Géza Perneczky - Ruud Janssen

Social Commentary. (Letter & digest size mag., phc. 8-20 p.
1979-81 monthly, after 1981 quarterly)
^#2, 14
^The Super Number Mail Art Roster. Cat.: Letter, phc., 10 p. 1984
^My West Coast Bike Ride. Summer 1987. Self edition. 21,6x14 cm., phc., 30 p.
~
Literatrure:
Géza Perneczky: The Magazine Network. The trends of alternative art in the
light of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 174 p.
«Asociación Latinoamericana y del Caribe de Artistas Correo» → Marx, Graciela Gutierrey
«Asociacion Mail-Artistas Españoles» → Ibírico
Atchley, Dana Ace Space Company. Box 62 Crested Butte, CO-81224 USA 1989
↑ Phoenix College, Art Dept. 1202 W. Thomas Road, Phoenix, AZ-85013, USA 1972
↑ Ace Space Company, Victoria Univ. Vancouver Island Canada 1970
.............................................................................................................................................................
Notebook One (Like assembling in letter size ringbook {250}, ~60 parts. 1970.)
Space Atlas (Like assembling in letter size ringbook {250} 1971). ~120 parts.
One of the first assembling like network publications. The address list
of the Space Atlas has been taken over by the → Image Bank and it
became a part of the int. network and the mail art net. Notebook One
+ Space Atlas had altogehter 3 issues. 1970-1972.
^Ace Space (One sheet info + additive info-matter, 1972-, #1-3?) Phoenix
~
Literature:
«...One of the first project that began the consciousness of a network was done by
Dana Atchley during his two years of teaching at the University of Victoria (1969-
71). An American artist, separated from friends and a stimulating art community,
he decided he needs to do something to keep up his contacts with the outside world.
(...) Atchley went out and bought 250 empty three ring binders and invited all his
friends to contribute pages... By the end of the year, there were about sixty contributors
to the Notebook. Eric Metcalfe and Kate Craig helped Atchley assemble the
issues, as Metcalfe was a student of his. (...)
...In the end, Atchley was fired by the University, but had the foresight to
apply to the Canada Council for a travel grant to go out and meet all the participants
in the Notebook and Space Atlas... his „space trunk» containing his archive. This
started him off on a ten year Road Show, which is what he titled his presentations of
slides and stories about his work. This marked the end of Atchley's involvement
with mail art.»
(Anna → Banana: Mail Art Canada. In: M. Crane / M. Stofflet [eds.] Correspondence
Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 237-238
and 243 p.)
«...Dana Atchley, a thirty-year-old Bostonite trained as a graphic designer and typographer,
continous to produce exquisite prints... which he distributes throughout
the correspondence systems. His own system, however, has to do with the coordination
of other networks via a concept whereby „space is the connector of all things“.
Atchley accomplishes this through a unique approach to both publishing and
curating. His publication, Space Atlas, brought together pages designed by hand
artists from all over the world, including printed pages and others made by hand or
bearing stamps and stuffed envelopes. Each contributor bore the expense of reproducing
250 copies of each of his pages, which were then sent to Atchley and
assembled into 250 loose-leaf, three-ring nootebooks. Mailing and binding costs
were subsidized by a $ 440 Cannada Art Council grant. Each artist received two
copies. Nothing was rejected or edited, no rights were reserved and no copies were
offered for sale. An earlier effort, Notebook One, followed similar principles.
Atchley has since extended the notebook principle to traveling „space trunk“