed letter to GH., 01:05:85 0858 80 0859 X 9 Cuidado. Postcard by B/W phc. after a collage Back: dedicated and signed to GH. Not used for mail. (~1986) 0860 TRAX. -
F a St, C H Eap & Ea
Fast, Cheap & Easy 2018 The Copy Art Revolution CEPA GALLERY’S HISTORY Founded in 1974 during an intense period of creativity and artistic exploration in Buffalo, CEPA Gallery is Western New York’s premiere visual arts center. One of the oldest photography galleries in the nation, CEPA remains an artist-run space dedicated to the advancement of contemporary photo-related art. Throughout its history, CEPA has earned international acclaim for its unique array of visual arts programming and dedication to the artistic practice. Recognized as one of the most relevant and important alternative art spaces in the United States by the European Journal of Media Art, CEPA’s Visual Arts program curates world-renowned exhibitions; its organizational structure is celebrated for efforts to maximize resources through collaboration; and its educational programming is recognized among the best in the nation having earned a 2013 National Arts & Humanities Youth Programming Award. Each season, CEPA brings an impressive roster of national and international artists into Erie County for exhibitions, public art initiatives, residencies, educational and community-based programming. The projects CEPA commissions give voice to marginalized communities, promote diverse ideas and perspectives, and help to increase dialogue around issues pertinent to local audiences. Its commitment to serving artists and the artistic practice, to engaging new constituencies with exhibitions and installations of importance is continual- ly recognized and celebrated. CEPA’s unique ability to mutually serve the interests of working artists, WNY’s diverse communities, and international audiences is what separates it from other cultural organizations and is the reason for its continued success and growth. -
Mail ART Exhlbltlons O COMPETITIONS
MAiL ART EXHlBltlONS O COMPETITIONS NEWS Kay Thomas, artist-in-residence, at Ross Elementary school designing the stamps for the united ~ations,Hundert- in Odessa, Texas has reported to Umbrella that there is a wasser said he tried to capture the spirit of the decla- children's Learning Disabled Class at the Elementary School ration, which was in 1948. where she works, and they have had their first exposure to Hundertwasser's vivid designs describe a series Mail Art, and they love it. Their teacher, Mrs. Hanes, is rights and freedoms that he believes are essential for quite enthusiastic and plans to give the kids one period a man's salvation. "A postage stamp is an important week to make Mail Art. So, Mail Art Network, send mail matter. Though it is very small and tiny in size, it art to Mrs. Hanes' Class, Ross Elementary School, P.O. Box bears a decisive message. stamps are the 3912, Odessa, TX 79761, and know that you are connec- measure to the cultural standing of a country.The ting children who really need encouragement-and you tiny square connects the hearts of the sender and won't believe how refreshing their mail art is! the receiver, reducing the distances. It is a bridge between people and countries. The postage stamp Guy Bleus is organizing the European Cavellini Festival passes all frontiers. It reaches men in. prisons, asy- for 1984 in Brussels. 1) Cavellini will be appointed or nomi- lums and hospitals." =hey can be purchased and nated the First President of the United States of Europe; used only in New York, Geneva and Vienna. -
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. -
Canadian Philatelist Philatéliste Canadien
The Canadian Philatelist Le Philatéliste canadien September/October 2010 septembre/octobre - VOL. 61 • NO.5 PM40069611 $5.00 R 9828 5,00$ Journal of THE ROYAL PHILATELIC SOCIETY OF CANADA Revue de LA SOCIÉTÉ ROYALE DE PHILATÉLIE DU CANADA Roadside Curiosités Attractions touristiques The trek continues Le voyage se poursuit From a 7.3-metre-tall coffee pot and a top-hat-clad rock to a Qu’il s’agisse de la cafetière géante de 7,3 mètres, du rocher surplombé giant Atlantic puffi n and the enormous steel Wawa Goose— de la mascotte en haut-de-forme ou du gigantesque macareux moine these lively and colourful stamps and collectibles will show you géant, ou encore de l’énorme bernache en métal de Wawa, découvrez, what the attraction is about! grâce à ces timbres riches en couleurs et animés, ainsi qu’aux articles The second set in the popular Roadside Attractions series hits de collection, ce qui suscite tant de curiosité au pays! the road on July 5, 2010. Le deuxième jeu de la populaire série Curiosités touristiques prend la Order yours today! route le 5 juillet. Commandez vos curiosités dès aujourd’hui! 28 Offi cial First Day Cover Set of 4 postcards 16 $ 3 Pli Premier Jour offi ciel Jeu de 4 cartes postales $ 7 413767131 262235 56 Booklet of 8 self-adhesive stamps Souvenir sheet 28 $ 4 Carnet de 8 timbres autocollants Bloc-feuillet $ 2 413767111 403767145 Available at participating post offices or | Offert dans les bureaux de poste participants ou Canada / U.S. | Canada / É.-U. : From other countries | d’un autre pays : 1 800 565-4362 902 863-6550 -
You've Got Mail: the Art of Michael Morris, Vincent
YOU’VE GOT MAIL: THE ART OF MICHAEL MORRIS, VINCENT TRASOV, ERIC METCALFE AND KATE CRAIG OF IMAGE BANK Béatrice Cloutier-Trépanier “If we weren’t permitted to play the game that then defined the art-world, we were not obliged to play by the rules of the game.”1 This exhibition, a foray into conceptual Canadian art of the 1960s and 1970s, focuses on mail correspondence practices. Mail art as a marginal mode of communication parallels the development of artist-run centres and the rise of alternative art forms of art as a source of institutional critique. The works of Michael Morris (b. 1942) and Vincent Trasov (b. 1947) who founded Image Bank in 1969, and Eric Metcalfe (b. 1941) in collaboration with Kate Craig, are indebted to the earlier manifestations of correspondence art. This was initiated by Fluxus, the Nouveaux Réalistes, and more directly, the New York Correspondence School promoted by the American artist Ray Johnson in the mid 1960s. Operating on the margins of the art circuit, Morris, Trasov and Metcalfe in conjunction with Kate Craig were part of a large—albeit private—network of artists that included the members of General Idea, Anna Banana in “Canadada” and a number of international artists such as Robert Filliou from France and Dana Atchley from the United States.2 This vibrant community was, as American Fluxus artist and author Ken Friedman writes, “characterized by a trenchant sense of privacy [and] a specific reaction against the exclusionary façade of art history and [its] exclusive attitudes.”3 ARTH 648B-2 Envisioning Digital and Virtual Forms of Exhibitions: The Curatorial Translation of Theory into Practice, 2012 Stemming from my previous virtual exhibition, which was concerned with art and text, and how the digital transposition of text-based work can operate to heighten its original potential, this second exhibition is concerned with the use of a means of communication—the mail—as a viable artistic medium to further the exchange of ideas and visual material across geographical boundaries. -
2, PDF File, 14.0 MB
1 Aakoun, Piot. 18 rue des Soeurs Noires, 84 Chausée de Renaix, Tournai, B-7500 0001 Trans Formation. Card by collage work, elaborated recto- verso. Colours: red, grey, silver. Typewritten texts, n.s., n.d. (~1985) 0002 A New Collective Brainwash: Agri- Culture. A5 paper work by rubber stamp, golden pen & collage. Marked by stamp on the back., n.d. (~1985) 0001 Abramovits, Marina / Ulay. Amsterdam. 0003 Eindeloze Projektie, De Appel, 1979. Horz. A4 sheet, recto-verso print, 2 half- tone offset images (after photos). N.s. Adamus, Karel. 0005 Dudelská 685 / 13, Trinec VI. CZ-739 61 0004 Envelope work with burned holes. 11x22 cm. white cover with printed insert. Back: Signed, dated by pencil: 1970 0005 Envelope work with punches and typewritten accents. 11x22 cm. white cover with colourful insert. Back: Signed, dated by pencil: 1970 0006 0006 Envelope work with connected punches. 11x22 cm. white cover with red /blue / yellow insert. Back: Signed, dated by pencil: 1970 0007 Envelope work with a large round hole. 11x22 cm. white cover with a pasted on printed matter insert. Back: Signed, dated by pencil: 1971 0008 Envelope work with a large round hole. 11x22 cm. white cover with pasted on orange matter insert. Back: Signed, dated by pencil: 1971 0009 Konfrontation. 8x8 cm. collage work with transparent foils and black twine. Title by letraset. N.s. (1971) 0009 2 0010 Ein Apfel und eine Birne. 8x8 cm. collage work with holed transparent foils. Text by letraset. N.s. (1971) 0011 Das Buch des/der räumlichen... 8x8 cm. collage work with holed transparent foils and letraset. -
I Art Mekka Minden
ING HHAS CHANGED MY nunor it The network me a publisher and an archivist. I Art Mekka Minden Quite sometimes, however, I am dissatisfied with the vast impersonal mail art trash in the form of a bad copy of a copy of a copy (that has nothing to do with the theme of your I got infected with mail art by English goet David "Don" of interpersonal communication). In my Jarvis, when we were our poetry each at the own catalogs, I am still polite enough to enter every sender's National Poetry Society n. He tried to sell me a few name in the participants' list of each of the projects I do. But pages of congraaations from all over the world, on the the color pages in our catalogs are reserved for serious the 90th birthday of "Quercus Robur", i.e. the contributions. There is a need for beauty in mail art. Our for the oaktree, which faces his color-xerox- common avantgarde form means not only mail, but also art. equipped council flat. Innocent me bought those photocopies That does not imply censorship, but a desire for minimum for a horrific sum to help "make up for the postage". No quality. Another source of frustration, in turn, are many other phrase has ever influenced my life mare. I used the donunentationsthat I receive myselfas participant: all those fascinating participants ' list for my first Itlail art caIl "No years I have contributed my own mail art to other projects. War in my City". Off the cuff, it brought me over 400 Meanwhile reliability has become an important issue to me.