Géza Perneczky - C3 - Center for Culture & Communication ...

427
→ Augenweide, Edition
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Source: ^Ulrich Tarlatt. hortus animae. (Ed.: Erik Stephan) Cat.: 25.5x19.5 cm., offset,
80 p. With the complete publication list of the artists' books 1987-1995 of the
Edition Augenweide. (22 items) / Museum Schloß Burgk / Galerie Himmelreich,
Magdeburg / Cranach-Stiftung, Wittenberg. 1996
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Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 497 p.
«TARP» Popular Anthropology. Retzdorffpromenade 3a. Berlin, D-12161 Germany 1995
^Smile (A/4 size mag., phc. 1992? Distributed also by → Billé, Bordeaux?) �
^TARP. Popular Anthropology (One page info zine, A/4, phc. 1995-) �
TARP E-mail (1995): cantsin@zedat.fu-berlin-de �
WEB: http//fub46-zedat.fu-berlin-de:8080/~cantsin/tarp.htmi
!Tarzanna Savannah! → Altschul, Darlene
Tavenner, Patricia (!Queen of Mail Art!), P. O. Box 11032, Oakland, CA-94611 USA 1994
↑ P. O. Box 11102, Oakland, CA-94611 - “ - 1990
↑ 687 Fairmont Ave. Oakland, CA-94611 - “ - 1971
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Mail Order Art (Early network mag. produced by Harry Myers, Phillis Hagberg, �� �
R. E. Gasowski, Grant Smith, Travis T. Hopper, Lew Carson, & edited
by P. Tavenner.) Tabloid, newsprint, 8-12 p. 1971-73, ~y. #1-4
Artistamps: Nom de Plumes N° 1 (Sheet of 50 id. stamps. photo-print) 1973 ��
^Algoritmic Artistamps (Sheet of 12 id. stamps, phc., not perforated) n.d.
^Lillihamer California (Sheet of 6 id. stamps, phc., not perforated) n.d.
^Four Years and More (About «Mail Order Art» and other activities. Letter size � ��
offset with colour xerox images, bibliogr., 62 p.) Eternal Press, 1979
^An Artist Speeks (Small info magazine in letter size. Phc. 4 p. 1994-, y. #1-2?) �
^#1, 2
^The Hommage to Ray Johnson Book – send a page! � Inv., (realized?..) 1995 �
The First California Artistamp Exhibition. � Cat. of letter size. Eternal Press, Box �
11032. Oakland. Exh.: UC Berkeley-San Francisco Extension. Feb. 26 -
April 24, 1995
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Literature: «When Mail Order Art started, I had no idea whether or no other artists were into
the concept of art by mail. What I wanted most from this art shopper / newspaper
was dialogue. As it turned out, so did others. M. O. A. became a means of artistic
conversation and dialogue, a vehicle for reaching out into a new and exciting
arena... Throughout the four issues of Mail Order Art, published biannully in 1971
and 1972, there were no paid subscriptions. We each paid about $25.00–$40.00
per person, per issue, to print 2,000-5,000 copies and bulk mail part of these. By
the second issue, out-of-town artists were buying pages and invitations began
pouring in, asking for our participation in events, magazines, books, and exhibi-
tions... all by mail. Perhaps the most crucial invitation for me was an exhibition at
the Wabash transit Gallery in Chicago. It was organized by Ray → Johnson and
entitled „The Intercource Show“.» (P. Tavenner: Four Years and More, ? p.)
(Four Years and More): «...It includes a rubber stamp introduction, notes and
history about her collages and montages, how she became involved in the mail art
world by creating an art newspaper called Mail Order Art. Then we get her evo-
lution into Xerox and rubber stamp pieces, Living Letters adn The Book of
Tongues. The book then reflects her photo stamps and postcards, and ends with
samples of postcards, visuals, and letters from various correspondents. A very
special visual autobiography of an important correspondence artist.» (In: Umbrella