Coffee Clutch 2 Draft 1

Total Page：16

File Type：pdf, Size：1020Kb

Name: _____________________________________________________ Date: _______ Coffee Clutch 2 draft 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Across 33. German artist known for collages 13. A ticket in Spain 5. Term for the margin between the edge of a stamp 36. Tree portrayed on the flag of Cascadia 14. Humorous use of words alike or nearly alike in design and perforations 38. Country name of a 1974 artistamp by Jas Felter sound but different in meaning 6. Name on artistamps issued by 41 39. Mail artist founder of Padma Press who now lives 16. A method of creating images or effects by passing 7. He assembled Fluxus Postal Kits in the 1960's in Arizona paper or canvas over a smoking candle 11. Nickname for the late artist Al Ackerman 40. Artist movement critiquing reason through 17. London street artist who stages miniature figures in city settings 12. Name for a public transit bus in Buenos Aires techniques exploiting unpredictable outcomes 41. Independent country of the late mail artist Harley 19. Artistic technique of reassembling reality by 15. Wealthy Italian noted for self-historification and cutting sections from an existing image to create a new issuing "International Postage" Down one 18. Archipelago created by Seattle mail artist Robbie 1. French artist who said "Pick up anything at your 22. Name on artistamps created by Canadian mail Rudine (two words) feet." artist Jas Felter 20. Mail art network name originated by Chuck Welch 2. Fluxus artist who created the first full sheets of 24. City in 32 artistamps in 1963-64 21. Another name for font 27. First name of Dutch mail artist who founded 23. Magazine founded by Anna Banana in 1974 3. German mail artist producing the series "One Day IUOMA in Berlin" 25. This Canadian Ed produced anthology sheets of 29. Printer that uses an electrostatic process 4. Nickname of prolific German creator of artistamps artistamps 32. Mail art congress held in Seattle in 2012 (abbrev.) 26. First name of mail artist creator of "Brain Cell" 8. Color of an artistamp created by French painter Yves Klein in 1957 34. City where the Cascadia Diorama is located 28. Country where Artpool is located 9. German artist who created Merz rubberstamps 35. This Donald invented places and created 30. Argentine rabbit often used by María Inés Esteves artistamps in watercolor in mail art 10. Part of a title for a publication produced by Quebec mail artist Reg Côté 37. Prominent feature in the Cascadia Diorama where 31. Used to cancel (two words) the Statue of the Ruler can be found (abbrev.).

Copy Link

Recommended publications

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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
Download the PDF Here
From the Mail Art network, We—’We’ being Jaye and me as one physical being, just to VESTED clarify*—We, as Genesis in those days, heard from an artist called Anna Banana. One day she wrote to me and we asked her about this mythical INTEREST fi gure we’d heard about called Monte Cazazza. She wrote back and said, ‘Monte Cazazza is a Genesis Breyer P-Orridge in conversation sick, dangerous, sociopathic individual. Why, with Mark Beasley once, Monte came to an art opening dressed like a woman in his long coat, carrying a briefcase and waving a Magnum revolver. In the briefcase was a dead cat and he locked the doors, held everybody in the art opening at gunpoint, took the cat out, poured lighter fl uid on it and set it on fi re. Oh, and the stench fi lled the room. He just started to laugh and then he left again. You don’t want to know this person!’ Wrong. (laughs) We did wantwant to know this person. Of course, once we heard how awful he was, we decided to correspond with Monte. We used to send each other the most grotesque and unpleasant things we could think of. One time, we sent him a big padded envelope and inside it were a pint of maggots and chicken legs and offal from the butcher, mixed up with pornography and so on. By the time it got to California to his P.O. Box, it stank! He was temporarily restrained by the security at the post offi ce.
[Show full text]
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.
[Show full text]
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.
[Show full text]
RESUME Anna Banana 287 East 26Th Avenue PO Box 3655 Vancouver, BC, Canada Vancouver, BC, Canada V5V 2H2 V6B 3Y8 Phone (604) 876-6764
RESUME Anna Banana 287 East 26th Avenue PO Box 3655 Vancouver, BC, Canada Vancouver, BC, Canada V5V 2H2 V6B 3Y8 Phone (604) 876-6764 Personal Biography Born: 1940, Victoria, BC, Canada Education: UBC, Vancouverl958-65, Bachelor of Education; Esalen Institute, Big Sur, CA, 1969-70 Early Career: Teaching, Vancouver Public Schools, 1964-66, The New School, Vancouver, 1966-69. Massage workshops, Vancouver, Toronto & Ottawa, 1971-73. Artistic Beginnings: Batik, drawing & painting. Shift from object making to conceptual work, August 1971, Town Fool Project, Victoria, BC Artistic Orientation To stimulate involvement, participation and reaction by confronting audiences with an alternate view of art, thus encouraging a re-evaluation of art from a new perspective. To these ends; participatory events in the public sphere, long-term involvement in the international mail art network, producing and exchanging individual works and publications (The Banana Rag and VILE Magazine), initiating cooperative publishing ventures, performances of Dada sound poetry, Futurist theatre works and personally scripted performances. Selected Career Highlights Publications: The Banana Rag, 22 issues from 1971-88 VILE Magazine, 7 issues from 1974-80 About VILE, 106 pg. book about VILE Magazine and my SF public events, March 1983 Euro-Tour Commemorative Stamp Edition, 15 sheets of stamps in an edition of 16 copies, October 1987 International Art Posf/Collaborative Color Stamp Edition, 2 sheets, February 1988 Events: The Banana Olympics - San Francisco, 1975, public event
[Show full text]
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.
[Show full text]
North American Artists' Groups, 1968–1978 by Kirsten Fleur Olds A
Networked Collectivities: North American Artists’ Groups, 1968–1978 by Kirsten Fleur Olds A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2009 Doctoral Committee: Professor Alexander D. Potts, Chair Professor Matthew N. Biro Associate Professor Rebecca Zurier Assistant Professor Kristin A. Hass © Kirsten Fleur Olds All rights reserved 2009 To Jeremy ii Acknowledgments This dissertatin truly resembles a “third mind” that assumed its own properties through collaborations at every stage. Thus the thanks I owe are many and not insignificant. First I must recognize my chair Alex Potts, whose erudition, endless patience, and omnivorous intellectual curiosity I deeply admire. The rich conversations we have had over the years have not only shaped this project, but my approach to scholarship more broadly. Moreover, his generosity with his students—encouraging our collaboration, relishing in our projects, supporting our individual pursuits, and celebrating our particular strengths—exemplifies the type of mentor I strive to be. I would also like to acknowledge the tremendous support and mentorship provided by my committee members. As I wrote, I was challenged by Rebecca Zurier’s incisive questions—ones she had asked and those I merely imagined by channeling her voice; I hope this dissertation reveals even a small measure of her nuanced and vivid historicity. Matt Biro has been a supportive and encouraging intellectual mentor from my very first days of graduate school, and Kristin Hass’sscholarship and guidance have expanded my approaches to visual culture and the concept of artistic medium, two themes that structure this project.
[Show full text]
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.
[Show full text]
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.
[Show full text]