Géza Perneczky - Ruud Janssen

process, copier (electrostatic) art. Artists have a camera that prints „hard“ copy in
single or full colour. They can explore scale, form, papers, collaging graphic motifs,
etc., in a very personal way. Some final products can be in limited editions, multiples,
bookworks, murals (you name it). The ART results by a blend of magical
transformation through the medium...» (Sarah Jackson: Mail/Copier Art Exh. Cat.:)
«...So when copy artists make the claim that anyone can make a Xerox image, they
are, of course, correct. The real task, however, is making a Xerox image appear
significant – first to ourselves, then to others. Copy artists are also mail artists or
intermedia artists. They tend to allow their ideas to travel through many divers,
often „instant“ forms of production. (Moholy- Nagy distinguishes between the
reproductive and the productive arts. The former imitates nature, the latter creates
its own.) The key to good copy art – and yes, I am reffering here to work that has
quality – is the means by which one discovers new ideas through the medium one
has chosen to use. Good ideas do not necessarily make good copy art, and vica
versa. Fundamentally, good copy art is good art...» (Robert Morgan: The Continuing
Legacy of Copy Art – in the Making. In: Sarah Jackson: Mail/Copier Art
Exh. Cat.:)
(Books Build Bridges...): «...the curator of this show has made this catalogue an
elegant bookwork in itself. By using two spines the catalogue opens up as three
pages wide, a sort of triptych bookwork, that juxtaposes xeroxes of the work and
the artists statements about their work.» (Stephen → Perkins: Catalogues. In:
Box of Water, N° 3, 1987)
«A superbly produced catalogue. Unique spiral binding on two sides opens up to a
42-in wide centerfold! Lists addresses & statements by 301 copier artists whose
works are in the exhibition, as well as many reprinted examples of the art itself.
More than a glimpse into the endless possibilities of the copier art medium. If only
more mail art exhibitors would put this kind of care & vision into their projects &
documentation.» (by M. And in: Anti-Isolation [→ Xexoxial], #3-4, 1987. 29 p.)
Jacob, John P.
(!Hype World Headquartier!)
2425 Rockfort Road Bloomington, IN-47401 USA 1992
↑ 45199 Depew Ave. Austin, TX-78751 - “ - 1988
↑43 W. 27th. Street. #6F. New York, NY-10001. - “ - 1982
.............................................................................................................................................................
Who's Who of the Happy Young People Enterprises (HYPE). Inv. New York, 1982
^Post Hype (Mail Art mag. The first issues in the usual one-sheet info size, later
more and more voluminous. Letter & digest, phc., 4-62 p. sometimes
with rubber stamps. 1982?-84, bim., ~ 10#)
^# Vol1./3; Vol.2/1, 2, 3, 4, 5; Vol.3/ 1
Artistamps: ^Cavellini NYC 82 (Sheets of 12 id. stamps, colour phc.) jpjacob 1982
^Carlo Pittore performans la buffoneria (Sheet of 12 diff. stamps,
colour phc.) jp. jacob. hype 83.
^The First Int. Portfolio of Artists' Photography. Cat.: Digest, phc., 8 p. + 1 orig.
photo as suppl. / New York. 1983
^Censorship East / Censorship West. Inv. Exh.: Gallery Dell'Occhio (→ Pittore).
New York, April 1984
^Mail Art. A partial anatomy. / In: Post Hype, Vol. 3, #1. (Letter, phc., 64 p.) 1984
Essays by J. A. Hoffberg, G. Perneczky, V. Baroni, A. Banana, Crozier,
R. Cohen, Anthroart (V. Hamann), A. Igloo, H. Gajewski, D. Zack.
Artists talk on art: R. Morgan, M. Bloch, Ed Higgins, C. Pittore,
E. Plunkett, J. Evans, S. Random, K. Friedman, R. Cohen, D. Higgins,
R. Kostelanetz, C. Welch, J. P. Jacob, J. Held, D. Cole & others
^Letter. (to «Peter» about Mail Art and mail artists as Fricker, Zack, Pittore, Cole,
Gajewski, etc.) (Digest phc. matter, 12 p.) New York, n.d. ~1984