Géza Perneczky - Ruud Janssen

espond. The many different mail artists' correspondences revealed the miraid
various influences affecting these artists. Golikoff used a typewriter, & puns in
many of his letters & postcards. Ray Johnson, his gray copies of drawings, gossip,
& puns. His surreal puns, sometimes understood. Concrete poetry, newspaper &
picture collage, pornography, manifestos, self-documentation, self-historification,
self-promotion, were some of the things sent, received, & seen in mail art show
catalogues. One of these things were stamps; on the letters from real countries,
artists stamps, & rubber stamps. Due to my background interest, I gravitated to
corresponding, with these concerns, to other artists & shows having this as a format
or main idea. (...)
I was a painter & printmaker, and carried these disciplines into my mail art
activity, most notably, painting Doo Da Stamps. Often these 16“ x 18“ paintings
were photographically reduced, and printed as sheets of stamps with the color
copier, perforated, & used in mail art. As a printmaker in the traditional methods,
the color copier was an explosive discovery to me. No longer did time & money
restricted the imagery, edition, distribution etc. To spend 2 hours each pulling an
edition of Etchings, tends to discourage mailing off a dozen or so to friends, and
push one more into the $ Art Gallery system. (...)
ARTISTAMPS, like their traditional cousins, „Govn't minted miniature
prints“, share significant similarities - the main one being, I think, the imagry on
them, i.e. „relating to the people, lands, ideas, nature, accomplishments, celebrations,
religions, etc. of the country.“ The correspondence carried by the regular
stamps, becomes the correspondence, carried by the Artistamps in mail art, that
joyous dance of the muses amongst us...»
(Ruud → Janssen: The Mail-Interview with E. F. Higgins-III. A/5, 14 p.
TAM Publs., TAM-960138, Tilburg, 1994)
^Vittore → Baroni: E. F. Higgins III. In: Arte Postale. Guida al network della corrispondenza
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 46-47 p.
^James W. → Felter: Artistamps / Francobolli d’artista. (With the essay by
Higgins III:: Small is big) Monography in Italian and English. AAA Edizioni.
Bertiolo, 2000.
«Hildesheim, Goethe Gymnasium» (Michael Fox) Hildesheim Germany 1985
^Nacht / Night. Cat.: A/4, phc., 72 p. 300 copies. Spiral bound. June-July, 1985
^Nature – Second Mail Art Project. Cat.: A/4, phc., 88 p. spiral bound. Exh.: at
the Rathaushalle, Hildesheim. June 1-21, 1987
Hill, Crag 1015 Clifford St. Pullman, WA-99163 USA 1997
↑125 B. Bay View Drive Mill Valley, CA-94941 - “ - 1993
↑ 491 Mandala Blvd., N°3. Oakland, CA-94610 - “ - 1983
.............................................................................................................................................................
^I Chings & Prototypes / Language as an oracle... (Digest, phc., 24 p.) → Xexoxial.
^Score (with B. Di Michele & L. Schneider) (A visual-verbal/concrete literary
magazine by a very generous presentation, along with Kaldron
[→ Kempton] these 2 mags probably attract the most interest from the
west coast exp. poetry of the US. Additional one-sheet publications
entitled Scorebroadsides, numbered alphabetical. Letter, offset, ~32 p.
1983-92, #1-12. From #13, 1997, new series which has been edited in
Pullman WA)
The issues:
#1 ?
#2 ?
^#3 Visual works by K. Kempton, DiMichel, R. Kostelanetz, C. Hill,
K. S. Ernst, V. Baroni
^#4 Works by Karl Kempton and Loris Essary