Mail Art Periodicals - MoMA

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Mail Art Periodicals - MoMA

Mail Art Periodicals:

An Annotated Inventory

John Held, Jr. Collection

Modern Realism Archive

San Francisco, California

#@%*&#. Picasso Gaglione, Editor. Stamp Art Gallery, San

Francisco, California. 1997.

Vol. 1, No. 1 (July 1997). Rubber stamps. 6"x4 1/2". (5 cards in folder). Rubber

stamped unlined index cards with handwritten additions. Visual and textual

rubber stamps from the editors' Stamp Art Gallery/Stamp Franicsco rubber

stamp company, including "This is not a Rubber Stamp," "Meeting Picasso

Gaglione was the most beautiful day of my life," and "I am not a Cubist." Each

card signed and editioned. Edition 1/20.

A Margem. Rejane Cardoso, Editor. Inform-Acao Cultural, Natal,

Brazil. 1988.

Vol. 2, No. 14 (June/July 1988). Offset. 12 1/2"x8 1/2". (8 pages). Under the

direction of Franklin Capistrano (Brazil) and Falves Silva (Brazil). Mail Art news

and exhibition opportunities. Contributions by Clemente Padin (Uruguay,

A(velino) de Araujo (Brazil), J. Mederiros (Brazil), et al.

Vol. 2. No. 15 (August/September 1988). Offset. 12 1/2"x8 1/2". (8 pages). Mail

Art news and exhibition opportunities. Texts by J. Medeiros (Brazil), Farias de

Castro (Brazil), et al. Contributions by Avelino de Araujo (Brazil), Johan Van

Geluwe (Belgium), Miroljub Todorovic (Yugoslavia), et al.

Vol. 3, No 17 (December 1988). Offset. 12 1/2"x8 1/2". (8 pages). Texts by F.

Capistrano (Brazil), Socorro Trindad (Brazil). Contributions by Avelino de Araujo

(Brazil), Rolf Staeck (Germany), Clemente Padin (Uruguay), Scott Helmes

(USA), Uncle Don Milliken (USA), et al. Mail Art news and exhibition

opportunities.

Vol. 3, No. 18 (January-February 1989). Offset. 12 1/2"x8 1/2". (8 pages).

Contributions by Nicola Frangione (Italy), Arturo G. Fallico (USA), Ruggero

Maggi (Italy), John Held, Jr. (USA), Avelino de Araujo (Brazil), Fernando Aguiar

(Portugal), et al. Mail Art news and exhibition opportunities.

Vol. 3, No. 19 (March/April 1989). Offset. 12 1/2"x8 1/2". (8 pages).Visual

Poetry by Franklin Capistrano (Brazil). Publication reviews. "Mail Art: Arte em


Sincronia," by Julio Plaza. Contributions by Ryosuke Cohen (Japan), Anna

Banana (Canada), Daniel Daligand (France), Opal and Ellen Nations (USA),

Salvatore de Rosa (Italy), Mauricio Nanucci (Italy), Pat Fish (USA), et al.

Vol. 3, No. 20 (May 1989). Offset. 12 1/2"x8 1/2". (8 pages). Contributions by

Luc Fierens (Belgium), Leonhard Frank Duch (Brazil), Ruth Wolf-Rehfield (East

Germany), Vittore Baroni (Italy), Antonio Gómez (Spain), et al.

Vol. 3, No. 21 (June/July 1989). Offset. 12 1/2"x8 1/2". (8 pages)."Pioneers of

Mail Art in Brazil." by Falves Silva. Contributions by Ray Johnson (USA), John

Held, Jr. (USA), Serge Segay and Ry Nikonova (Russia), Harley Francis (USA),

Ryosuke Cohen (Japan), Michael Bidner (Canada), et al.

Abastor. Casagrande-Napolin Fabio, Editor. Mogliano Veneto

(TV), Italy. 1995.

Vol. 2, No 8 (September 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Editorial.

Texts by the editor, Alberto Rizzi (Italy), Rinaldo Branchesi (Italy). Contributions

by Cristiano Pallara (Italy) and Igor Bärtolech (Yugoslavia). Mail Art news and

graphics.

Vol. 2, No. 9 (October 1995). Photocopy. 11 3/4"x8 1/4". 4 pages. Editorial.

"Scoperta Banda di Falsari della Mail-Art!," by the editor. Additional texts.

Contributions by K. Frank Jensen (Denmark), Baudhuin Simon (Belgium), et al.

About Drawing (O Rysunku). Andrzej Wielgosz, Editor. Gallery

Rysunku, Poznan, Poland. (1977).

No. 8 (1977). Photocopy with rubber stamp. 8"x5 3/4". 10 pages. Visual poetry

by the editor. Handmade paper cover.

No. 12 (n.d.). Photocopy with rubber stamp. (34 pages). "On all the identical

surfaces are drawings constructed from lines of identical number and qualities.

The drawings differ among themselves in organization and their semantic value."

Constructivist cover.

Abraham. Malcolm Reid, Editor. Québec, Canada. 1996.

Special Malfesta Issue (1996). Mixed Medium (Wallpaper, Styrephone Cup,

Drawing, Painting and Collage). 12"x9 1/2". (46 pages). Collaboration with

participants of Mail Art Congress in Quebec, including Giovanni Strada (Italy),

Emilio Morandi (Italy), Anna Banana (Canada), Monty Cantsin (Canada), Marcel

Stüssi (Switzerland) and John Held, Jr. (USA). Issued jointly with Réparation de

Poésie magazine, edited by Jean-Claude Gagnon (Canada). Handwritten text by

Carlo Pittore (USA) runs throughout, declaring on one page, "Mail art networking


is a harbinger of the future tendencies of global cultural interaction. Networking is

not about art, but about the structure and aesthetics of communication."

Absurdistiche Liga. Rainer Golchert, Editor. Darmstadt,

Germany. (1992).

(1992). Photocopy. 4 1/4"x3". (8 pages). Visual poetry by the editor,

incorporating notice of the "Decentralized Worldwide Networker Congress 1992."

Ack's Wacks. Al Ackerman, Editor. Feh! Press, New York, New

York. (1991-1994).

(October 1991). Photocopy. 8 1/2"x 5 1/2". (4 pages). "A Column of Intellectual

Hari-Kari!"

(1994). Photocopy. 8 1/2"x5 1/2". (4 pages). Promotes the forthcoming, The

Blaster Al Ackerman Omnibus. Promises a chapter regarding, "the history of the

strange little publications known as 'tacky little pamphlets'," of which this is one.

Acts of the Shelflife. Miekal And and Liz Was, Editors. Xexoxial

Editions, Madison, Wisconsin. 1986.

Number 1 (1986). Photocopy and collage. 8 1/2"x7". (60 pages). "Visual/Verbal

Networking" assembling. "After 8 years in the incubator this magazine has finally

appeared as an assembling." Contributions by Miekal And (USA), Jonathan

Brannen (USA) (USA), David Cole (USA), Crag Hill (USA), Jürgen O. Olbrich

(West Germany, Warren Ong (USA), Harry Polkinhorn (USA), Bern Porter

(USA), Chuck Stake (Canada), Carol Stetser (USA), Elizabeth Was (USA), et

al.." Includes postcard announcement.

Ad Astral! (Stewart Home, Editor). Raido AAA, London, England.

1996.

Issue 2 (March 23, 1996). Photocopy. 11 3/4" x 8 1/4". (4 pages). "It is part of

our plan that our enemies fail to grasp the seriousness of our programme for

community based space travel until it is too late." One of a series of periodicals

by Home based on conspiracy theory. Short text by William S. Burroughs (USA).

Add and Pass. (Various editors and locations). 1982-2001.

23 examples. "Add and Pass Booklets" are a unique mail art tradition in the

spirit of the Surrealist's "Exquisite Corpse" and Ray Johnson's instruction to

correspondents to add to the work and pass on to either a known or unknown

third party. Typically, the booklet is issued by a mail artist, who instructs the

receiver to add to the work and pass on to yet another correspondent. Included


in the booklet is the admonishment to return the completed booklet to the

originator. They may be issued periodically or uniquely. Examples in the

collection include works received from Guy Bleus (Belgium), Gerardo Yepiz

(Mexico), buZ blurr (USA), Lother Trott (Switzerland), and Dan Landrum (USA).

The collective originality of the work resembles an assembling magazine.

Aerosol. Metallic Avau, Editor. Bruxelles, Belgium. 1981-1982.

No. 16 (August 1981). Offset. 11 3/4"x8 1/4". (4 pages). Catalog/poster for the

editor's, "Metallic A.: International Graffiti Mail Art," exhibition at the Salon D'Art,

Bruxelles, Belgium, August-September 1981.

No. 18 (January 1982). Offset. 11 3/4"x8 1/4" ((8 pages). Foldout poster of the

editor's, "Metallic A.: International Graffiti Mail Art 2," exhibition at Cirque Divers,

Bruxelles, Belgium, January 9-29, 1982. Newspaper reviews on verso.

No. 20 (September 1982). Offset. 11 3/4"x8 1/4". 12 pages. Essay by the editor,

"Pro-Graffiti." Includes lexicon and bibliography of graffiti, as well as newspaper

articles concerning the editor's work.

Afzet. Margot van Oosten and Sonia van der Burg, Editors. East

Design, Delft, Holland. 1985.

No. 5-D (August 8, 1985). Mixed media. 8 1/2"x6 1/4". (36 pages). Assembling

magazine with contributions by Andrej Tisma (Yugoslavia), Anna Boschi (Italy),

Ruggero Maggi (Italy), Luc Fierens (Belgium), Mike Dyer (USA), et al.

Ah! L'Arte Postale: Foglio di Comunicazione & Arte Postale.

Rino De Michele, Editor. Italian Consulate of Occussi-Ambeno,

Padova, Italy. 1989.

No. 75363 (February 1989). Photocopy. 16 1/2"x11 3/4". (2 pages). Info-zine

with images from international Mail Artists in the manner of Ryosuke Cohen's

(Japan) "Brain Cell' project.

No. 75365 (February 1989). Photocopy. 16 1/2"x11 3/4". (2 pages). Mail Art

graphics, focusing on erotic imagery.

No. 75367 (March 1989). Photocopy. 16 1/2"x11 3/4". (2 pages). Mail Art infozine

with exhibition invitations reproduced.

No. 75368 (April, 1989). Photocopy. 16 1/2"x11 3/4". (2 pages). Mail Art infozine

with exhibition invitations reproduced.


Alice's Zine of Dreams. Alice Borealis, Editor. Baltimore,

Maryland. n.d.

No. 2 (n.d.). Photocopy. 8 1/2"x5 1/2". (12 pages). "There are a lot of dreams in

this book, some spiffy collages & the text is all in a vignette style that is dreamlike

& a good read." Contributions by Michael Lumb (England), M. B. Corbett

(USA), John Upton (England), et al.

No. 5 (n.d.). Photocopy. 8 1/2"x5 1/2". (24 pages). Contributions by Crackerjack

Kid (USA), Ashley Parker Owens (USA), Ben Tripe (Belgium), Friedrich Winnes

(Germany), et al. Includes zine reviews.

AMAE (Asociacion Mail-Artistas Españoles). Ibirico, Editor.

Madrid, Spain. 1995-1998.

No. 1 (October 1995). Photocopy. 8 1/4"x6". (28 pages). List of AMAE

membership. Editorial by Ibirico. Mail Art info-zine with reproduced texts and

visuals, including exhibition invitations. "Origenes del Correa y Mail-Art," by

Ibirico. "Statements," by Ruud Janssen. Biography of Ruggero Maggi (Italy).

No. 2 (November 1995). Photocopy. 8 1/4"x6". (20 pages). Mail Art info-zine

with reproduced texts, graphics, and exhibition invitations. "Origenes del Correo

y Mail Art," by Ibirico (Spain).

No. 3 (December 1995). Photocopy. 8 1/4"x6". 21 pages. Editorial on the deaths

of Ray Johnson (USA) and Guillermo Deisler (Germany). Mail Art info-zine with

reproduced texts and graphics. "Origenes del Correo y Mail-Art," by Ibirico

(Spain).

No. 4 (January 1996). Photocopy. 8 1/4"x6". 13 pages. Editorial. Mail Art infozine

with reproduced texts and graphics. Biographies of Bartolome Ferrando

(Spain) and Antonio Gómez (Spain).

No. 5 (February 1996). Photocopy. 8 1/4"x6". 20 pages. Mail Art info-zine with

reproduced texts and graphics. Special section on mail art exhibition invitations.

Biography of Antonio Orihuela (Spain).

No. 6 (March 1996). Photocopy. 8 1/4"x6". 16 pages. Mail Art info-zine with

reproduced texts and graphics. Editorial. Reproduction of newspaper article with

overview of Spanish Mail Art. Biographies of Diego Segura (Spain) and J.

Seafree (Spain).

No. 7 (April 1996). Photocopy. 8 1/4"x6". 24 pages. Mail Art info-zine with

reproduced texts and graphics. Editorial. "Words-list," by Ruud Janssen, a Mail

Art lexicon. Biographies of Spanish Mail Artists M. I. F. Anino, Carlos Daniel

Rubio Cruz, Juan Orozco Ocana and Juan Liorens.


No. 8. (May 1996). Photocopy. 8 1/4"x6". 28 pages. Mail Art info-zine with

reproduced texts and graphics. Editorial. Reproduction of "Bibliozine #45," edited

by John Held, Jr. (USA). Biographies of Carlos Mamano (Spain) and Juan López

de Ael (Spain).

No. 9 (June 1996). Photocopy. 8 1/4"x6". (24 pages). Mail Art info-zine with

reproduced texts and graphics. "Are Mail Artists Stupid and Reactionaries," by

Laura Aga-Rossi (Italy). "The Internet and Mailart," by Mark Bakula. "Word-list,"

by Ruud Janssen. Special section on mail art exhibition invitations. Biographies

of Antonio Perez-Cares F. (Spain) and Corpá (Spain).

No. 10 (July 1996). Photocopy. 8 1/4"x6". (32 pages). Mail Art info-zine with

reproduced texts and graphics. Editorial by Ibirico. Biographies of Hilda Fuchs

(Argentina) and Ruud Janssen (Belgium). Special section reproducing Mail Art

exhibition invitations.

No. 11 (September 1996). Photocopy. 8 1/4"x6". (24 pages). Mail Art info-zine

with reproduced texts and graphics. Editorial. Biography of Dorian Ribas Marinho

(Brazil).

No. 12 (October 1996). Photocopy. 8 1/4"x6". (26 pages). Mail Art info-zine with

reproduced texts and images. Editorial. Reproduction of "Bibliozine #51 (Spanish

Mail Art Zines)," edited by John Held, Jr. (USA). Special section on Mail Art

exhibition invitations. Biographies of Alberto Rizzi (Italy) and Colectivo Stidna

(Spain).

(No. 13) (November/December 1996). Photocopy. 8 1/4"x6". (24 pages). Mail

Art info-zine with reproduced texts and images. Editorial. Biographies of Paulo

Bruscky (Brazil), Luce Fierens and Annina Van Sebroeck (Belgium).

No. 14 (January 1997). Photocopy. 8 1/4"x6". (20 pages). Mail Art info-zine with

reproduced texts and graphics. Editorial. Biographies of José Manuel Candeias

de Almeida e Sousa (Spain) and Fernando Millan (Spain).

No. 15 (February 1997). Photocopy. 8 1/4"x6". (16 pages). Mail Art info-zine

with reproduced texts and graphics. "The Early Adopters," by John Held, Jr., a

history of the early days of rubber stamp art, reproduced from "The Rubber

Stamper," magazine. Biographies of Giovanni Strada (Italy) and Emilio Morandi

(Italy).

No. 16 (March 1997). Photocopy. 8 1/4"x6". (16 pages). Mail Art info-zine with

reproduced texts and graphics. Special section on Mail Art exhibition invitations.

Biographies of Diana Bertrand (Canada) and Luis Navarro (Spain).


No. 17 (March 1998). Photocopy. 8 1/4"x6". 12 pages. Mail Art info-zine with

reproduced texts and graphics. Biographies of John Held, Jr. (USA) and

Fernando Aguiar (Portugal).

Amano: Revista de Accion Estetica. Industrias Mikuerpo, Editor.

Industrias Mikuerpo, Madrid, Spain. 1997.

No. 5 (February 1997). Photocopy. 8 1/4"x6". (52 pages). Mail Art/Neoist

publication with essays by "Luther Blissett," "Notas Sobre la Naturalize de la

Conspiracies;" Stewart Home (England), "La Palingenesis de la Vanguardia;"

"Karen Eliot," "Base de Datos," which surveys the Spanish zine scene; and

visual poetry by Vittore Baroni (Italy).

An Artist Speaks. Patricia Tavenner, Editor. Oakland, California.

1994-1995.

Vol. 1, No. 1 ([January 1994]). Photocopy. 8 1/2"x11". (2 pages). Perzine from

"Mail Queen" Patricia Tavenner (USDA). Includes "A Note from Patricia,"

"Profile," and "1993 in Review." "Mail art is most commonly letters, envelopes,

artistamps, postcards, and at one time anything you could get into the mail

box...I was a major West Coast figure in the 70's receiving thousands of

piecesover (sic) the years."

Vol. 2, No 2 ([January 1995]). Photocopy. 8 1/2"x11". 4 pages. Perzine

chronicling the artists' year in 1994. Includes a reproduction of the artists'

artistamp, "Tea Time."

ANALgine Books. César Figueiredo, Editor. Lisbon, Portugal.

1994.

No. 25 (n.d.). Photocopy. 3 1/4"x2 3/4". (20 pages). Visual poetry by John Held,

Jr. (USA). Edition 45/45.

No. 31 (1994). Photocopy. 4"x3". (20 pages). Visual poetry by Mogens Otto

Nielsen (Denmark). Edition 51/69.

No. 40 (n.d.). Photocopy. 4"x3". (20 pages). Visual poetry by Birger Jesch (East

Germany). Edition 52/69.

No. 64 (n.d.). Photocopy. 4"x3". (20 pages). Visual poetry by Luce Fierens

(Belgium). Edition 57/69.

ANNA. Pere Sousa, Editor. Merz Mail, Barcelonia, Spain. 1997.


No. 1 (February 1977). Photocopy. 11 1/2"x4 1/4". 8 pages. Mail Art/Neoist

publication Includes the essay, "La Poesia Experimental en America Latina

(1996)," by Clemente Padin (Uruguay). Artistamp by Jas. Felter (Canada).

Annie's for the Communication. Anne (Wittles), Editor. Palos

Verdes Estates, California. 1991

September 1991. Photocopy. 8 1/2"x11". (1 page). Rubber stamps and

cinderellas make up this one page periodical. A rubber stamps reads,

"ARCHIVIST sounds better than pack rat."

Anodyne. Julie "Atomic" Shapiro, Editor. Boulder, Colorado;

Portland, Oregon; and Chapel Hill, North Carolina. 1994-1997.

No. 1 (n.d.). Photocopy (including color cover and centerfold). 8 1/2"x7". (32

pages). Based on "Kids with Sign" game of filling in the sign that two kids are

holding up shoulder level. Contributions by American Mail Artists Picasso

Gaglione, John Held, Jr., Fagagaga, Mike Dyer, Carolyn Substitute, et al.

No. 2 ([1994]). Photocopy (including color centerfold). 8 1/2"x7". (24 pages).

"Kids with Signs" continues with contributions from Americans Alice Borealis,

State of Being, Johnny Brewton, Sagebrush Moderne, et al.

No. 3 (n.d.). Photocopy (including color centerfold). 8 1/2"x7". (24 pages). "Help

these lovable kids spread a worthwhile message!!! Fill out their sign with any

image or statement you feel best expresses your state of mind these days."

Contributions by Mark Mothersbaugh (USA), Seth Mason (USA), et al.

No. 4 ([1994]). Photocopy (including color centerfold). 8 1/2"x7". (24 pages).

Contributions by Joolee Peeslee (USA), Pas de Chance (Canada), Picasso

Gaglione (USA), et al.

No. 5 (February 1995). Photocopy. 8 1/2"x7". (24 pages). Issued from Portland,

Oregon. Contributions by Tim Mancusi (USA), Pascal Lenoir (France), Clemente

Padin (Uruguay), Dogfish (USA), et al.

No. 6. (June 1995). Photocopy. 8 1/2"x7". (22 pages). Contributions by Luke

McGuff (USA), Sean Tejaratchi (USA), Ruud Janssen (Holland), et al.

No. 7 (October 1995). Photocopy (includes color front/back). 8 1/2"x7". (24

pages). Twenty contributors to the continuing "Kids with Sign" project.

No. 9 (February 1997). Photocopy (includes color front/back and centerfold). 8

1/2"x7". (20 pages). Issued from Chapel Hill, North Carolina. Format changed to

perzine, with one "Kids with Sign" contribution.


Anti-Isolation. Miekal And and Liz Was, Editors. Xerox Sutra

Editions, Madison, Wisconsin. (1985)-1987.

No. 1 ([1985]). Photocopy. 5 1/2"x4 1/4". 20 pages. "With eyes/ears turned

toward new, experimental, over-looked, & obscure trends in all medias, we are

actively seeking brief articles, interview, poetry & fiction, mail art, collage,

photography, performance documentation, & cassettes, albums & books for

review." Elizabeth Was (USA) on Mail Art. Mail Art by David Cole (USA).

Magazine contact list. "New Arts in Wisconsin."

No. 1 ([1985]). As above. Variant with blue cover.

No. 1 ([1985]). As above. Variant with green cover.

No. 2 (n.d.). Photocopy. 7"x5". 31 pages. Contributors include Ryosuke Cohen

(Japan), Scott Helmes (USA), Hapunkt Fix (Germany). Small press and music

reviews. "Networking New Arts."

No. 3/4 (Spring 1987). Photocopy. 8 1/2"x11". 31 pages. Contributions by Malok

(USA), Lloyd Dunn (USA), Crag Hill (USA), Pete Spence (Australia), Serse

Luigetti (Italy), et al. Sections on cassette reviews, contacts, book reviews,

catalogues & documentation. "Networking Primer" by Joel Haertling (USA).

"Networking the Experimental Underground."

Antivalues: Art Magazine. Pawel Petasz and Leszek Przyjemski,

Editors. Arriére-Garde Elblag, Poland. 1977.

([No. 1]) (January 1977). Lithography. 17"x12". (4 pages). Catalog for the Mail

Art exhibition, "In the Circle '77." Participants in the exhibition are listed with

selections of work reproduced. An important Eastern European Mail Art show, to

which many early practitioners of the genre responded.

Apocrypha. Sybil Coffey, editor. South Pasadena, California.

1993-1994.

No. 5 (Fall 1993). Mixed Media. 11"x8 1/2". (30 pages). Assembling. 20

contributors from 6 countries, including Guillermo Deisler (East Germany),

Andrzej Dudek-Durer (Poland), and Predrag Petrovic (Yugoslavia). Also includes

"news and networking from APOCRYPHA correspondence," a listing of

upcoming mail art shows, current publications and ongoing projects.

No. 6. (Spring 1994). Mixed media, including photocopy, and collage elements.

11"x8 1/2". (20 pages). Assembling. "A 50 copy limited edition original art

magazine." Fifteen contributors from 4 countries, including Arte A La Carte

(USA), Guillermo Deisler (East Germany), Mike Dyar (USA), Epistolary Stud


Farm (USA), and John Held, Jr. (USA). Mail Art resources (shows, magazines,

books) listed in "Correspondence/Network" section. Edition 50.

AR/280. "Karen Elliot," Ed. How to Secede Publications

.Valencia, California. 1991.

No. 2 (March 1991). Photocopy. 5 1/2"x4 1/4".(28 pages). Text and visuals

concerning Art Strike, 1990-1993. Includes a letter to Dr. Steven Lavine,

President, California Institute for the Art, reading in part, "You deserve a Public

Commendation for your participation in the noble, and global, ART STRIKE

(1990-1993)...Please keep up the removal, covering up, and general absence of

art on CIA walls. By doing so you call into question THE BLANK EMPTINESS

OF HISTORY previously hidden by so ma(n)y 'bright colors and squiggly lines.'"

ARG (Action Resource Guide) Zine. Ashley Parker Owens,

Editor. Soapbox Junction, Chicago, Illinois. (1992)-1995.

(No. 2) ([March 1992]). Newsprint. 14"x11 1/2". (24 pages). "In the Action

Resource Guide, over sixty organizations have come together to offer materials

to educate and network. By making the tools available, people will empower

themselves in large and small ways to make activism a part of their daily

routine." "Letters," including one by E. Pauluzzi (Italy), which reads, "There are

too little things (in the catalog) concerning the Mail Art network and usually in the

network we don't like much to buy things, when it's much better to barter them.

Maybe in the USA there is room for all but as an alternative movement the

network should be out of the business system." "About My Studio and Archive,"

by Ruggero Maggi (Italy). "Over 100 Mail Art Listings."

No. 3 (1993). Newsprint. 8 1/2"x11". 34 pages. Resource guide of "over 120

organizations offer(ing) materials to educate and network. By making tools

available, people empower themselves in large and small ways to make activism

a part of their daily routine." Includes, "Mail Art Listings," from the editor's "Global

Mail," and an article on Dreamtime Village.

No. 4 (February 1994). Newsprint. 11"x8 1/2". 71 pages. Includes "ARG Zine"

#5. "This publication began as a survey that was sent to roughly 300 people in a

variety of prisons. more than one survey was included per envelope. Many were

returned for a variety of reasons." Contact List for "Networkers behind bars."

Extensive listing of "Zinesters." Listings from "Global Mail."

No. 5 (1994). Newsprint. 8 1/2"x11". 71 pages. Includes Mail Art listing for the

editor's "Global Mail." Large contact list of zine publishers.

No. 6 (July 1994). Photocopy. 8 1/2"x11". 15 pages. Responses from the "Death

by Corporation" Mail Art show.


No. 6 (October 1994). Photocopy. 8 1/2"x11". 19 pages. Variant issue. "I have

become increasingly interested in networkers as individuals. I've been

uncovering some really interesting material, and some of it is stuff I don't want to

really know, but once discovered, I can't seem to pull back from it."

No. 10 (July 1995). Photocopy. 8 1/2"x11. (8 pages). Results of the editor's Mail

Art project on "Confessions." "The last 'ARG Zine'."

ARG Cata-Zine. Ashley Parker Owens, Editor. Soapbox Junction,

Chicago, Illinois. 1993.

No. 3 (June 1993). Newsprint. 8 1/2"x11". 19 pages. Resource guide to

alternative zines and books. "This magazine was made without any materials

and/or resources from any government." Letters to the editor.

No. 4 (November 1993). Photocopy. 8 1/2"x11". 27 pages. "News from Yugo,"

by Yugoslavian networker Andrej Tisma. Other letters from networkers Luce

Fierens (Belgium), Ruggero Maggi (Italy) and M. B. Corbett (USA).

ARLIS/NA (Art Libraries Society/North America) Newsletter.

Judith A. Hoffberg, Editor. Glendale, California. 1972-1976.

Vol. 1, No. 2 (November 1972). Offset 11"x8 1/2". (6 pages). "This is to

introduce you to a new organization, ARLIS (Art Libraries Society)/NORTH

AMERICA, an organization which will truly represent art librarians and those

interested in art librarian ship in this hemisphere. Up to this point, no one single

organization seems to have evolved which reflects the interests and goals of 'all'

art librarians and practitioners involved in art work in general." In "News from

ARLIS/UK," Clive Phillpot (England) sends notice of three new publications,

among them "Pages," by David Briers (England), which is described as having to

do with "correspondence art."

Vol. 1, No. 2 (February 1973). Offset 11"x8 1/2". (10 pages). "News and Notes"

makes a first appearance. "Foreign News." "New Periodicals." "New Books,"

mentions a publication by Something Else Press.

Vol. 1, No. 3 (April 1973). Offset 11"x8 1/2". 9 pages.

Vol. 1, Nos. 4/5 (Summer 1973). Offset 11"x8 1/2". Pages numbered 12-23.

Vol. 1, No. 6 (October 1973). Offset 11"x8 1/2". Pages numbered 26-37. "On

the Road With jah."

Vol. 2, No. 1 (December 1973). Offset 11"x8 1/2". 15 pages. "The conceptualist

artist has been publishing art books, or rather books as art works, for quite a

while. Recently, there has been material on these artists in greater abundance.


the ARLIS/NA NEWSLETTER has from time to time tried to bring this to your

attention."

Vol. 2, No. 2 (February 1974). Offset 11"x8 1/2". Pages numbered 18-31.

Mention of a new column in "Studio International," by Clive Phillpot (England) on

artists'' books.

Vol. 2, No. 3/4 (April 1974). Offset 11"x8 1/2". Pages numbered 34-54. "Names

in the News" added as new column.

Vol. 2, No. 5 (Summer 1974). Offset 11"x8 1/2". Pages numbered 58-79.

Vol. 2, No. 6 (October 1974). Offset 11"x8 1/2". Pages numbered 82-99. Listing

for "Art et Communication Marginale, Tampons d'Artistes (Art and Marginal

Communications, rubber Stamp Art Activity...Artists' Rubber Stamps," (Balland,

Paris) edited by Hervé Fischer (France), in "Artists' Books."

Vol. 3, No. 1 (December 1974). Offset 11"x8 1/2". 23 pages.

Vol. 3, No. 2 (February 1975). Offset 11"x8 1/2". Pages numbered 26-51. Wood

postcard by Joseph Beuys (Germany), noted in "Artists' Books."

Vol. 3, No. 3 (April 1975). Offset 11"x8 1/2". Pages numbered 54-73. "Since

Something Else Press had disbanded, many of their books are being

remaindered. Our librarians should take advantage of these books which are

selling for as little as one dollar. We are sure that in a very short time, they will be

located and found only through rare book dealers at exorbitant prices."

Vol. 3, Nos. 4/5 (Summer 1975). Offset 11"x8 1/2". Pages numbered 78-99.

Book Review supplement includes, "Artists' Bookworks: A British Council

Exhibition," which includes an essay by David Mayor (England).

Vol. 3 No. 6 (October 1975). Offset 11"x8 1/2". Pages numbered 102-127.

Vol. 4, No. 1 (December 1975). Offset 11"x8 1/2". 28 pages. "From the

Editor...We begin the fourth year and the fourth volume with awe, largely

because time has speeded by and we have in hand a great deal of printed

material, and a greater knowledge of the printing world, thanks to Bill James, our

printer, and IBM, who has given me a machine that allows us to typeset the

Newsletter with near-professional skill./What is more important is that we have

tried to create a true 'newsletter/ with current information gathered from many

sources to help visual librarians throughout North America and elsewhere as

well." John Dowd (USA) mentioned in "New Periodicals," in regard to the

publication of "Fanzini '75."

Vol. 4, No. 2 (February 1976). Offset 11"x8 1/2". Pages numbered 32-71. Notice

of the opening of Franklin Furnace Bookstore. "Martha Wilson's store will be


displaying one-f-a-kind books, but primarily distributing inexpensive multipleedition

books by artists to libraries and galleries. this is an important step in the

distribution of these important hard-to-fine books, which should be housed in

every visual library dedicated to contemporary art." The publication of "La

Mamelle," noted in "New Periodicals." "Each issue, according to the editor, C. E.

Loeffler, will impart knowledge and understanding upon the culture that was not

there before."

Vol. 4, No. 3 (April 1976). Offset 11"x8 1/2". Pages numbered 76-113. "Letter to

the Editor," by AA Bronson (Canada), "Under your column on artists' books in the

February Newsletter, you note the formation of the Franklin Furnace, a new

bookstore dedicated to the distribution of book-like works by artists. You call it

the 'first in a specialized type of artists' bookstore'./In fact, The Furnace is

modeled after ART METROPLE, a similar organization in Toronto, Canada, and

a member of ARLIS/NA. We were opened to the public in October, 1974. We

began by carrying only books by artists...we have now widened our selection to

multiple works by artists in popular formats (books, records, postcards and

videotapes)...Although we are totally in support of the Franklin Furnace's efforts

and hope to be working with them in the future, I wanted to clarify the fact that

there are other similar organizations in operation and there are likely to be more

in the near future." Notice of an exhibition by Ken Friedman (USA) at the

Slocumb Gallery, East Tennessee State University in Johnson city, Tennessee,

and an accompanying catalog. "Included is an essay on Friedman as well as

chronology, books by Friedman, booklets, pamphlets and monographs, book

publications about Friedman and his biography. Friedman is a member of the

Fluxus Group and has been director f Fluxus West since 1966." Publication by

Richard Mutt (USA) noted in "Artists' Books."

Vol. 4, No. 4/5 (Summer 1976). Offset 11"x8 1/2". Pages numbered 116-152.

Review of "Spatial Poem," by Fluxus artist Mieko Shiomi (Japan), in "Artists'

Books."

Vol. 5, No. 1 (December 1976). Offset 11"x8 1/2". 40 pages. "Glendale isn't in

the boondocks, but sometimes I feel that I really am doing this in complete

isolation. You see, I read lots of newspapers, lots of journals and pick up

information in my travels. You the membership, on the whole, do not seem to

send me in that which is important in your own area, so I dig it out and put it

under one cover...and so we begin our fifth year, hoping not to be bigger (I don't

think my strength can endure if we get bigger) but always better, generating

controversy and comments, as well as a network of communication and

cooperation among al the members of our large art library community..."

"Franklin Furnace Archive, Inc.," by Peter Zabielskis. "We are a public archive for

artists'' books, available as a scholarly research center, or just for casual

browsing. in keeping with the spirit in which these works were originally produced

(i.e. an inexpensive, readily available medium), we are inclusive rather than

exclusive. We are not concerned with books that are 'salable' or popular, but with

preserving examples of all works produced by artists. for this reason, the greater

part of our collection consists of works simply unavailable and unknown through


commercial outlets except for Printed Matter, Inc., the only bookstore dealing

exclusively with book-like works by artists still in print..." Notice of works by

Vincent Trasov (aka Mr. Peanut, Canada), Dick Higgins (USA) and Alison

Knowles (USA) in "Artists' Books."

Vol. 5, No. 2 (February 1977). Offset 11"x8 1/2". Pages numbered 46-87.

"Impressions/Expressions," contains a letter from Jonathan Held (aka John Held,

Jr., USA), "Programming Consultant, Mid-York Library System, Utica, New York."

"I am interested in receiving information and material on the subject of

correspondence art, with particular attention placed on the use of rubber stamps

(both visual and textual). Stamp Art has become a growing movement in Europe

and the United States with exhibitions devoted to the medium and books

published documenting the activities of various artists." First appearance of "Art

Spoken Here," a trademark not only of this publication, but of the editor's

forthcoming "Umbrella." The editor voices her concerns for the future of her

continuing in the present periodical in "From the Editor." "...the printing budget

had been cut, not only for the newsletter, but it seems to me for other printing

which is essential for the nuts and bolts of this society. the argument on the part

of some Board members was that most people do not read this newsletter

anymore since it is too big. If that is the case, then perhaps the hours of

preparation and the charge to document the activities of this society are really for

naught. I need your feedback, because this is crucial...If you don't like the back

of the newsletter, then say so, but that is the reason a great many non-librarians

red this newsletter...The future of this publication depends upon you. To be sure,

I can eliminate the obituaries, since 'everyone reads it in the newspapers.' But

there are more essential principles here, or frankly, you will get what you wantand

that is a handsome 24-page ARLIS/NA News Sheet-and another Editor will

be at the helm."

Art and Absence of Clothes. The Painter NATO, Editor.

Fondation Le Peintre NATO, Paris, France. 1995.

No. 2. (1995). Offset. 8 1/4"x5 3/4". (22 pages). Announcing the second festival

by the editor on the them, "Art and the Absence of Clothes." Statements by

Gianni Broi (Italy), Mayumi Handa (Japan).

Art and Communication Network. Roger Avau, Editor. Bruxelles,

Belgium. 1991.

No. 1 (1991). Offset. 11 3/4"x8 1/4". (4 pages). "Here is then the first number of

a newsletter who's entirely at the disposal of all adepts of the international

wirework called NETWORK, more commonly designed by Mail Art or Postal Art,

even if the term recovers only a part of networking." News. Coverage of "Net

Run," with Shozo Shimamoto (Japan), Ryosuke Cohen (Japan), Mayumi Handa

(Japan), et al. Portrait of Archive for Small Press and Communication.

Audio/Radio Art. Mail Art exhibition, project and publication opportunities.


Art Brigade. Ben Davis, Editor. Amarrillo, Texas. (1988).

Vol. 1, Issue 3 ([1988]). Newsprint. 14"x11 1/2" (oversize), 19 pages. "Mailart in

the Southwest," by John Held, Jr. (USA). "By definition, mailartists are

correspondents. But on September 19-21, 1986, the Southwest USA

Decentralized Worldwide Mailart congress was held in Dallas, which brought

together fifteen or so mailartists from Texas, Arkansas, Arizona and Louisiana.

These face-to-face meetings helped to solidify a common bond among these

regional practitioners of a global artform." Ruggero Maggi (Italy) interviews

himself. Daniel Plunkett (USA) interviewed by the editor. "Dan Plunkett has been

involved in mailart and alternative media since 1983, when he began

corresponding with the band Throbbing Gristle. in 1984, he began publishing ND,

a diverse mix of mail art, networking, underground bands and performance art."

Zine reviews.

Art by Mail. James Very, Editor. Rochester, New York. 1997.

(July 1997). Photocopy. 25"x4 1/2". (one page). "There are hundreds, thousands

of them, all standing with arms akimbo, swaying gently back and forth, but you

can not see them, You know that they are there, but you can not see them. You

can not hear them, but you know what they are saying. As they stand there,

swaying, they are saying YOUR LIFE IS MY GALLERY..." ends with the

admonition that, "Art by Mail Is A Powerful Force For Good In These Troubled

Times."

Art Com. Carl E. Loeffler, Editor. La Mamelle, Inc., San

Francisco, California. 1981-1991.

Vol. 4, No. 2-Issue 14 (1981). Newsprint. 8 1/2"x11". 35 pages. "Art

Contemporary, the most widely read contemporary Art magazine, published in

California since 1975 and collected by libraries, universities and museums

internationally, is continuing publication with this issue under the new title, Art

Com." Performance and publication coverage includes Mail Art information. In

this issue, performance documentation of Bill Gaglione (USA) and Anna Banana

(USA).

Vol. 4, No. 3-Issue 15 (Fall 1981). Newsprint. 8 1/2"x11". 56 pages. Interviews

with Chuck Stake (Canada) and Buster Cleveland (USA). Mail Art section.

Vol. 4, No. 4-Issue 16 (1982). Newsprint. 8 1/2"x11". 47 pages. Section on

"Correspondence Art." Article on Anna Banana (USA), "Banana Perspective," by

Alice Dubiel.


Vol. 5, No. 1-Issue 17 (1982). Newsprint. 8 1/2"x11". 54 pages. Monty Cantsin

interview by editor Carl Loeffler. Section on "Correspondence Art," noting recent

publications and projects.

Vol. 5, No 2-Issue 18 (1982). Newsprint. 8 1/2"x11". 66 pages. Correspondence

Art section features projects by Robert Rocola (USA) and Roger Radio

(England), and mail music by Nicola Frangione (Italy).

Vol. 5, No. 3-Issue 19 (1982). Newsprint. 8 1/2"x11". 55 pages. Includes a

review of the book "Kunst per Post/Mail Art," by G. J. De Rook (Holland).

Vol. 5, No. 4-Issue 20 (1983). Newsprint. 8 1/2"x11". 59 pages. Monty Cantsin

(Canada) comments on "Populism" in the Arts.

Vol. 6, No. 1-Issue 21 (1983). Newsprint. 8 1/2"x11". 68 pages. "From Mail Art

to Videogames," by John O'Neil. Review of "Neoist Songs," by Monty Cantsin

(Canada). Advertisement for Modern Realism Gallery, Dallas, featuring artist

postage stamps exhibition.

Vol. 6, No. 2-Issue 22 ([1983]). Newsprint. 8 1/2"x11". 58 pages.

Advertisements for Modern Realism Gallery (Dallas, Texas), J.E.S. Archives

East, and "About Vile."

Vol. 6, No. 3-Issue 23 (1984). Newsprint. 8 1/2"x11". 67 pages. Announcing the

publication of, "Correspondence Art: Source Book for the

Network of International Postal Art Activity," by Contemporary Art Press, the

book division of "Art Com."

Vol. 6, No. 4-Issue 24 ([1984]). Newsprint. 8 1/2"x11". 59 pages. Review of,

"Correspondence Art: Source Book for the Network of International Postal Art

Activity."

Vol. 7, No. 1-Issue 25 (1984). Newsprint. 8 1/2"x11". 53 pages. Fax Art.

Publication reviews, including "Mail Art About Mail Art." Special report on, "Mail

Music: Collective Work."

Vol. 11, No. 10-Issue 54 (November 1991). Photocopy. 8 1/2"x11". (5 pages).

"Welcome to ART COM, an online magazine forum dedicated to the interface of

contemporary art and new communication technologies." Guest Editor for this

issue, Chuck Welch (aka Crackerjack Kid, USA), discussing the 1992 Networker

Congresses.

Art Contemporary. Carl E. Loeffler, Editor. La Mamelle, Inc., San

Francisco, California. 1976-1979.

Vol. 2, No. 1-Issue 5 (1976). Newsprint. 8 1/2"x11". 73 pages. Coverage of the

Bay Area Conceptual Art scene.


Vol. 2, No. 2/3 (1977). Newsprint. 8 1/2"x11". 49 pages. "Art as a Contextual

Art," a review by Ken Friedman. Publication reviews include, "Letter to R. Mutt,"

VILE, Nu Art, and International Artists' Cooperation Newsletter, by Klaus Groh

(West Germany).

Vol. 2, No. 4 (1977). Offset. 8 1/2"x11". 119 pages. Visual Poetry by Geoffrey

Cook. Performance review of the Bay Area Dadaists. List of contributors to the,

"International Rubber Stamp Exhibition," La Mamelle (1976). Publication reviews.

Vol. 3, No. 1-Issue 9 (1977). Offset. 8 1/2"x11". 108 pages. "From Europe"

issue. Articles on Cavellini (Italy), Endre Tot (Hungary), Ulises Carrion (Holland).

Publication reviews. "In the Beginning is the Word: An Anthropological Prehistory

and History of Correspondence Art," by Marilyn Ravicz. First mention of

"Jonathan" Held in an art magazine in connection with a December 1976

exhibition of rubber stamp art at Stempelplaats, Amsterdam, Holland.

Vol. 3, No. 2-Issue 10 ([1978]). Newsprint. 18"x11 1/2". (40 pages). Checklist of

Art Periodicals exhibition. Photos of Bay Area Dadaists.

Vol. 4, No. 1-Issue 13 (1979). Newsprint. 8 1/2"x11". 23 pages. "Retrospective

Issue." Index of previous issue. Photograph from the video, "Dada Shave," by Bill

Gaglione (USA) and Anna Banana (USA).

Art For Um. Buster Cleveland, Editor. Long Island City, New

York. 1995-1996.

Special Issue: Al Hansen, 1927-1995 (1995). Color Photocopy with Rubber

Stamps and Artistamp. Al Hansen (USA) collage on front. Photograph of Hansen

on verso. Special Al Hansen artistamp.

Special Issue: Ray Johnson, 1927-1995 (1995). Color Photocopy with Rubber

Stamps and Artistamp. 5 1/4"x5 1/4". Postcard. Detail from Ray Johnson (USA)

work on front. Photograph of Johnson on verso. "Forever."

Special Issue: Cavellini, 1914-1990 (1996). Color Photocopy with Rubber

Stamps and Artistamp. 5 1/4"x5 1/4". Postcard. Photograph of Cavellini (Italy) on

front. Rubber stamp on verso.

Vol. 3, Issue 4 (1995). Color Photocopy with Rubber Stamps and Artistamp. 5

1/4"x5 1/4". Postcard. "Cold Moist Hole."

Vol. 3, Issue 8 (1996). Color Photocopy with Rubber Stamps and Artistamp. 5

1/4"x5 1/4". Postcard. Crop circle rubber stamps by Robert Rocola (USA).

"Boobs and Soup."


Vol. 4, Issue 1 (n.d.). Color Photocopy with Rubber Stamps and Artistamp. 5

1/4"x5 1/4". Postcard. Punk Princess Di on front. Sinad O'Conner on verso.

"Private Opening."

Vol. 4, Issue 3 (n.d.-Klein Blue Stamp Postmark, 1957). Color Photocopy with

Rubber Stamps and Artistamp. 5 1/4"x5 1/4". Postcard. Bill Clinton on front.

"New is Beautiful."

Vol. 4, Issue 4 (n.d.). Color Photocopy with Rubber Stamps and Artistamps. 5

1/4"x5 1/4". Postcard. Johns/Duchamp on front. Buster Cleveland (USA)/Yoko

Ono (USA) artistamp on verso. "Melancholy Infinity."

Vol. 4, Issue 5 (n.d.). Color Photocopy with Rubber Stamps and Artistamps. 5

1/4"x5 1/4". Postcard. Sid Viscous on front. Artistamps by E. F. Higgins (USA) on

verso. "Cerebral Eviction."

7 variant subscription notices for Art For Um submitted to "Stampzine" (1997).

Art Papers. Xenia Z. Zed; Glenn Harper, Editors. Atlanta,

Georgia. 1985-1991.

Vol. 9, No. 2 (March/April 1985). Newsprint. 15"x11 1/2". 41 pages. Includes the

article, "101 Things You Should Know About Mail Art," by Bill Chambers (USA).

Vol. 14, No. 2 (March/April 1990). Offset. 13 1/2"x10". 68 pages. "Special Noise

Culture issue with Alan Sondheim." "Postal Static: Mailbox Magic & Madness,"

by John Held, Jr. (USA). Additional articles by Elizabeth Was (USA), Miekal And

(USA), and Mike Gunderloy (USA), et al.

Vol. 14, No. 3 (May/June 1990). Offset. 13 1/2"x10" (oversize). 82 pages.

Special issue on artists' books. "Distribution and It's Discontents," by Judith A.

Hoffberg (USA), includes not only insights into her own history, but contains a

section on the Other Books & So bookstore/gallery/archive of Ulises Carrion

(Holland).

Vol. 15, No. 3 (May/June 1991). Offset. 13 1/2"x10". 83 pages. Special issue on

Mail Art. Includes articles "Mail Art Network: Source and Flow," by Chuck Welch

(USA); "Mail Art Archives," by John Held, Jr. (USA); "Open Letter to the

Network," by Mark Bloch (USA); "FEMAILART," by Mimi Holmes (USA);

"Wrinkled Network," by Mark Kingsley (USA); "Indirect Correspondence," by Guy

Bleus (Belgium). "Catalogue of Participating Mail Artists."

Art Romp. David Zack, Editor. Formular Publications

Foundation, Los Angeles, California. 1980.


(October 19, 1980). Photocopy. 8 1/2"x5 1/2". 12 pages. Texts by Dr. Al

Ackerman (USA), Jane Gaskill (USA), Roy DeForest (USA) and the editor,

author of a major piece on Mail Art published in "Art in America" (1973). Cover

art by Ackerman.

Art Works. Steven Peacock, Editor. New York, New York. 1985.

Vol. 2, No. 4 (August 1985). Mixed media. 8 1/2"x11". (18 pages). Assembling

magazine with contributions from 19 persons, including Jürgen Olbrich

(Germany).Edition 42/100.

Art Zoo. Shane Paul, Editor. Phoenix, Arizona. 1988.

No. 2 (Spring 1988). Photocopy. 8 1/2"x7". 41 pages. Exploring the

experimental arts in Arizona.

(No. 3) (September 1988). Photocopy. 8 1/2"x11". 20 pages. Graphics by

Pandora's Mailbox (USA), Shozo Shimamoto (Japan), Miekal And (USA), John

Held, Jr., (USA) et al. Notice of editor's forthcoming Mail Art show.

Arte Arte. Andrea Ovcinnicoff, Editor. Genova, Italy. 1991-1993.

No. 24 (July 1991). Photocopy. 8 1/4"x5 3/4". (8 pages). Handwritten Mail Art

info-zine. Large section on Mail Art publications. Section on "Computer

Information." Edition 75.

No. 26 (September 1991). Photocopy. 8 1/4"x5 3/4". (8 pages). Handwritten Mail

Art info-zine listing projects, publications and exhibitions. In this issue: notes on

the "Decentralized World-Wide Networker Congress 1992." 90 copies.

No. 26-Special Supplement (September 1991). Photocopy. 8 1/4"x5 3/4". (4

pages). Additional listing of projects, publications and exhibitions.

No. 29 (December 1991). Photocopy. 8 1/4"x5 3/4". (8 pages). Mail Art info-zine.

This issue features information on the "Decentralized World-Wide Networker

Congress 1992," in addition to regular notices of Mail Art projects, publications,

events.

No. 40 (November 1993). Photocopy. 8 1/4"x5 3/4". (8 pages). Mail Art info-zine.

Special, "Events," section. Typewritten.

No. 45 (April 1993). Photocopy. 8 1/4"x5 3/4". (8 pages). Mail Art info-zine. This

issue features an interview with Dobrica Kamperelic (Yugoslavia) by Peter

Küstermann (Germany) and Angela Pahler (Germany) on their "Mail Tour 1992."


Arte Postale! Vittore Baroni, Editor. Forte Dei Marmi and

Viareggio, Italy. 1979-2001.

No. 1 (October 1979). Photocopy. 13"x8 3/4". (20 pages). "Demonia Art Songs."

"This is the first issue of "arte postale," a mail-art fanzine from v.e.c.-italy: edited

and hand-assembled by vittore baroni, via raffaelli, 2 55042 forte dei marmi (lu)

italy in 100 numbered copies. the theme of the first three issues is MUSIC. the

fanzine will hopefully published every month, and freely delivered to all

contributors. this fanzine is not for sale, the only way to get it every month is by

sending mail-art works (or publications in exchange...spiritual guidance:

Guglielmo Achille Cavellini." Contributors include Pawel Petasz, Abdada LeClair,

et al.

No. 2 (November 1979). Photocopy and Mixed Media. 13"x8 3/4". (20 pages).

"Patti Smith Issue." Contributors include Michael Scott (England).

No. 3 (November 1979). Photocopy and Mixed Media. 13"x8 3/4". (18 pages).

"More Demonia." Contributors include Betty Danon (Italy), Angelika Schmidt

(West Germany), Nicola Frangione (Italy). "third musicART issue edited and

hand-assembled by vittore baroni."

No. 4 (January 1980). Photocopy and Mixed Media. 13"x8 3/4". (20 pages).

"More Political Satire: Post Scriptum. Ray Johnson. Commonpress Story. Bzdok

in Italy."

No. 5 (1980). Photocopy and Mixed Media. 13"x8 3/4". (20 pages). "Speciale

Cavelliniana."

No. 6 (March 1980). Photocopy. 13"x8 3/4". (18 pages). "American Mail-Artists.

Leavenworth Jackson. Bill Gaglione. The Badge Show."

No. 7 (April 1980). Photocopy. 13"x8 3/4". (14 pages). Photocopy and mixed

media. 13"x8 3/4". (14 pages). "Reflux Issue." Contributors include Timmy Mew

(USA), Robin Crozier (England), Ben Vautier (France), et al.

No. 8. (May 1980). Photocopy and Mixed Media. 13"x8 3/4". (22

pages)."Autobiographical Issue." Original contributions by Vittorio Baccelli (Italy),

Enzo Minarelli (Italy), Giuseppe Bedeschi (Italy), et al.

No. 9 (June 1980). Photocopy and Mixed Media. 13"x8 3/4". (16 pages).

Assembling magazine. "U. K. Special." Original contributions by Michael Scott

(England), Lon Spiegelman (USA), Julia and György Galantai (Hungary), et al.

No. 10 (July 1980). Photocopy with Mixed Media. 13"x8 3/4". (20 pages). "V. B.

Autobiographical Issue 'Living a Renegade Life.'" Assembling. Original works

from Ko de Jonge (Holland), Andrzej Wielgosz (Poland), Demos Ronchi (Italy),

John M. Bennett (USA) and C. Mehrl Bennett (USA), et al.


No. 11 (August 1980). Photocopy with Mixed Media. 13"x8 3/4". (22 pages).

Assembling. "Autobiographical Potpourri Issue." Original contributions from MIT

(Greece), Pawel Petasz (Poland), Leonhard Frank Duch (Brazil), Jürgen Olbrich

(Germany), et al. Edition 19/100.

No. 12 (September 1980). Photocopy with Mixed Media. 13"x8 3/4". (30 pages).

"All Stars Issue." Assembling with contributions from Davi Det Hompson (USA),

Leavenworth Jackson (USA), Daniel Daligand (France), Arturo Fallico (USA),

Romano Peli (Italy), Ulises Carrión (Holland), et al.

No. 13 (October 1980). Photocopy and Mixed Media. 13"x8 3/4". (22 pages).

Assembling. "T-Shirts Issue." Contributors include Paulo Brusky (Brazil),

Ruggero Maggi (Italy), Timm Ulrichs (Holland), et al. Special Badge show

supplement.

No. 14 (November 1980). Photocopy and Mixed Media. 13"x8 3/4". Assembling

"Develop My Dreams: In every copy of No. 4 of this magazine (January 80) I

enclosed one original negative asking for a contribution size 8x10 cm. This issue

reproduces 19 developed dreams I received after my invitation."

No. 15 (December 1980). Photocopy with Mixed Media. 13"x8 3/4". (20 pages).

Assembling. Includes an index to contributors for issues no. 1-15.

No. 16 (January/February 1981). Mixed Media. 12 3/4"x9". Sealed. "Poetry

Issue." Contributions by Metallic Avau (Belgium), Scott Helmes (USA), Volker

Hamann (Germany), et al.

No. 17 (March 1981). Mixed Media. 13"x9". Unpaged. Assembling. Contributions

by Henk Fakkeldy, Pete Horobin, et al.

No. 18 (n.d.). Mixed media. 13"x9". Unpaged. "The Yahoo Bulletin." Assembling.

Contributions by Ben Allen (Ireland), Dogfish (USA), Charlton Burch (USA),

Ruggero Maggi (Italy), et al.

No. 19 (May-June 1981). Photocopy and Mixed Media. 13"x9". Unpaged.

Assembling. "Think About Mail Art," issue. Günther Ruch (Switzerland), Gerald

Jupitter-Larsen (Canada), et al.

No. 20 (n.d.). Photocopy and Mixed Media. 13"x9". Unpaged. Assembling. Lt.

Murnau issue. Contributors include Bill Gaglione, Skooter, Roger Radio.

No. 22 (August 1981). Photocopy and Mixed Media. 13"x9". Unpaged.

Assembling. contributors include Guy Bleus (Belgium), Ben Allen (Ireland),

Ruggero Maggi (Italy), et al.


No. 23 (September 1981). Photocopy and Mixed Media. 1`3"x9". Unpaged.

Assembling. "The Yahoo Bulletin, Vol. 2." Contributors include Rod Summers

(Holland), Albrecht D. (Germany), et al.

No. 24 (n.d.). Photocopy and Mixed Media. 9 1/2"x9 1/2". Unpaged. Assembling

in box. Contributors include Guy Bleus (Belgium), Robin Crozier (England),

Carlo Pittore (USA), Bern Porter (USA), Kowa Kato (Japan), Graciela Marx

(Argentina), et al.

No. 25 (December 1981). Photocopy and Mixed Media. 13"x8 3/4". (18 pages).

"This Order: Lieutenant Murnau's Digital Network." Assembling magazine.

Contributions by Ginny Lloyd (USA), Manuel Marin (Mexico), Rockola, et al.

No. 26 (December 31, 1981). 12"x8 1/2". Photocopied and Mixed Media.

Sealed. 1981 Yearbook. Guy Schraenen (Belgium), Alfio Fiorentino (Italy), et al.

No. 27 (January/February 1982). Mixed Media. 6"x4 1/2" (Boxed). Unpaged.

Assembling. Special postcard issue. Piermario Ciani (Italy), Alex Igloo (USA,

Marcello Diotallevi( Italy), Guy Bleus (Belgium), et al.

No. 28 (March 1882). Photocopy and Mixed Media. 13"x8 3/4". Unpaged.

Assembling. Contributors include Crackerjack Kid (USA), Harley (USA), Ruggero

Maggi (Italy), Buster Cleveland (USA), et al. Poster for the exhibition, "Are you

Experienced," curated by Guy Bleus enclosed.

No. 29 (April 1982). Photocopy and Mixed Media. 13"x8 3/4". Sealed.

Assembling. "Mail Art Crises." Contributors include Dislokate Klammer (USA),

Giovanni Gulinello (Italy), Aaron Flores (Mexico).

No. 30 (May 1982). Photocopy and Mixed Media. 13"x8 3/4". Unpaged. "East-

West Connection." Seoung Buk-Ku (Korea), Cho Sang-Hyun (Korea), et al.

No. 31 (June 1982). Photocopy and Mixed Media. 8 1/2"x6". Unpaged. Sealed.

"Scanners" issue. Contributors include Bruno Valle (Italy), Ubaldo Giacomucci

(Italy), Michael Groschopp (Germany), buZ blurr (USA), et al.

No. 32 (July/August 1982). Photocopy and Mixed Media. 12"x8 1/4". Unpaged.

Special "Bidet," issue. "26 assholes nurds into mail! Neoist Summer Camp

VH/Action. B. J. Tisma special. Think cosmic death transfer & more."

No. 33 (September 1982). Photocopy and Mixed Media. 8 3/4"x6". Unpaged. "A

Mail Art Magazine collected by V. Baroni." Contributors include Vagrich

Bakhchanyan (USA), Guy Bleus (Belgium), Serse Luigetti (Italy), Klaus Groh

(Germany, et al.


No. 34 (October 1982). Photocopy and Mixed Media. 8 3/4"x6". Unpaged. "Are

You in Love." Contributors include Louise Neaderland (USA), Mark Pawson

(England), et al.

No. 35 (November 1982). Photocopy and Mixed Media. 8 1/2"x6". Unpaged.

Mail Art Assembling magazine. Contributions by Guy Bleus (Belgium), Ruggero

Maggi (Italy), Manuel Marín (Mexico), et al.

No. 36 ([December 1982]). Photocopy with Mixed Media. 8 1/2"x6". Unpaged.

Mail Art assembling magazine. Contributors include Jean-Marc Rastorfer

(Switzerland), Patrick T. (USA), Salvatore de Rosa (Italy).

No. 37 (January 1983). Photocopy with Mixed Media. 12"x8 1/4". Unpaged.

"S.I.N. News 1." Assembling. Contributions by Henning Mittendorf (Germany), R.

Milinkovic (Yugoslavia), Benedict Tisa (USA), et al. Edition 18/100.

No. 38 (March 1983). Photocopy with Mixed Media. 8 1/2"x6". Unpaged.

Assembling. Contributors include Demos Ronchi (Italy), Carlo Pittore (USA),

Michel Champendal (France), et al.

No. 39 (April 1983). Photocopy with Mixed Media. 8 1/2"x6". Unpaged. Mail Art

assembling zine. Thirty-four contributors including Richard Meade (USA), Steve

Random (USA), Robin Crozier (England), Gerald Jupitter-Larsen (Canada), et al.

No. 40 (May 1983). Photocopy with Mixed Media. 8 1/2"x6". Unpaged. Mail art

assembling magazine. Contributions by Arno Arts (Holland), Ruggero Maggi

(Italy), Levat Jeno (Hungary), et al.

No. 41 (June 1983). Photocopy with Mixed Media. 9 3/4"x7". Unpaged.

Assembling magazine. Nineteen contributors, including Ryosuke Cohen (Japan),

Ian Teuty (USA), Arturo Fallico (USA), et al. Aka "S.I.N.ews No. 2."

No. 42 (n.d.). Photocopy with mixed media. 9 3/4"x7". Unpaged. Mail Art

assembling magazine. Contributors include Rockola (USA), Galantai (Hungary),

Minoy (USA). Includes an editorial concerning Mail Art clichés.

No. 43 (August-September 1983). Photocopy with Mixed Media. 9 3/4"x7".

Unpaged. "Networkart." Assembling. Contributors include H. R. Fricker

(Switzerland), Guy Bleus (Belgium), Günther Ruch (Switzerland), Dogfish (USA),

et al.

No. 44 (October/November 1983). Photocopy with Mixed Media. 8 1/2"x6".

Unpaged. Assembling magazine. Contributors include Jürgen Olbrich, Ryosuke

Cohen (Japan), Dogfish (USA), Ulrich Kattenstroth (Germany), et al. "to be in the

next issue send 100 pieces of mail art crap to the usual address. No winners. No

losers."


No. 45 (December 1983). Photocopy and Mixed Media. 11 3/4"x81/4". Unpaged.

Mail Art assembling magazine. Aka "S.I.N.ews III." Contributors include Andrej

Tisma (Yugoslavia), Thierry Tillier (Holland), et al.

No. 46 (January/February 1984). Photocopy and Mixed Media. 10 1/4"x7 1/2".

Unpaged. Mail Art assembling magazine. This issue "A Trip to Akademgorod: A

Neoist Research Project." "This tourist portfolio commemorates the first

international flight to Akademgorod (the Promised Land of Neoism) as organized

in January 84 by Agenzia Neoista Italiana."

No. 47 (March 1984). Photocopy with Mixed Media. 8 1/4"x6". Unpaged.

Assembling. Contributions by H. R. Fricker (Switzerland), Guy Bleus (Belgium),

Philippe Billé (France), Open Head Arts (Greece), et al.

No. 48 (April/May/June 1984). Photocopy with Mixed Media. 8 1/4"x6".

Unpaged. Mail Art assembling magazine. Contributions by Peter Küstermann

(Germany), Guglielmo Achille Cavellini (Italy), Mark Pawson (England), et al.

Includes editorial. "It's funny how few mail art projects really use effectively the

network potential. It is not simply an activity of collecting crates full of yellowing

envelopes, It is a work of arranging heterogeneity in a significant perspective."

No. 50 (n.d). Photocopy with mixed media. 12"x8 1/2". Sealed Copy. "Silver

Issue." Assembling. Contributions by Mark Bloch (USA), Al Ackerman (USA),

Shozo Shimamoto (Japan), The Gerlovins (USA), Julien Blaine (France).

No. 52 (February/March 1985). Photocopy. 6 "x4 1/4". Sealed. "Scripta Volant

(mail poetryshow catalog)."

No. 54 (June/December 1985). Photocopy. 6"x4 1/4". Sealed. "Copy Art Show

Catalog." With invitation to the project. Contributors include K. S. Ernst (USA),

Klaus Urbons (West Germany).

No. 55 (1986). Photocopy. 6"x4 1/4". Sealed. "Vittore Baroni's Mail Art

Handbook." An overview of contemporary Mail Art, including chapters on History,

Congresses, Tourism, Archives, Money and Mail Art, and a Bibliography.

No. 56 (January/June 1987). Photocopy with Mixed Media. 8 1/2"x6". 31 pages.

Comments on the subject by Ray Johnson, Al Ackerman, Philippe Billé (France),

Leonhard Frank Duch (Brazil), Clemente Padin (Uruguay), et al.

No. 57 (July/December 1987). Photocopy. 8 1/2"x6". 27 pages. Results of

contributions to, "The Box Game." Contributors included Robin Crozier

(England), Piotr Rypson (Poland), Rod Summers (Holland), and Rea Nikonova

(Russia).

No. 58 (1988). Photocopy. 6"x4 1/4". 34 pages. "The B. A. T. Manual (Break Art

Taboos and Old Toys)." Includes an homage to English Mail Artist Michael Scott.


No. 59 (January/June 1989). Photocopy and Mixed Media. 8 1/4"x5 3/4".

Unpaged. "Alternative Philately" issue. Includes the essay, "Other Stamps," by

Christian Rigal (France).

(No. 60-See "Netzine")

(No. 61-See "Smile. Vittore Baroni, Editor.")

No. 62 (January/December 1990). Photocopy with Mixed Media. 6"x4 1/4". 42

pages. "B-Art Issue." "The difference between Art with a capital A and B-art with

a capital B is that you don't get free Art in the mail, you have to look it up in

museums and heavy catalogues & sign checks with multiple zeroes if you want it

on your wall."

No. 64 (January/March 1993). Photocopy with Mixed Media. 6"x4 1/4". 23

pages. "Utopia Infantile: a networking project by Vittore Baroni & Robin Crozier."

Edition 94/100.

No. 65 (April/June 1993). Photocopy. 6"x4 1/4".23 pages. Includes the essay,

"The Glass Enigma of David Drummond-Milne," by the editor.

No. 66 (July/September 1993). Photocopy and Mixed Media. 23 pages. "The

One-Man Show: collective add-on project conceived by Vittore Baroni."

Contributions by Ben Vautier (France), Paulo Bruscky (Brazil), Charles Dreyfus

(France), Ulises Carrion (Holland), et al. Edition 27/100.

No. 67 (October/December 1993). Photocopy with Mixed Media. 23 pages.

"Stickerman Scrapbook." Results of a project on "adhesive art" with Piermario

Ciani. Edition 92/100.

No. 68 (December 1994). Photocopy. 6"x4 1/4". 19 pages. Issue devoted to the

correspondence between the editor and Arturo Giuseppe Fallico (USA).

No. 69 (January/February 1995). Photocopy. 8 1/2"x6". 11 pages. Special Ray

Johnson issue after the artist's death on January 13, 1995).

Special Supplement (January 1995). Color and Black&White Photocopy and

Mixed Media. 8 1/4"x6". "A word/visual collaboration between me and russian

trans-poets Rea Nikonova and Serge Segay." "I Quaderni di Arte Postale!-N.1."

No. 70 (March/April 1995). Photocopy and Mixed Media. 5 3/4"x4 1/4". 19

pages. Collaborative issue with Jürgen O. Obrich (Germany).

No. 71 (May/September 1995). Photcopy with Mixed Media. 6"x4 1/4". 23

pages. Results of the editor's project "Fun in Acapulco." Contributions by 108

persons from 22 countries.


No. 73 (October/December 1995). Photocopy. 5 3/4"x4 1/4". 20 pages. "A Deck

of Postcards." Collaborative collage art with Guy Bleus (Belgium).

No. 74 (January 14-17, 1996). Photocopy. 5 3/4"x4 1/4". 8 pages. "My Own

Private Internet: the E. O. N. guide to happy networking: The Club of 12." "Once

again, it is a matter of tolerance not contraposition, collaboration not competition,

old and new media helping one another, integrated into a global tactic that

should evolve (h)armonisously and lovingly. The utopian idiot in us will never

die!"

No. 75 (January/April 1996). Photocopy. 5 3/4"x4 1/4". 19 pages. Luther

Blissett issue. Includes the essay, "Ray Johnson: A Zapatista in Greenwich," by

Luther Blissett. Edition of 111 copies.

No. 76 (May/September 1996). Photocopy and Mixed Media. 5 3/4"x4 1/4". 31

pages. Aka "Scissures 1." Commemorating the musical group, "Le Forbici di

Manitú. contributions to the project, "Manitou's Scissors." contributions by 86

persons from 20 countries. Edition 25/300. This copy sent by the editor to

Factsheet Five for review, with bibliographic information submitted by the editor.

No. 77 (January/December 1997). Photocopy with Mixed Media. 6"x4 1/4". 7

pages. "The Making of Arte Postale (the Book)." "I will take advantage of this

issue of "Arte Postale!" (the magazine , with exclamation mark) to report the

vicissitudes behind this publication, to balance things out in English only."

Backed by a "(im)personal invite to '1988: A Year of Incongrous Meetings.'"

No. 79 (January 13, 1998). Photocopy and Mixed Media. 11 3/4"x8 1/4". 15

page booklet+enclosures. Special issue on Ray Johnson. Special insert, "The

EON Archives of Ray," listing books by and about Johnson, Johnson exhibition

catalogs, Essays on Johnson in magazines and newspapers before and after his

death. Includes the booklet, "Scissures 2." Edition 18/31.

No. 83 (July/December 2000). Photocopy and Mixed Media. 6"x4 1/4". 6 pages.

Announcing, "The David Zack Project." Includes several reproductions of letters

from Zack to Baroni.

No. 84 (January 2001). Photocopy. 5 3/4"x4 1/4". 8 pages. Aka "Scissures 3."

Includes the essay, "Manitu' Rossi's Autobiography." Information on the musical

group, "Le Forbici di Manitu."

Artforum International. (Pawel Petasz, Editor). (Elblag, Poland).

1983.

No. 6 (1981). Offset on Handmade Paper with Typing. 11 1/4"x8 1/2".

(1 page). Recycled issue created in July 1983, with typed Table of Contents.


Artist Call. Michael Schwartz, Editor. Tucson, Arizona. 1992.

Vol. 1, No. 3 (May 1992). Photocopy. 5 3/4"x4 1/2". 38 pages.

Contributors include Gerard Barbot (USA), Epistolary Stud Farm (USA), Henning

Mittendorf (Germany) and Pedro F. Bericat (Spain). Mail Art project and show

announcements.

The Artist Calls: Newsletter of the Artists Network of Amnesty

International. Angie Baldassarre, Editor. Toronto, Canada. 1993.

Vol. 5 (May 1993). Photocopy. 8 1/2"x11". (4 pages). Article by Mike

Duquette (Canada), "Amnesty International Stamps Out Injustice," which reports

on an exhibition of 278 stamp images "honouring the work of Amnesty

International."

Artistamp News. Anna Banana and Ed Varney, Editors.

Vancouver, Canada. 1991-1999.

Vol. 1, No. 1 (January 1991). Offset. 8 1/2"x11". 8 pages. Edited by

Anna Banana. "In phasing out our 20-year newsletter, "The Banana Rag," to

make time and money for this new venture, we have decided to include in

'Artistamp News' as much of the information on mailart shows and publications

that we have room for, which seemed to be of most interest to our "Banana Rag"

readers; thereby creating a new publication that will span overlapping areas of

interest." News section. Profile of Ed Varney (Canada). "Notes form Jas.

(Felter)." Contains "Banana Rag," No. 29, "Mail Art Shows and Project

Information."

Vol. 1, No. 2 (December 1991). Offset (Artistamps Attached). 8

1/2"x11". 8 pages. News. Profiles on buZ blurr (USA) and Carl Chew (USA).

"Jas. Notes II." Publications (books, magazines, catalogs) received, including a

review of "Mail Art: An Annotated Bibliography," by John Held, Jr. "Banana Rag,

No. 30," containing "Mail Art Show and Project Information."

Vol. 2, No. 1 (August 1992). Offset (Artistamps Attached). 8

1/2"x11". 8 pages. "Artistamp Statement," by Crackerjack Kid (USA). News

Briefs. Jas. Notes. Profile of E. F. Higgins III (USA). Publication reviews. Mail Art

Shows and Projects.

Vol. 3., No. 1&2 (February 1993). Offset (Artistamps Attached). 8

1/2"x11". 12 pages. Editorial by Anna Banana. Letters. Network News. Artist

Profile: Vittore Baroni (Italy). "Robert Watts Stamp Rememorative," by Sara

Seagull. Publications received. "New Editions" featuring new artistamps by


Dogfish (USA), H. R. Fricker (Switzerland), Ed Higgins (USA), et al. "Mail Art

Shows & Projects, Announcements, contacts."

Vol. 4, No. 1 (March 1994). Offset (Artistamps Attached). 8 1/2"x11".

12 pages. Articles by Guy Bleus, "Philately: Mail Art is Disguise," and "I'm a

Networker, Ha Ha...," by Anthroat. Mars (Mail Art/Rubber Stamps) Expo

reviewed by Carl Chew (USA) and Ed Varney (Canada). Review of "Timbres

d'Artistes," at the Museé de la Poste, Paris, by Dogfish (USA). Catalog of the

exhibition reviewed. Artist Profile: Greg Byrd (aka Toast Postes, USA).

Publications reviewed. New stamp issues noted. Mail Art show and project

information. News and Events.

Vol. 4, No. 2. (October 1994). Offset (Artistamps Attached). 8

1/2"x11". 12 pages. News of the artistamp world. Exhibition reviews.

Publication reviews. Artist Profiles: Cati LaPorte (USA), Marcello Diotallevi (Italy)

and Bruce Grenville (USA). "Art is Stamps," by Guy Bleus. Books and Catalogs

received. New artistamp issues by buZ blurr (USA), Peter Kaufmann

(Switzerland), Edgardo Antonio Vigo (Argentina), et al. Mail Art exhibition and

project invitations.

Vol. 5, No. 1 (June 1995). Offset (Artistamps Attached). 8 1/2"x11".

12 pages. Exhibition reviews. "It's in the Mail-Artistamps and the mail Art

Movement," by Robert Rudine (Dogfish). News reports. Artist Profiles: Peter

Küstermann and Angela Pähler (Germany), Günther Ruch (Switzerland), Bruce

Grenville (USA). Books and periodicals review. New artistamp issues by Vittore

Baroni (Italy), György Galantai (Hungary), Serge Segay (Russia), Georgine

Margaretta Witta (Denmark), et al. Mail Art show and project invitations.

Vol. 6, No. 1 (February 1996). Offset (Artistamps Attached). 8

1/2"x11". 12 pages. Last issue edited by Anna Banana. Exhibition reviews.

Ray Johnson memorial. Profiles of Harley (USA), James W. Felter (Canada) and

William Graf (USA). Books and catalogs reviewed. New artistamp issues by

Boog (USA), Sandor Gogolyak (Yugoslavia), Eiichi Matsuhashi (Japan), et al.

No. 9 (Spring 1997). Offset. 8 1/2"x11". 12 pages. First issue edited by

Ed Varney, replacing former editor Anna Banana. "Mail Art as a Means of

Survival under Communism," by Peter Küstermann (Germany). Interview with

Jas. Felter .Alternative Artfest. Pacific Rim Artistamp Congress 1997. Profile of

Patricia Tavenner (USDA). Stamp Art Gallery, San Francisco. Publications.

"Artistamp Reviews."

No. 10 (Summer 1998). Offset (Artistamps Attached). 8 1/2"x11". 12

pages. "Art is Stamps," by Guy Bleus. "Some Thoughts About Mail Art," by

Ruud Janssen. "The Rhythm of the Post OR Le Timbre des Timbres Poste," by

Ina Blom. Artist profile of Stive Smith (USA). Review of Pacific Rim Artistamp


Congress. Michael Hernandez de Luna and Michael Thompson. Exhibition

reviews. Publications. Memorials to Josef "Joki" Klaffki (Germany) and Edgardo

Antonio Vigo (Argentina). Illustrated reviews of recent artistamp issues.

No. 11 (Fall 1999). Offset (Artistamps Attached). 8 1/2"x11". 12

pages. Editorial. "Mail Art-Brain Cell-Fractal," by Ryosuke Cohen (Japan).

"Great Moments in the History of Artists' Stamps," by Vittore Baroni (Italy).

"World of Artistamps" CD-ROM, reviewed by the editor. "What's About

Artistamps?," by Merlin (Germany). "Meditation on Perforation," by Gianni

Simone (Japan). Artist Profile: Marilyn Califf (USA). Memorials to Buster

Cleveland (USA) and Dick Higgins (USA). "First International Female Artistamp

Exhibition," curated by Gaglione/Held (USA). Publications received. Reviews of

recent artistamp issues.

Artistampzine. Edited by the Fake Picabia Bros. (Picasso

Gaglione and John Held, Jr.). San Francisco, California. 2000-

2001.

Vol. 1, No. 1 (June 2000). Photocopy and Artistamps in Various

Media. 11 1/2"x9 1/4". Unpaged portfolio. Artistamp portfolio featuring

artistamps by Bay Area Dada Artists (Charles Chickadel, Dadaland, Darling

Darlene, John Held, Jr., Indian Ralph, Tim Mancusi, Seth Mason). Review of

Mexican artistamp exhibition. "Debate on Mail Art," by Clemente Padin

(Uruguay). Response by John Held, Jr. Edition of 30.

Vol. 1, No. 2 (November 2000). Photocopy and artistamps in various

media. 11 1/2"x9 1/4". Unpaged portfolio. Artistamp portfolio featuring

artistamps by 11 persons including Dadaland (USA), John Held, Jr. (USA),

Patricia Harris (aka Princess Petal, USA), Charles Gatewood (USA), et al. News

on Mail Art in print, Mail Art Mekka Minden. "Fake Ray Johnson Weekend."

Reprints from recent publications featuring artistamps. Edition 3/30.

Vol. 2, No. 1 ([February 2001]). Photocopy, rubber stamps, and

artistamps in various media. 11 1/2"x9 1/4". Unpaged Portfolio.

Features 10 artistamp sheets by buZ blurr (USA). Accompanying booklet

includes information on the artistamp sheets and autobiographical information on

the artist, inlcluding, "Some buZ blurr Autostoricizzazione." Edition 1/30.

Vol. 2, No. 2 ([2001]). Photocopy and Artistamps. 11 1/2"x9 1/4".

Unpaged portfolio. "Special Womens Issue." Artists featured include Darling

Darlene (USA), Anna Banana (Canada), Dragonfly Dream (USA), Ex Posto

Facto (USA), Patricia Harris (USA), Teesha Moore (USA), Annina Van Sebroeck

(Belgium), et al. Accompanying booklet reprints recent newspaper articles on


artistamps. Issue dedicated to the Baroness Von Freytag-Loringhoven (1874-

1927). Edition 3/30.

Vol. 2, No. 3 ([2001]). Photocopy and Artistamps. 11 1/2"x9 1/4".

Unpaged portfolio. Featuring artistamp sheets by 14 persons, including

Dadaland (USA), Vittore Baroni (Italy), Dogfish (USA), Michael Thompson (USA),

Michael Hernandez de Luna (USA), Ed Varney (Canada), et al. "Working Permit:

A Canadian Travel Diary (April 19-23, 2001)," by John Held, Jr. (USA) Edition

2/30.

Artists Internat'l Newsposter. Ruth Howard, Editor. Santa Cruz,

California. (1983).

([1983]). Photocopy. 19"x11". (2 pages). Mail Art questionnaire response.

Collage of images by contributing artists including Vittore Baroni (Italy), Ryosuke

Cohen (Japan), Robert Rehfield (East Germany). Original art by Rockola

enclosed.

Artpaper: Art/Community/Cultural Activism. Lane Relyea; Jan

Zita Grover, Editor. Visual Arts Information Service,

Minneapolis, Minnesota. 1989-1993.

Vol. 9, No. 2 (October 1989). Newsprint. 17 1/2"x11 1/2". 32 pages.

Alternative magazine featuring article on Art Strike, 1990-1993. Includes insert

advertisement with rubber stamp reading, "It's terrific! Yes! mail art changed my

life!"

Vol. 9, No. 4 (December 1989). Newsprint. 17 1/2"x11 1/2". 32

pages. "The Activist Librarians," by Chris Dodge (USA), which tracks his

discovery of Mail Art and zines.

Vol. 9, No. 5 ( January 1990). Newsprint. 17 1/2"x11 1/2". 32 pages.

"The Eternal Mail Art Network," by John Held, Jr. (USA). Front cover features

images from the Mail Art network. Back cover features reprint of "Yawn: Sporadic

Critique of Culture," edited by Lloyd Dunn (USA).

Vol. 11, No. 2 (October 1991). Newsprint. 17"x11" (oversize). 26

pages. "Networking: The Decentralized Assault," by The Aggressive School of

Cultural Workers-Iowa City (aka Lloyd Dunn and Stephen Perkins, et al., USA).

"...a new breed of cultural worker has developed who takes these geographic

and psychic disturbances as the context from which much of their work springs.

We are speaking here of the concept of the networker and the network./the

networker is someone who respects no borders, brooks no artificial barriers in

his or her quest to celebrate the most basic of human acts: communication.


connected with others across the country and around the globe, networkers

generate dialogues of many kinds, from play to collaboration to propagandizing.

It's a defiant and subversive culture constantly slipping its message through the

postal system n the form of xeroxes, underground zines, audio cassettes,

videotapes, and computer discs. More recently, the fax, modem, and computer

bulletin board have been added to the networker's repertoire. Indeed, all the

duplicative technologies and any other available means of transmitting

information are potential tools for the networker..." Edited by Jan Zita Grover.

Vol. 11, No. 6 (February 1992). Newsprint. 17"x11" (oversize). 26

pages. "Received by Mail," includes contributions by Jeffrey Vallance (USA),

Sister Serpents (USA), et al.

Vol. 12, No. 2 (October 1992). Newsprint. 17"x11" (oversize). 31

pages. "Prison Envelope Art: Imagery in Motion." Selections from an exhibition

in Long Beach, California.

Vol. 12, No. 4 (December 1992). Newsprint. 17"x11" (oversize). 27

pages. Cover art by Joel Lipman (USA).

Vol. 12, No. 8 (April 1993). Newsprint. 17"x11" (oversize). 27 pages.

Guest edited by Vince Leo (USA). "...while this issue is not expressly about

art or community or cultural activism, to my mind is 'is' art, community, and

cultural activism. It's a testimonial to the differences we call our own, to all the

cultures that every who loves 'Artpaper' holds dear." Contributors asked to

recommend an item of current interest. Contributions by Hakim Bey (USA), Chris

Dodge (USA) and Stephen Perkins (USA), who writes about "'SMILE' Classified

Review," edited by Simon Ford (England). "Smile is everybody's magazine

because anybody can produce it! All you have to do is call your magazine

'SMILE.' the English writer Stewart home proposed the SMILE concept in 1984

after plagiarizing and refining ideas that had been developed by the Neoist

conspiracy in the late '70s and then reapplying them to the field of publishing. the

concept found fertile ground as it weaved its way through the international

network of neoists, cultural refuseniks, correspondence artists, xerox zinesters,

and others in underground networks. this catalog documents approximately 11

'SMILE's produced throughout Europe,, North America, and Australia during the

years 1984-1988. Editor Simon Ford also provides succinct overviews of a string

of related concepts that intersect with the 'SMILE' project: Neoism, Multiple

Names, Plagiarism, and the Art Strike..."

Ask Ling. Al Ackerman, Editor. San Antonio, Texas. 1984-1986.

Christmas Issue ([December 27, 1984]). Photocopy. 8 1/2"x5 1/2".

(4 pages). Mail Art lit-zine by the master of the TLP (Tacky Little Pamphlet).


No. 33 (February 1985). Photocopy. 8 1/2"x5 1/2". (4 pages). "'The

Ching What Am,'" by the Ling Master. Graphic, "American I Ching," by B(ill)

Chambers USA).

No. 38 ([May 16, 1985]). Photocopy. 8 1/2"x5 1/2". (4 pages).

"Devotees quiz Ling about semi-severed sandwiches and missing dollar bills."

Devotee David Greenberger (USA) pictured.

No. 38 (July [1985]). Photocopy 11"x8 1/2". 17 pages. Questions from

buZ blurr (USA) and Dazar (USA). "Puzzled? Baffled? Unclear in you head?

Send your question along with $5 to 'Ask Ling' c/o House of Crazies..."

No. 43 (October 1955 [1985]). Photocopy. 8 1/2"x5 1/2". (4 pages).

"This is Ling. There is one thing I've noticed as I sit here in my mystic Ling hood

pillowcase with the single eyehole cut in the center, sipping Mogan David on the

rocks, fighting crime and rich people, and doing my best to answer the questions

that you, my world-wide network of devotees, keep or keeps sending in to 'Ask

Ling': it's how I can generally spot the intelligent, well-thought-out questions in

advance, I mean before I even read the things."

No. 44 (July 1936 [July 1986]). Photocopy. 8 1/2"x5 1/2". (4 pages).

"Ling Answers Your Questions."

([October 7, 1986]). Photocopy. 8 1/2"x5 1/2". (6 pages). "Solving Your

Low-Ball Sex Problems (Part III)."

Assembling. Richard Kostelanetz, Editor. New York, New York.

1970-1979.

[No. 1] (1970). Photocopy. 11"x8 1/2". Unpaged. Edited with Henry

Korn. Published by Gnilbmessa Inc., Brooklyn, New York. "Assembling: A

cooperative annual magazine of the unpublished and the unpublishable-selected

and printed by the contributors. Compiled by Richard Kostelanetz and Henry

Korn." Contributor Notes. "Why Assembling?," by Richard Kostelanetz.

(1978). Offset. 11"x8 1/2". 96 pages. "Assembling Assembling." Preface,

introduction and bibliography by Richard Kostelanetz. History of the magazine up

to the present issue.

No. 9 (1979). Offset. 11"x8 1/2". Unpaged. "A Critical (Ninth)

Assembling." "Prospective contributors were invited to submit two pages,

camera-ready for offset reproduction of 'critical commentary on radical

experimental tendencies in contemporary literature.'" Biographical notes of

contributors.


Atalaya. Christer Brunström, Editor. Halmstad, Sweden. 1987-

1988.

Vol. 13. No. 1 (Winter/Spring 1987/1988). Photocopy. 8 1/4"x5 3/4".

11 pages. Philatelic magazine dealing with "cinderellas, 'dead' countries and

other oddities." Article on Mail Art by Dogfish (USA).

Atmosphere. Mogens Otto Nielsen and Atmosphere Controlled,

Editors. n.d.

No. 3 (n.d.). Offset. 11 3/4"x8 1/4". (4 pages). Visual poetry.

AU (Artists' Union/Art Unidentified). Shozo Shimamoto; Misao

Kusumoto; Sumiko Kim; Yoshio Kato; Yoko Kuwaki; Yoyoi

Yoshitome; Hiloco Usui, Editors. AU, Nishinomiya, Japan. 1977-

2001.

Newsletter published by AU art organization in Nishinomiya, Japan, under the

direction of Shozo Shimamoto, a former member of the Gutai art movement.

Gutai was one of the pre-eminent post-war avant-garde art movements in Japan,

formed in the mid-1950s, well-known for incorporating performance aspects into

the physical artwork (i.e., running through a series of paper screens, or in the

case of Shimamoto, hurling bottles with oil pigments at a canvas, the resulting

canvas bearing the trace of the performance). Shimamoto can be seen in the

bottom photograph on page 1 of this issue, far right. Shimamoto was introduced

to Mail Art by Byron Black, from Ft. Worth, Texas, and Vancouver, Canada,

where he was a resident at Western Front. Black went to Japan to teach English

and made the acquaintance of Shimamoto and Ryosuke Cohen (see Brain Cell),

who he introduced to Mail Art. Over the years, Mail Art became a growing

concern of the organization, composed of artists throughout Japan.

No. 2 (1977). Offset. 12"x9". 8 pages. In Japanese. Published in Nara,

Japan.

No. 3 (April 1977). Offset. 11 3/4"x8 1/4". (4 pages). Notices of projects

by Angelika Schmidt (Germany) and G. J. de Rook (Holland), and the "Broadway

Inter-national post Card and Mail Art Extravaganza)."

No. 4 ( May 1977). Offset. 11 3/4"x8 1/4". (4 pages). In this issue

(primarily in Japanese), we can see the work of Canadian Mail Artist, Chuck

Stake, and a reference to a project by Uncle Don Milliken (USA).


No. 5 (June 1977). Offset. 11 3/4"x8 1/4". (4 pages). Notice of the "First

International Postal Encounter Art-Workers of the Visual Communication," from

C. D. O., Parma, Italy. Postcard from Angelika Schmidt (Germany).

No. 6 (July 1977). Offset. 12 1/2"x8 3/4". (4 pages). Project listed by

Albrecht D. (Germany).

No. 7 (August 1977). Offset. 12 1/2"x8 3/4". (4 pages).

No. 8 (September 1977). Offset. 12 1/2"x8 3/4". (4 pages). Mail Art

project listings, including notice of a project by R. Mutt (USA).

No. 9 (October 1977). Offset. 11 1/4"x8". (4 pages). Mail Art project

listings, including notice for an exhibition of visual poetry organized by Dadaland

(USA).

No. 10 (November 1977). Offset. 12 1/2"x8 3/4". (4 pages). Graphics

by Klaus Groh (Germany). robin Crozier (England), and Uncle Don Milliken

(USA).

No. 11 (December 1977). Offset. 12 1/2"x8 3/4". (4 pages). Graphics

by Andrzej Partum (Poland). Text by Ed Varney (Canada).

No. 12 (n.d.). Newsprint. 16"x11". 8 pages.

No. 13 (n.d.). Newsprint. 16"x11". 8 pages.

No. 15 (March 10, 1978). Offset. 12 1/2"x9". (4 pages). Information on

Chuck Stake (Canada).

No. 17 (June 10, 1978). Offset. 12 1/2"x9". (4 pages).

No. 18 (July 10, 1978). Offset. 12 1/2"x9". (4 pages). Project

announcement of Italian Mail Art exhibition. Uncle Don Milliken(USA).

No. 19 (August 10, 1978). Offset. 12 1/2"x9". (4 pages).

No. 20 (September 10, 1978). Offset. 12 1/2"x9". (8 pages). Graphics

by Uncle Don Milliken (USA).

No. 21 (October 10, 1978). Offset. 12 1/2"x9". 8 pages. Centerfold with

Mail Art graphics by Albrecht D. (Germany), Pauline Smith (England), et al.


No. 22 (March 10, 1978?). Offset. 12 1/2"x9". (4 pages). Graphics by

Chuck Stake (Canada).

No. 23 (December 10, 1978). Offset. 12 1/2"x9". (4 pages).

No. 24 (January 10, 1979). Offset. 12 1/2"x9". (8 pages). Excepts from

"Orworks," by Uncle Don Milliken (USA).

No. 25/26 (March 10, 1979). Offset. 12 1/2"x9". (8 pages). Report on

"Artists' Union Symposium '79."

No. ? (1979). Offset. 12 1/2"x9". (4 pages). "AU mail art." Contributions

by Klaus Groh (Germany), Fletcher Copp (USA), Luis (Brazil), et al.

No. ? (1979). Offset. 12 1/2"x9". 4 pages. "AU mail art." Contributions by

Falves Silva (Brazil), Bill Gaglione (USA), et al.

No. 34 (April 1, 1980). Offset. 17 1/4"x12". (2 pages). Performance

photographs. Chair exhibition.

No. 38 (September 10. 1980). Offset. 17 1/4"x12". (4 pages). "Artists

Union Art Unidentified." "Mail Art Stamp" AU exhibition announcement. Misao

Kusumoto, Editor.

No. 40 (December 20, 1980). Offset. 17 1/4"x12". (2 pages). "Artists'

Union Art Unidentified."

No. 41 (February 10, 1981). Offset. 17 1/4"x12". (2 pages). 16

3/4"x12 1/4". (4 pages). "Mail Art Belgium." "Mail Art W. Germany." "A. U.

intends to open a 'mail Art' Exhibition at Portopia, an artificial island made in

Kobe port, and we are seeking art work for our exhibition which will be on the

themes of "Sea Port" and "Warm Breezes." "Presently A. U. a modern art

cultural center in Kobe, Japan, is promoting cultural exchange in the field of

modern art and we are seeking overseas members. We do not require any

membership fees whatsoever, only that the member holds interest in the

activities at A. U. by sending us twice a year or more of Post Card Art." "'Art

Space', which opened last April in Nishinomiya, offers a place where people who

are interested in Video art, music, or any other artistic medium, can freely meet

and exchange ideas."

No. 42 (April 10, 1981). Offset. 15 3/4"x12". (4 pages). Profile of

"Ryosuke Kohen," including resume and performance photographs.


No. 45 (August 10, 1981). Offset. 16 1/2"x12 1/4". (4 pages).

Announcement of forthcoming AU Mail Art exhibition at Tokyo Public Museum.

Graphic by Pawel Petasz (Poland), Byron Black (Japan).

No. 46 (September 30, 1981). Offset. 16 1/2"x12 1/4". (4 pages).

"Mail Art World Map." Announcement for "Post Card Exhibition."

No. 47 (January 1, 1982). Offset. 24 1/4"x16 1/4". (2 pages). AU

assumes format, which becomes a standard for the next years. Announcement

of forthcoming shows on Canadian and Australian Mail Art. Intention to publish

"Mail Art Book." "Toilet Performance," by Byron Black (Japan).

No. 48 (March 1, 1981). Offset. 24 1/4"x16 1/4". (2 pages). Cavellini

photograph performance. Performances by Shozo Shimamoto and Byron Black.

No. 49 (April 5, 1982). Offset. 24 1/4"x16 1/4". (2 pages). "Truck Art,"

by Ryosuke Koen (aka Ryosuke Cohen, Japan) and Teruyuki Tsubouchi

(Japan), et al. "Announcement of "Seoul International mail Art Exhibition."

No. 50 (June 1, 1982). Offset. 24 1/4"x16 1/4". (2 pages). "Information

about the Mail Art Book." includes photograph of AU Mail Art exhibition. Mail Art

project information. Performance photograph of Iikka-Juhani Takalo-Eskoia

(Finland).

No. 51 (July 25, 1982). Offset. 23 1/2"x16 1/4". (2 pages). "Truck Art."

Masil Art project information. Graphic by Robin Crozier (England).

No. 52 (September 15, 1982). Offset. 23 1/2"x16 1/4". (2 pages).

Graphic by Timm Ulrichs (Holland).

No. 54 (January 1, 1983). Offset. 24 1/2"x16 1/4". (2 pages).

"Cavellini's Ten Commandments." "Ten Ways to Make Yourself Famous, by

Cavellini (Italy). Mail Art project information. Announcement of AU "Mail Art Book

2."

No. 57 (May 31, 1983). Offset. 23 3/4"x13 1/2". (2 pages). "Form

Fornicates Function," by Byron Black (Japan). Mail Art project and exhibition

announcements including, "Mail Art Autumn '83 AU."

No. 57(sic) (August 1, 1983). Offset. 23 1/2"x13 1/2". (2 pages).

Photographs of art actions by Ryosuke Cohen (Japan).


No. 59 (October 20, 1983). Offset. 23 1/2"x13 1/2". (2 pages). Mail Art

graphics by Private World (USA), Carlo Pittore (USA), Hans Nevidal (Austria),

Marcello Diotallevi (Italy), et al. Participant list, "Mail Art Autumn '83."

No. 60 (December 1, 1983). Offset. 23 1/2"x13 1/2". (2 pages).

Newspaper review of AU exhibition at Western Front, Vancouver, Canada. "Mail

Art Book No. 2."

No. 61 (February 1, 1984). Offset. 23 1/2"x13 1/2". (2 pages). "We

are interested in having on exhibit, works by different people who delve in

making their own books and who have a vast collection of mail art material."

No. 62 (April 20, 1984). Offset. 23 1/2"x16 1/4". (2 pages). "The

initials, AU stand for "Art Unidentified." Originally, its name was "Artists' Union

established in 1975, and was changed in 1980. here at our Nishinomiya gallery,

we have given it the name Art Space...At the present, we have 130 members

throughout Japan...The editor of AU is Ms. Misao Kusumoto. Director of Mail Art

is Mr. Ryosuke Cohen."

No. 63 (June 18, 1984). Offset. 23 1/4"x16". (2 pages). "AU Mail Art

Network Manifesto." Graphics by H. R. Fricker (Switzerland) and Lon

Spiegelman (USA). Kum Num Baik (South Korea) "One Man Show at Art

Space."

No. 64 (August 30, 1984). Offset. 23 1/4"x16". (2 pages). Participant

lists for the AU Mail Art exhibitions, Hand Maid Book," and "Unique Art."

"Correspondent Art Produced by Shozo Shimamoto. Shozo Shimamoto using his

copy machines has reproduced a Brand New Kind of art work using works of

mail Art sent to him from all corners of the world. This new life from is called

Correspondent Art."

No. 65 (October 1, 1984). Offset. 24"x16". (2 pages). Stelarc "body

suspension" performance at Art Space. Mail Art project and exhibition

announcements. Reproductions of Mail Art work for "Osaka '84" exhibition.

No. 66 (December 1, 1984). Offset. 24"x16". (2 pages). Ray Johnson

graphic. Notice for "Envelope Art Works Show." at Art Space. Participant list for

"Art in the Bed." Letter from Monty Cantsin (Canada) on Neoism.

No. 67 (February 10, 1985). Offset. 23 1/2"x16 1/2". (2 pages). "AU

Contemporary Art Exhibition at Tokyo Metropolitan Museum." Mail Art project

and exhibition notices, including "The Scroll Unrolls," at Janco-Dada Museum,

Israel. Editor, Shozo Shimamoto.


No. 68 (April 1, 1985). Offset. 24"x16". (2 pages). "The Encyclopedia Of

Mail Artist-AU Collection," with self-portraits of 128 Mail Artists. New editor,

Sumiko Kim.

No. 69 (June 10, 1985). Offset. 24"x16". (2 pages). Mail Art project and

exhibition notices. Klaus Groh (Germany) exhibition at Art Space.

No. 70 (June 20,1985). Offset. 24"x16". (2 pages). "Deconstruction Art,"

exhibition, including work by Crackerjack Kid (USA). Mail Art project and

exhibition notices.

No. 71 (August 15, 1985). Offset. 24"x16". (2 pages). "AU

Contemporary Art 1985" at Kyoto City Museum. Participant list for "Mr. Network"

exhibition at Art Space (Networking Space). Exhibitions by Pat and Dick Larter

(Australia) and "Mail Art in Eastern Europe."

No. 72 (September 25, 1985). Offset. 24"x16". (2 pages). Graphics for

"Mr. Network" exhibition including graphics by Lon Spiegelman (USA), Peter

Küstermann (Germany), Fernand Barbot (USA), et al. "An Introduction About Art

and Exchange," by Guy Bleus. Mail Art project and exhibition opportunities.

No. 74 (January 25, 1986). Offset. 23 1/2"x16 1/2". (2 pages).

Photographs from a visit to Eastern Europe by Shozo. Notice of Mail Art

exhibition at Networking Space (Art Space), including works by Eastern

European Mail Artists.

No. 75 (March 10, 1986). Offset. 24"x16". (2 pages). Bern Porter (USA)

at Art Space. Announcement of "Shadow Project," by Ruggero Maggi (Italy).

Shimamoto photograph with Cavellini (Italy).

No. 76 (April 1, 1986). Offset. 24"x16". (2 pages). "Turismo. December

in 1985, Shozo Shimamoto traveled in 10 countries, Ryosuke Cohen in 4

countries...These are the portraits of every artists whom they communicated with

at that time."

No. 77 (May 15, 1986). Offset. 24"x16". (2 pages). Notices for upcoming

Mail Art exhibitions at Art Space. AU and Gutai.

No. 78 (June 10, 1986). Offset. 24"x16". (2 pages). "Unwrapping

Manifest," by Shozo Shimamoto. Works in "Unwrapping Manifest" exhibition

illustrated.

No. 79 (July 10, 1986). Offset. 23 1/2"x16 3/4". (2 pages). "World Mail

Art Wall painting in Osaka." Contributor list for, "Le Esprit de Edo." Mail Art


project and exhibition notices. "What a Historical Event!," announces forthcoming

Cavellini (Italy) appearance at Art Space.

No. 80 (August 15, 1986). Offset. 23 1/2"x16 3/4". (2 pages). Cavellini

(Italy). H. R. Fricker (Switzerland). "World Symposium on Mail Art." Mail Art

exhibitions at Art Space.

No. 81 (September 20, 1986). Offset. 23 1/2"x16 3/4". (2 pages).

New editor-Yoshio Kato. AU staff pictured. Printing history of Gutai and AU. "Mail

Art. The way of expression making use of postal and communication system. It is

said that the magazine "Gutai" (published in 1955) by Shozo Shimamoto was a

pioneer in mail art history." Contributor list for, "Contemporary Event in Saku 86."

Notices for forthcoming Art Space exhibitions and events. New editor-Yoshio

Kato.

No. 82 (November 1, 1986). Offset. 23 1/2"x16 3/4". (2 pages).

"Shozo Shimamoto had his head shaved by a priest at Shitennoji Temple in

Osaka, which is the oldest one in Japan. And this picture shows that Cavellini is

writing his autobiography on his head when Cavellini came to Japan."

Forthcoming Art Space exhibitions.

No. 83 (January 15, 1987). Offset. 23 1/2"x16 3/4". (2 pages).

Photographs documenting the visit of Cavellini to Japan. New editor-Yoko

Kuwaki.

No. 84 (n.d. [1987]). Offset. 23 1/2"x16 3/4". (2 pages). "AU

International Contemporaly (sic) Art Exhibition 87' Tokyo (G. A. Cavellini)."

Notice for Art Space exhibition, "Mail Art in New York ," featuring Mail Art by Ray

Johnson, Barbot family, E. F. Higgins III, David Cole, Carlo Pittore, Anne Sharp,

et al.

No. 85 (March 23, 1987). Offset. 23 1/2"x16 3/4". (2 pages). Interview

with Shimamoto and Cohen conducted by Guy Stuckens (Belgium), No Se No

Gallery in New York City.

No. 86 (May 23, 1987). Offset. 23 1/2"x16 3/4". (2 pages). Bern Porter

(USA). Ryosuke Cohen. Mail Art project and exhibition announcements.

No. 87 (July 9, 1987). Offset. 23 1/2"x16 3/4". (2 pages). "International

Contemporary Art Exhibition Osaka." Project and exhibition notices.

No. 88 (August 22, 1987). Offset. 23 1/2"x16 3/4". (2 pages).

"American Tourism." Shozo Shimamoto, Ryosuke Cohen, Fumiko Tatamatsu,


and Koighi Yamazaki in New York, Dallas, Los Angeles and San Francisco.

Photographs documenting the tour.

No. 89 (October 17, 1987). Offset. 23 1/2"x16 3/4". (2 pages). "Japan

AU Mail Art Members." "American Tourism," by Shozo Shimamoto. Mail Art

project and exhibition notices. Mail Art shows at Networking Space.

No. 90 (December 5, 1987). Offset. 23 1/2"x16 3/4". (2 pages). Mail

Art shows at networking Space. "AU International Contemporary Art Exhibition,

Tokyo." Exhibitions and performances at Art Space.

No. 91 (January 30, 1988). Offset. 23 1/2"x16 3/4". (2 pages).

Announcement of "International Mail Art Symposium for Hiroshima." Participant

list for "Japanese Contemporary Art Solo Exhibition Series in New York,"

including Shozo Shimamoto and Ray Johnson.

No. 92 (March 19, 1988). Offset. 23 1/2"x16 3/4". (2 pages). Barbot

Family at Networking Space. More on the Hiroshima Symposium. Mail Art project

and exhibition notices.

No. 93 (n.d [1988]). Offset. 23 1/2"x16 3/4". (2 pages). John Cage,

Nam June Paik, Shigeko Kubota, et al, at N.Y./Japan Art Exchange Center.

"International Shadow Project." "Mail Art U. S. A." at Networking Space,

featuring Benedict Tisa (USA), Bill Gaglione(USA), Carlo Pittore (USA), John M.

Bennett (USA), Lon Spiegelman (USA), et al.

No. 94 (June 9, 1988). Offset. 23 1/2"x16 3/4". (2 pages). Schedule for

"World Symposium, Peace," featuring John Held, Jr. (USA), Ruggero Maggi

(Italy), Daniel Daligand (France).

No. 95 (August 2, 1988). Offset. 23 1/2"x16 3/4". (2 pages).

Participant list for the exhibition "Mail Art du Francais." Mail Art exhibition and

project notices.

No. 96 (September 9, 1988). Offset. 23 1/2"x16 3/4". (2 pages).

Photos documenting "Hiroshima Shadow" events with Ruggero Maggi (Italy),

Gerard Barbot (USA), Daniel Daligand (France), John Held, Jr. (USA), Ryosuke

Cohen (Japan), Shozo Shimamoto (Japan), et al.

No. 97 (n.d. [1988]). Offset. 23 1/2"x16 3/4". (2 pages). "AU

International Contemporary Art Exhibition" at Tokyo Metropolitan Museum.

Nenad Bogdaovic (Yugoslavia) at Networking Space. Mail Art project and

exhibition notices.


No. 98 (February 10, 1989). Photocopy. 16 1/2"x11 3/4". (2 pages).

Participant list for ""16th AU International contemporary Art Exhibition," at the

Tokyo Metropolitan Art Museum, January 6-16, 1989. Photographs of exhibition

installation.

No. 99 (April 1, 1989). Offset. 23 1/2"x16 3/4". (2 pages).

Documentation for the Mail Art project, "What exists over the hairless head of

Shozo." More on the "Hiroshima Shadow Project 1988." Art critic Pierre Restany

on Italian Mail Artist Marcello Diotallevi.

No. 100 (n.d. [1989]). Offset. 23 1/2"x16 3/4". (2 pages). Participant list

for, "The Symposium and Mail Art Project for Desegregation." "Kansai TV in

Osaka," documenting the appearance of AU members. Photographs of the Mail

Art exhibition in New York City featuring John Evans, David Cole, The Barbot

Family, et al.

No. 101 (August 25, 1989). Offset. 23 1/2"x16 3/4". (2 pages). Based

on a project by Native American Dennis Banks, Shozo Shimamoto, Ryosuke

Cohen and Mayumi Handa undertake a "run for peace" across Europe.

Information on Japanese AU members.

No. 102 (October 1, 1989). Offset. 23 1/2"x16 3/4". (2 pages).

Announcement of Expo '90 Mail Art show. "Networking has Changed My Life," by

Peter Küstermann (Germany). "Mail Art Statements," by Ruud Janssen. Art

Strike, 1990-1993. Reprint of article on Crackerjack Kid (USA). Mail Art project

and show notices.

No. 103 (December 25, 1989). Offset. 23 1/2"x16 3/4". (2 pages).

Map of Europe with "the mail art friends who have offered their help for Sacred

Run." Reprint of newspaper article about Mail Art show organized by Kikuko

Aono (Japan) and Teruyuki Tsubouch (Japan) in Matsuyama, Japan. Participant

list of contributors to Shozo Shimamoto's (Japan) "Networking on the Head"

project.

No. 104 (February 23, 1990). Offset. 23 1/2"x16 3/4". (2 pages).

"Networking Project by Migratory Mail Arts," listing Eastern and Western

European Mail Artists hosting "Sacred Run" participants. Bern Porter (USA) in

Los Angeles. "17th AU International Contemporary Art Exhibition" at Tokyo

Metropolitan Museum. New editor-Yoyoi Yoshitome.

No. 105 (May 18, 1990). Offset. 23 1/2"x16 3/4". (2 pages). "AU Event

in Expo' 90." Behind the scenes at AU television programs on Kansai television.

No. 106 (July 13, 1990). Offset. 23 1/2"x16 3/4". (2 pages). Letters to

AU by José VdBroucke (Belgium), Fatima Pombo (Brazil), Eric Finley (England),


Mark Bloch (USA). Art Strike 1990-1993. "Join Exhibitions for Net Run. The art

exhibitions and performance is being planned in each countries along Net Run.

The following mail artists will hold exhibition when Shozo Shimamoto, Ryosuke

Cohen, Mayumi Handa, and Shizue Kinami will pass their town...To mail Artists

in Europe, Please come to see us o the place which you could visit. We would

be happy to meet you and do performance together." Schedule follows.

No. 107 (October 30, 1990). Offset. 23 1/2"x16 3/4". (2 pages). "1990

Net Run Report," by Mayumi Handa. Photo documentation. Participant list of

those contributing to "Net Run" exhibitions.

No. 108 (January 1, 1991). Offset. 23 1/2"x16 3/4". (2 pages). Tribute

to the late Italian Mail Artist Cavellini (1914-1990). Recent performances by AU

members.

No. 109 (February 1, 1991). Offset. 23 1/2"x16 3/4". (2 pages).

Cavellini tributes by Lon Spiegelman (USA), Kowa Kato (Japan), Shozo

Shimamoto (Japan), et al.

No. 110 (May 15, 1991). Offset. 23 1/2"x16 3/4". (2 pages). Gutai and

AU exhibition at Mathildenhohe Museum, Darmstadt, Germany. Newspaper

reprint picturing Pierre Restany writing on the shaved head of Shozo Shimamoto.

Mail Artists present included Luc Fierens (Belgium), Henning and Angela

Mittendorf (Germany), Klaus Groh (Germany), et al.

No. 111 (July 29, 1991). Offset. 23 1/2"x16 3/4". (2 pages). "Net Run

1991." "Netshaker Harmonic Divergence," by Crackerjack Kid (USA). Peter

Küstermann in Japan.

No. 112 (October 23, 1991). Offset. 23 1/2"x16 3/4". (2 pages). "The

Investigation Leading from a Hopi Prophecy to Bern Porter," by Mayumi Handa.

More on Porter (USA) by Carlo Pittore (USA). "Hair Networking," by John Held,

Jr. (USA) "Hair Media Networking," by Mayumi Handa, documenting her trip to

the United States. John Held, Jr. with head shaved .

No. 113 (January 1, 1992). Offset. 23 1/2"x16 3/4". (2 pages).

Documenting the 20th AU art exhibition at the Tokyo Metropolitan Museum.

No. 115 (April 7, 1992). Offset. 23 1/2"x16 3/4". (2 pages). AU

participates in "Art Festival of the Disabled in Japan." AU exhibition in Milan,

Italy, organized by Ruggero Maggi.


No. 116 (July 24, 1992). Offset. 23 1/2"x16 3/4". (2 pages). "Building

Crash Project." Television project dedicated to the Mail Art Congress. "Book

Burning Edict of 1992."

No. 117 (November 10, 1992). Offset. 23 1/2"x16 3/4". (2 pages).

"AU & Global forum. Participant list of contributors to "Global Forum Artists

Conference at Shimane."

No. 118 (January 30, 1993). Offset. 23 1/2"x16 3/4". (2 pages). 21st

Annual Exhibition of AU at Tokyo Metropolitan Museum.

No. 119 (March 3, 1993). Offset. 23 1/2"x16 3/4". (2 pages). Activities

in relation to Global Forum, including participation by Byron Black (Indonesia)

and John Held, Jr. (USA).

No. 120 (June 2, 1993). Offset. 23 1/2"x16 3/4". (2 pages). Global

Forum performances with Shozo Shimamoto, Byron Black, John Held, Jr., et al.,

documented. AU exhibition at Kulturzentrum Büz, Minden, Germany.

No. 121 (July 12, 1993). Offset. 23 1/2"x16 3/4". (2 pages). Excerpts

from "Blinking Through: japan tour diary 1993," by John Held, Jr. Exhibition

documentation from Global forum Mail Art exhibition. Photographs of

performances by Byron Black and John Held, Jr. at Itami City Life Culture

Department.

No. 122 (August 4, 1993). Offset. 23 1/2"x16 3/4". (2 pages). "La

Biennale di Venezia and Tourism," by Shozo Shimamoto. AU members

Shimamoto, Handa, and AU editor, Yoyoi Yoshitome, photographed with artists

Yoko Ono, Nam June Paik, Alan Kaprow and Yayoi Kusama.

No. 125 (January 27, 1994). Offset. 23 1/2"x16 3/4". (2 pages). "AU

Exhibition for the Start of Kyoto Contemporary Art Field."

No. 126 (May 25, 1994). Offset. 23 1/2"x16 3/4". (2 pages). "An

interview to Shin-Ichiro Yoshihara, the Oldest Son of the Late Jiro Yoshihara, the

Founder of the Gutai group by Mayumi Handa..." "From Gutai to 'Collective

Networking," by Shozo Shimamoto. "This 'collective networking', the complete

opposite of the modern day tendency for subdivision in art. provides a counter

balance to the various problems that exist in the world of art today." Participant

list for the exhibition, "Shozo Party."

No. 127 (June 6, 1994). Offset. 23 1/2"x16 3/4". (2 pages). Report of

Mail Artist Yasuyuki Watanabe. Gutai photographer Yoshima Kamada., who has

been documenting the recent activities of Shozo Shimamoto.


No. 128 (August 8, 1994). Offset. 23 1/2"x16 3/4". (2 pages). AU

exhibition in Helsinki, Finland.

No. 130 (December 1, 1994). Offset. 23 1/2"x16 3/4". (2 pages). AU

artists in New York city for the opening of the exhibition, "Scream Against the

Sky: Japanese Art After 1945." Shozo Shimamoto performs at the Hungarian

Cultural Center, Bucharest, Romania.

No. 131 (February 28, 1995). Offset. 23 1/2"x16 3/4". (2 pages).

"23rd AU International Contemporary Art Exhibition," Tokyo Metropolitan Art

Museum, with special section on Yugoslavian Mail Art. Giovanni Strada (Italy)

and Emilio Morandi (Italy) at AU Art Space.

No. 132 (March 10, 1995). Offset. 23 1/2"x16 3/4". (2 pages). "The

Kobe Earthquake of January 17th, 1995," Shozo Shimamoto writes, "A number

of AU members came from the Tokyo area to assist and quite a few faxes and

letters were received from abroad. From out of the disaster, I felt the broadening

of Art networking."

No. 132 (March 10, 1995). Offset. 23 1/2"x16 3/4". (2 pages). Variant

issue from the one above, printed in different color.

No. 135 (October 9, 1995). Offset. 23 1/2"x16 3/4". (2 pages).

"Dennis Banks Sacred Run Networking from Hokkaido to Hiroshima." Bern

Porter sends poetry after 50 years of the dropping of the Atomic Bomb on

Hiroshima. "In addition, a Japanese television station was impressed enough to

invite Mr. Porter to discuss the issue of "Peace" with Shozo Shimamoto.

Realization of this event, however, may be somewhat difficult due to the fact that

Mr.. Porter lives an almost saintly existence, partaking of only a half an onion a

day!"

No. 136 (December 24, 1995). Offset. 23 1/2"x16 3/4". (2 pages). AU

on the Internet. "The Internet and Mail Art," by Mark Bakula. "AU Networking

History."

No. 138 (April 23, 1996). Offset. 23 1/2"x16 3/4". (2 pages). AU

members in Helsinki, Finland, with Ilkka Juhani Takalo-Eskola, and Paris with Le

Peintre Nato. Body prints by Shozo Shimamoto.

No. 139 (September 26, 1996). Offset. 23 1/2"x16 3/4". (2 pages).

Shozo Shimamoto, Mayumi Handa and other AU members in Finland, Sweden

and France for a series of performances.


No. 141 (January 31, 1997). Offset. 23 1/2"x16 3/4". (2 pages). "25th

AU International Contemporary Art Exhibition," at the Tokyo Metropolitan

Museum. Shozo Shimamoto resumes editorship.

No. 142 (March 31, 1997). Offset. 23 1/2"x16 3/4". (2 pages). "AU

Member's Mail Art Networking." AU members state their various interests,

requesting work form international artists.

No. 145 (October 10, 1997). Offset. 23 1/2"x16 3/4". (2 pages). "AU

Tourism." Members of AU with Shozo Shimamoto in Paris; meet H. R. Fricker

(Switzerland), in Belgium with Luce Fierens, José VdBroucke, Charles

Françoise, et al., and in Germany with Henning Mittendorf.

No. 150 (June 1, 1999). Offset. 23 1/2"x16 3/4". (2 pages). Body

painting (Nyotaku) by Shozo Shimamoto (Japan). Allan Kaprow (USA) and Jean-

Jacques Lebel (France) with Shozo Shimamoto in Japan. New editor-Hiloco

Ushi.

No. 153 (November 1, 1999). Offset. 23 1/2"x16 3/4". (2 pages).

"Georgia Fashion Show Presentation," by Shozo Shimamoto (Japan). AU

members travel to the Republic of Georgia for an avant-garde fashion show.

Autograph Book. Ellen George, Editor. Vancouver, Washington.

2000.

(April 2000). Mixed media. 2"x2 3/4". Unpaged. Add and pass booklet.

Contributors include Harry Burras (USA), David Stone (USA), Ines Baillet

(Belgium), Guido Vermeulen (Belgium), Petra Weimer (Germany).

Automne. Guy Stuckens, Editor. Les Edition Provisoires,

Brussels, Belgium. 1982-1983.

No. 1 (1982). Offset. 16 1/2x 11 1/2" (oversize). (69 pages). Drawing

by the editor.

No. 2 (1983). Offset. 16 1/2"x11 1/2" (oversize). (114 pages).

Contribution by the editor. Edition 801/1000.

B Scene. Fabrizio Basso and Bartolomeo Migliore, Editor. The

Obscenes, Genova, Italy. (1993).


No. 2 (1993). Photocopy and mixed media. 12"x8 3/4". Unpaged.

Assembling with 17 contributors. ""About Art, Photos, 'Zines, Music, People,

More."

Bad News Bingo. d. (Diana) g. (Garcia), Editor. Austin, Texas.

1991-1996.

No. 7 (Fall 1991). Photocopy. 11"x8 1/2". (30 pages). "The 'O Happy

Meat O Happy Soul' Issue."

No. 8 (Summer 1992). Photocopy with mixed media. 11"x8 1/2". (26

pages). "Theme Transition." Contribution by John Held, Jr.

No. 9 (Fall 1993). Photocopy. and mixed media. 11"x8 1/2". (20

pages). Contributions by Malok (USA), Fa Ga Ga Ga (USA), Gerado Yepiz

(Mexico).

No. 10 ([1994]). Photocopy and mixed media. 11"x8 1/2". (34 pages).

"Family Issue." Contributors include Ashley Parker Owens (USA), Gerardo

Yepiz (Mexico), John Held, Jr. (USA), et al.

No. 11 ([1995]). Photocopy. 11"x8 1/2". (24 pages). "Education vs. Rock

'n Roll" issue. Contributions by John Held, Jr. Malok, et al.

No. 12 (December 1996). Photocopy and mixed media. 11"x8 1/2".

(30 pages). "Bitch Goddess Issue." Contributions by Shigeru Tamaru (Japan),

Malok (USA), Pere Sousa (Spain), et al.

"Bag Art." Fernand and Gerard Barbot, "Editors." Brooklyn, New

York. 1986-1987.

1986. Mixed media. 5 1/2"x8 3/4". Unpaged. Periodical mailings from

Gerard Barbot were composed of recycled Mail Art from his correspondents.

This method of distribution is similar to assembling magazines, in that the

mailings were composed of an assortment of original materials from various Mail

Artists. Gerard's father, Fernand Barbot's aka is "Bag Art," as good description

as any for this method of distribution. This envelope contains Mail Art from

Jacques Massa (France), Private World (USA), Christian LaPorte (France), et al.

March 14, 1986. Mixed media. 5 1/2"x9 3/4". Unpaged. Mail Art from

Ruud Janssen (Holland), Kim Il Jung (Germany), El Olivare (Spain), State of

Being (USA), et al.


April 10, 1987. Mixed media. 6 1/2"x8 3/4". Unpaged. Mail Art from

Lucien Suel (France), A. Kornfield (USA), E. M. Plunkett (USA), Anne Sharp

(USA), et al.

May 3, 1986. Mixed media. 6 1/2"x11". Unpaged. Mail Art from Julie

Bloch (USA), Robin Crozier (England), A. E. Carvellho (Brazil), Freya Zabitsky

(USA), et al.

February 2, 1987. Mixed media. 5 1/2"x10". Unpaged. Mail Art from

Michael Sakolsky (USA), Jean-Paul Morelle (Italy), Fruit Basket Upset (USA), et

al.

February 17, 1987. Mixed media. 6 1/4"x12". Unpaged. Mail Art from

Joel Smith (USA), S. van der Burg (Holland), Radio Free Dada (USA), Bálint

Szombathy (Yugoslavia). An especially interesting series of conceptual works by

Robin Crozier (England). Most of the material sent from Tony Lowes (Ireland) to

Barbot, making this a "bagging" of another "bagging."

December (6) 1987. Mixed media. 7 1/4"x5 1/2". Unpaged. Mail Art

from Ph. Billé (France), Luca Brunori (Italy), Pascal Lenoir (France), et al.

March 11, 1987. Mixed media. 5 1/2"x9 3/4". Unpaged. Mail Art from

Rudi Rubberoid (USA), Ph. Billé (France), Jennifer Henderson (USA) Jan W.

Vugts (Holland), Salvatore de Rosa (Italy), et al.

Balkon. István Hajdu, Editor. Budapest, Hungary. 1994.

94/2 (February 1994). Offset. 13"x9 1/2". 46 pages. Articles by Mail Art

scholar Géza Perneczky (Germany), "Ipics-apacs pop art," and Bálint Szombathy

(Yugoslavia), "Dávid Vera elektroimázsai."

94/5 (May 1994). Offset. 13"x9 1/2". 43 pages. Article on pioneering

Hungarian Mail Artist Endre Tót. In Hungarian.

Bambu. Ubaldo Giacomucci, Editor. Pescara, Italy. (1992-1996).

No. 13 ([1992]). Mixed media. 9 1/2"x7" Boxed. Unpaged. Guest edited

by Guy Bleus (Belgium). Mail Art assembling magazine. Accompanied by 8 page

booklet on the history of the magazine. "Bambu is a totally new concept in the

field of small press and assembling magazines. It is based on the original idea of

combining a commonpress (every issue of the magazine edited by another artist

and an assembling (every participant sends as much (more or less identical

pages to the editor as necessary for his/her edition." In this issue, 105

contributors from 21 countries. Edition 91/135.


No. 14 ([1996]). Mixed media. 8 1/2"x6". Unpaged. Guest edited by M.

B. Corbett (Preston Park, Pennsylvania). "The Last Issue." Mail Art assembling

magazine. 48 contributors including Guy Bleus (Belgium), Keith Bates (England),

Jean-François Robin (France), John M. Bennett (USA), Coco Gordan (USA),

Dobrica Kamperelic (Yugoslavia), et al.

Banal. Part B. Editor. Orange Jed Press, Liverpool, England.

1990.

(1990). Mixed media including artistamps, collage, envelopes, etc.

9"x12 1/2". Assembling magazine. Contributors include Vittore Baroni (Italy), H.

R. Fricker (Switzerland), Shozo Shimamoto (Japan), Michael Leigh (England), et

al.

Banana Rag. Anna Banana, Editor. Victoria, Canada; San

Francisco, California; Vancouver, Canada. 1971-1990.

No. 1 (August 17, 1971). Photocopy. 11"x8 1/2". (2 pages). Reproduction of the

original. "News and Views from the Town Fool of Victoria." Banana facts and

news of "Operation Banana." "Sometimes Daily Banana Rag."

No. 2 (September 17, 1971). Photocopy. 14"x8 1/2". (2 pages).

Reproduction of the original. "This is your Town Fool Here, Anna Banana, to

introduce herself and her projects to you, with the sincere hope that SOME of

you, at least, will participate in these activities.." "The Sometimes Weekly

Banana Rag."

No. 3 (January 1972). Photocopy. 14"x8 1/2". (3 pages). Reproduction

of the original. Activities of the editor and a "Banana Bank," featuring banana

news and notes. "The Sometimes Monthly Banana Rag."

No. 4 (April 1972). Photocopy. 14"x8 1/2". (3 pages). "Why Play the

Fool?" Announcement of April Fools Day activities. Banana facts, jokes, etc.

"Sometimes Monthly Banana Rag."

No. 6 (Fall 1972). Photocopy. 14"x8 1/2". (6 pages). "Fool Quits." Travel

plans announced. Banana news and notes. "The Sometimes Monthly Banana

Rag."


No. 9 (June 1973). Photocopy. 14"x8 1/2". (8 pages). "Daddaland

Edition." The editor in San Francisco. Contributors to this issue include Bill

Gaglione (Dadaland), Genesis P. Orridge (England), Art Rat (Canada), John

Dowd (USA), et al.

No. 11 (May 1975). Photocopy. 14"x8 1/2". 6 pages. Reproduction, with

original front cover. Report of the 1975 Banana Olympics.

No. 12 (Autumn 1976). Photocopy. 4"x2 1/2". 26 pages. "The drawings

in this edition are by Dana Long, daughter of A. Banana...the repeat banana is a

stamp made up from a cartoon strip called 'Spikey Goes Bananas" by Helicopter

Art Co., of Australia." "Sometimes yearly Banana Rag."

No. 14 (June 1979). Photocopy. 14"x8 1/2". (2 pages). Pre-publication

information for "VILE," No. 8. Review of performance tour with Gaglione. Notes

on upcoming Cavellini visit to San Francisco, "Inter Dada 80" and "The

Encyclopedia Bananica," etc. "The Sometimes Yearly Banana Rag."

No. 15 (July 1979). Photocopy. 14"x8 1/2". (2 pages). Same as above,

but with different issue number.

No. 16 (Spring 1981). Photocopy. 11"x8 1/2". 6 pages. "A lot of people

who wrote to me in the last year did not receive any reply, and I would like to

apologize for that, thank them for their mail, and offer the following explanation:"

An activity report follow. Encyclopedia Bananica. "Vile" update. "Banana News."

"Sometimes Yearly Banana Rag."

No. 18 (June 1984). Photocopy. 11"x8 1/2". (4 pages). Edited in

Vancouver, Canada. Banana news and notes. ""The Sometimes Yearly Banana

Rag."

No. 19 (January 1987). Photocopy. 17"x11". (2 pages). "Mail Art

Starter Kit." Shows & Projects. Publications. "Euro Tour in Brief." Announcing

Banana Productions "to coordinate a full-color, printed edition of artist postage

stamps on a collaborative, cost-sharing basis."

No. 20 (April 1987). Photocopy. 11"x8 1/2". (4 pages). "Dear

Networker" column includes mention of the, "Corresponding Worlds-Artists'

Stamps," exhibition at Oberlin College, Ohio. "Encyclopedia Bananica

Continues." Editorial, "Mail Art and Money don't Mix?"

No. 21 (September 1987). Photocopy. 11"x8 1/2". (4 pages). Mail Art

show and projects. "Network Replies," on the question of money and Mail Art

(Vittore Baroni, Mark Pawson, Steven Durland, John Held, Jr., et al.).


No. 22 (March 1988). Photocopy. 11"x8 1/2". (4 pages). "Dear

networker." Mail Art exhibition and project information. More on "Money &

Mailart."

No. 23 (August 1988). Photocopy. 11"x8 1/2". (4 pages). "Dear

networker." Mail art exhibition and project information. Publications received.

No. 24 (December 1988). Photocopy. 11"x8 1/2". (4 pages). "Dear

Networker." Mail Art exhibition and project information. International Art Post

Editions.

No. 25 (May 1989). Photocopy. 11"x8 1/2". (4 pages). "Dear

Networker." "Network Forum," reporting the death of Michael Bidner (Canada),

and a continuation of the Money and mail Art question. "Shows and Projects."

"Recommended Publications." "International Art Post Editions."

No. 26 (October 1989). Photocopy. 11"x8 1/2". (4 pages). "Dear

Networker." "Network Forum" on sub-genres (rubber stamp, artistamps) in Mail

Art. Publications reviewed. Mail Art exhibition and project information.

No. 27 (February 1990). Photocopy. 11"x8 1/2". (6 pages). "Dear

Networker." "Network Forum" Summary of "Banana Rag" questionnaire.

Publications received and reviewed. Large mail Art exhibition and project listing.

No. 28 (June 1990). Photocopy. 11"x8 1/2". ((8 pages). "Dear

Networker" includes the confession that, "I am no longer 'in love' with many

aspects of mailart. I am not much interested in doing mailart shows, and find the

task of organizing, typing and pasting-up all that information onerous. Even my

opinionated attempts at stimulating network discussion haven't revitalized my

interest. I find the rhetoric and theoretical discussions of the Art Strike, neoism

and the like to be as pedantic and overbearingly serious as the 'serious art' that

mailart was supposedly replacing. What happened to the joy? the playfulness?

the surprise?" Network news and notes. Publications. "Encyclopedia Bananica."

Mail Art exhibition and project information.

Bawana-Art. P. M. Summers, Editor. Dallas, Texas. (1982-1984.

Vol. 1, No. 1 (n.d.). Newsprint. 14 3/4"x11 1/2" (oversize). (10

pages). Dallas, Texas, art periodical, featuring local artists.

Vol. 2, No. 1 ([1982]. Newsprint. 14 3/4"x11 1/2" (oversize). (12

pages). Notice of an article in "Linn's Stamp News," mentioning Michael Bidner

(Canada), and his search for artistamps. "Canadian philatelist is compiling


comprehensive catalog and album of artist stamps. Information on known artist

stamps and private printing will be accepted in any medium...be to used for

documentary purposes only..."

Vol. 3, No. 1 ([1982]). Newsprint. 14 3/4"x11 1/2" (oversize). (24

pages). Contribution by the Church of the SubGenius (USA).

Vol. 4, No. 1 (1983). Newsprint. 14 3/4"x11 1/2" (oversize). (20

pages). "You May Have Art In Your Home That You Are Unaware Of!" "Have

you always wanted to won or invest in Modern Art, but were confused by the

problem of what is Art and what is mere decoration? Were you aware that thanks

to the advancement of conceptual Art, you may at this very moment be sitting on

a veritable Moderlode of Art? We at Bwana Art Home Services can not only tell

you what is or is not Art, but we can probably locate Art in the privacy of your

very own home!"

No. 5 (n.d.). Newsprint. 14 3/4"x11 1/2" (oversize). (20 pages).

"Frankly, Bwana is tired of hearing you people out there complain about not

having an outlet for your work. Put up or shut up." Contribution by John Held, Jr.

(USA), et al.

No. 6 ([1983]). Newsprint. 14 3/4"x11 1/2" (oversize). (12 pages).

"This is the first anniversary issue of Bwana-Art. Bwana-Art is an unedited

periodical of works by artists from various disciplines. Listing of 'supporters and

contributors" include John Held, Jr. (USA). Edition 628/1000.

No. 7 ([1983]). Newsprint. 14 3/4"x11 1/2" (oversize). (16 pages).

Contributions by Michael Helsem (USA). Gerald Burns (USA), John Held, Jr.

(USA), et al.

No. 8 ([December 1983]). Newsprint. 14 3/4"x11 1/2" (oversize). (20

pages). Contributions by Pamela Nelson (USA), John Held, Jr. (USA), et al.

No. 11 ([1984]). Newsprint. 14 3/4"x11 1/2" (oversize). (20 pages).

Contributions by Marian Henley (USA), John Held, Jr. (USA), et al.

Beat Poet. Jack Saunders, Editor. Tucker, Georgia. (1998).

No. 1 (1998). Newsprint. 10 1/2"x7 1/4". 16 pages. "The Class of '57,"

which contemplates an upcoming class reunion by this prolific mail-based writer,

a contemporary of Al Ackerman, John M. Bennett, et al.


Bern Porter International: A Literary Newspaper. N. Bernstein

and S. Holtz, Editors. Royersfort, Pennsylvania. 1997.

Vol. 1, No. 1 (Summer 1997). Photocopy. 11"x8 1/2". "In the 1970's,

'80's, and '90's, Bern has channeled much of his creative effort into the

International mail Art network, a loose affiliation of artists and writers which

traces its roots to the experimental movements of the early-to-mid twentieth

century-Fluxus, Praxis, Futurism, Surrealism, Dada, visual and concrete poetry,

as well as an area in which Bern was especially seminal: Found Art and Found

Poetry."

Better Marking. (Jeanette C. Hachmeister, Editor). Chicago,

Illinois. 1985.

Fall 1985. Offset. 8"x5 1/4". 18 pages. Magazine for the rubber stamp

industry. Includes the article, "Rubber Stamps: Their Life in the Mail," by John

Held, which comments on the use of rubber stamps in the mail Art network.

Illustrated with stamp impressions from Robert Rockola, Bill Gaglione,

Leavenworth Jackson, Andrej Tisma (Yugoslavia), et al.

beyond baroque 691. George Drury Smith, editor. Beyond

Baroque Enterprises Venice, California. 1968.

Vol. 1, No. 1 (December 1968). Offset. 11"x8 1/2". 62 pages. Includes

"Woofie Tales Five & Six," by David Zack. Illustrated by his wife, Maija. The

contributors notes read, "David and Maija Zack are 'inhabitants of Rainbow

house, San Francisco.' (The editor recently visited Rainbow House, a fabulous

old mansion in the Fillmore District and found it inhabited by two charming

people, and many creatures straight out of [or straight into] the Woofie Tales.)"

Beyond Midnight. Kalynn Campbell, Editor. San Francisco,

California. (March 1987).

([March 1987]). Photocopy. 8 1/2"x5 1/2". (12 pages). Cut and past

newspaper articles on "dark events," by the editor, a San Francisco Mail Artist.

Bibliozine. John Held, Jr., Editor. Dallas, Texas, and San

Francisco, California. 1992-

No. 1 (June 1992). Photocopy. 11"x8 1/2". (2 pages). "Bibliozine is an

irregular periodical that is published in connection with research the editor is

conducting for a new book, "International Networker Culture: an Annotated


Bibliography." This issue: "Artist Periodicals and 'Zines in the Modern Realism

Archive."

No. 4 (September 1992). Photocopy. 11"x8 1/2". (2 pages).

"Especially looking for articles on networking and it's various aspects (cassette

culture, zines, mail art, telecommunications, computer bulletin boards, fax,

photocopy, collaborative performances, artist collectives, artistamps, rubber

stamp art, etc.)." This issue: "Some entries from early research stressing

different networking mediums."

No. 5 (October 1992). Photocopy. 11"x8 1/2". 2 pages. Review of Mike

Gunderloy and Cari Goldberg's, "The World of Zines: A guide to the Independent

Magazine Revolution."

No. 6 (November 1992). Photocopy. 11"x8 1/2". (2 pages). "Mail Art

and Present Networks," by Guy Bleus (Belgium).

No. 7 (November 1992). Photocopy. 11"x8 1/2". 2 pages. "The

following was written for Carol Stetser's Networker Congress affiliated project,

"One Day in the Life of the Eternal Network" for which she asked contributors to

send, "a description of your activities during the day and night of November 10,

1992."

No. 8 (December 1992). Photocopy. 11"x8 1/2". (2 pages). "This issue

features a selection of materials gathered during the editor's recent trip to

London, England, during which he presented a lecture on mail art at the Victoria

and Albert museum on November 28, 1992."

No. 9 (January 1993). Photocopy. 11"x8 1/2". (2 pages). "Concerning

the networker Congresses," by the editor. Bibliography.

No. 10 (April 1993). Photocopy. 11"x8 1/2". 2 pages. "Publications of

Shozo Shimamoto." A listing of ten works.

No. 11 (August 1993). Photocopy. 11"x8 1/2". 2 pages. "This issue of

'Bibliozine' features two books recently sent to me by individuals of very different

temperament in the network, who are nevertheless nurtured in the collectively of

the alternative arts: Bern Porter and Stewart Home."

No. 12 (August 1993). Photocopy. 11"x8 1/2". 2 pages. "Some Recent

Zines." Reviews of "Cage", "Dreamtime Talkingmail," "Expresion Deforme,"

"Herd," and 'in remembrance."


No. 13 (September 1993). Photocopy. 11"x8 1/2". 2 pages. Remarks

by Ben Vautier (France) made in his art periodical, "Bull Shit." Illustrated.

No. 14 (October 1993). Photocopy. 11"x8 1/2". 2 pages. Five

publications on the field of artistamps (artist postage stamps) reviewed.

No. 15 (October 1993). Photocopy. 11"x8 1/2". 2 pages. "Book

Catalogues. Being a bibliophile, one of my greatest joys is looking through book

catalogues for both new and out-of-print materials. Some interesting ones have

come my way recently, and I though I'd share them. They're usually free for the

asking. These companies cater to libraries and collectors, and are one of the first

steps on the food chain of historification: libraries buy here; the materials are

archived; whence they are made available to researchers; thence to the public."

No. 16 (November 1993). Photocopy. 11"x8 1/2". 2 pages. Review of

the artistamp exhibition catalog, "Timbres d'Artistes," published by the Musée de

la Poste, Paris, France.

No. 17 (December 1993). Photocopy. 11"x8 1/2". 2 pages. "A year

end report of writings by and about John Held, Jr."

No. 18 (December 1983). Photocopy. 11"x8 1/2". 2 pages.

Biographical and bibliographical information on Picasso Gaglione.

No. 20 (February 1994). Photocopy. 11"x8 1/2". (2 pages). "Dobrica

Kamperelic's 'Open World': YU Mail Art Magazine," by the editor.

No. 21 (March 1994). Photocopy. 11"x8 1/2". 2 pages. "General

Work(s) on the Alternative Arts." Publications reviewed in the fields of Fluxus,

Mail Art, rubber stamps, artistamps and zines.

No. 22 (April 1994). Photocopy. 11"x8 1/2". 2 pages. "The Assembling

Magazine." Reviews of "Apocrypha," "Mani Art," "Tensettenodoned," and "X-

Ray" magazines.

No. 24 (August 1994). Photocopy. 11"x8 1/2". 2 pages. Review of

"Marcel Duchamp: Work and Life," by Pontus Hulten (texts by Jennifer Gough-

Cooper and Jacques Caumont.).

No. 25 (August) 1994). Photocopy. 11"x8 1/2". 2 pages. "E-Zines in

Cyperspace, networking Discussions in Indonesia, A Festival of Plagiarism in

Scotland, and Slovakian Supplements."


No. 26 (November 1994). Photocopy. 11"x8 1/2". (2 pages). "From

October 15 through November 1. 1994, the editor was in the Czech Republic,

Hungary, and Yugoslavia. Lectures were given on the alternative arts (mail art,

networking, performance, and Fluxus) at the national Academies of Fine Arts in

Prague and Budapest. In Yugoslavia a performance and exhibition took place at

the happy new Art Galley in Belgrade. Following are a list f books, catalogs, and

periodicals accumulated during the visit, reflecting the people met along the

way."

No. 27 (December 1994). Photocopy. 11"x8 1/2". (2 pages). Reviews

of publications by Bob Black (USA), Guy Bleus (Belgium), Maadeline Gins

(USA), Judith Hoffberg (USA) and Claire Lamarre (Canada).

No. 29 (March 1995). Photocopy. 11"x8 1/2". (2 pages). Review of the

book "Eternal Network: A Mail Art Anthology," edited by Chuck Welch.

No. 31 (March 1995). Photocopy. 11"x8 1/2". (2 pages). Review of the

German publication, "Mail Art Szene DDR 1975-1990," by Friedrich Winnes and

Lutz Wohlrab.

No. 32 (April 1995). Photocopy. 11"x8 1/2". (2 pages). "Recent Articles

by John Held, Jr."

No. 33 (April 1995). Photocopy. 11"x8 1/2". (2 pages). "Ray Johnson

Swims in the mainstream," some recent articles appearing on Johnson since his

death in January 1995.

No. 36 (July 1995). Photocopy. 11"x8 1/2". (3 pages). "Post-

Johnsonian Mail Art." Reviews of "Neoism, Plagiarism & Praxis," by Stewart

Home (England), and "Alternative Creativity and Human Values: Free Dogs in

the Galaxy," by Gianni Broi (Italy).

No. 37 (August 1995). Photocopy. 11"x8 1/2". (2 pages).

Bibliographies prepared for talks delivered at the Underground Press

Conference, Chicago, August 19-21, 1995. Subjects include "History of the

Underground Press," "Archives," and "Human Rights and the Printed Word."

No. 38 (September 1995). Photocopy. 11"x8 1/2". 2 pages. "Stamp

Art Editions: A Checklist of Selected Works." Announcing the editor's move to

San Francisco, California.

No. 39 (October 1995). Photocopy. 11"x8 1/2". (2 pages). "Some

Recent European Mail Art Publications.'


BILE Dadazine. Bradley Lastname, Editor. Chicago, Illinois.

1979-1982.

(1979). Photocopy with rubber stamp. 11"x8 1/2". (8 pages with

insert). Announcement of playing card project. "Scratch and sniff" front and

back covers.

(1980). Photocopy with rubber stamp. 11"x8 1/2". (10 pages). "Letters

2 the Editor: Cavellini." Dada sculpture. Edition ?/200.

([1980]). Transparency paper and rubber stamp. 17"x11". (6 pages)

with broadside). "A Guerrealist Manifesto." "Exquisite corpse." by the editor

and Valery Oisteanu. "Bile Broadside 3," by Jeff Twiss (USA).

([1981]). Photocopy with rubber stamp and transparency. 11"x8 1/2".

(14 pages). "The FILE-VILE-BILE dialectic: Four Fallacious Causal Structures

and a True One. (a) Bile is not causally connected to either File or Vile. (b) File is

a cause of Bile, but not of Vile. (c) File is a cause of both Vile and Bile, but the

effect of File on Bile is completely contained in Vile or mediated by Vile. (d) The

covariation between Vile and Bile is totally due to their direct common

dependence upon an outside cause. (e) The covariation between Vile and Bile is

due in part to the causal dependence of Bile on Vile, and due in part to their

direct sharing of a common cause. Note also that this is the only causal structure

that crystallies into a dadagorean triangle. "In this issue: EXQUISITE CORPSE

supplement." Illustration by Ken Brown.

(July 12, 1982). Photocopy with rubber stamp. 11"x8 1/2". (10

pages). "BILE Dadazine." Illustration by Thomas Lawson. "BILE Hall of Fame."

([1982]). Photocopy with sticker. 11"x8 1/2". (12 pages). "Portrait of

Lastname" on cover with "earglasses-Vittore Baroni." Includes "BILE Broadside

Four," by Stephen Spera.

([1982]). Offset with rubber stamp. 11"x8 1/2". (16 pages). Cover photo

by Andrew David, "Nuclear Flash Shadow-Pictures." "Collages by C. Brooke

Rothwell." Includes "BILE Broadside #9."

(n.d.). Photocopy with rubber stamp. 11"x8 1/2". (8 pages). The search

for "International Bile Green." "CB Blues," by the editor. Art by Ken Brown (USA).

(n.d). Photocopy with sticker. 11"x8 1/2". (10 pages). "bile dadazine is a

product of no tickee/no washee enterprises." Dick Higgins. "BILE Hall of Fame:

René Creval." Signed by the editor. Edition 48/100.


Birdada. Bird (aka Chis Burnett), Editor. Norman, Oklahoma.

(1995).

No. 4 ([1995]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (24

pages). Contributions by Stampmeister Kevin Friend, Zetetics, Sean Tajaratchi.

Birk Neark. Karen Eliot (aka Al Ackerman), Editor. "Unowned

Worlds"/Mad Dog Press, (San Antonio, Texas). (1987).

(July [1987]). Photocopy. 8 1/2"x5 1/2". 19 pages. "Formerly SMILE."

Neoist publication. Cover by Lon and Linda Spiegelman (USA). Guest Editorial,

"The Muses are Heard," by Jack Saunders (USA). "The Felasa of Jeeter," by

Monty Cantsin. "(A Memoir)," by V(ittore) Baroni (Italy). "Herna," by Doris "O"

(aka Doris Oppenheimer, USA). "Karen Eliot Interviews Karen Eliot." "Poetic

Plagerisms," by Karen Eliot. "M. O. L. D. (Mail Order, Ladies Division)," by Dr. F.

C. Jerkoffsky (aka Fran Cutrell Rutkovsky, USA). "How I Became a Writer," by

Karen Eliot. Contributions by Michael Leigh (England), Crowbar Nestle (aka Suzy

Poe, USA). Andre Stitt (England), Dazar (USA), et al.

Blah. Joe Decie and Apple Jack Dada, Editors. Nottingham,

England. 1998.

Issue 1 (1998). Photocopy with rubber stamps and artistamp. 6"x4

1/4". 15 pages. Michael Scott (England) and Ray Johnson (USA) memorials.

Artist trading cards. Notice for "Arte Postale: A Guide to the Network of Creative

Correspondence," by Vittore Baroni (Italy). Edition 89/100.

Issue 2 (1998). Photocopy with rubber stamp. 6"x4 1/4". 15 pages.

Book reviews. "The End of the Fluxus Buck?" Incongruous Meetings '98. Artist

trading card. Edition 38/1000.

Blammoroots. Heidi Ferguson, Editor. Salt Lake City, Utah. 1990-

1991.

Vol. 4, No. 1 (August 31, 1990). Photocopy and mixed media. 11"x8

1/2". 21 pages. Assembling magazine. "Blammoroots is a non-juried

magazine of art and writing. The purpose of "Blammoroots" is to help initiate a


dialogue between the participants and to act as a barometer of artistic

activity...Please send 50 copies of your entry (on 8 1/2 x 11 archival quality

paper, if possible) to the address above." !5 Contributors.

Vol. 4, No. 2 (February 15, 1991). Photocopy and mixed media.

11"x8 1/2". 24 pages. Mail Art assembling magazine. 15 contributors.

Vol. 5, No. 1 (August 31, 1991). Photocopy and mixed media. 11"x8

1/2". 20 pages. Mail Art assembling magazine. 18 contributors, including Fa

Ga Ga Ga (USA), Minoy (USA) and John Held, Jr. (USA).

Blitzkunst. Ginny Lloyd, Editor. Lloyd Productions, San

Francisco, California. 1984.

No. 2 (March 1984). Offset. 10 1/2"x8 1/4". (34 pages). "The

Storefront." Documenting the editor's storefront gallery, which featured such

exhibitions as Ginny Lloyd/Anna Banana, "Artists' Stamps Show," "The Daily Mail

Show," "Dayglos-Dagos (Bill Gaglione and Rockola," etc. Includes a "Chronology

of Events." Printed in an edition of 500.

BNETZINE. Bruno Capatti, Editor. mail Art Archives, Dogato ,

Italy. 2001.

No. 18 (February 2001). Photocopy. 6"x4 1/4". (8 pages).

Documenting the "add and pass" activities of the editor in the Mail Art network.

"'BNETZINE' is a micro-artzine of Capatti Bruno's Personal network...The idea of

its form is union of different mail typology (letter, documentation on a project and

artzine) in a single work." "Add and Pass" units reproduced. List of contributors.

No. 20 (March 2001). Photocopy. 6"x4 1/4". (16 pages). Documenting

the "add and pass" activities of the editor in the Mail Art network. Also includes

mail art news and notes. In this issue, information of "L'Arte del Timbro/Rubber

Stamp Art," by John Held, jr. (USA). "Every issue of BNETZINE is sent in a(n)

ordinary letter envelope. These envelopes are decorated with rubber stamps

which are created on purpose, by hand, for every issue released of the

microzine. The stamps are carved on 'Adigraf,' which is a special green rubber

that is usually sold in the Italian stationer's shops and that is used by the basic

school students for their artistic activities."

No. 25 (April 2001). Photocopy. 6"x4 1/4". (8 pages). "What is

BNETZINE? In M-A network circulate many "alter-pass" basis and booklets. This

is an interactive practice quite important and diffuse but not very documented in

its final result. BNETZINE wants to be an exception and an invitation all those


people who make gather this kind of documents but rarely show them." 16

examples reproduced. List of contributors.

No. 30 (May 2001). Photocopy. 6"x4 1/4". (16 pages). Documenting the

editor's "add and pass" activities in the Mail Art network. List of contributors. "A

page of STAMPART with some Italian mailers' works." Notice for, "The rubber

Stamps of Ray Johnson," by John Held, Jr.

No. 32 (June 2001). Photocopy. 6"x 4 1/4". (8 pages). Documenting the

editor's "add and pass" Mail Art activities. List of contributors. "BNET stories"

features the editor's "Brain Cell" portrait by Ryosuke Cohen (Japan).

No. 1-32 (June 24, 2001). CD-ROM. Documenting BNETZINE, Issues 1-

32.

BOEK 861: Boletin Oficial del Taller del Sol. César Reglero,

Editor. Tarragona, Spain. 1999-2000.

([January 1999]). Photocopy. 8 1/4"x6". (20 pages). Newspaper

reprints about a mail Art show organized by Taller del Sol. Announcement of

action to reinstate Humberto Nilo. "Freedom in the Fine Arts Teaching."

([July 1999]). Photocopy. 11 3/4"x8 1/4". (4 pages). Newspaper article

reprint on Mail Art exhibition for Humberto Nilo. Incongruous Meetings 1998.

(August 1999). Photocopy. 11 1/2"x8 1/4". (4 pages with insert).

"Crear, Comunicarse, Crear," by Jesús Montia (Spain).Reproduction of a

artistamp sheet by Peter Küstermann and Angela Pähler (Germany).

([October 1999]). Photocopy. 11 3/4"x8 1/4". (10 pages). Documenting

the "Museo de Mail-Art" exhibition, organized by Taller del Sol in Tarragona,

Spain.

(November-December 1999). Photocopy. 11 1/2"x8 1/4". (4

pages).Announcing Mail Art projects of AUMA (Accion Urgente Mail Art),

including a joint project with Amnistia Internacional, "against the death penalty in

the year 2000," and the reinstatement of Humberto Nilo, a professor from Chile,

fired for teaching Mail Art.

(January 2000). Photocopy with transparency. 11 1/2"x8 1/4". (4

pages with insert). Reprint of an article in "Diari de Taragona" (December 11,

1999), on the activities of AUMA.


(January 2000). Photocopy. 11 3/4"x 8 1/4". (6 pages). Reprints of

newspaper articles on the collective, "AUMA (Acción Urgente de Mail Art), in

regard to their project with Amnesty International against the death penalty.

(January-February 2000). Photocopy. 11 1/2"x8 1/4". (4 pages).

Reprint of an article on Mail Art, "Artistas por Correspondencia," appearing in

"Interviú" magazine (January 2000). List of participants in a "Debate on Mail Art

in the New Millenium." coordinated by Clemente Padin (Uruguay) and the editor.

(March 2000). Photocopy. 11 1/2"x7 3/4". (4 pages). Debate on mail

Art," by Clemente Padin (Uruguay). List of "Participants in the Debate."

BOEK 861 WWW. César Reglero, Editor. Tarragona, Spain. 1998.

(September 1998). Photocopy. 11 3/4"x8 1/4". 12 pages. "El Diario del

Taller del Sol," which chronicles correspondence with Jas. Felter (Canada),

Keiichi Nakamura (Japan), Ruud Janssen (Holland), John Held, Jr. (USA), et al.

(November 1998). Photocopy. 11 3/4"x8 1/4". (10 pages). "Diario del

Taller del Sol." Correspondence received from the Mail Art Network, September-

October 1998. Project announcements. Tribute to Guillermo Deisler.

(December 1998). Photocopy. 11 3/4"x8 1/4". (18 pages with insert).

"Diario del Taller del Sol." Correspondence received from the Mail Art Network,

October-November 1998. Project announcements.

Bones. B. Thales, Editor. Athens, Georgia. 1995.

No. 2 (November 8, 1995). Photocopy. 9"x4 1/4". (52 pages). Image

of a skeleton distributed by the editor modified by various artists. Contributors

include Crag Hill, K. Takeishi-Tateno (Japan), Nonlocal Variable, John M.

Bennett, Ashley Parker Owens, et al.

Box of Water. Stephen Perkins, Editor. San Francisco,

California. 1985-1988.

Vol. 1, No. 1 (1985). Photocopy. 8 1/2"x5 1/2". (62 pages). "Box of

Water" extends a big thanks to the approximately 150 people from 25 different

countries who submitted work. A truly encouraging beginning!" Graphic

contributions from Robert Swierkiewicz (Hungary), Byron Black (Thailand),

Leonard Frank Duch (Brasil), Vittore Baroni (Italy), Edgardo-Antionio Vigo

(Argentina), et al. Magazine and Tape reviews. Front cover by Carlo Pittore

(USA). Back cover by Cavellini (Italy).


Vol. 1, No. 2 (1986). Photocopy. 8 1/2"x5 1/2"(56 pages). Graphics

contributed by Serse Luigetti (Italy), Cesar Espinosa (Mexico), Andrzej Dudek

Durer (Poland), Lloyd Dunn (USA), Jack Hirschman (USA), Andrej Tisma

(Yugoslavia), Pawel Petasz (Poland), et al. Magazine and tape reviews.

Vol. 1, No. 3 (1987). Photocopy. 8 1/2"x5 1/2". (60 pages). "This issue

has a larger review section than previously, mostly because I was sent more

magazines to review, but also as a result of introducing two new sections

devoted to exhibition catalogues (primarily postal art) and compilation magazines

(contributors send a certain number of pages to the editor who then assembles

the magazine using one page from each contributor)." Graphic contributions from

Karen Eliot (England), Gottorm Nordø (Norway), Lucio Kume (Brazil), et al. Front

cover by Daniel Daligand (France). Back cover by Jürgen Olbrich (Germany).

Edition of 250 copies.

Vol. 1, No. 4 (1988). Photocopy. 11"x4". (52 pages). "This issue sees a

new format, an expanded review section, and a different use of images with less

emphasis on individual authorship and more on recombination and recycling."

Contributors include Luc Fierens (Belgium), Carlo Pittore (USA), Tatomar

Toroman (Yugoslavia), Stewart Home (England), John Held, Jr.. (USA), et al.

Edition of 300 copies.

Boy Evacuee, The. Géza Perneczky, Editor. Institute for

Research in Neoism, Köln, West Germany. (1989).

Issue 2 (1989). Offset. 13"x9". Unpaged. Mixed papers in support of "Art

Strike, 1990-1993." Open letter from Andrej Tisma (Yugoslavia); graphics by the

editor; reprint of "On the Art Strike," by Bob Black (USA); series of postcards."

"The primary functions of the Artstrike, as formulated by the various groups

involved were to increase the presance (sic) of critical political attitudes in certain

sections of the political and art communities, make the cynical positions of

certain careerist hacks less tenable, and to demoralize any naive 'Aritists' who

might otherwise go their entire lives without having the content of their

Religious/Ruling Class attitudes called into question."

Brain Cell. Ryosuke Cohen, "Editor." Osaka, Japan. 1985-2001.

(April 8, 1985). Gocco print. 11"x8 1/2". (1 page). One of the

outstanding and longest lasting projects in the Mail Art network, Ryosuke Cohen

began using a common Japanese printing method, Gocco printing, to gather

images from an international array of artists. Gocco printing is used in Japanese

households to make handmade greeting cards and other family announcements.

It has the appearance of color photocopy, but the colors, which are produced by

applying pigment through a screen in the manner of silk-screen printing


(vertically, rather than a horizontal swip), produce a subtle graduation, rarely

seen in Western art technique printing techniques. Previous to creating the

numbered units in the "Brain Cell" series, Cohen used the gocco printing method

on postcards (often with the word "Cell" incorporated in the design), and then

began producing sheets with images, usually of his own creation. It was but one

step to the formal "Brain Cell" series, when instead of using his own imagery,

Cohen began collaging the graphic work of others. In addition to the gocco

printed sheet of graphic images, a second black and white photocopy sheet is

added, listing the names and addresses of contributors. This listing of

contributors, not only stimulated unprecedented interaction between

correspondents, but produced the finest road map to Mail Art networking activity

over a fifteen year period. This pre-"Brain Cell" sheet traces Cohen's path to this

extraordinary series of work.

(May 9, 1985). Gocco printing. 11"x8 1/2". (1 page). Another gocco

printed sheet prefiguring the formal "Brain Cell" series. The imagery is mainly

found, with the exception of the graphic taken from the work of Robert Rockola

(USA).

(July 25, 1985). Gocco Printing. 11"x8 1/2". (1 page). Found images,

stickers and an image from Guy Bleus (Belgium) are composed on this sheet,

prefiguring the formal "Brain Cell" series. The back of the envelope in which the

work is sent is printed with the following request. "Dear Friend: It is original

pleasure of mail art network which we make use of another persons seal or

stamp at will. Ourselves may be likened to one of the Brain Cell, it is crowed

without number and comes into superb object. At present art faculty of only

genius is no more necessity. I intend to collect seal or stamp of everybody into

one sheet and send back to each. Please send your seal or stamp to me."

No. 2 ([September 18, 1985]). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). The gocco printed sheet of images is now

accompanied by a second black and white photocopy sheet of paper listing the

artists whose work is collaged on the "Brain Cell" unit. 54 artists from 14

countries, including Nepal and India. The envelope is also gocco printed with

both graphics, and a text reading, "Net-Work is Concert/You are Conductor."

No. 4 (September 1985). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Fifty-six artists from 17 countries.

No. 6 (October 1985). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (4 pages). 56 artists from 14 countries. Includes the essay, "Brain Cell,"

by Ryosuke Cohen. "This time, I selected the title named "Brain Cell" by reason

of the structure of the brain through a microscope and a diagram of mail art


network are at all alike. Neuron in the condition of entwine and piled up beyond

count are quite right mail art network." Stickers bearing the "Brain Cell" logo with

the receivers name enclosed, along with instructions for participation.

No. 13 (January 1986). Gocco Printing and Photocopy. 11 13/4"x16

1/2". (4 pages). 55 artists from 15 countries. "Brain Cell" essay. Instructions

for participation.

No. 15 (February 1986). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 60 artists from 18 counters. Instructions.

No. 17 (March 1986). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 54 artists from 17 countries. Instructions.

No. 20 (April 1986). Gocco Printing and Photocopy. 11 1/2"x16 1/2".

(3 pages). Contributions by 60 artists from 18 countries. Instructions.

No. 21 (April 1986). Gocco Printing and Photocopy. 11 1/2"x16 1/2".

(3 pages). Contributions by 62 artists from 13 countries. Instructions (with

personal note).

No. 22 (April 1986). Gocco Printing and Photocopy. 11 1/2"x16 1/2".

(2 pages). Contributions by 62 artists from 20 countries. Instructions.

No. 24 (May 1986). Gocco Printing and Photocopy. 11 1/2"x16 1/2".

(3 pages). Contributions by 57 from 16 countries. Instructions.

No. 26. (May, 30, 1986). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 61 artists from 19 countries.

No. 28 (June, 26, 1986). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 66 artists from 20 countries.

No. 32 (August 2, 1986). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 60 artists from 16 countries.

No. 33 (August 16, 1986). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 56 artists from 18 countries.

Instructions.


No 36 (September 19, 1986). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 57 from 21 countries. Instructions.

No. 37 (September 28, 1986). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributors by 58 artists from 17 countries.

Instructions.

No. 41 (November 21, 1986). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 14 countries.

Instructions.

No. 43 (December 5, 1986). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 58 artists from 16 countries.

No. 52 (March 13, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 58 artists from 16 countries. Instructions.

No. 53 (March 22, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 55 artists from 16 countries. Instructions.

No. 54 (March 31, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 64 artists from 16 countries. Instructions.

No. 58 (May 7, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 54 artists from 17 countries. Instructions

changed to smaller format. "Brain Cell. Please send me your 91) stamp design,

(2) rubber stamp, (3) seals or stickers (on [3], each 150 pieces). I will print or

paste those material on the A3 size paper of 150 sheets and send back its sheet

to each participant with entry added their address. I am publish to intervals of 8-

10 days and the issue of one time are 60 persons or so. Brain Cell Always

seeking a change, intend to don't settle and care of its extension as network. So,

don't mail in a lump for several times, please send me apart."

No. 61 (June 3, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 63 artists from 16 countries. Itinerary for,

"Shozo in America, with Ryosuke Cohen, Fumiko Tatematsu & Koichi

Yamasaki."

No. 62 (June 12, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions from 57 artists from 15 countries.


No. 63 (June 22, 1987). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 62 artists from 15 countries.

No. 69 (September 7, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 48 artists from 13 countries.

Instructions.

No. 71 (September 21, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 53 artists from 16 countries.

Instructions.

No. 74 (October 20, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 54 artists from 16 countries.

Instructions.

No. 75 (November 3, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 62 artists from 14 countries.

No. 77 (November 30, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 63 artists from 18 countries.

No. 80 (December 31, 1987). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 60 artists from 16 countries.

Instructions.

No. 89 (April 9, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 59 artists from 14 countries. Instructions.

No. 87 (March 20, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 59 artists from 16 countries.

No. 92 (May 5, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 55 artists from 16 countries.

No. 93 (May 15, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 61 artists from 19 countries.

No. 94 (May 26, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 55 artists from 16 countries. Instructions.


No. 95 (June 15, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 58 artists from 17 countries. Instructions.

No. 96 (June 30, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 56 artists from 18 countries. Instructions.

No. 98 (July 20, 1988). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 57 artists from 15 countries.

No. 99 (August 16, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 57 artists from 19 countries.

Instructions.

No. 100 (August 24, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 54 artists from 18 countries.

Instructions. "This 100 commemoration number issue made in collaboration with

Ruggero Maggi (Italy), John Held Jr. & Gerard Barbot (USA)." Signed by Cohen,

Maggi, Held and Barbot (while in Japan for a series of performances).

No. 103 (September 15, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 59 artists from 17 countries.

Instructions.

No. 104 (September 25, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 64 artists from 18 countries.

No. 105 (October 6, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 14 countries. New

instruction sheet. ""Please send me your stamp design, rubber stamp, or 150

stickers or seals. I will print or paste these materials onto the A# size paper,

creating 150 sheets. I will then send a sheet back with a list of addresses to each

and every participant. I will publish at intervals of 8 to 10 days and the issue at

that time will include 60 persons or so. Brain Cell is always seeking a change,

does not intend to settle and care of its extension of the network. So...don't mail

a lump of stuff for several issues. please send them to me for one issue at a

time. Thank you."

No. 108 (November 3, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 14 countries.

Instructions.

No. 109 (November 13, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 51 artists from 15 countries.


No. 114 (December 30, 1988). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 60 artists from 18 countries.

Instructions.

No. 115 (January 8, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 63 artists from 21 countries.

Instructions.

No. 118 (January 30, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 52 artists from 18 countries.

Instructions.

No. 120 (February 16, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 47 artists from 12 countries.

Instructions.

No. 130 (May 16, 1989). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 45 artists from 15 countries. Instructions.

No. 135 (June 15, 1989). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 44 artists from 13 countries. Instructions.

No. 137 (June 26, 1989). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 41 artists from 11 countries. Instructions.

No. 139 (July 3, 1989). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 44 artists from 13 countries. Instructions.

No 145 (August 23, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 45 artists from 13 countries.

Instructions.

No. 146 (September 1, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 48 artists from 16 countries.

Instructions.

No. 151 (October 5, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 47 artists from 14 countries.

Instructions.


No. 154 (October 25, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 46 artists from 15 countries.

Instructions.

No. 158 (December 7, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 63 artists from 21 countries.

Instructions.

No. 162 (December 30, 1989). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 47 artists from 12 countries.

Instructions.

No. 168 (February 13, 1990). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 58 artists from 19 countries.

Instructions.

No. 171 (March 6, 1990). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 53 artists from 14 countries. On reverse of

the participant list there is a printed message from Cohen, "send your angry

message against mail art exhibition without mail arts," which asks contributors to

send protest letters to the organizers of "Expo '90," who choose to exclude

practicing Mail Artists from the exhibition.

No. 178 (April 28, 1990). Gocco printing and photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 49 artists from 17 countries.

No. 181 (May 23, 1990). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 49 artists from 16 countries.

No. 187 (July 24, 1990). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions from 54 artists from 15 countries.

No. 188 (July 30, 1990). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 58 artists from 15 countries.

No. 194 (November 7, 1990). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions from 56 artists from 18 countries.

No. 199 (December 20, 1990). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions from 53 artists from 15 countries.


No. 203 (January 27, 1991). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 50 artists from 13 countries.

Instructions.

No. 209 (March 23, 1991). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 50 contributors from 13 countries.

Instructions.

No. 213 (May 1, 1991). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 58 artists from 13 countries. Instructions.

No. 214 (May 1, 1991). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 56 artists from 16 countries. Instructions.

No. 215 (May 20, 1991). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 50 artists from 14 countries.

No. 221 (July 30, 1991). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 61 artists from 19 countries.

No. 222 (August 20, 1991). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 52 artists from 19 countries.

Instructions.

No. 223 (August 30, 1991). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 14 countries.

Instructions.

No. 232 (November 30, 1991). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 17 countries.

Instructions.

No. 234 (January 20, 1992). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 49 artists from 17 countries.

No. 239 (March 9, 1992). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 57 artists from 18 countries.


No. 241 (March 30, 1992). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 63 artists from 18 countries.

Instructions.

No. 243 (April 20, 1992). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 56 artists from 16 countries. Instructions.

No. 249 (June 20, 1992). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 58 artists from 18 countries.

No. 250 (June 30, 1992). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 52 artists from 12 countries.

No. 256 (September 20, 1992). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 62 artists from 15 countries.

Instructions.

No. 262 (November 20, 1992). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 15 countries.

Instructions.

No. 269 (February 20, 1993). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 54 artists from 17 countries.

No. 270 (February 28,1993). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 52 artists from 17 countries.

No. 275 (April 30, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 61 artists from 16 countries.

No. 276 (May 10, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 55 artists from 14 countries.

No. 277 (May 20, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 60 artists from 16 countries.

No. 279 (June 20, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 52 artists from 17 countries.


No. 281 (July 20, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 53 artists from 18 countries.

No. 290 (October 31, 1993). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 54 artists from 16 countries.

Instructions printed on back of envelope.

No. 291 (November 11, 1993). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (4 pages). Contributions by 49 artists from 17 countries. Essay

on verso of contributor list, "Brain Cell," by Ryosuke Cohen (June 1993). "Mail

Art is a parting for 20th century art and that is a best way to show the new path

for the last 20th century art which has lost the direction." Instructions (new

printing).

No. 294 (December 10, 1993). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 55 artists from 18 countries. "Brain

Cell" essay by Ryosuke Cohen on verso of contributor list. Instructions printed on

back of envelope.

No. 303 (March 31, 1994). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 54 artists from 14 countries.

Instructions printed on back of envelope.

No. 307 (May 20, 1994). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 49 artists from 14 countries.

No. 311 (July 10, 1994). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 53 artists from 19 countries. "Brain Cell"

essay on verso of contributors list. Instructions on back of envelope.

No. 311 (July 10, 1994). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 53 artists from 19 countries. Variant issue

without "Brain Cell" essay. No instructions on reverse of envelope.

No. 311 (July 10, 1993). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 53 artists from 19 countries. Variant issue

without "Brain Cell" essay. Instructions printed on reverse of envelope.

No. 312 (July 30, 1994). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 53 artists from 19 countries.


No. 314 (August 20, 1994). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 56 artists from 15 countries.

No. 317 (September 30, 1994). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 55 artists from 20 countries.

No. 320 (November 10, 1994). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 53 artists by 15 countries.

Instructions on reverse of envelope.

No. 323 (December 20, 1994). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 51 artists from 20 countries.

Instructions on back of envelope.

No. 331 (March 20, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 57 artists from 15 countries.

No. 332 (March 31, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 58 artists by 18 countries.

No. 333 (April 10, 1995). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 52 artists from 14 countries.

No. 339 (June 30, 1995). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 56 artists from 13 countries. Instructions.

No. 343 (August 20, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 51 artists from 14 countries.

Instructions on back of envelope.

No. 345) (September 20, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 50 artists from 19 countries.

Instructions on back of envelope.

No. 346 (September 30, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 49 artists from 12 countries.

No. 347 (October 10, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 55 artists from 14 countries.


No. 350 (November 20, 1995). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 57 artists from 17 countries.

No. 355 (January 20, 1996). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 61 artists from 17 countries.

No. 367 (June 10, 1996). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 59 artists from 18 countries. Project

invitation.

No. 392 (May 20, 1997). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 47 artists from 16 countries.

No. 395 (June 20, 1997). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 45 artists from 19 countries. (Review copy to

"Factsheet Five" magazine. Review by John Held, Jr. enclosed.)

No. 401 (September 10, 1997). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 48 artists from 14 countries.

Instructions on back of envelope.

No. 403 (October 10, 1997). Gocco printing and photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 45 artists from 15 countries. New

essay by Ryosuke Cohen, "Mail Art-Brain Cell-Fractal," on verso of contributors

list. ""We wish to sympathize with others' concepts and to use them in our works.

many fragments (fractals) of other artists are mingled into our works. they are

repeatedly mixed together on the Brain cell's canvas. We can recognize

FLUXUS and Ray Johnson on the canvas here and there. Each of them is a

Fractal which constructs Brain Cells. these are the Fractals of mail art."

No. 405 (October 31, 1997). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 48 artists from 16 countries. "Mail

Art-Brain Cell-Fractal" essay on verso of contributors list.

No. 411 (January 10, 1998). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 53 artists from 15 countries. "Mail

Art-Brain Cell-Fractal" essay on verso of contributors list.

No. 421 (June 10, 1998). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 44 artists from 13 countries.


No. 431 (October 31, 1998). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 43 artists from 12 countries. "Mail

Art-Brain Cell-Fractal" essay on verso of contributors list.

No. 437 (January 10, 1999). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 45 artists from 15 countries. "Mail

Art-Brain Cell-Fractal" essay on verso of contributors list.

No. 445 (March 31, 1999). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (3 pages). Contributions by 48 artists from 14 countries. "Mail

Art-Brain Cell-Fractal" essay in Japanese on separate sheet of paper.

No. 447 (April 20, 1999). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (3 pages). Contributions by 41 artists from 12 countries. "Mail Art-Brain

Cell-Fractal" essay in Japanese on separate sheet of paper.

No. 449 (May 10, 1999). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 42 artists from 14 countries.

No. 451 (May 31, 1999). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 45 artists from 15 countries.

No. 476 (May 31, 2000). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 50 artists from 15 countries.

No. 484 (September 10, 2000). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 47 artists from 18 countries.

No. 493 (December 31, 2000). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 49 artists from 14 countries.

No. 500 (April 10, 2001). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 54 artists from 14 countries.

No. 501 (April 20, 2001). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 51 artists from 13 countries.

No. 509 (July 31, 2001). Gocco Printing and Photocopy. 11 1/2"x16

1/2". (2 pages). Contributions by 45 artists from 19 countries.


No. 511 (September 10, 2001). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 56 artists from 13 countries.

No. 513 (October 10, 2001). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 58 artists from 18 countries.

No. 514 (October 20, 2001). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 55 artists from 16 countries.

No. 515 (October 31, 2001). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 48 artists from 14 countries.

No. 516 (November 10, 2001). Gocco Printing and Photocopy. 11

1/2"x16 1/2". (2 pages). Contributions by 54 artists from 16 countries.

Bread Doll Fancier: A Magazine for Devotees. (Al Ackerman,

Editor). (San Antonio, Texas). (August 1984).

Vol. 9, No. 2 (Summer Edition [August 27, 1984]). Photocopy. 8

1/2"x5 1/2". (4 pages). Lit-zine from Mail Artist Al Ackerman. It is highly

unlikely that the given volume and number are correctly stated.

Bric-a-Brac: A Mail Art Magazine. Joe Decie, Editor. Nottingham,

England. (1997).

Vol. 2, No. 1 ([1997]). Photocopy and mixed media. 6"x4 1/4". (28

pages). Mail Art assembling magazine. Contributors include the artists' mother

and father (also Mail Artists) Jilly Jargon and Roger Radio (England), A1 Waste

paper Co. (England), Patricia Collins (England), Pascal Lenoir (France), et al.

Edition of 20.

Brulot, Le. Gustave Arthur Dassonville, Editor. Bagnolet, France.

1988-1990.

No. 266 (July 1988). Photocopy. 5 1/4"x3 3/4". (8 pages). Magazine

reviews. Notice of a Mail Art exhibition in Dallas, Texas, organized by John

Held, Jr.

No. 288 (July 31, 1990). Photocopy. 5 1/4"x3 3/4". (8 pages). Review

of a book on contemporary postcards by Enrico Sturani.


Bugle, The. Arthur Secunda, Editor. Arthur Secunda Studio,

Beverly Hills, California. 2000.

No. 6 (January 2000). Color and Black & WhitePhotocopy. 11"x8

1/2". (19 pages). Magazine published by one of Ray Johnson's closest

childhood friends. Includes a "bunny list" by Picasso Gaglione.

Bulletin Réparation de Poésie. Jean-Claude Gagnon, Editor.

Collectif Réparation de Poésie, Quebec, Canada. 1996.

No. 2 (1996). Photocopy. 8 1/2"x5 1/2". 19 pages. Listings of Mail Art

projects and publications.

No. 3 (1996). Photocopy. 8 1/2"x5 1/2". 15 pages. Listing of mail Art

projects and publications. Graphics by Luc Fierens (Belgium), Clemente Padin

(Uruguay), Pascal Lenoir (France), et al.

Cacophony. Luke McGuff, Editor. Seattle Cacophony Society,

Seattle, Washington. 1995.

(August 26, 1995). Photocopy and Mixed Media. 11"x10". Unpaged.

Mail Art assembling magazine with "Approx. 70 contributors, 8 countries."

Includes a twelve page booklet listing contributors and their addresses.

Contributors include Leavenworth Jackson (USA), Dogfish (USA), Mike Dyar

(USA), Patricia Collins (England), Pascal Lenoir (France), Antonio Gomez

(Spain), et al.

(August 26, 1995). Photocopy and Mixed Media. 11"x10". Unpaged.

Variant issue. Edition of 105.

Cafe Box, The. Pete Fischer, Editor. Phoenix, Arizona. 1995.

(August 1995). Photocopy and Mixed Media. 11 1/2"x8 3/4".

Unpaged. Mail Art assembling. Ten contributors including Arto Posto (USA),

buZ blurr (USA), Guy Bleus (Belgium), Crackerjack Kid (USA), ex posto facto

(USA), John Held, Jr. (USA). Dominated by references to Ray Johnson (USA),

including a compilation of obituary notices by E. Z. Smith (USA), and artistamp

sheets in his honor.


Cage: Anti-Embargo Magazine. Alexandar Jovanovic, Editor.

Odzaci, Yugoslavia. 1992-1994.

No. 1 (December 1992). Offset. 11 3/4"x8 1/4". (24 pages).

"Yugoslavia is under the unfair cultural embargo at this moment. We, Yugoslav

networkers, are aparted from the world. We are in the cage of embargo of the

new world order." Active Yugoslavian networkers, including Nenad Bogdanovic,

Andrej Tisma, Jaroslav Supek, Sandor Gogoljak, and Dobrica Kamperelic, report

on their conditions under a United Nations cultural embargo. Information on

Yugoslavian Mail Art Congresses in Odzaci, Baranja, Beograd and Sremski

Karlovci. Mail Artists Peter Küstermann (Germany), Angela Pähler (Germany),

and Vesselin Sarieff (Bulgaria) lend support.

No. 2 (April 1993). Offset. 11 3/4"x8 1/4". 35 pages. Text and graphics

dealing with the United Nations cultural embargo of Yugoslavia. Yugoslavian

contributors include Rorica and Dobrica Kamperelic, Andrej Tisma, Gogoljak

Sandor, Mitrovic Vladimir, Branko lazic, Miroljub Todorovic, Nenad Bodanovic,

Jaroslav Supek, Slavko Matkovic and Balint Szombathy. Mail Artists outside of

Yugoslavia contributing to the issue include Günther Ruch (Switzerland), John

Held, Jr. (USA), Ruggero Maggi (Italy), Guy Bleus (Belgium), Vittore Baroni

(Italy), Ryosuke Cohen (Japan), et al.

No. 4 (October 1993). Offset. 11 3/4"x8 1/4". 32 pages. Anti-embargo

carved rubber stamp impressions by Andrej Tisma (Yugoslavia), artistmps by

Sandor Gogoljak (Yugoslavia), essays by Dobrica Kamperelic (Yugoslavia) and

Andrej Tisma (Yugoslavia). Contributions by Giovanni Strada (Italy), Shozo

Shimamoto (Japan), Fernando Agular (Portugal), Paulo Bruscky (Brazil), et al.

No. 5 (July 1994). Offset. 11 3/4"x8 1/4". 60 pages. "'The networker's

spirit' has been realized in which 38 artists from 18 countries took part...In this

action I have asked the artists-networkers to send me their breath in the bottle

because believe that in each of our breath there is a part of our soul, a part of

soul energy, a part of our intellect, of our existence and our ethos. For this action

I have asked the artists to intervene on the bottles so that by this act they could

become artistic objects which shall remain as permanent trace and document

this action."

Calgary Philatelist. Dale Speirs, Editor. Calgary Philatelic

Society, Calgary, Canada. 1998.

Issue 28 (February 1998). Photocopy. 8 1/2"x5 1/2". 12 pages.

"Notes Toward a History of Artistamps," by John Held, Jr. (USA). "There have

been several attempts to define artistamps. Some say that artistamps must be

perforated, be of a certain size, produced in multiples (as opposed to original


works), or be gummed. But these definitions only tend to limit the field, in which

the history of this new medium is being written on al almost daily basis."

Camolawa-Pish. Carlos Montes de Oca, Editor. Santiago, Chile.

1990-1991.

(1990). Photocopy. 7 1/2"x5 1/4". (4 pages). Text and graphics by the

editor.

(1991). Photocopy with rubber stamp. 4"x5 1/4". Unpaged. Images

from the international Mail Art network. The 44 contributors include Dogfish

(USA), Guillermo Deisler (East Germany, formerly of Chile), José Oliveira

(Portugal), Ruud Janssen (Holland), Edgardo A. Vigo (Argentina), Shigeru

Tamaru (Japan), et al. Stamped 0042.

(1991). Photocopy with rubber stamp. 4"x5 1/4". Unpaged. Variant

copy of the above issue, with Mail Art project list enclosed. Stamped 0059.

Canadian Journal of Detournement. Dale Speirs. Editor. Society

for Economic Epistemology, Calgary, Canada. 1993-2001.

No. 1 (1993). Photocopy. 8 1/2"x5 1/2". (4 pages). Play on situationist

"detournement" of existing mass media imagery.

No. 3 (1993). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 4 (1994). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 5 (1995). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 6 (1995). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 7 (n.d.). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 9 (1996). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 10 (1996). Photocopy. 8 1/2"x5 1/2". (4 pages). "But does mail art

have to have a message?" "Mail art should be open to all!!" "Send me another

piece of junk and you'll swing."

No. 12 (1996). Photocopy. 8 1/2"x5 1/2". (4 pages).


No. 14 (1996). Photocopy. 8 1/2"x5 1/2". (4 Pages).

No. 15 (1996). Photocopy. 8 1/2"x5 1/2". (4 Pages).

No. 16 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages). Comments on the

"World Wide Party."

No. 18 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 19 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 20 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 21 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages). Mention of Luther

Blissett.

No. 22 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 24 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 25 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 26 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages). "Luther Blissett

(1978-1998)."

No. 27 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages). "I do mail art

because it's cool./I like mail art because it is not commodified./I like mail art

because it sells to philatelists./We do mail art as part of our campaign."

No. 28 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 29 (1998). Photocopy. 8 1/2"x5 1/2". (4 pages).

No. 30 (2001). Photocopy. 8 1/2"x5 1/2". (4 pages). "Nonsense, darling.

We are married now. It is your duty as a wife to satisfy me by helping to make

Artist Trading Cards."

Canvas Ranch. Russell Manning, Editor. Dallas, Texas. 1994.


(February 1994). Photocopy and rubber stamp. 11"x8 1/2". (5

pages). Reprint of an article about the editor in "Rubberstampmadness," with

additional works by the artist.

C(art)A. Damaso Ogaz, Editor. (Venezuela). 1981.

No. 22 (n.d.). Photocopy with mixed media and rubber stamp. 12"x8

1/2". (1 page).

No. 23 (n.d.). Photocopy. 11 1/2"x8 1/2". (2 page). "Mail Art a Strange

Equation Whose Elements are: Action=Waiting." "Reemision C(ART)A N:5"

No. 24 (n.d.). Photocopy with rubber stamp and mixed media. 12"x8

1/2". (1 page). Visual poetry.

No. 25 (1981). Photocopy with mixed media. 12"x8 1/2". Visual poetry.

No. 27 (n.d.). Photocopy with rubber stamp and mixed media. 11"x8

1/2". (1 page). Visual poetry by the editor. "Emisiones de Damasco Ogaz."

Cassette Mythos. Robin James, Editor. Olympia, Washington.

1986-1988.

(1986). Newsprint. 35"x22 3/4". (2 pages). "It is possible for many people

to record their favorite sounds using cassettes. These recordings are easy to

listen to and travel conveniently through the mail. Making and collecting

cassettes is an interesting hobby. Cassette Mythos is collecting information t

make a book about this phenomenon, and in that process is sharing material

collected in various forms..." Huge listing of cassettes from the audio

underground. Cassettes are pictured, as well as contact information.

(1988). Newsprint. 35"x22 3/4". (2 pages). Huge contact list of the

cassette underground, with practitioners from 15 countries.

Catch-Up Files. Gene Elder, Editor. The Happy Foundation, San

Antonio, Texas. 1990-1991.

No. 4 (December 1990). Photocopy. 14"x8 1/2". (4 pages). A

publication of Texas Mail Artist Gene Elder, focusing on local art and gay/lesbian

issues. Notice for "Gay Mail Art" exhibition.

No. 5 (January 1991). Photocopy. 14"x8 1/2". (4 pages).


No. 6 (February 1991). Photocopy. 14"x8 1/2". (4 pages).

No. 7 (March 1991). Photocopy. 14"x8 1/2". (4 pages). Notice of a

postcard project by Act-Up Portland, Oregon.

Cenizas. (Rolando Constallion, Editor). San Francisco,

California. 1982.

No. 18 (July 1982). Offset with rubber stamp. 7"x4 1/4". (36 pages).

Visual poetry by Geoffrey Cook. Performance by Cook and Bill Gaglione on front

and back covers. Presentation copy signed by Cook to Gaglione.

Character Disorder. Klaus Postler, Editor. Art Works Social

Artists' Reality Empire, Brattleboro, Vermont. (1986).

Vol. 1, No. 1 ((1986). Photocopy. 11"x8 1/2". (52 pages). "Homage to

Mail Art" issue. "The artists represented in Character Disorder's Homage to Mail

Art are but a few of those who create & send out mail Art. May are friends I have

corresponded with over the years, & quite a few were picked at random from old

mail art show catalogues. Of 200 invites sent out, 75 responded; in all, 375

pieces and zeroxes (sic) of pieces arrived. In keeping with the non-discriminatory

spirit of mail Art, one piece from each artist who sent work has been included."

Contributions by Ryosuke Cohen (Japan), John Evans (USA), Lon Spiegelman

(USA), Carol Stetser (USA), et al.

Choice Words! Kevin Nickerson, Editor. Osoyoos, Canada. n.d.

No. 24 (n.d.). Photocopy. 14"x8 1/2". (2 pages). Publication and

cassette reviews. Prose.

Chronique de L'Abominable Homme des Letteres, La. Jean-

Claude Gagnon, Editor. Collectif Réparation de poésie, Quebec,

Canada. (1995-1996).

([1995]). Computer Print. 8 1/2"x5 1/2". 15 pages. Mail Art exhibition,

project and publication opportunities. Publication reviews. In the manner of the

editor's column in "Inter" magazine.

No. 5 ([1996]). Computer Print. 8 1/2"x5 1/2". 12 pages. Mail Art

exhibition, project and publication opportunities. Publication reviews.

Contributions by Willi R. Melnikov-Starqvist (Russia), Bruno Sourdin (France),

Dimity Bulatov (Russia), La Toanvinh (Canada), Tartarugo (Spain), Antonio


Pérez-Cares (Chile), Alberto Rizzi (Italy), Diana Bertrand (Cada),Carla Bertola

(Italy), et al.

Circolo Pickwick. Giuseppe Iannicelli, Editor. Alessandria, Italy.

1988.

No. 3/4 (March 1988). Offset. 9 1/4"x6 1/4". 73 pages. Feature on

Cavellini (Italy). "Nuove Comunicazioni, Nuove Astrazioni", by Bruno Capatti.

"Mail Art Info." Graphic design by Andrea Ovcinnicoff (Italy).

Circular. Carol Schneck, Editor. East Lansing, Michigan. (1988).

No. 26. (July [1988]). Photocopy. 8 1/2"x7". (12 pages). Visual and

found poetry. Detournement. Prose.

No. 27 (n.d.). Photocopy. 8 1/2"x7". (12 pages). Found images and

prose/poetry by the editor.

Circus Bee, The. Al Ackerman, Editor. San Antonio, Texas. 1988.

Issue 54 (August 1988). Photocopy. 11"x8 1/2". 7 pages. Lit-zine.

Cover photograph by buZ blurr (USA). Poetry by John M. Bennett (USA), Bill

"Mad Dog" Shields (USA), Rupert Wondolowski (USA), et al. Highly unlikely that

this is true issue number 54.

Cirque Divers. Antaki, Editor. Cirque Divers, Liege, Belgium.

1988-19912.

No. 99-100 (September/October 1988). Offset. 5 3/4"x4". (90 pages).

Published by a restaurant and art center, often featuring mail art. Works in this

issue by Pierre Marquer (France), Ben (France), Daniel Spoerri (France),

Charles François (Belgium), et al.

No. 108-109-110 (June/July/August 1989). Offset. 5 3/4"x4".

Unpaged. "Mail Art R Debanterié (Belgium)."

No. 113 (November 1989). Offset. 5 3/4"x4". Unpaged. "Mail Art

Corradini (Belgium)."

No. 115 (January 1990). Offset. 5 3/4"x4". Unpaged. "Mail Art A. Stas

(vue de la Cité Administrative de Liege)." "Mail Art A. Hallet."


No. 116 (February 1990). Offset. 5 3/4"x4". Unpaged. "Mail Art R.

Debanterié (Belgium)." "Mail Art Metallic Avau (Belgium)."

No. 117 (March 1990). Offset. 5 3/4"x4". Unpaged. "L'Historire

Chuc;hotee de L'Art," by Robert Filliou.

No. 119-120-121 (June/July/August 1990). Offset. 5 3/4"x4".

Unpaged. "Mail Art P. Alechinski (France)." "Mail art J. P. Loriaux (Italy)." "Mail

art Ensemble Vide (France)."

No. 122-123 (September/October 1990). Offset. 5 3/4"x4".

Unpaged. "Mail Art P. Macar." "Mail Art Luc Thyssens." "Mail Art Pol Pierrart."

No. 124 (November 1990). Offset. 5 3/4"x4". Unpaged. "Mail Art

Michael Fox (Germany." "Mail Art maccart (France).

No. 125 (December 1990). Offset. 5 3/4"x4". Unpaged. "Mail art J. D.

Boussart (Belgium)."

No. 126 (January 1991). Offset. 5 3/4"x4". Unpaged. "Mail Art A. Stas

(Belgium)."

No. 127 (February 1991). Offset. 5 3/4"x4". Unpaged. "Mail art La

Casiniere (Nantes)." "mail art C. Habert (Belgium)."

No. 128 (March 1991). Offset. 5 3/4"x4".Unpaged. "Mail art P.

Marquer."

No. 131 (June/July/August). Offset. 5 3/4"x4".Unpaged. "mail art Ch.

François." "mail art A Duez.""mail art P. Marquer."

No. 132-135 (September/October 1991). Offset. 5 3/4"x4".

Unpaged. "Mail Art Th. Vangalen."

No. 137 (December 1991). Offset. 5 3/4"x4". Unpaged. "Mail art H. V.

d.w.B."

No. 138 (January 1992). Offset. 5 3/4"x4". Unpaged. "mail art L. Pire,

Super Dehaize Vervier (Belgium)." "mail art P Puttemans (Belgium)." "mail art J.

Orban (Belgium)." "mail art Ensemble Vide (France)."


No. 139 (February 1992). Offset. 5 3/4"x4". Unpaged. "Mail art: JC

Landurcy, Huissier de Justice (Belgium)." "Mail art: P. marquer (France)." "Mai

art: J. Charlier, (Belgium) Section curiosité administrative."

City of Tiny Lights, The. "Sir Konchaco Pantsleeb," Editor. The

Republic of Pinkingshear National Gallery of Art, Editor.

Minneapolis, Minnesota. 1996.

No. 1 (1996). Photocopy. 8 1/2"x3 3/4". (24 pages). "In Memoriam

Guillermo Deisler," by Clemente Padin. Mail Art project listings from Global Mail.

"Announcement of a Mail Art show organized by the editor, "Artist's Murphy

Beds: A look at clandestine studio living"

Clarke A. Sany Newsletter. (Russell Bloch, Editor.) The Clarke A.

Sany Fan Club, Royal Oak, Michigan. 1991.

Vol. 6., No. 1 (April 1991). Photocopy with rubber stamps. 8 1/2"x5

1/2". 7 pages. "Thanks to John, John and Eel for allowing me, Clarke A, Sany,

to experiment around with their work, to Blaster Al Ackerman for the swell

graphic on the cover, and to Any Salyer for the anagrams and typing."

Clear. Carol Schneck, Editor. East Lansing, Michigan. 1989.

No. 1 (n.d.). Photocopy. 11"x8 1/2". 2 pages. Poetry by the editor.

No. 3 (January 3, 1989). Mixed Media. 3 1/2"x5". Unpaged. Cut paper

fragments with text. "Some assembly required."

No. 4 ([January 12, 1989]). Mixed Media. 3 1/2"x5". Unpaged. Cut-up

poetry and rubber stamped page fragments.

No. 5 (January 28, 1989). Mixed Media. 6 1/2"x3 1/2". Unpaged.

"This Clear (#5) composed using only the letters ABSDEHIMOTUVWXY inspired

by Luigi-Burning Press. Any sense is coincidental."

No. 6 (February 1, 1989). Mixed Media. 5"x3 1/4". Unpaged.

Handwritten notes on cut paper fragments.

No. 8 (February 13, 1989). Mixed Media. 6 1/2"x3 1/2". Unpaged.

"This Clear (#8) is dedicated to my father, born February 14, 1916." Cut paper

fragments with handwritten text. Valentine heart.


No. 9 (February 20, 1989). Mixed Media. 6 1/2"x3 3/4". Unpaged. Cut

paper fragments with clichés written on them. "Stand clear of the closing doors."

No. 11 (March 3, 1989). Mixed Media.6 1/4"x 3 1/4". Unpaged.

"Twenty Questions." Handwritten notes on paper fragments.

No. 12 (March 25, 1989). Mixed Media. 9 1/4"x4". Unpaged.

Handwritten notes on cut paper fragments.

No. 14 (March 27, 1989). Mixed Media. 6 1/4"x3 1/2". Unpaged.

"Grow so incredibly high." Handwritten text on cur paper fragments.

No. 15 (April 15, 1989). Mixed Media. 6 1/2"x3 3/4". Unpaged.

Handwritten notes on cut paper fragments. Second envelope marked "(Came up

w/ more stuff I wanted to add to Clear 15).

No. 16 (April 14, 1989). Mixed Media. 6 1/2"x3 3/4". Unpaged.

"Unfamiliar Quotations." hand written texts on cut paper fragments.

No. 17 (n.d.). Mixed Media. 6 1/2"x3 1/4". Unpaged. Handwritten texts

on cut paper fragments.

No. 18 (May 19, 1989). Mixed Media. 6 1/2"x3 3/4". Unpaged.

Handwritten texts on cut paper fragments.

No. 19 (June 10, 1989). Mixed Media. 6 1/2"x3 3/4". Unpaged.

"Everyting's clear. Everything's bright." Handwritten texts and photocopy on cut

paper fragments.

No. 20 (n.d.). Mixed Media. 14"x8 1/2". Unpaged. Poetry by the editor,

"2-4-D."

No. 22 (n.d.). Mixed Media. 6 1/2"x3 3/4". Unpaged. Cut paper

fragments with handwritten text.

No. 24 (July 31, 1989). Mixed Media. 5 1/4"x3 3/4". Unpaged.

Handwritten texts on cut paper fragments.

No. 25 (August 25, 1989). Mixed Media. 6 1/2"x3 1/2". Unpaged.

Handwritten texts on cut paper fragments. "The last Clear."

Clinch. Günther Ruch, Editor. Genéve-Peney, Switzerland. 1983-

1988.


No. 1 ((1983). Offset and Stickers. 8 1/4"x6". (28 pages). "Clinch is an

international CO-ART magazine/ CO-rrespondences/ CO-mmunications/ COmentaries/

CO-ntributions/ CO-operations/ CO-mpositions/ CO-nferences/ COnclusions

/CO-nstellations/ Co-nfrontations / Co-..." "Mail Performances" issue

featuring Dick Higgins (USA), Lon Spiegelman (USA). H. R. Fricker

(Switzerland), Jacques Juin (France), Ray Johnson (USA), Guy Bleus (Belgium),

Edgardo-Antonio Vigo (Argentina), Bill Gaglione and Buster Cleveland (USA),

Gianfranceo Duro (Italy), Pier Van Dijk (Holland), Pawel Petasz (Poland), Olivier

Lerch (France). Notice of assembling magazines. Essay by Vittore Baroni (Italy),

"Do it Yourself Medium: Impulse Fly," on photocopy art. Original sticker art by 22

international artists.

No. 2 (1983). Offset, Mixed Media and Stickers. 8 1/4"x6". (26

pages). "Mail Music" issue featuring robincrozier (England), Gerald Jupiter-

Larsen (Canada), Albrecht d. (Germany), Peter Meyer (Sweden), Nicola

Frangione (Italy), et al. Original stickers from 18 artists including Anna Banana

(Canada), Carol Pittore (USA), Nenad Bogdanovic (Yugoslavia).

No. 3 (1983). Offset and Stickers. 8 1/4"x6". (38 pages). "Visual

Poetry" issue featuring works by Jürgen Olbrich (Germany), Dobrica Kamperelic

(Yugoslavia), Vittore Baroni (Italy), Richard Kostelanetz (USA), Ruth Wolf-

Rehfeldt (Germany), et al. Original stickers by 17 artists.

No. 4 (1984). Offset and Stickers. 8 1/4"x6". (32 pages). "Earcut &

Social Engagement" issue. "Mail Art Earstory," by Vittore Baroni (Italy). "Every

form of art that counts must be new, shocking, energetic stuff. Something that

clicks in your brain and makes you want to jump and kiss the ceiling or lie flat

and swim in your living room...Mr. Günther Ruch of Switzerland, who proposed

the 'Ear Show': I was to get the real ears of mailartists and he was to get them

bloody knives. A final challenge for the network before we call the game over."

50 contributors. Original stickers by 20 artists.

No. 5 (1984). Offset and Stickers. 8 1/4"x6". (44 pages). "Mail Art

History." Includes the essay "From Mail-Art to Other Co-Works," by the editor.

Statements on Mail Art by Guy Bleus (Belgium), Ray Johnson (USA), G. A.

Cavellini (Italy), Vittore Baroni (Italy), Dobrica Kamperelic (Yugoslavia), et al.

"Mail-Art as an Alternative?," by Géza Perneczky (Germany). First appearance of

the oft-reprinted diagram, "M. A. Messages: A Short Uncompleted Chronology,"

by the editor.

No. 6 (1985). Offset, Mixed Media and Stickers. 8 1/4"x6". (50

pages). The "Endless" issue. Announcement of the "First International Swiss

MA-Congress 1985/1986," becoming the starting point for the "Word-Wide

Decentralized Mail Art Congresses 1986," which the editor co-organized with H.


R. Fricker (Switzerland). "Postal-Art is more predestined to e-n-d-l-e-s-s projects

than other art-forms through its marginal repetition (rubberstamps/stickers/xerox-stamps).

No. 7 (1985). Offset and Stickers. 8 1/4"x6". (44 pages). "Mail Art

Congress" issue. "Dear friends: the big echo to Clinch 7 demonstrates: THE

CONGRESS HAS TO BE HELD...Please organize your own part of the congress

according to your possibilities and needs...How can we organize a decentralized

congress? -that was the question. One possibility is that all organisators of the

decentralized congress are contacting us and send, after the congress has taken

place, results and statements to us. We will publish a sampler containing all

results, which will be obtainable to all participants." Comments on the congress

idea by Anna Banana (Canada), Ko De Jonge (Holland), Vittore Baroni (Italy),

Ph. Billé (France), Colectivo-3 (Mexico), et al.

No. 8 (1986). Offset, Mixed Media and stickers. 8 1/4"x6". (56

pages). "Sightseeing: Congress-Sessions & Post-Poetry" issue. "Decentralized

MA-Congress 1986" organizer and session listing. "Black Yellow Red Reflections

about the 30.08.86 Mail Art Congress in Rainy Belgium, by Guy Bleus (Belgium).

"Mail Art World Wide Congress," by Llys Dana (France). Photographs of various

Congress sessions. "Editor's Crisis," by the editor. "Everyone who visits mailartists

goes further into the mail-art-world...but tourism in mail-art remains

tourism and not mail-art."

No. 9 (1987). Offset, Mixed Media and Stickers. 8 1/4"x6". (32

pages). "Restmaterial," issue. Address list of Congress-organizers.

"Restmaterial: A Short Recycled View About: Clinch/ Eternal/ Network/ stamps/

shoes/ strategies/ mixedmedia/ collective tickets/ national questions/

invitationcards/ misunderstandings/ lack of time/ psalms & sounds/ motion

pictures/ 700 correspondents/ 60 countries..."

No. 10 (Summer 1988). Offset and Stickers. 8 1/4"x6". (52 pages).

"The Last Issue." "The proper use of a mail-art magazine requires care and

patience/ if the no-definition of a letter-fragment isn't at first understood, the user

should take part himself in the whole network process in order to make certain

that he knows what this all mean(s)." Comments on the editor's "MA -Congress

86" book.

Closed World=Open World. Ruud Janssen, Editor. TAM-

Publications, Tilburg, Holland. 1999.

(April 14, 1999). Photocopy. 8 1/4"x5 3/4". (16 pages). "Magazine for

Dobrica Kamperelic in Beograd-Yugoslavia, With contributions from Dobrica

Kamperelic & Andrej Tisma (Yugoslavia). Dear Members of the IUOMA. While

the war in Yugoslavia is going on I received a letter from Dobrica Kamperelic


(today, April 13, 1999, the letter took 15 days to get her but still arrived!!!!!) which

he wrote on the 5th day of the bombardments in Yugoslavia on Sunday 28th

March 1999. He asks me to copy and pass on the letter because it also contains

a OPEN LETTER in it. You are encouraged to copy this magazine that I made

for him. The magazine itself contains information that originates from Yugoslavia.

Also e-mail messages I received from Andrej Tisma in Novi Sad are included.

We hear a lot about the war in Yugoslavia from our own media. It only felt right to

spread these informations from our mail art friend(s) inside Yugoslavia to all of

you to hear what they have to say."

CLWN WR. Bob Herman, Editor. New York, New York. 1998-

2000.

No. 38 (1988). Photocopy. 11"x8 1/2". (10 pages). Visual poetry.

Contributions by Roy Arenella (USA), John M. Bennett (USA), A. F. Caldiero

(USA), Christopher Myers (USA) and Spenser Selby (USA).

No. 39 ( 2000). Photocopy. 11"x8 1/2". (16 pages). Visual poetry.

contributions by American artists Roy Arenella, John M. Bennett, A. F. Caldiero,

David Cole, Richard Kostelanetz, Jim Leftwich, Spencer Selby and Robert. von

L. "CLWN WR 39 is dedicated to the memory of David Cole who passed away

earlier this year. David's piece in this issue was drawn on a napkin while he and

Robert Erickson and I were having a conversation and snack at the Metropolitan

Museum of Art. He will be missed."

"Collaboration By." Keiichi Nakamura, Editor. Tokyo, Japan.

1996-2001.

Series of collaborative visual poetry booklets. Japanese Mail Artist Keiichi

Nakamura sends out pages of graphics to fellow Mail Artists, asking them to

"add to and return". Upon return receipt, the pages are photocopied and made

into booklets. Numbering system is somewhat suspect, as "Vol. 1" is used

throughout the series. Titles are given each booklet, but together they form an

outstanding series of collaborative works. I have given the series the name,

"Collaboration By," as this phrase appears on many of the booklets. Three

booklets appear to have been produced before the series began, but have been

included because of their similarity to the series, and to give a historic

perspective to Nakamura's project.

(n.d). Photocopy. 8 1/4"x5 3/4". (8 pages). "Long Life." Collaboration by

Walt Evans (USA), Keiichi Nakamura (Japan), Barry Edgar Pilcher (Ireland),

Yarita Misako (Japan)."


(n.d.). Photocopy. 8 1/4"x5 3/4". (8 pages). "The Different Trips. By"

Collaboration by Clemente Padin (Uruguay), Keiichi Nakamura (Japan) and

Barry Edgar Pilcher (Ireland).

(n.d.). Photocopy. 8 1/4"x5 3/4". (8 pages). "Dish and Chips."

Collaboration by Walt Evans (USA), Keiichi Nakamura (Japan), Barry Edgar

Pilcher (Ireland) and Bartosz Fraczek (Poland).

(April 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "Interface."

Collaboration by Walt Evans (USA) and Keiichi Nakamura (Japan).

(May 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "In the Square."

Collaboration by Giordano Genghini (Italy) and Keiichi Nakamura (Japan).

Vol. 2 (July 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "In the

Square." Collaboration by Giordano Genghini (Italy) and Keiichi Nakamura

(Japan).

Vol. 1 (July 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "The Different

Trips." Collaboration by Clemente Padin (Uruguay) and Keiichi Nakamura

(Japan).

Vol. 1 (July 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "Fertilized

Eggs." collaboration by David Dellafiora (England) and Keiichi Nakamura

(Japan).

Vol. 1 (October 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "Fake

Emperor." Collaboration by John Held Jr. (USA) and Keiichi Nakamura (Japan).

Vol. 1 (October 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). "Two

Edges." Collaboration by Michael Lumb (England) and Keiichi Nakamura

(Japan).

Vol. 1 (May 1997). Photocopy. 8 1/4"x5 3/4". (8 pages). "Angel

Fragments." Collaboration by Igor Bartolec (Yugoslavia), Marilyn Dammann

(USA) and Keiichi Nakamura (Japan).

Vol. 2. (August 1997). Photocopy. 8 1/4"x5 3/4". (8 pages). "Amazonic

Love." Collaboration by Ruggero Maggi (Italy), Diane Bertrand (Canada) and

Keiichi Nakamura (Japan).


Vol. 1 (September 1997). Photocopy. 8 1/4"x5 3/4". (8 pages).

"Rolling Over Dreams." Collaboration by Zvonko Saric (Yugoslavia) and Keiichi

Nakamura (Japan).

Vol. 1 (November 1997). Photocopy. 8 1/4"x5 3/4". (8 pages). "The

End of all Travels." Collaboration by Eberhard Janke (Germany) and Keiichi

Nakamura (Japan).

Vol. 3 (June 1998). Photocopy. 8 1/4"x5 3/4". (8 pages). "Two Edges."

Collaboration by Michael Lumb (England) and Keiichi Nakamura (Japan).

(June 1998). Photocopy. 8 1/4"x5 3/4". (8 pages). "Mutual Reality."

Collaboration by B. Saved (USA) and Keiichi Nakamura (Japan).

Vol. 1 (August 1998). Photocopy. 8 1/4"x5 3/4". (8 pages). "Summer

Dream." Collaboration by Tatjana Neuber (Germany) and Keiichi Nakamura

(Japan).

Vol. 1 (September 1998). Photocopy. 8 1/4"x5 3/4". (8 pages). "At the

End of the Millenium." Collaboration by K. Frank Jensen (Denmark) and Keiichi

Nakamura (Japan).

Vol. 1 (September 1998). Photocopy. 8 1/4"x5 3/4". (8 pages). "Ventriloquists."

Collaboration by Bruno Capatti (Italy) and Keiichi Nakamura (Japan).

Vol. 1 (September 1998). Photocopy. 8 1/4"x5 3/4". (8 pages).

"Eternal Consciousness." Collaboration by ex posto facto (USA) and Keiichi

Nakamura (Japan).

Vol. 1 (December 1998). Photocopy. 8 1/4"x5 3/4". (14 pages).

"Core." Collaboration by Gloria Neamtiu (Romania) and Keiichi Nakamura

(Japan).

Vol. 1 (January 1999). Photocopy. 8 1/4"x5 3/4". (8 pages). "Pearl

Shell." Collaboration by Lothar Trott (Switzerland) and Keiichi Nakamura

(Japan).

Vol. 2 (February 1999). Photocopy. 8 1/4"x5 3/4". (8 pages). "Two

Knots." Collaboration by Michael Fox (Germany) and Keiichi Nakamura (Japan).

Vol. 3 (April 1999). Photocopy. 8 1/4"x5 3/4". (12 pages). "Two Knots."

Collaboration by Michael Fox (Germany) and Keiichi Nakamura (Japan).


Vol. 1 (June 1999). Photocopy. 8 1/4"x5 3/4". (8 pages). "Whirlwind.

Collaboration by Jean-Noel Potte (France) and Keiichi Nakamura (Japan).

Vol. 1 (July 1999). Photocopy. 8 1/4"x5 3/4". (8 pages). "Polyphony."

Collaboration by" Maurizio Mericui (Italy) and Keiichi Nakamura (Japan).

Vol. 1 (July 1999). Photocopy. 8 1/4"x5 3/4". (8 pages)."Colleague."

Collaboration by Luc Fierens (Belgium) and Keiichi Nakamura (Japan).

Vol. 2 (January 2000). Photocopy. 8 1/4"x5 3/4". (8 pages). "Formal

Garden." Collaboration by Scott Garinger (USA) and Keiichi Nakamura (Japan).

Vol. 2 (July 2000). Photocopy. 8 1/4"x5 3/4". (8 pages). "Mirage."

Collaboration by Cesar Reglero Campos (Spain) and Keiichi Nakamura (Japan).

Vol. 1 (January 2001). Photocopy. 8 1/4"x5 3/4". (8 pages). "Jet

Black." Collaboration by Marilyn Dammann (USA) and Keiichi Nakamura

(Japan).

Vol. 1 (February 2001). Photocopy. 8 1/4"x5 3/4". (8 pages). "Poetic

Justice." Collaboration by Clemente Padin (Uruguay) and Keiichi Nakamura

(Japan).

Vol. 2 (June 2001). Photocopy. 8 1/4"x5 3/4". (8 pages). "Fake

Emperor." Collaboration by John Held, Jr. (USA) and Keiichi Nakamura (Japan).

Vol. 2 (July 2001). Photocopy. 8 1/4"x5 3/4". (8 pages). "Dancing

Damsels." Collaboration by Nicole Bayle (France) and Keiichi Nakamura

(Japan).

Vol. 1 (October 2001). Photocopy. 8 1/4"x5 3/4". (8

pages)."Premeditation." Collaboration by Reed Altemus (USA) and Keiichi

Nakamura (Japan).

Vol. 1 (October 2001). Photocopy. 8 1/4"x5 3/4". (8 pages).

"Separation and Fusion." collaboration by Mark Sonnenfeld (USA) and Keiichi

Nakamura (Japan).

Commonpress. Pawel Petasz, Founder and Coordinator; Gerald

Jupitter-Larsen, Coordinator. Elblag, Poland. 1978-1990.

The idea of Commonpress, conceived by Pawel Petasz (Poland) in 1977, paved

the way for new strategies in publishing and international artistic cooperative

practice, remaining a hallmark of Mail Art. Petasz conceived of a publication with


a revolving editorship, assigning issue numbers to those wishing to publish under

the banner of Commonpress. All contributors were to become future editors, but

this was shortly modified. Petasz passed on the role of Coordinator to Gerald

Jupitter-Larsen, when it became difficult to receive mail in Poland.

No. 3 (March 1978). Offset. 11 3/4"x8 1/4". (24 pages). Peter Below,

Editor. Mixed Media Editions, Kitzingen, Germany. "Eroticism and Art." 56

participants.

No. 5 (1978). Photocopy. 8 1/4"x6". (40 pages). Ulises Carrión, Editor.

Amsterdam, Holland. ""Box Boxing Boxers." 34 participants. Edition 200. "The

form of the title should not be changed. No price should be put on the covers.

copes assigned for selling should be marked 'surplus', not participating in the

system of distribution. Only by fulfilling these conditions Commonpress will not

become one of the many 'papers' devoted to art."

No. 11 (December 1978). Photocopy. 8 1/2"x5 1/2". (34 pages).

Tommy Mew, Editor. Mt. Berry, Georgia. "Diary Pages." 31 participants.

"Commonpress is an art magazine cooperatively compiled from the mail art of

artists around the world-it was started by Pawel Petasz of Poland in December of

1977."

No. 12 (January 1979). Photocopy. 8 1/4"x5 3/4". (40 pages). Robin

Crozier, Editor. Sunderland, England. "White Lies." 35 participants.

No. 17 (December 31, 1979). Photocopy. 11"x8 1/2". 27 pages.

Epistolary Stud Farm (AKA John Pyros), Editor. Dramatika Press, Tarpon

Springs, Florida; New York, New York. "Modern Greek, Modern Turk." 27

participants.

No. 18 (August 1979). Color Photocopy, Artistamps and Rubber

Stamps. 8 1/2"x5 1/2". (8 pages with 128 color artistamps). E. F.

Higgins III, Editor. Doo-Da Postage Works, New York, New York. "Nudes on

Stamps." 120 participants.

No. 23 (September 1979). Photocopy in Offset Case. 9"x7". (110

pages). Vittore Baroni, Editor. Forte dei Marmi, Italy. "Political Satire: Post

Scriptum." 250 participants. "Commonpress is a periodical edited by common

effort. Apart from providing material for a particular edition, each participant may

elect to edit, print and distribute a future edition at his/her own cost. Each edition

is composed according to its editor. Only the title 'Commonpress', numeration

and format being retained."

No. 33 ([1980]). Photocopy. 8 1/2"x5 1/2". (36 pages). Russell Butler

(AKA buZ blurr), Editor. Gurdon, Arkansas. "Meanwhile." Twenty-nine


participants. "Each contributor, or reader, is encouraged to edit future issues by

selecting theme, format, etc., and assume responsibility for the printing and

distribution, with one copy to each of the participating artists and copies to

various archives selected by Pawel. thereby continuing an open forum."

No. 36 (1980). Offset. 8 1/4"x5 3/4". (92 pages). Günther Ruch, Editor.

Geneve-Peney, Switzerland. "Idea and Communication." 120 participants.

No. 37 (October 1980). Photocopy and Rubber Stamps. 9"x7". (256

pages). Mario Lara, Editor. San Diego, California. "Things to Think About in

Space." 197 participants. "An international magazine of art is created, produced,

shared & distributed by and to its participants. As such it is one alternative art

form in action." Edition 85/300.

No. 47 ([1982]). Photocopy and Handmade Paper. 12"x9 1/2". (68

pages). Chuck Welch (AKA Crackerjack Kid), Editor. Omaha, Nebraska.

"Material Metamorphosis." 130 participants.

No. 51 (n.d.[1984]). Offset. 9 1/2"x8 1/4". (Unpaged). György and Julia

Galántai, Editors. Artpool, Budapest, Hungary. "Hungary." 101 participants.

No. 55 (March 1984). Offset. 8 1/4"x5 1/2". 34 pages. John Held, Jr.,

Editor. Richland College, Dallas, Texas. "Mail Art About Mail Art." 400

participants.

No. 56 (September 1984). Offset. 8"x6". (140 pages). Guy Bleus,

Editor. Administrative Centre, Wellen, Belgium. "Commonpress Retrospective."

570 participants. Essay on the Commonpress concept, and a listing of all

Commonpress magazines issued to that time. Edition 219/720.

No. 64 ([1985]). Photocopy and Rubber Stamps. 12"x5". (132

pages). Peter Küstermann, Editor. Minden, Germany. "Ein Bealiner Im Pariser."

83 participants. Edition 200.

No. 77 ([1985]). Photocopy. 11"x8 3/4". 158 pages. Pat Fish, Editor.

Santa Barbara, California. "The Big Golden Book of Flash." 193 participants.

"Both Correspondence Art (also mail Art and postal Art) and Tattooing are

renegade Art Forms. They involve creating the best possible work or art and then

letting go of it." Edition 171/400.

No. 100 (n.d. [1989]). Photocopy with Rubber Stamps, and Sticker. 5

3/4"x4 1/4". (24 pages). Birger Jesch, Editor. Volkmanndorf, East Germany.

"Pornos." 154 participants. Letter from Petasz. Update of Guy Bleus'

Commonpress bibliography. Edition 70/200.


No. 100 (March 1990). Photocopy. 8 1/4"x6". (16 pages). Birger Jesch,

Volkmanndorf, East Germany, and Lutz Wohlrab, Berlin, East Germany.

Editors/Curators. Exhibition catalog for the "Your Favorite Pornography" (Jesch),

and "Animals" curated by Wohlrab. Rubber-stamped, "Commonpress No. 100."

Reproduction of contributors works.

Computerized TAM-Bulletin, The. Ruud Janssen, Editor.

Traveling Art Mail Archives, Tilburg, Holland. 1991.

(April 29, 1991). Photocopy. 11 3/4"x8 1/2". 6 pages. History of the

TAM-Bulletin. "Some think that mail is about to vanish, and computer(s) will be

the tools for communication in the future. In fact, the building of the ISDNnetwork

(Integrated Services Digital Network) leads to the world of

communication without paper. mail-artist (s) must prepare to make their

messages digital. maybe we should change the name "MAIL-ART' into

'COMMUNICATION ART' as this is what it is really all about." Signed by the

editor.

Convolutions. Cerebral Shorts, Editor. Elwood and Northcote,

Australia. 1989-1990.

Vol. 1, No. 1 (n.d.). Photocopy and Gocco Printing. 8 1/4"x5 3/4". (8

pages). Issue "Notes." Contributions by Jürgen Olbrich (Germany), Sheila

Holligon (England). "Mail Art News."

Vol. 2, No. 2 (March 1989). Photocopy with Mixed Media. 8 1/4"x5

3/4". (16 pages). Issue "Notes." Contributions by Pete Spense (Australia),

Jenny de Groot (Holland), John M. Bennett (USA), Serge Segay (USSR) et al.

Project and exhibition opportunities.

Vol. 1, No. 3 (May 1989). Photocopy and Gocco Printing. 8 1/4"x5

3/4". (16 pages). Issue "Notes." Contributions by Pat Larter (Australia), E.

Seifried (Germany), Clemente Padin (Uruguay), et al. Mail Art project and

exhibition opportunities.

Vol. 1, No. 4 (July 1989). Photocopy and Gocco Printing. 8 1/4"x5

3/4". (8 pages). Issue "Notes." contributions by Rea Nikonova (USSR),

Crackerjack Kid (USA), Guy Bleus ("An Introduction about Art and Exchange"),

Giovanni Strada (Italy). FaGaGaGa (USA), et al. mail Art project and exhibition

opportunities.


Vol. 1, No. 5 (September 1989). Photocopy and Mixed Media. 8

1/4"x5 3/4". (16 pages). Issue "Notes." contributions by Jonas Nekrasias

(Lithuania, USSR). Géza Perneczky (Germany), Tamotsu Watanabe (Japan), et

al. Mail Art project and exhibition opportunities.

Vol. 1, No. 6 (November 1989). Photocopy and Gocco Printing. 8

1/4"x5 3/4". (16 pages). Issue "Notes." Contributions by Julie Clarke-Powell

(Australia), Emilio Morandi (Italy), Luke McGuff (USA), Monty Cantsin (Canada),

Ruggero Maggi (Italy), et al. Mail Art project and exhibition opportunities.

Vol. 2, No. 1 (January 1990). Photocopy and Gocco Printing. 8

1/4"x5 3/4". (16 pages). Issue "Notes." Contributions by Franziska Pfeiffer

(Germany), Wojtek Sojka (Poland), Shozo Shimamoto (Japan), Mail Art project

and exhibition opportunities.

Vol. 2, No. 2 (March 1990). Photocopy and Gocco Printing. 8 1/4"x5

3/4". (16 pages), Issue "Notes", Contributions by Kendell P. Geers (South

Africa), Javant Biarujia (Australia), Crash (Italy), Guy Bleus' "An Introduction

About Zero-One Mail-Art" (Belgium), Malok (USA)" et al. Mail Art project and

exhibition opportunities.

Cook Island News. Carol Stetser, Editor. Sedona, Arizona. 1994.

(July-August 1994). Color and B&W Photocopy. 11"x8 1/2". (26

pages). A vacation in the Cook Islands by Arizona Mail Artist Carol Stetser. "I've

compiled here a collage of clippings which will give you a glimpse of the events

in July and August 1994 on Tum-te-varo-varo ('Source of Booming Sounds' and

early name for Rarotonga describing the large waves breaking on the reef.)"

Copy. Shigeru Nakayama, Editor. Kyoto, Japan. 1988.

(Spring 1988). Photocopy. 10"x7 1/4". (12 pages). Reproductions of

contributions by Barry Edgar Pilcher (Wales), Marcello Diotellavi (Italy), Claudine

Barbot (USA), Shozo Shimamoto (Japan), et al.

Copy-left. Manfred Stirnemann, Editor. Zürich, Switzerland.

([1985])

No. 3 (n.d.). Offset and Mixed Media. 12"x8 1/2". (28 pages).

"Pornography". Drawings by five artists.


No. 4 ([Fall 1985]). Photocopy and Mixed Media. 12"x8 1/2". (30

pages). "Pornography II." Seven artists represented.

Correo Del Sur/Southern Post. Clemente Padin, Editor.

Montevideo, Uruguay. 2000.

No. 1 (March 24, 2000). Color Computer Print. 8"x5 1/2". (6 pages).

Assembling magazine. "We are soliciting 100 individual artistamps. No deadline.

any medium or technique. Each contributor will receive two copies. We will

publish each number when we have 20 artistamps, approximately." Seventeen

contributors including Keiichi Nakamura (Japan), Guido Vermeulen (Belgium),

State of Being (USA), Boog (USA), Rod Summers (Holland), Lothar Trott

(Switzerland), Lisa Hooker (USA), Avelino De Araujo (Brazil), Emily Joe (Italy), et

al. Edition 94/100.

No. 2 (n.d.). Color Computer Print. 8"x5 1/2". (6 pages). Assembling

magazine. Artistamps contributed by Anna Banana (Canada), E. F. Higgins III

(USA), James Felter (Canada), Scientist Sam (USA), Tulio Restrepo (Columbia),

Diana Bertrand (Canada), César Reglero (Spain), Gianni Simone (Japan),

Vittore Baroni (Italy), David Dellafiora (Australia), Emilio Morandi (Italy), et al.

No. 4 ([2000]). Color Computer Print. 8"x5 1/2". (6 pages). Assembling

magazine. Artistamps contributed by Gianni Simone (Japan), Hugo Rene Vidal

(Argentina), Scientist Sam (USA), John M. Bennett (USA), Stephen Perkins

(USA), David L. Alvey (USA), Guy Bleus (Belgium), Boog (USA), Michael Lumb

(England), Daniel Daligand (France), Jas. Felter (Canada), John Held, Jr. (USA),

Thomas Kerr (USA) and The Sticker Dude (aka Joel Cohen, USA), Ruggero

Maggi (Italy), et al.

Correspondence Novelas. Florian Cramer, Editor. Berlin,

Germany. (n.d.).

(n.d.). Photocopy. 8 1/4"x4". (6 pages). Neoist publication. "CN-3-2."

Prose by "Monty Cantsin."

Couch Potato Magazine. Dazar OmahaHa, Editor. Omaha,

Nebraska. 1985.

(April 1986). Photocopy. 11"x8 1/2". (9 pages). Drawings by the editor.

Crash Update. Miles Poindexter and John Labovitz, Editors. San

Francisco, California. 1992.


(September 1992). Photocopy. 8 1/2"x5 1/2". (16 pages). Guide to

underground travel. "Inner Travel," issue. Includes the article, "Mail Myself to

You," by John Held, Jr.

Crazy, Old Poets Magazine. David Zack, Editor. Tepoztlan,

Mexico. 1983.

(January 1984). Photocopy. 11"x8 1/2". (34 pages). Illustrations by the

editor and Blaster Al Ackerman (USA). Handwritten and typed text by the editor.

Contributions by Mail Arts Steve Random (USA), Carlo Pittore (USA), buZ blurr

(USA), Robin Crozier (England), et al. A classic David Zack cut and paste litzine.

Edition 4/100.

Creatif Art Revue. Guy Stuckens, Editor. Les Editions

Provisoires, Bruxelles, Belgium. 1985-1989.

No. 10 (1985). Photocopy. 11 3/4"x8 1/4". (10 pages). Contributors

include Peter Meyer (Sweden), Jacques Massa (France). Guillermo Deisler

(Bulgaria), Dobrica Kamperelic (Yugoslavia), et al.

Special Number (Spring 1989). Photocopy and Mixed Media. 8

1/4"x5 3/4". (24 pages). "This is a new issue of C.A.R...It was a log, long

time since the last C.A.R. came out, 2 or 3 years...and this because of a lot of

work! Of course I met a lot of people, mani (sic) mail-artists came over to

Belgium, and I went to different countries. This new issue of C.A.R. is the

occasion to give you some info's about different activities who are very important

to me." Centerfold depicts meeting of Belgian Mail Arts with Shozo Shimamoto

(Japan) and Ryosuke Cohen (Japan).

Creative Discourse, The. Joshua Roststen; William M. van Horn,

Editors. The Association for Creative Endeavor, Petaluma,

California. 1988-1989.

Vol. 3, No. 1 (Summer 1988). Newsprint. 15"x11 1/2". 16 pages.

Notice of the Associations' Performance Party and Mail Art Show,

June 18, 1988.

Vol. 3, No. 4 (Spring 1989). Newsprint. 15"x11 1/2". 12 pages.

Notice of the Associations' "Mail-In Art and Performance Festival,"

June 9-24, 1989.

Cult Comix. Mumbles, Editor. Wichita, Kansas. 1987-1988.


No. 6 (November 1987). Photocopy. 8 1/2"x5 1/2". (8 pages).

Contributions by American Mail Artists Al Ackerman, The Haddock, Jake Berry,

Tuli Kupferberg, et al.

No. 9 (August 1988). Photocopy. 8 1/2"x5 1/2". (8 pages).

Contributions by American Mail Artists Al Ackerman, John M. Bennett, Dazar, et

al.

No. 10 (December 1989). Photocopy. 8 1/2"x5 1/2".43 pages.

Highlights from Nos. 1-9. Contributors include Americans Bob Black, Al

Ackerman, Dazar, A-1 Waste (England), John M. Bennett, et al.

Curios Dog. Michael Leigh, Editor. A.1. Waste Paper Co. Ltd.,

Cheshire, England. 1999.

(June 1999). Photocopy and Rubber Stamps. 5 3/4"x4 1/4". 15

pages. Includes participant list of "Dog" project. Rubber stamped,

"Documentation." Classic A-1 Waste cut and paste collage throughout.

Curious Thing. A.1. Waste Paper Company (Michael Leigh and

Hazel Jones), Editors. London, England. 1996.

No. 3 (n.d.). Photocopy and Rubber Stamps. 4"x3". 15 pages. "In this

fun-packed Summer Issue we once again delve deep into the world of art &

invention-like the one above, the A-1 patented ART FRANKER for those all too

busy weekends in the studio. Not only does it erase De Koonings but eliminates

post marks from stamps enabling poor and deprived mail artists to re-use and recycle

their mail to greater financial advantage!"

No. 11 (n.d.). Photocopy and Rubber Stamps. 6"x4 1/4". 15 pages.

"A special Poetry and parsnip issue." Edition 58/100.

No. 15. (1996). Photocopy and Rubber Stamps. 6"x4 1/4". 15 pages.

"Nonslip Rubber Hog-Feeding Issue." Signed.

Curious X. A-1 Waste Paper Co, (Jonathan) Strangroom, and

Michael Greenfield, Editors. London, England. n.d.

(n.d.). Photocopy and Rubber Stamp. 6"x4 1/4". 14 pages.

Collaboration between the editors. Rubber stamp by M. Greenfield on this copy.


CVS (Copyright Violation Squad) Bulletin, The. Lloyd Dunn,

Editor. Drawing Legion, Iowa City, Iowa. 1993.

No. 1 (February 1993). Photocopy. 8 1/2"x5 1/2". (12 pages). "Issues

of The CVS Bulletin appear sporadically, in intermittent series with other Drawing

Legion Publications, such as Retrofuturism, YAWN, and PhotoStatic Magazine."

"Parallel Culture," by Luke McGuff. Negativland. Review of "Flyposter Frenzy:

Posters from the Anaticopright Network," by Matthew Fuller.

Dada News Source. Uncle Bob, Editor. J-Star Productions, San

Bernandino, California. 1981-1982.

Vol. 1, No. 1 ([June 1982]). Photocopy. 11"x8 1/2". (1 page). "Rrose

Selevy-Founder."

Vol. 1, No. 2 (June 3, 1981). Photocopy. 11"x8 1/2". (1 page).

Dadazine. Bill Gaglione, Editor. San Francisco, California.

(Spring 1976). Offset. 8 1/2"x7". (12 pages). "I Hand Changed His Name

to Dadaland." on the cover with enlarged photo booth portraits of Gaglione and

Jorge Zontal (Canada) on the cover. Text by Jorge Zontal. Cover design by

Dawn Gaglione. 1976-1978.

([1976]). Rubber Stamps. 8 1/2"x5 1/2". (20 pages). "This is a special

Rubber Stamp Art Issue of Dad(d)azine," stamped on the front cover. One page

stamped "original," with the remaining stamped, "duplicate."

([1976]). Rubber Stamps and Stickers. 8 1/2"x5 1/2". (20 pages).

"This is a Special Rubber Stamp Art Issue of Dad(d)azine," stamped on the front

cover. One page stamped "original," with the remaining stamped, "duplicate."

Variant issue to the above, with "Cavellini, 1914-2014," stickers affixed and two

Cavellini rubber stamps impressed on each page. Signed "gac 1976."

No. 6 (August 1978). Newsprint. 8"x5 1/2". (8 pages). "This is a

special ART GANGSTER issue of DADAZINE." Anna Banana and Buster

Cleveland assistant editors. Newspaper reports of art vandalism.

DATA FILE. Richard Meade, Editor. Los Angeles, California.

1987.


Issue N (1987). Mixed Media. 8 1/2"x5 1/2". Assembling magazine.

"Nude Data File." Each issue with a different alphabetical letter, with a theme

derived from the specific letter. 45 contributors. Edition 91/150.

De Media. Jan De Boever, Editor. De Media, Eeklo, Belgium.

1984-1989.

No. 3 (June 1984). Photocopy. 11 3/4"x8 1/4". 4 pages. Publication of

De Media art center. "Extra Cavellini Berichtenblad." "European G.A.C. Festival."

"Cavellini in De Media." Cavellini bibliography.

No. 9 (January/February 1985). Photocopy. 11 3/4"x8 1/4". 4 pages.

Contributor list for "The Mail Art Magazine." project. Cavellini at De Media.

No. 23a (September 1986). Photocopy. 11 3/4"x8 1/4". 8 pages.

"Extra Small Mags Issue." About De Media's "Small Mags Archive," with a listing

of titles in the collection.

No. 39 ([1989]). Photocopy. 11 3/4"x8 1/4". 4 pages. John Held, Jr.

exhibition, "A Library of Stamps," at De Media.

No. 40 ([1989]). Photocopy. 11 3/4"x8 1/4". 4 pages. Notice for the

lecture, "Mail Art Publications," by John Held, Jr.

Extra Mail Art Issue ([1989]). Photocopy. 11 3/4"x8 1/4". 4 pages.

Photographs of Mail Artists visiting de media including Ryosuke Cohen (Japan),

Shozo Shimamoto (Japan), Robin Crozier (England), Guy Bleus (Belgium), Paul

Rutkovsky (USA), et al.

Dead Mail-Artists. Ruud Janssen, Editor. TAM, Tilburg, Holland.

1991-1997.

(September 28 1991). Photocopy. 8 1/4"x5 3/4". 1 page. Listing of 12

Mail Artists who have died, by name, country, date of birth, and date of death.

Includes Mike Bidner (Canada), Achim Weigelt (Germany), Ulises Carrion

(Holland), Cavellini (Italy), et al.

(March 12. 1993). Photocopy with Rubber Stamp. 8 1/4"x5 3/4". 2

pages. List of 27 Mail Artists who have passed away. Rudolph (USA), A. M.

Fine (USA), Arto Kytohonka (Finland), R. Mutt (USA), added to the list.

(April 9, 1993). Photocopy with Rubber Stamp. 8 1/4"x5 3/4". 2

pages. List of late Mail Artists. David Zack added to the list.


(May 22, 1995). Photocopy with Rubber Stamps. 11 3/4"x8 1/4". 3

pages. 39 late Mail Artists listed. Newly added: Ray Johnson (USA), Slavko

Matkovic (Yugoslavia), Robert Rehfield (Germany), Jerry Dreva (USA), Jean

Brown (USA), et al.

(April 10, 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. "In the last years I

noticed that -like normal people- mail-artists have died, and not everybody was

informed about this. So in honor of the dead mail-artists I started making this list

below." 40 persons listed. Guillermo Deisler (Germany) and Eric Finlay (England)

added to the list.

(June 27, 1997). Photocopy. 8 1/4"x5 3/4". 4 pages. 42 late mail Artists

on the list. Pat Larter (Australia) and Joseph "Joki" Klaffki (Germany) added to

the list.

Devil/Paradis. Thierry Tillier, Ed. Charleroi, Belgium. (1984).

No. 11 ([1984]). Photocopy. 11 3/4"x8 1/4". (24 pages). Participant list

with reproductions of contributions from the editors' project, "Mailart Star."

Devil's Playground. Musicmaster, Editor. Musical Comedy

Editions, Hopkins, Minnesota. 1983.

No. 1 (Summer 1983). Photocopy. 4 1/2"x4 1/4". (12 pages). Graphics

and text by the editor.

No. 2 (1983). Photocopy. 4 1/2"x4 1/4". (12 pages). Graphics by the

editor.

No. 4 (1984). Photocopy. 4 1/2"x4 1/4". (18 pages). "Neat Lady," poetry

and graphics by the editor. . "If you do not wish to save this item, please be sure

to dispose of it neatly!"

No. 5 (1984). Photocopy. 4 1/2"x4 1/4". (8 pages). "Pets." Poetry and

graphics by the editor.

Diapoteka Bulletin. Bruno Capatti, Editor. Dogato, Italy. 1990.

No. 1 (1991). Photocopy. 11 3/4"x8 1/4". (1 page). List of contributors to

the editors' "Artslides," Mail Art project, as of December 29, 1990.


Diary of Neo-Psychedelic Man. Maximum Traffic, Editor. Butler,

Pennsylvania. 1992.

No. 9 (December 1992). Photocopy. 5 1/2"x4 1/4". (8 pages). Comixs

by the editor.

Die Katastrophe. Graf Haufen, Editor. Berlin, Germany. 1983-

1984.

No. 10 (November 1983). Offset. 8 1/4"x6". (28 pages). Statements of

artists involved in the international "cassette culture" scene.

No. 11 (n.d.[1984]). Offset. 11 3/4"x8 1/4". (4 pages). Listing of artists

producing cassette tapes.

No. 12 (n.d.[1984]). Photocopy. 8 1/4"x6". (40 pages). Statements from

numerous international producers of cassettes.

Die Young. Rod Summers. VEC, Maastricht, The Netherlands.

1991.

(Spring 1991). Photocopy. 8 1/4"x5 1/2". 36 pages. "This Die Young

was collected edited and published in Europe by Rod Summers." Includes

contributions by Cesar Figueiredo (Portugal), John M. Bennett (USA), Piotry

Rypson (Poland), Pawel Petasz (Poland), Teresinka Pereira (USA), et al.

Dimensao: Revista Internacional de Poesia. Guido Bilharinho,

Editor. Uberaba, Brazil. 1995.

Vol. 15, No. 24 (1995). Offset. 9"x6". 150 pages. Visual poetry by Willi

R. Melnikov-Starkvist (Russia), Raimondo Cortese (Australia), Pedro Gutierrez

(Cuba), Paulo Bruscky (Brazil),Julien Blaine (France), Iberico (Spain), Clemente

Padin (Uruguay), et al.

DJ at FOMT. David Johnson, Editor. Publishers Group South

West (Ireland), Allihies, County Cork, Ireland. 1987.


(January 1987). Photocopy, Rubber Stamps and Stickers. 16

1/2"x11 3/4". (12 pages). Open letters to numerous international Mail Artists

by the editor. Excerpts from, "Correspondence Novels," by David Zack (Mexico).

Do Wonders Invention Manual. Michael Leigh, Editor. A-1 Waste

Paper Co. Ltd., London, England. (1988).

Vol. 93, No. 1 ([1988]). Photocopy and Rubber Stamps. 4"x3". 15

pages. Handwritten commentary with collage. Fictitious volume number.

DOC(K)S. Julien Blaine, Editor. Ventabren, France. 1979-1984).

No. 15 (June 1979). Offset. 8 1/4"x7". Unpaged. "Folios" of work by

Polish Artists including Pawel Petasz, Andrzej Partum and Thomas Schulz.

Special postcard, Mail Art and artistamp sections.

No. 19 (December 1979). Offset. 8 1/4"x7". Unpaged. Visual poetry,

Mail Art and a special section on artistamps.

No. 23 (1980). Offset. 8 1/4"x7". Unpaged. Special section on Russian

artists. Special section on artistamps.

No. 66 (1984). Offset. 8 1/4"x7". Unpaged. Visual poetry, performance

and a special section on small press and Mail Art magazines.

Documents. Phillippe Billé, Editor. Bordeaux, France. 1988-1989.

Pages 1-10 (September 1988). Photocopy. 11 3/4"x8 1/4". 10

pages. Documenting the work of various artists including Keiko Takeda

(Japan), Ivan Sládek (Czechoslovakia), et al.

Pages 11-20 (December 1988). Photocopy. 11 3/4"x8 1/4". 10

pages. Documenting the work of Mail Artists. John Rininger (USA), Serse

Luigetti (Italy), S. Gustav Hägglund (Norway), et al. Review of small press

publications.

Pages 21-30 (April 1989). Photocopy. 11 3/4"x8 1/4". 10 pages.

Documenting the work of Enrico Sturani (Italy), Lloyd Dunn (USA), Alessandro

Aiello (Italy), et al. Publication reviews.


Pages 31-40 (June 1989). Photocopy. 11 3/4"x8 1/4". 10 pages.

Documenting the work of Bruno Charpentier (France), Jean-François Robic

(France), et al. Publication reviews.

Pages 41-50 (September 1989). Photocopy. 11 3/4"x8 1/4". 10

pages. Documenting the work of John M. Bennett (USA), Pierre Marquer

(France), et al. Publication reviews.

doda Florida. Paul Rutkovsky, Editor. Tallahassee, Florida. n.d.

Vol. 2, No. 1 (n.d.). Newsprint. 11"x8 1/2". (32 pages). Scanned and

computer generated images from popular culture.

Doo Daa Florida. Paul Rutkovsky, Editor. Tallahassee, Florida.

(1984).

See also, doda Florida.

Vol. 1, No. 2 ([1984]). Newsprint. 15"x11 1/2". (24 pages).

Contributions from Mick Mather (USA), Guy Bleus(Belgium), Jack Saunders

(USA), Carlo Pittore (USA), Clemente Padin (Uruguay), et al.

Vol. 1, No. 3 ([1984]). Newsprint. 15"x11 1/2". (24 pages).

Contributions by Richard Kostelanetz (USA), Ryosuke Cohen (Japan), Ruggero

Maggi (Italy), Peter Frank (USA), Al Ackerman (USA), et al.

Double. Rea Nikonova, Editor. Eysk, Russia, USSR. 1992.

No. 3 (1992). Mixed Media. 11 1/2"x7 1/2". Unpaged. Assembling

magazine. 36 participants. "International mail-art & visual poetry review." Edition

of 50 copies.

Dream Magazine. Brian Salzberg, Editor. Block Island, Rhode

Island. 1988.

No. 10 (May 21, [1988]). Photocopy. 8 1/2"x5 1/2". (12 pages). Visual

poetry.

No. 11 (n.d.). Photocopy. 2 1/2"x2". (28 pages). Found poetry from the

classified section of the newspaper.


Contributors Issue (Summer 1988). Photocopy. 8 1/2"x5 1/2". 19

pages. Dream contributions from Ivan H. Sladek (Czechoslovakia), Philippe

Billé (France), Ruggero Maggi (Italy), Harley (USA), Shozo Shimamoto (Japan),

et al.

Dreams of Pag-hat the Rat-girl. Pag-hat the Rat-girl (Jessica

Salomon), Editor. Seattle, Washington. (1995).

No. 15 ([1995]). Photocopy. 4"x3/4". (1 page). "I opened my underwear

drawer but the only thing I had clean were possums."

No. 17 ([1995]). Photocopy. 4"x3/4". (1 page). "I was riding about in

heaven on the back of a flying terrapin."

No, 19 ([1995]). Photocopy. 4"x3/4". (1 page). "I dreamed I was walking

on the bottom of the sea looking for pennies."

No. 21 ([1995]). Photocopy. 4"x3/4". (1 page). "I dreamed I had an

infestation of merchant marines in my cupboards."

No. 23 ([1995]). Photocopy. 4"x3/4". (1 page). "There was a Jackson's

chameleon in my mail box."

Dreamtime Talkingmail. Miekal And and Liz Was, Editors. West

Lima, Wisconsin. 1991-1995.

(No. 1) (Summer 1991). Newsprint. 11"x8 1/2". (8 pages). Titled

"Dreamtime Village" for this first issue. "Welcome to the first communique from

"dreamtime," the embryonic beginnings of a permaculture hypermedia village in

southwest Wisconsin. In this newsletter we will outline the different information

relating to the projekt including how our other projekts like Festival of the

Swamps & Xexoxil Endarchy fit into the formation of this community." "Art Glut"

proposed in opposition to Art Strike.

No. 2 (Spring 1992). Newsprint. 10 3/4"x8". (24 pages). "...information

& images concerning the becoming of Dreamtime Village, a rural experiment in

combining the ancient technology of permaculture with the unlimited possibilities

of hypermedia arts..." Calendar of events includes a meeting of the

"Decentralized Networker Congress," facilitated by Miekal And and John Held,

Jr. "After Tourism Comes Planetary Citizenship: Some Random Thoughts on

Networking," by Vittore Baroni.


No. 3 (Spring 1993). Newsprint. 10 3/4"x8". 29 pages. "Dreamtime

Corroboree as Temporary Autonomous Zone," by Hakim Bey. Malok biography.

No. 4 (Summer 1993). Newsprint. 10 3/4"x7 3/4". (24 pages). Coedited

by Miekal And and Ben Meyers. Announcement of a series of lectures by

Peter Lamborn Wilson (USA) on the unpublished writings of Hakim Bey.

Publication reviews.

No. 5 (Winter 1994). Newsprint. 10 3/4"x7 3/4". 39 pages. "Networking

Message," by Angela and Peter Netmail (Germany). "Anarcho-Aesthetics," by

Hakim Bey (USA).

No. 6 (Summer 1994). Newsprint. 10 3/4"x7 3/4". 29 pages. "New

Releases from Xeroxial Endarchy." Mail Art Garden. Publication reviews.

No. 7 (Spring 1995). Newsprint. 10 3/4"x7 3/4". 29 pages. Edited by

And, Was and Patrick Mullins. Publication reviews. "...being a polymorphous

project commandeered & inhabited by polymorphous creatures with

polymorphous identities, plans, & perspectives, Dreamtimes's printed voice too

speaks with a variegated & forked tongue."

Duplex Planet. David B. Greenberger, Duplex Nursing Home,

Brookline, Massachusetts; Saratoga Springs, New York. 1980-

1998.

An active Mail Artist in the 70s and 80s, Greenberger worked at the Duplex

Nursing Home, interviewing the residents and publishing the results in this long

running zine.

No. 18 (November 1980). Offset. 8 1/2"x5 1/2". (12 pages). "Special

back-to-back issue with THE TOOTH: The Worst Job I Ever had by Dr. Al

Ackerman." Issue theme, "What was the worst job you ever had?"

No. 27 (August 1981). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme:

travel.

No. 30 (November 1981). Offset. 8 1/2"x5 1/2". (12 pages). Issue

theme: "What is sleep?"

No. 31 (December 1981). Offset. 8 1/2"x5 1/2". (12 pages). Issue

theme: "Tell me a Cowboy Story."

No. 38 (July 1982). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme:

Summer.


No. 45 (February 1983). Offset. 8 1/2"x5 1/2". (12 pages). Issue

theme: television.

No. 48 (May 1983). Offset. 8 1/2"x5 1/2". (10 pages). Issue theme:

swimming.

No. 49 (June 1983). Offset. 8 1/2"x5 1/2". (10 pages). Issue theme:

"What's the funniest thing that ever happened to you on account of gravity?"

cover by Ken Brown.

No. 50 (July 1983). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme:

"Fifty."

No. 51 (August 1983). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme:

fish.

No. 53 (1983). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: bowling.

No. 54 (1983). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: shaving.

Cover by Al Ackerman.

No. 55 (1984). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: reviews by

"Fergie" Ferguson.

No. 56 ([1984]). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme:

neighbors.

No. 57 (1984). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: fire.

No. 58 (1984). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: "What's

Art?"

No. 59 (1984). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: records.

No. 61 (1984). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: eyes.

No. 62 (1984). Offset. postage stamp and rubber stamp. 8 1/2"x5

1/2". (12 pages). Issue theme: postal.

No. 81 (1987). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: money.

Hand carved rubber stamps by the editor illustrate the issue.


No. 85 (1987). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: magic.

No. 89 (1987). Offset. 8 1/2"x5 1/2". (16 pages). Issue theme: Duplex

Planet resident, Ernest Noyes Brookings.

No. 90 (1988). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: lost.

No. 95 (1988). Offset. 8 1/2"x5 1/2". (12 pages). "Interviews conducted

at several Boston-area nur(s)ing homes and various elderly centers in

Schenecnady, NY." Issue theme: difficult task.

No. 100 (1989). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: "How

Should I commemorate the Hundredth issue of the Duplex Planet?"

No. 115 (1991). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: "lucky

lane."

No. 120 (1992). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: between.

No. 121 (1992). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: Master

of Zoro.

No. 122 (1992). Offset. 8 1/2"x5 1/2". (12 pages). "This is the second

issue devoted exclusively to the stories and observations of Ken Eglin."

No. 123 (1992). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: Elvis.

No. 124 (1993). Offset. 8 1/2"x5 1/2". (12 pages). Issue theme: wrong

foot.

No. 148 (1997). Offset. 8 1/2"x5 1/2". 16 pages. Issue theme: names.

No. 151 (1998). Offset. 8 1/2"x5 1/2". 15 pages. Issue theme: Francis

McElroy.

Dyslexic People: The 25 Most Intriguing People of 1993 and

Beyond. Julee-Peezlee, Editor. Boulder, Colorado. 1994.

(1994). Photocopy. 11"x8 1/2". (12 pages). "A dyslexic survey of 25

amazing, ball-busting comic artists, musicians, mail artists, self-publishers and

artistic visionaries." Includes personal observations of Mail Artists M. B. Corbett


(USA), Bugpost (USA), Mike Dyar (USA), John Held, Jr. (USA), Julee Peezlee

(USA) and Ashley Parker Owens (USA).

E-Pele-Mele: Electronic Mail Art Netzine. Guy Bleus, Editor.

Administration Centre, Wellen, Belgium. 1994-1995.

Vol. 1, No. 1 (April/May 1994). Photocopy. 11 3/4"x8 1/4". (20

pages). "'E-Pele-Mele' or 'E-Pale-Mail' is also the name of this archival

magazine of 'The Administration Center'-42.292.' It characterizes some

administrative and cyber aspects of what happens here. The classification of

works and/or information of thousands of netlanders. It comprises several artistic

sections: e.g. Copy-Art, Collages, Fax-Art, Assemblages, Rubberstamp-Art,

Artistamps, Artists' Books, B&W & Color Photographs, Mail-Art, Posters

Paintings, Postcards, Computer-Art, Poesia Visiva, E-Mail Art, Internet-Works,

etc." Includes the essay, "Mail-Art During This Last Decade," by the editor.

"Provisional List of E-Netland-Zines."

Vol. 1, No. 2 (October/November 1994). Photocopy. (22 pages).

"Pre-Electronic Mail-Art Projects in Mexico," by the editor. "Provisional" lists of

"E-Netlanders," and "E-Netland-Zines."

Vol. 2, No. 1 (January/February 1995). Photocopy. 11 3/4"x8 1/4".

(28 pages). Essays, "A Dialogue Between the Postman and His Electronic

Shadow," "Mail Art in Sweden," and "The Roles of the E-Netlanders," by the

editor. List of "E-Netlanders," and "E-Netland Zines."

Vol. 3, No. 1 (December 1997). Photocopy. 11 3/4"x8 1/4". 37

pages. "Re: the E-Mail-Art & Internet-Art Manifesto." A project of the editor

asking for short statements from 35 Mail Artists on the new electronic media and

its' relation to Mail-Art.

Vol. 3, No. 2 (December 1997). Offset. 8 1/4"x5 3/4". 31 pages. Ruud

Janssen interviews Guy Bleus. Appendix 1: "A Dialogue Between the Postman &

His Electronic Shadow." Appendix 2: "Telecopying in the Electronic Netland."

Appendix 3: "In Quest of Netland." Appendix 4: "Re: The E-Mail-Art & Internet-

Art Manifesto."

(1994-1995). Offset. 8 1/4"x5 3/4". Unpaged. Contains the contents of

Vol. 1, No. 1; Vol. 1, No. 2; Vol. 2, No. 1; and Vol. 2, No. 2/3.

Easy & Instant Mail Art Mag E3. Kazuyoshi Takeishi, Editor.

Aerial Print, Tokyo, Japan. 1989-1990.


No. 005 (June 7, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages).

Reproductions of Mail Art received from Roman Muszynski (Poland), Shmuel

(USA), Jorge Caraballo (Uruguay), Daniel Daligand (France), et al. Edition 4/20.

No. 011 (July 16, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages).

Contributions by Makata Takamura (Japan), Mumbles (USA), Tamotsu

Watanabe (Japan), Ruggero Maggi (Italy), Pierre Marquer (France), et al. Edition

18/20.

No. 012 (July 16, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages).

Contributions by Klaus Groh (Germany), Oronzo Liuzzi (Italy), FaGaGaGa

(USA), Shigeru Nakayama (Japan), Guy Bleus (Belgium), et al. Edition 12/20.

No. 015 (August 17, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages).

Contributions by Henning Mittendorf (Germany), Shozo Shimamoto (Japan),

Shmuel (USA), Vittorio Baccelli (Italy), Antonio Gomez (Spain), et al. Edition

1/30.

No. 017 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (14 pages).

Contributions by FaGaGaGa (USA), Guy Bleus (Belgium), Henning Mittendorf

(USA), et al. Edition 19/20.

No. 018 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Ivica Culoak-Catcherii (Yugoslavia), Le Peintre Nato (France),

Kowa Kato (Japan), Shozo Shimamoto (Japan), et al. Edition 4/20.

No. 019 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Dada Kan (Japan), Rod Summers (The Netherlands), Shozo

Shimamoto (Japan), et al. Edition 19/20.

No. 020 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Solamito Luigino (Italy), Shozo Shimamoto (Japan), Jun

Kuramitsu (Japan), Luce Fierens (Belgium), Matthias Dreyer (Germany), et al.

Edition 17/20.

No. 21 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Vittorio Baccelli (Italy), Mukata Takamura (Japan), Ryosuke

Cohen (Japan), Pascal Lenoir (France), Kowa Kato (Japan), et al. Edition 14/20.

No. 023 (October 22, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Michel Jeantieu (France), Teruyuki Tsubouchi (Japan), Ruggero

Maggi (Italy), et al. Edition 10/20.


No. 030 (November 19, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Fodor Sandor (Romania), Henning and Angela Mittendorf

(Germany), Barry Edgar Pilcher (England), John Held, Jr. (USA), Dada Kan

(Japan), et al. Edition 18/20.

No. 035 (December 3, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Fernand Barbot (USA), Kjell Nyman (Sweden), Musicmaster

(USA), Pascal Lenoir (France), Haddock (USA), et al. Edition 7/20.

No. 036 (December 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Musicmaster (USA), Pascal Lenoir (France), Kowa Kato

(Japan), Fernand Barbot (USA), et al. Edition 8/20.

No. 034 (December 3, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Kjell Nyman (Sweden), Musicmaster (USA), Shmuel (USA),

Factor X. (England), et al. Edition 9/20.

No. 045 (January 7, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Alain Dumont (France), Kunio Yamayoshi (Japan) Cerebral

Shorts (Australia), John Held, Jr. (USA), Guy Bleus (Belgium), Shigeru

Nakayama (Japan), et al. Edition 17/24.

No. 046 (January 7, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Solamito Luigino (Italy), Jose Oliveira (Portugal), Pascal Lenoir

(France), Dada Kan (Japan), Factor X. (England), et al. Edition. 20/20.

No. 053 (January 28, 1990). Photocopy and mixed media. 4 1/4"x5

3/4". (20 pages). Contributions by Tatotsu Watanabe (Japan), R(obert) C.

Morgan (USA), Bruno Capatti (Italy), Marcello Diotallevi (Italy), Ryosuke Cohen

(Japan), et al.

No. 054 (January 28, 1990). Photocopy and mixed media. 4 1/4"x5

3/4". (12 pages). Contributions by John Held, Jr. (USA), Postproduct

Exchange (Italy), Bruno Capatti (Italy), Klaus Groh (Germany), et al. Edition 9/20.

No. 055 (February 12, 1990). Photocopy and mixed media. 4 1/4"x5

3/4". (12 pages). Contributions by Henning Mittendorf (Germany), Jorge

Grimm (Brazil), Vittorio Baccelli (Italy), Guillermo Deisler (East Germany), et al.

Edition 8/20.

No. 060 (February 18, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Fernand Barbot (USA), Michel Jeantieu (France), Musicmaster

(USA), Yoshio Takeda (Japan), et al. Edition 14/15.


No. 062 (March 4, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Matthias Dreyer (Germany), FaGaGaGa (USA), Barry Edgar

Pilcher (England), Miroslav Janosek (Czechoslovakia), Jonas Nekrasius

(Lithuania), et al. Edition 8/15.

No. 063 (March 4, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by John Held, Jr., Shmuel (USA), Henning Mittendorf (USA),

Solamito Luigino (Italy), et al. Edition 10/15.

No. 074 (March 31, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Katsutoshi Sakai (Japan), Jean Spiroux (Belgium), Bruno

Capatti (Italy), Shmuel (USA), et al.

No. 075 (March 31, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Musicmaster (USA), Factor X. (England), FaGaGaGa (USA),

Shozo Shimamoto (Japan), Barry Edgar Pilcher (England), et al.

No. 084 (April 15, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Claude Lemaire (Belgium), Lily Scholes (England), Arto

Kytöhonka (Finland), John Held, Jr. (USA), et al.

No. 085 (April 15, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Rod Summers (The Netherlands), Arto Kytöhonka (Finland),

John Held, Jr. (USA), Rupert Hoyoell (England), et al.

No. 086 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Shmuel (USA), O. Jason (England), Yoshio Takeda (Japan), et

al.

No. 089 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by Rubert Loydell (England), Factor X. (England), Mieko Togi

(Japan), A1 Waste Paper Co. Ltd. (England), Vittore Baccelli (Italy), et al.

No. 090 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).

Contributions by A1 Waste Paper Co. Ltd. (England), Hogart (USA), Bruno

Capatti (Italy), Rupert Loydell (England), et al.

No. 095 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).

Contributions by Angela and Henning Mittendorf (Germany), A1 Waste Paper

Co. Ltd. (England), Mark Bloch (USA), Géza Perneczky (Germany), Pascal

Lenoir (France), Guido Bondioli (Guatemala), Shozo Shimamoto (Japan), et al.

No. 096 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).

Contributions by John Held, Jr. (USA), Kowa Kato (Japan), Wojtek Polcyn


(Poland), Géza Perneczky (Germany), R(obert) C. Morgan (USA), Pascal Lenoir

(France), et al.

No. 097 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).

Contributions by Ivica Culjak-Catcher (Yugoslavia), Le Peintre Nato (France),

Shozo Shimamoto (Japan), De Media (Belgium), Angela and Henning Mittendorf

(Germany), et al.

No. 098 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Shozo Shimamoto (Japan), Le Peintre Nato (France), Marcello

Diotallevi (Italy), A1 Waste Paper Co. Ltd. (England), FaGaGaGa (USA), et al.

No. 099 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by Géza Perneczky (Germany), Shozo Shimamoto (Japan), John

Held, Jr. (USA), Bruno Capatti (Italy), A1 Waste Paper Co. Ltd. (England),

Musicmaster (USA), Ruggero Maggi (Italy), et al.

No. 100 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).

Contributions by John Held, Jr. (USA), Ruggero Maggi (Italy), Joaquim Branco

(Brazil), Musicmaster (USA), Marcello Diotallevi (Italy), Kjell Nyman (Sweden),

Géza Perneczky (Germany). et al.

Eat It Up. Frank Void, Editor. Post Urban Press, Berkeley,

California. 1981-1984.

No. 1 (June 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "Editorial

content is not necessarily the opinion of this paper or any of its writers. 'Eat it Up'

was started to fill the emptiness in, that regular magazines perpetually create.

'Eat It Up' will be published only when needed." Publication reviews. Notice of a

performance by Geoffrey Cook (USA).

No. 2 (n.d.). Photocopy. 5 1/2"x4 1/4". (8 pages). Local art notices.

Interview with Jack Perkins.

No. 3 (July 4, 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art

to a post urban artist? Xerox art is one answer. Its a quick way at visual thinking

and your inspiration need only last seconds..."

No. 4 (July 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to

the post urban artist? Performance art is one more answer. Live visual/audio

activity for a few minutes to a few hours. One person or as a group..."


No. 5 (August 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "Cleveland

Ohio Issue."

No. 6 (September 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to a posturban artist? Artists meeting..." Notice of Byron Black at Postcard

Palace, San Francisco.

No. 7 (October 1, 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to a posturban artist? the night of a live show always proves to be

interesting. Its the most real part of the total performance art sequence

(conception, process, results) that may go unnoticed by the audience..."

No. 8 (Mid-October 1981). Photocopy. 5 1/2"x4 1/4". (8 pages).

"What is art to a posturban artist? Printed information of all kings. Artists' books,

posters, postcards, catalogs, announcements, etc...." This issue published in

New York City.

No. 9 (November 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to a posturban artist? making the scene, or just being seen at the right time

and the right place..."

No. 10 (November 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to the posturban artist? mail Art. Postal art-as to not confuse any persons

who may ask: Male Art? Mail art is a vehicle for posturban communication-your

mailbox becomes an art gallery of sorts..."

No. 11 (December 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to the posturban artist? Its a matter of influences to the posturban artist that

make up the content of his/her artwork. Whether one admits to it or not, there is

a line which art follows through history..."

No. 12 (January 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). What is

art to a posturban artist? Little magazines (again) still are. Since our first issue

back in may 1981, so called new magazines have come and gone. The

temporary quality of this kind of media assures the freshness in content, but not

always as expected..." California Futurism. Mail Art exhibition opportunities.

No. 13 (February 1982). Photocopy. 5 1/2"x4 1/4". (8 pages).

Published in Oakland, California. "What is art to a posturban artist? Phone art.

More communication via established but mostly unused networks..." Mail Art

show at Postcard palace, San Francisco.


No. 14 (March 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art

to a posturban artist? Openings: Openings are when the maximum amount of

people come to see the art and artists. Or do they?..." "Mail Art Info."

No. 15 (April 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art

to a posturban artist: The posturban artist has alot to consider these days

outside of the purely aesthetic realm: like his/her social standing in the artist

community..." Mail Art exhibition opportunities.

No. 16 (May 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to

a posturban artist? Writing: which of course leads to typing, since one needs to

have it in a digestible form. Artists have always talked about and written about

things they do and like; so, now this form is becoming visual and valid. Put down

the paintbrush in lieu of a typewriter, see if you can line up thoughts and words in

sentences. communication..." Mail Art information.

No. 17 (June 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art

to a posturban artist: No-art is art to a posturban artist. No-art art! What is it?

Who are its' advocates? No-art art is the result of Modern art painting itself into a

corner..."

No. 18 (July 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art

to a posturban artist? Public Art. Site oriented work that has been seen by and

influenced thousands of passer-bys..." Mail Art information.

No. 19 (August 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is

art to a posturban artist? Sculpture; or is it something that takes up space and

material as sculpture does, presents a dilemma to posturban thought..." Mail Art

information.

No. 20 (September 1982). Photocopy and rubber stamp. 5 1/2"x4

1/4". (8 pages). "What is art to a posturban artist? Stamp Art. (Rubber) that's

right. Another spinoff; by-product of our economic work-a-day world finds its

place in posturban culture..." "Mail art info: info art mail."

No. 21 (October 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is

art to a posturban artist? Tape recording: trying to catch the elusive creativity that

comes out in the form of audio/sound waves and put into magnetic information

on to a strip of mylar..." Mail Art information.

No. 22 (November 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to a posturban artist? copyright prohibited. the decision to use/exploit all

and any scraps of imagery is central to the posturban artist..." "Mail-Art

Information."


No. 23 (December 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What

is art to a posturban artist? Useful Information: all those well known and/or little

known facts that make fife and art easier..." Mail art information.

No. 37 (February 29, 1984). Photocopy. 5 1/2"x4 1/4". (8 pages).

"What is art to a posturban artist? Memory-knowledge and ideas acquired from

the useful past..." mail Art information. New section called, "Mailbox," listing

names and address, among them a number of Mail Artists." Artists Talk on Art:

International Mail Art, Parts 1 & 2."

No. 40 (May/June 1984). Photocopy. 5 1/2"x4 1/4". (16 pages). "What

is art to the posturban artist? Propaganda: the manipulation of words and ideas

that are the facts in our given situation. simplify ideas right out of reality..."Mail

Art Information. "Mailbox." Extra pages with images by Stephen Ronan (USA),

A.1. Waste Paper Co. Ltd. (England), et al.

Effluvium. Seth Mason, Editor. San Francisco, California. (1994).

No. 1 ([1994]). Photocopy and Rubber Stamps, Twin Binding. 11"x8

1/2". (37 pages). "Submissions are strongly encouraged as t is the only way of

receiving this magazine..." Image of the editor mailed out for artists to "alter and

return." Contributions received from 36 artists including Mayumi Handa (Japan),

Clemente Padin (Uruguay), Mike Dyar (USA), M. B. Corbett (USA), Picasso

Gaglione (USA), Pascal Lenoir (France), Anna Banana (Canada), et al.

Einbecker Kunstblatt Mail-Art-News. Frierdhelm Schulz, Editor.

Mail-Art-Museum, Einbeck, West Germany. 1993.

No. 20 (April 1993). Photocopy. 11"x8 1/2". (26 pages).

Documentation of the editors' Mail Art project, "Where Art the Colours?"

Contributors list. Reprint of "Global Mail," No. 4. Text by Seiei Nishimura (Japan).

Essay by the editor in German.

Einai Aypio: A Mail Art Magazine. Open Head Arts, Editor.

Athens, Greece. 1984.

No. 7/8 (1984). Photocopy and Mixed Media. 8 1/4"x5 3/4". Unpaged.

Assembling magazine. Theme: Masters and Slaves. 36 participants from 13

countries. Edition 3/100.

El Djarida. Guttorm Nordø, Editor. Trondheim, Norway. 1986-

1993.


No. 2 (March 1986). Newsprint. 16 1.2"x11 1/2". (28 pages).

Contributions by Manfred Vançi Stirnemann (Switzerland), Kum Nam Baik

(South Korea), Klaus Groh (Germany), et al. "Words About Mail Art."

No. 3 (June 1986). Newsprint. 15 1/2"x10 3/4". (24 pages). "Mail Art:

Exhibitions Projects Magazines." Text by G. X. Jupitter-Larsen (Canada).

Graphics by Dobrica Kamperelic (Yugoslavia), Manfred Vançi Stirnemann

(Switzerland), et al.

No. 4 ([November 1986]). Newsprint. 16 1/2"x11 1/2". (24 pages).

Cover by Robert Rehfield (East Germany). Notice for upcoming, "First

International Mail Art manifest in Norway." Dr. Al Ackerman contributes, "My

Job." Mark Block contributes, "Reasons I love New York." Centerfold illustrates

recent Mail Art publications. Art by Andrzej Dudek Durer (Poland).

No. 5 (April 1987). Newsprint. 15 1/2"x10 1/2". (32 pages). One of the

most informative Mail Art magazines ever published. Essays by Vittore Baroni

(Italy), "Maillonta Tauta;" Géza Perneczky (Germany), "Mail Art as an

Alternative?;" Guy Bleus (Belgium), "An Introduction About Art and Exchange;"

Carlo Pittore (USA), "Stop Misery;" Klaus Groh (Germany), "Mail Art and the New

Dada." Additional texts by Monty Cantsin (Canada), G. X. Jupitter-Larsen

(Canada), Mark Bloch (USA), Pat Fish (USA), Tony Lowes (Ireland), Mike Bidner

(USA), et al. Participant list for the exhibition, "First International Mailart Manifest

Norway."

No. 6 ([June 1987]). Newsprint. 10 1/2"x8". (64 pages). "The Wordless

Issue." Names of contributors in "El Djarida," No. 7.

No. 7 ([January 1988]). Newsprint. 16 1/2"x11 1/2". (24 pages).

"Philosophy of Mail Art," by Guy Bleus. "Chosen by the 4 Secret masters of the

Universe," an interview with Monty Cantsin (Canada). "ten Ways to make

Yourself Famous," by G. A. Cavellini. Large listing of Mail Art publications. "If

Mailart is to Considered High Art," by J. P. Jacob (USA). "Mail Art in

Czechoslovakia," by Petr Sevcik. "Mail Art-My Dream of Freedom and Love," by

Henning Mittendorf. "Bury Me Alive," by Carlo Pittore (USA).

"Xtra-Issue." (January 1989). Offset. 4"x4 1/4". (8 pages). (16 page

insert). Editorial. "I didn't want to print only stuff that I personally admired or

preferred, the idea was to get into position as a kind of communicational-central,

a distributor of works and ideas flowing in the different networks-receiving,

selecting, reprinting, putting-together and distribute back to everyone who sent

their works and info." Insert of texts and images contributed by Robert and Ruth

Rehfield (East Germany), Harry Polkinhorn (USA), Stephen Perkins (USA),

Vittore Baroni (Italy), et al.


No. 8 (May 1989). Newsprint. 15 1/2"x11". (20 pages). "Art as a Drake,"

by Géza Perneczky. "Mail Art: Exhibitions Project magazines." Editorial: El

Djarida is a contributors' magazine: Each issue is made out of material found in

our mailbox..."

No. 10 (1993). Newsprint. 10"x10". (60 pages). "Neo Ist," by Monty

Cantsin (Canada). "Taking the Offensive," by Stephen Perkins. Statements on

networking by John Held, Jr. (USA), Luc Fierens (Belgium), Julee Peezlee

(USA), guy Bleus (Belgium), Piermario Ciani (Italy), Lloyd Dunn (USA), Gianni

Broi (Italy), Andrej Tisma (Yugoslavia), et al. "The Word Strike," by Mark Bloch

(USA). "Where the Secret is Hidden," by John Held, Jr. (USA), Lloyd Dunn

(USA) and Serge Segay (Russia). History of "El Djarida." Edition of 1,200.

El Gallo Isustrado. Alberto Beltrán, Presidente del Consejo

Editorial. Mexico City, Mexico. 1984.

(September 9, 1984). Newsprint. 15"x11 1/2". 19 pages. Special

supplement of "El dia" newspaper on Mail Art. "Arte- Correo," by N. N. Arganaraz

(Uruguay), "Cart de Eugenio Dittborn." Spanish version of "Circuito Internacional

de Arte-Correo," translated by C. Espinosa (Mexico) from the original English

version by Günther Ruch (Switzerland). "The Marginal Codices of

MaMaBLAnCa," by Graciela Gutiérrez Marx (Argentina). Text by Carol Stetser

(USA).

El Networker Latinoamericano. Clemente Padin, Editor.

Montevideo, Uruguay. 1991-1992.

No. 1 (October 1991). Offset. 8 3/4"x7". 8 pages. Special Mail Art

magazine devoted to the, "Decentralized World-Wide Networker Congress

1992," in Latin America. Congress invitation in Spanish. Essays by Hans

Braumüller (Chile) and Graciela G. Marx (Argentina). "El Network en

Latinoamerica," by the editor.

No. 2 (February 1992). Offset. 8 3/4"x7". 8 pages. Magazine dedicated

to the 1992 Networker Congresses. List of congress sessions worldwide. Notice

of a trip to Uruguay and Argentina by John Held, Jr. (USA). Graphics by

Edgardo-Antonio Vigo (Argentina). "Missing by Misery," a manifesto by

Clemente Padin (Uruguay).

Electronic Cottage: International Magazine. Hal McGee, Editor.

Apollo Beach, Florida. 1989-1991.


No. 1 (April 1989). Offset. 8 1/2"x7". 64 pages. "Polyintermedia and a

Strategy for Electromagnetic Survival," by Miekal And. "ND: An Ongoing History,"

by Daniel Plunkett (USA). Other articles on "cassette culture." Reviews.

No. 6 (July 1991). Offset. 11"x8 1/2". 76 pages. "An Inside Look at the

Home Taper Phenomenon, Cassette Culture and Electronic & Experimental

Music." "Questions and Answers," by Miekal And (USA) and Liz Was (USA).

Article on Minoy (USA), Mail Artist and sound artist.

Electronic Mail Art. Ruud Jannsen, Editor. TAM, Tilburg,

Holland. 1994-1994.

No. 1 (March 25, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages).

"Computers nowadays are used a lot in mail-art, but for most current mail-artists

who use the computer, it is limited to 'local' work. The printing of texts, graphics

etc...., and also the making of computerized address-lists, producing catalogues

and art-cards with desktop publishing. Not that many use the computer for

electronic communication."

No. 2 (April 24, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "The first

article on 'electronic mail-art' caused some various reactions. That is why I

started with this follow-up article on the same subject. the text is accessible on

my own BBS, but also I spread this printed version because the discussion about

electronic mail is important for all mail-artists."

No. 3 (May 26, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "Again I

feel in the middle. Computers are included in my daily life, but for communication

I have learned that the computer isn't always the best tool. It just depends on

what you want to send, what your goal is, what the message I(s) that you want to

send."

No. 4 (June 27, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "Mail-art

has brought many people together. the electronic mail-art will even make the

group of networkers larger. The reason is simple. Spreading of electronic mail is

expensive but has the advantage that it works even faster then xerox-machines."

No. 5 (October 18, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "This

is the fifth article on electronic mail-art. In 1995 the Telenetlink year will take

place. I will try to take part in this year and at the same time try to inform others

by 'snail-mail' (none-computer users) about this project."

No. 6 (December 19, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages).

"When will there be the first E-mail-art show, where there is a host-computer with

full-size screen where all participants can log-in and participate in a joined


drawing they make. The FAX-projects are an example of how the location of the

artist isn't important anymore. He an produce art at his home while it occurs

somewhere else too."

No. 7 (December 30, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "I

started to make a list of all the mail-artists I know that also have an E-mail

address and I realize that there are only a few I know. I am not that active with Email

yet, but what I remember from the BBS-world (I started with that in 1986 or

so) is that there is a real kind of anarchy in that world. no judgment on the quality

of what is being sent at all."

No. 8 (January 28, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages).

"When your E-mail address is out there you can get mail from anybody who

wants to react just to your 'name.' Also being mentioned in one of the E-mail

magazines means that your address gets around and that people start to send

you invitations. Good and bad ones I must say. There isn't that much difference

compared to the 'snail-mail' as mail-art has been named now."

No. 9 (April 11, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "I made a

two special arti-stamps so far that have to do with E-mail. One says: "I couldn't

have sent this by E-mail" to emphasize that the snail-mail is a completely

different (analog) communication form."

No. 10 (April 19, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "I know

of mail-artists that are starting their own homepages. I myself also have a very

small homepage with only a few lines, but the fact is that you don't mail the

homepage to your (mail-) friends. You are waiting till they come and access your

host (via Internet), and then they can just see what you made in a digital form. I

miss the interaction a bit on this front."

No. 11 (May 17, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "This

article I would also like to discuss the e-zines as they n(o)w appeared in he

network. The e-zines I know all consist of a text file that contains information the

editor has received or that the editor has typed himself. They are produced on

computers but are distributed like the traditional zines with one central point."

Elefanzine. Ennio Pauluzzi, Editor. Florence, Italy. 1992.

No. 14 (March 1992). Photocopy. 8 1/4"x5 3/4". (20 pages).

Contributions on the theme of elephants by Ashley Parker Owens (USA),

Christopher dodge (USA), Giovanni Strada (Italy), A.1. Waste paper Co. Ltd.

(England), Dmitriy Konstantinov (Russia), Vittore Baroni (Italy), et al.


11x30: A Publication of the Toledo Poets Center. Joel Lipman,

Editor. University of Toledo Publications Office, Toledo, Ohio.

(1989-1992).

Vol. 1, No. 3 ([July 1983]). Offset. 30"x11". (1 page). George Myers, Jr.

on visual literature. Bern Porter in Toledo.

Vol. 3, No. 1 (n.d. [October 1990]). Offset. 30"x11". (1 page).

Graphics by Ray Johnson (USA) and C.W. Poste (USA).

Vol. 3, No. 2 (n.d.). Offset. 30"x11". (1 page). "Telling It All: A roundup of

Local, Regional, & Cosmic Lit Gossip," mentioning Bern Porter's 80th birthday.

Vol. 4, No. 1 (n.d). Offset. 30"x11". (1 page). Appearance by David B.

Greenberger of "Duplex Planet."

Vol. 4, No. 2 ([1992]). Offset. 30"x11". (1 page). Visual poetry with

rubber stamps by the editor. Richard Kostelanetz. Visual Poetry by Graciela G.

Marx (Argentina).

EMILS. Emils Steiner (aka Al Ackerman), Editor. Emils Lay

Hypnagogic Center, San Antonio, Texas. (n.d., circa 1984).

(n.d.). Photocopy. 8 1/2"x5 1/2". (12 pages). Anagram of "SMILE"

magazine. "For the non-conformists among you there is still a chance to take

part in this process without actuarially taking up the multiple names. Several

magazines have been started which are anagrams of "Smile" so that their

originators can take part in our conspiracy without actually conforming to all its

rules. Examples of this are "Slime" and "Miles."

Emozioni. Lucio Martelli and Gianni Donaudi, Editors. Torino,

Italy. 1996.

Vol. 1, No. 2 (January 7, 1996). Photocopy. 11 3/4"x8 1/4". (30

pages). Reproductions of Mail Art Gianni Donaudi has circulated in the network.

(February 6, 1996). Photocopy. 11 3/4"x8 1/4". (34 pages). Mail Art

sent into the network by Editor Donaudi, with reproductions of Mail Art received.

Reprints of newspaper and magazine articles.

Energy: The Mailart Journal of Thoughts and News. Michael

Lumb, Editor. Ipswich, England. (1998).


No. 84 ([1998]). Photocopy and Mixed Media. 8 1/4"x5 3/4".

Unpaged. "This is an open magazine for your MAILART thoughts and news.

Please add your own page of pages and your name and address then, either

pass-on or return to me. I will reproduce and circulate the magazine."

Enigma. Zebra Man, Editor. East Moline, Illinois. 1996.

No. 3 (May 1996). Photocopy. 11"x8 1/2". 14 pages. Contributions by

Mail Artists Pag-hat the Rat-girl (USA), Predrag Petrovic (Yugoslavia), Malok

(USA), et al.

No. 5 ([1996]). Photocopy. 11"x8 1/2". 24 pages. Contributions by

Carolyn Substitute (USA), Malok (USA), Larry Angelo (USA), Obvious Front (D.

Young), et al.

No. 9 ([1996]). Photocopy with Rubber Stamp. 8 1/2"x5 1/2". 24

pages. Contributions by Mail Artists Pag-hat the Rat-girl (USA), Geoffrey Cook

(USA), Maximum Traffic (USA), Obvious Front (USA), et al.

Entartete Kunst! Mark Wambling, Editor. Rejected Mail Art

Archive, Adelphi, Maryland. 1984.

Vol. 1, No. 1 (Spring 1984). Photocopy. 11"x8 1/2". (8 pages).

Special issue on the events surrounding the Franklin Furnace, "Mail Art Now and

Then," exhibition, and the panel discussion on Mail Art sponsored by "Artists

Talk on Art." Contributions by Mark Bloch (USA), H. R. Fricker (Switzerland), Ken

Friedman (USA), Lon Spiegelman (USA), John Held, Jr. (USA), Cracker Jack Kid

(USA), Carlo Pittore (USA), et al.

Ephemera. Ulises Carrión, Aart van Barneveld, and Salvador

Flores, Editors. Other Books and So Archives, Amsterdam,

Holland. 1978.

No. 10 (August 1978). Offset. 12 3/4"x9". (8 pages). "Special

Langwe Jart issue by Gaglione, 1940-2040, Anna Banana." Gray

printing on black paper.

No. 12 (October 1978). Offset, Rubber Stamps and Mixed Media. 12

1/2"x9". (4 pages). Focus on Mail Artists from Brazil including Julio Plaza,

Gilmar Cardoso, Leonhard Frank Duch, Paulo Bruscky, et al.


Eraser Carver's Quarterly. Mick Mather, Editor. Clay, New York.

1996-1998.

Special Edition (1996). Offset. 8 1/2"x5 1/2". (20 pages). "The

Portraiture of Tim Mancusi: Eraser Carvers Quarterly Special Edition. "For the

past three years the most amazing portraits have been arriving here at Eraser

Carvers Quarterly Headquarters from the hand of Tim Mancusi of Rohnert Park,

California...Tim Mancusi is, for certain among the best block relief print portrait

artists we currently have and I'm proud to present this masterfully carved body of

work." Portraits of Mail Artists Graffiti Grafix (USA), Ray Johnson (USA), Jeff

Berner (USA), Mike Dyar (USA), Seth Mason (USA), Diana Mars (USA), M. B.

Corbett (USA), Turk LeClair (USA), Mick Mather (USA), William Gaglione (USA),

John Held, Jr. (USA), et al.

No. 32 (Autumn 1997). Offset. 8 1/2"x5 1/2". 16 pages. "Stamping

with Printmaking Inks," by the editor and Larry Angelo (USA). "Making Artists'

Books and Greeting Cards and Other Such-Like Projects," by Annie Wittels

(USA). Eraserstamps by E. Seifried (Germany), Rudi Rubberoid (USA), Lavona

Sherarts (USA), et al. Includes an original eraserstamp. "Factsheet Five" review

by John Held, Jr. (USA) enclosed.

No. 33 (Winter 1998). Offset. 8 1/2"x5 1/2". 16 pages. "Artistamps for

You," by the editor. "Some of you may already know that 4-U-2 POST is my old

mail art 'issuing authority' for faux postage stamps, or as commonly referred to in

the Eternal Network, artistamps." Eraserstamps by Rusty Clark (USA), Zetetics

(USA), Lavona Sherarts (USA), Ed Giecek (USA), et al.

Escape from Gravity: Irregular Bulletin of the Association of

Autonomous Astronauts. (Stewart Home), Editor. London,

England. (1996).

No. 4 ([1996]). Offset. 11 3/4"x8 1/4". (4 pages). One in a series of

"Neoist-Situationist" papers by the author of "The Assault on Culture: Utopian

Currents from Lettrisme to Class War."

Evidence of Active Thought. Rev. Rich Mackin, Editor. Allston,

Massachusetts. 1995.

No. 1 (Spring/Summer 1995). Photocopy and Mixed Media. 11"x8

3/4". 61 pages. Assembling magazine. "Basically a collaborative exploration in

publishing...It is sponsored by Mass College of Art... " Edition of 300.


Exclusive: Underground Mail World Wide. Jack Cordova, Editor.

Salt Lake City, Utah. 1996.

No. 6 (December/January 1996). Photocopy. 8 1/2"x5 1/2". (12

pages). "I have yet to see another ad-source zine that offers camera-ready ads

to all. Sure, Global Mail contains a million listings and maybe FactSheet five is

pretty good on reviews, but hey! Where's the 'mail art' side to that. Don't get me

wrong, I LOVE Global mail and recommend it highly to anyone looking for zine

contacts. It's amazing..."

Expatriot, The. Lloyd Dunn, Editor. Bordeaux, France. 1995.

Communiqué No. 1 (January 1995). Photocopy. 6"x4 1/4". (24

pages). "This is no great literary work; it is just a few my thoughts as I

encounter happenstances that interest me as I make a change in my life." Mail

Artist Lloyd Dunn (see "Retrofuturism.") moves from Iowa to live in France with

correspondent Ph. Billé. This is his diary of the adventure. In this issue

December 1, 1994-January 10, 1995.

Communiqué No. 2 (February 1995). Photocopy. 6"x4 1/4". (24

pages). Diary continues from January 16, 1995-February 6, 1995.

Communiqué No. 3 (March 1995). Photocopy. 6"x4 1/4". (24

pages). "Suicide Special." Observations on the deaths of Ray Johnson and Guy

Debord.

Communiqué No. 4 (April 1995). Photocopy. 6"x4 1/4". (24 pages).

Diary from February 20-April 6, 1995. New "Mail corner" feature.

Communiqué No. 5 (May 1995). Photocopy. 6"x4 1/4". (22 pages).

Diary from May 2, 1995-May 9, 1995. "Boite Postale 249 (Formerly 'Mail

Corner').

Communiqué No. 6 (June 1995). Photocopy. 6"x4 1/4". (24 pages).

The diary of a Mail Art expatriate continues.

Experimenta. Yolanda Pérez Herreras, Editor. Madrid, Spain.

1998.

No. 0 (1998). Offset. 8 1/4"x4". (24 pages). Blending photography and

visual poetry.


No. 0 (1999). Offset. 8 1/4"x4". 53 pages. Visual poetry from contributors

Hilda Paz (Argentina), Harry Burras (USA), Giovanni Strada (Italy), Clemente

Padin (Uruguay), John Held, Jr. (USA), et al.

Expresion Deforme. Tina Anderson , Editor. San Ysidro,

California. 1993.

(1993). Offset. 7 1/2"x6 1/2". (24 pages). Mail Art section with work by

Ilmar Kruusamae (Estonia), Factor X (England), Ruggero Maggi (Italy), Henning

Mittendorf (Germany), Ryosuke Cohen (Japan), Rea Nikonova (Russia), et al.

Mail Artist Gerardo Yepiz graphic designer for the issue.

Eyrie. Klaus Peter-Fürstenau, Editor. Frankfurt/Main, Germany.

1984.

Vol. 2, No. 5 (n.d.). Offset. 5 3/4"x4 1/4". 8 pages. Visual poetry by

David Cole (USA), Michael Groschopp (Germany), Bern Porter (USA), et al.

Vol. 2, No. 6 (1984). Offset. 5 3/4"x4 1/4". (16 pages). Visual poetry by

John M. Bennett (USA), David Cole (USA) and Bern Porter (USA).

Vol. 2, No. 7 (1984). Offset. 5 3/4"x4 1/4". (16 pages). Visual poetry by

the editor, Serse Luigetti (Italy) and Bern Porter (USA).

F. Jose Carlos Soto, Editor. La Celula Creativa Eifer, Barcelona,

Spain. 1996.

No. 4 (1996). Mixed media. 6 1/4"x5". (20 postcards). "You can find

attached an issue of the Magazine I publish as leader of the creative group

"eifer." The magazine is called "F", and I include in it all the correspondence I've

received during this year. Your issue belongs to the first period of "F", a period

that has reached its end at the beginning of 1997. In its second period, the "F"

magazine has become a poem-packaging containing a work by one of the group

or by any other artist that feels close to us."

No. 4 (July 1996). Mixed Media. 15 1/4"x15" (oversize). Unpaged.

Assembling magazine. Packaged in a hat box. "You can find attached an issue

of 'F', the magazine published by the creative group 'Eifer.' We produce only a

few issues, but we want them to be always moving: you can enjoy it some time

and then send it forward to another artist. You will find in our magazine

works...some interesting Spanish artist(s). Contributions by Spanish Mail Artists

Sergi Quiñonero, Cristina Masgoret, Domingo Perez, Silvia Domininguez, Maria

Teresa Macias, Julia Balsameda, Pepin Bonany, M. Soler.


Face of the Congress, The. Fa Ga Ga Ga (aka Mark and Mel

Corroto), Editors. Youngstown, Ohio. 1992-1993.

No. 1 (January 1992). Photocopy. 8 1/2"x5 1/2". (16 pages). "A

monthly portrait zine of the 1992 Decentralized World-Wide Networker

Congress." Created to document the various meetings (congresses) of a year

long network project. "This publication is not about Self-Portraits. Although we

have included many here to fill the pages of this 1st zine, the succeeding "Faces"

will show portraits from meetings, list dates & places of meetings, brief

statements of what happened, and produce a forum for your letters." John Held,

Jr. in South America.

No. 2 ([March 1992]). Photocopy. 8 1/2"x5 1/2". (20 pages). "From our

Mailbox," letters from Mark Bloch (USA), Jennifer Huebert (USA), Ruud Janssen

(Holland), Rea Nikovova (Russia), et al. "Detective Mail Art Show in Russia."

"Participants in this Zine." "Fixed Sessions 92."

No. 3 ([June 1992]). Photocopy with Sticker, Button, and Rubber

Stamps. 8 1/2"x5 1/2". (24 pages). "From our Mailbox," letters from Luce

Fierens (Belgium), Jacques Massa (France), Piotr Piatek (Poland), Michael

Pollard (USA), et al. Congress sessions in Dallas, Texas; Milan, Italy; St.

Petersburg, Russia, etc.

No. 4 ([August 1992]). Photocopy and Rubber Stamps. 8 1/2"x5

1/2". (28 pages). "From our Mailbox," letters from Dawn Redwood (England),

buZ blurr and Bugpost (USA), Raimondo del Prete (Italy), Eugene Shashkin

(Russia), Jose VdBroucke (Belgium), Dobrica Kamperelic (Yugoslavia), Richard

C. (USA) et al. "Networker Congresses" in North Carolina; Vada, Italy; Fresno,

California; Montevideo, Uruguay, etc. Listing of networking Publications.

No. 5 ([1992]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (28

pages). "From our Mailbox," letters from Lon Spiegelman (USA), Peter

Küstermann (Germany), Rora and Dobrica Kamperelic (Yugoslavia), John Held,

Jr. (USA), Stephen Perkins (USA), Miekel And and Liz Was (USA), Ashley

Parker Owens (USA), Baudhuin Simon (Belgium), et al. Networker Congresses

in Yugoslavia, Uruguay, Holland, etc. Publications. Net Mail Delivery. mail Art

project and exhibition opportunities.

No. 6 ([April 1993]). Photocopy with Rubber Stamps and Artistamps.

8 1/2"x5 1/2". (28 pages). Subtitle changed to, "Tools for a Network." Report

on, "Art Strike: 1990-1993." Letters from Janet Janet (USA), Dobrica Kamperelic

(Yugoslavia), Andrej Tisma (Yugoslavia), Ashley Parker Owens (USA), John

Evans (USA), Rod Summers (Holland), Malok (USA), et al. "The last of the


Decentralized Networker Congress Portraits." Publication reviews. Project

listings. "E-Mail Contact List."

No. 7 ([October 1993]). Photocopy. 8 1/2"x5 1/2". (24 pages). Special

issue on FeMail Art. Editorial by honoria (USA). Letters from d.g. (USA), Ilene

Frank (USA), Julia Tant (England), Carol Stetser (USA), Jennifer Huebert (USA),

Judith Hoffberg (USA), et al. Mail Art exhibition opportunities. "Mail Art gender

and Other Myths," by Crackerjack Kid (USA). "FeMail Art: An Annotated

Bibliography," by John Held, Jr. (USA). Publication reviews. E-mail and snail-mail

contact listings.

Factsheet Five. Michael A. Gunderloy; Hudson Luce; Seth

Friedman; Chris Becker, Editors. Medford, Massachusetts;

Rensselaer, New York; Atlanta, Georgia; San Francisco,

California. 1985-1998.

No. 13 ([February] 1985). Photocopy. 8 1/2"x5 1/2". 49 pages. Mike

Gunderloy, editor (Medford, Massachusetts). "Welcome to the first FACTSHEET

FIVE of 1985. In this new year, it's still the zine of crosscurrents and

crosspollination..." Zine and audio reviews. Edition of 400.

No. 17 (1986). Photocopy. 8 1/2"x5 1/2". 61 pages. Mike Gunderloy,

editor (Medford, Massachusetts). Zine, audio, video and book reviews. Glossary.

Edition of 800.

No. 18 (1986). Photocopy. 8 1/2"x5 1/2". 65 pages. Mike Gunderloy,

editor (Medford, Massachusetts). Zine reviews. "Publisher's Showcase." "Why

Publish?," in which zine produces state their reasons for doing so.

No. 19 (1986). Newsprint. 11"x8 1/2". 48 pages. New format. Mike

Gunderloy editor (Medford, Massachusetts). "Publisher's Choice," includes

"Level" and "Lightworks." Zine reviews. "Why Publish?"

No. 20 (1986). Newsprint. 11"x8 1/2". (62 pages). Mike Gunderloy,

Editor (Rensselaer, New York). "News." Zine reviews. "Publisher's Choice." "Why

Publish?" Listing of zines published in major metropolitan areas.

No. 21 (1987). Newsprint. 11"x8 1/2". 76 pages. "News." Editorial.

"Publisher's Choice." "Past Blast," gives early history of the publication. " Review


of John Held, Jr.'s (USA), "International Artistic Cooperation: Mail Art Shows,

1970-1985. "Trying to present a complete picture of the mail art universe

reminds me of the nineteenth-century dream of predicting the future of the whole

universe by cataloguing the location of each and every particle in it at some

instant. It's a foolhardy and impossible project. Nevertheless, John Held has

made a valiant attempt, and while no doubt incomplete, this compendium has a

lot of information between it's covers."

No. 22 (1987). Newsprint. 11"x8 1/2". 68 pages. News. Zine reviews.

"Publisher's Choice," includes ND magazine. "Why Publish," includes statement

by Steve Sikora, editor of the "Letter Exchange."

No. 23 (August 1987). Newsprint. 11"x8 1/2". 68 pages. News. Zine

reviews. Editorial on "Electronic Factsheet Five."

No. 24 (November 1987). Newsprint. 11"x8 1/2". 68 pages. News.

Zine reviews. Publisher's Choice include, "Anti-Isolation" edited by Miekal and

and Liz Was (USA).

No. 25 (February 1988). Newsprint. 11"x8 1/2". 68 pages. News. Zine

reviews. Publisher's Choice." "Why Publish."

No. 26 (May 1988). Newsprint. 11"x8 1/2". 68 pages. News. Zine

reviews. "Publisher's Choice."

No. 27 (August 1988). Newsprint. 11"x8 1/2". 76 pages. News. Zine

reviews. "Why Publish," includes statement by Colin Hinz (Canada).

No. 28 (November 1988). Newsprint. 11"x8 1/2". 84 pages. Zine

reviews. "Why Publish?"

No. 29 (February 1989). Newsprint. 11"x8 1/2". 84 pages. Zine

reviews. "Why Publish?" includes a long statement by Guttorm Nordø (Norway),

editor of El Djarida. "I publish because I am you, or said more exact: because I'm

a part of "We."

No. 30 (May 1989). Newsprint. 11"x8 1/2". 84 pages. News. "Publisher's

Choice, includes "Electronic Cottage," "Novoid" and "Vague." Zine reviews.

"Xerografica," by Stephen Perkins (USA)."Why Publish?," includes a statement

by Lloyd Dunn (USA), editor of "Photostatic."

No. 31 (August 1989). Newsprint. 11"x8 1/2". 116 pages. News. Zine

reviews. "Mail Art." "Xerografica." by Stephen Perkins (USA). "Why Publish?"


No. 32 (October 1989). Newsprint. 11"x8 1/2". 108 pages. News. Zine

reviews. "Mail Art." "Festival of the Swamps," organized by Miekal And and Liz

Was.

No. 33 (December 1989). Newsprint. 11"x8 1/2". 116 pages. Zine

reviews. More on "The Festival of the Swamps," including a report of a Mail Art

show.

No. 33 (December 1989). Photocopy. 8 1/2"x5 1/2". 22 pages. Index.

No. 34 (February 1990). Newsprint. 11"x8 1/2". 124 pages. News.

Zine reviews. "Mail Art." Essay by John Held, Jr., "Eighties Mail Art Networking."

No. 34 (February 1990). Photocopy. 8 1/2"x5 1/2". 22 pages. Index.

No. 35 (April 1990). Newsprint. 11"x8 1/2". 132 pages. News. Zine

reviews. "Mail Art." "Publisher's Choice," includes "Panmag," edited by Mark

Bloch (USA). "networking the Nineties," by John Held, Jr. (USA).

No. 35 (April 1990). Photocopy. 8 1/2"x5 1/2". 22 pages. Index.

No. 36 (June 1990). Newsprint. 11"x8 1/2". 131 pages. News. Zine

Reviews. "Mail Art."

No. 36 (June 1990). Photocopy. 8 1/2"x5 1/2". 22 pages. Index.

No. 37 (August 1990). Newsprint. 11"x8 1/2". 140 pages. News. Zine

reviews. "Mail Art." "Network: Proud Mary and the Internal Network," by Mark

Bloch (USA).

No. 38 (October 1990). Newsprint. 11"x8 1/2". 132 pages. News. Zine

reviews. "Mail Art."

No. 39 (October 1990 [sic]). Newsprint. 11"x8 1/2". 140 pages.

News. Zine reviews. "Mail Art."

No. 40 (February 1990 [sic]). Newsprint. 11"x8 1/2". 132 pages.

News. Zine reviews. "Mail Art."

No. 41 (March 1990 [sic]). Newsprint. 11"x8 1/2". 108 pages. News.

Zine reviews. "Mail Art." "How Much Work Could a Network Work if a Network

Could Net Work?," by Mark Bloch (USA).


No. 42 (May 1991). Newsprint. 11"x8 1/2". 140 pages. News. Zine

reviews. "Mail Art."

No. 43 (June 1991). Newsprint. 11"x8 1/2". 108 pages. News. Zine

reviews. "Mail Art." "Net Work," by Mark Bloch (USA).

No. 44 (August 1991). Newsprint. 11"x8 1/2". 131 pages. News. Zine

reviews. "Mail Art." "Experipddoca: A Mail Art Show." by Bob Grumman (USA).

No. 45 (1991). Newsprint. 11"x8 1/2". 95 pages. Editorial by the new

editor, Hudson Luce, based in Atlanta, Georgia. Zine Reviews. "Post Art Net

Work: The Last Mail Art Show," by Mark Bloch. Review of "Mail Art: An

Annotated Bibliography," by John Held, Jr. "Post Art" reviewed by Mark Bloch.

No. 46 (n.d.). Newsprint. 11"x8 1/2". 96 pages. "Editorial," by new Editor

R. Seth Friedman from San Francisco, California. Zine reviews. "Mail Art,"

section "This is a small sampling of the zines covering correspondence art and

networking. To fully explore the subject, check out the Global mail listings, and

make some contacts. You'll be glad you did." "Global Mail" by Ashley Parker

Owens, a listing of Mail Art shows and projects.

No. 47 ([1993]). Newsprint. 11"x8 1/2". 112 pages. Zine reviews.

"Duplex Planet," edited by David B. Greenberger, included in "Publisher's

Choice."

No. 48 (July 1993). Newsprint. 11"x8 1/2". 96 pages. Zine reviews.

No. 49 (October 1993). Newsprint. 11"x8 1/2". 96 pages. Zine reviews.

No. 50 (December 1993). Newsprint. 11"x8 1/2". 111 pages. Zine

reviews. "Is it a Zine? Is it mail Art? It's...a Dead Locust." by Billie Aul (Senior

Librarian, New York State Library), ruminates on including zines and Mail Art in a

library situation.

No. 51 (March 1994). Newsprint. 11"x8 1/2". 127 pages. Zine reviews.

No. 52 (July 1994). Newsprint. 11"x8 1/2". 136 pages. Zine reviews.

"The Big Glossary."

No. 53 (October 1994). Newsprint. 11"x8 1/2". 135 pages. Zine

reviews.


No. 54 (December 1994). Newsprint. 11"x8 1/2". 127 pages. Zine

reviews. "Zines are Everywhere," by R. Seth Friedman.

No. 55 (March 1995). Newsprint. 11"x8 1/2". 128 pages. Zine reviews.

No. 56 (June 1995). Newsprint. 11"x8 1/2". 144 pages. Zine reviews.

"Going Digital: How to Transform Your Zine Electronically," by Chip Rowe.

No. 57 (August 1995). Newsprint. 11"x8 1/2". 144 pages. Zine

reviews.

No. 58 (October 1995). Newsprint. 11"x8 1/2". 128 pages. Zine

reviews.

No. 59 (January 1996). Newsprint. 11"x8 1/2". 152 pages. Zine

reviews. "Global Mail," edited by Ashley Parker Owens, listed in "Editors'

Choice."

No. 60 (August 1996). Newsprint. 11"x8 1/2". 160 pages. Zine

reviews.

No. 61 (March 1997). Newsprint. 11"x8 1/2". 160 pages. Zine reviews.

"The Secret of My Success: Six Zine Publishers Reveal the Secrets of Their

Success," includes a statement by David B. Greenberger, editor of "Duplex

Planet."

No. 62 (October 1997). Newsprint. 11"x8 1/2". 152 pages. Zine

reviews.

No. 63 (February 1998). Newsprint. 11"x8 1/2". 128 pages.

Christopher Becker new editor. "The Art of Zines," by the editor. "From Dada to

DIY: The history of Alternative Art Culture in the 20th Century," by John Held, Jr.

Zine reviews.

No. 64 (June 1998). Newsprint. 11"x8 1/2". 120 pages. Zine reviews.

Cover by John Held, Jr. (USA). "The Factsheet Five Story: Or...Zines are My

Life," by R. Seth Friedman. "Bomb Enclosed," by Julee Peezlee (USA). "For the

last 10 years I've toggled between the identities of mail artist and zine person."

Fallout. Winston Smith, Editor. San Francisco, California. 1981-

1984.

No. 2 (1980). Photocopy. 8 1/2"x7". (24 pages). Editor was a member of

Mendo Dada, and attended the 1980 "Interdada" festival.


No. 3 (([1981]). Newsprint. 15"x11". (32 pages). "Our aim is to provide a

foum for ideas and images from the surrealist's point of view. Edited by the noted

punk artist and cover artist for "The New Yorker."

No. 4 (1981). Newsprint. 15"x11". (38 pages). Classic cut and paste by

the master of punk graphics.

No. 5 (1984). Newsprint. 15"x11". (24 pages). Surrealism/Punk graphics.

Fandangos. Raul Marroquin, Editor. Maastricht, Holland. 1978.

No. 8-11 (Spring 1978). Offset with Rubber Stamps. 11 3/4"x8 1/4".

(162 pages. Art directed by Rod Summers (Holland), "Visual Poetry as a form

of Visual Art," by Peter Frank. General Idea's, "The 1984 Miss General Idea

Pavillion." Bill Gaglione (USA) and Anna Banana (Canada). Interview with Robert

Filliou (France).

Farm Pulp. Gregory Hischak, Editor. Seattle, Washington. 1992-

1999.

No. 12 (January 1992). Photocopy. 11"x6 3/4". 22 pages. Innovative

desktop publishing. Contribution by Luke McGuff (USA).

No. 13 (April/May 1992). Photocopy. 11"x6 3/4". 23 pages.

"Evolution."

No. 14 (July/August 1992). Photocopy. 11"x6 3/4". 23 pages.

"Meeting the Primitive for Lunch."

No. 15 (October/November 1992). Photocopy. 11"x6 3/4". 23

pages. "The Future...Now Already!" Text from "Nomo the Zine," edited by Rudi

Rubberoid (USA). Publication reviews.

No. 16 (January/February 1993). Photocopy. 11"x6 3/4". 23 pages.

"Electric is This Body."

No. 19 (November/December 1993). Photocopy. 11"x6 3/4". 23

pages. "Stuff Through the Mail."

No. 20 (February/March 1994). Photocopy. 11"x6 3/4". 22 pages.

Zine reviews.


No. 21 (July/August 1994). Photocopy. 11"x6 3/4". 22 pages.

"Through the Mail."

No. 22 (November/December 1994). Photocopy. 11"x6 3/4". 22

pages. "Proper Assembly." "Why Farm Pulp?" "It Came Through the Mail."

No. 23 (February/March 1995). Photocopy. 11"x6 3/4". 23 pages.

"Eat, Skeleton!" "Through the mail," includes a brief review of Eternal Network: A

Mail Art Anthology," by Chuck Welch.

No. 24 (May/June 1995). Photocopy. 11"x6 3/4". 23 pages. "Through

the Mail."

No. 25 (July/August 1995). Photocopy. 11"x6 3/4". 23 pages.

Publication reviews.

No. 27 (February/March 1996). Photocopy. 11"x6 3/4". 22 pages.

"Through the Mail."

No. 28 (May/June 1996). Photocopy. 11"x6 3/4". 26 pages. "Notes &

Crap & Reviews & Stuff."

No. 31 (May/June 1997). Photocopy. 11"x6 3/4". 26 pages. Office

supply issue.

No. 32 (November/December 1997). Photocopy. 11"x6 3/4". 23

pages. More on copy machines.

No. 33 (March/April 1998). Photocopy. 11"x6 3/4". 23 pages. "Misc.

Pulp Notes."

No. 34 (August/September 1998). Photocopy. 11"x6 3/4". 26 pages.

"Tenants."

No. 35 (December/January 1998/1999). Photocopy. 11"x6 3/4". 23

pages.

No. 36 (May/June 1999). Photocopy. 11"x6 3/4". 26 pages.

Farrago. Reed Altemus, Editor. Cumberland, Maine. 2001.


No. 1 (July 2001). Photocopy. 11"x8 1/2". (18 pages). "Poetry-

Networking-Mail Art." Editorial on photocopying in Mail Art. Review of

"Postfluxpostbooklets," by Luc Fierens (Belgium). Contributions by Ruggero

Maggi (Italy), Mark Pawson (England), Blaster Al Ackerman (USA), Clemente

Padin (Uruguay), Keiichi Nakamura (Japan), et al.

Fashion. Carol Stetser, Editor. Padma Press, Oatman, Arizona.

1986-1990.

(Spring 1986). Color and Black & White Photocopy and Mixed

Media. (47 pages). Assembling magazine. Thirty-three contributors.

Contributors include Al Ackerman (USA), Ruosuke Cohen (Japan), David Cole

(USA), Judith Hoffberg (USA), Mick mather (USA), Leavenworth Jackson (USA),

Lon Spiegelman (USA), et al.

(Fall 1990). Photocopy and Mixed Media. 11"x8 1/2". (40 pages).

Published in Village of Oak Creek, Arizona. Assembling magazine. Twenty-nine

contributors including Anna Banana (Canada), David Cole (USA), Mayumi

Handa (Japan), Bern Porter (USA), Marcello Diotallevi (Italy), et al.

Fatuous Times. O. Jason, Editor. Institute of Fatuous Research,

Stoke-on-Trent, England. (1992).

No. 1 ([1992]). Photocopy. 11 3/4"x8 1/4". (48 pages). "Special Bumper

Fatuous Flyposter Frenzy Issue." Free badge and sticker included. "This is

Fat(uous): Pleas for Networketry." "Networking is the use of a system of

communication by a collection of individuals (for example the postal system) for

their own purposes. Networking is a cultural strategy which demonstrates that it

is possible to take something from the dominant culture and use it for yourself."

Detourned images.

No. 2 ([1992]). Photocopy. 11 3/4"x8 1/4". (28 pages). "Special Liberate

Mickey Mouse Issue." Anticopyright. "Networkertry." reviews recent publications.

Notice of Mail Art show organized by the editor.

No. 3 ([1992]). Photocopy, 11 3/4"x8 1/4". (32 pages). "Special Maps &

mapping issue." Report of "Seizing the Media," Networker Congress in Oxford,

England, October 1992. Publication reviews.

Fault, The. Terrence McMahon, Editor. The Fault Press, Union

City, California. 1982.


TV Issue (April 1982). Newsprint. 9 3/4"x6 3/4". (32 pages).

Contributors include Opal Nations (USA), Madam X (USA), Patrick T (USA), Dan

Max (USA), Rockola (USA), Carlo Pittore (USA), Vittore Baroni (Italy), Radio

Free Dada (USA), et al. "Insert invitation (color photocopy) for "A Movie Star Mail

Art Show & Starzine."

Feeling of Infinity, A. Kim Kauffman, Editor. KMK Productions,

Neshanic, New Jersey. 1988.

No. 5 (March 1989). Photocopy. 5 1/2"x4 1/4". (16 pages).

Contribution by John M. Bennett. "Special Weird Issue."

Fiji Times. Carol Stetser, Editor. Padma Press, Village of Oak

Creek, Arizona. 1991.

No. 2 (1991). Photocopy and Postage Stamps. 8 1/2"x5 1/2". (30

pages). Journal of the editors' visit to Fiji from July 1-August 26, 1991.

FILE. General Idea (A. A. Bronson, Jorge Zontal, Felix Partz),

Editors. Art Official, Inc., Toronto, Canada. 1972-1980.

Vol. 1, No. 4 (December 1972). Offset and Newsprint. 14"x10 3/4"

(oversize). 29 pages. "'FILE' is 'LIFE' out of hand, a handy map of scenic

networks lacing the globe for you." "Letters to the Editor," from Gabor Attalai

(Hungary), Guerrilla Art Action Group (aka Jon Hendricks and Jean Touche,

USA), Monte Cazazza (USA), Helicopter Art Coy (Australia), Clayton Bailey

(USA), et al. "Pen Pals Face to Face," mentions John Dowd (USA), General Idea

(Canada), Dana Atchley (USA). Felipe Erhenberg (England), David Mayor

(England), Granada Gazelle (Canada), Mr. Peanut (Canada), et al. "Artists'

Directory" lists "over 700 names and addresses of artists across Canadada and

elsewhere... Additions and changes will be listed in each issue of 'FILE', and an

up-to-date and enlarged directory will be printed in 1973." Revealing

documentation of early network activity from A Space (Canada) to David Zack

(Canada). "Image Bank Image Request List," continues artists address listings,

with additional information on the interests of the specific artists, "Ray

Johnson/N.Y.C.S...Requests photos and info on Shirley Temple and Shirley

Temple dolls, plus alphabets." Section on publication "Reviews," lists works by

Gilbert and George (England) and Dick Higgins (USA). "Books Received" and

"Magazines Received." Anna Banana's "Banana Event," in Toronto, Canada,

mentioned in "Act in Art." Contributions by Ray Johnson (USA), May Wilson

(USA), Brian Buczak (USA), Michael Scott (England), John Dowd, Monte

Cazazza, Richard C. (USA), et al.


Vol. 2, Nos. 1&2 (April/May 1973). Offset and Newsprint. 14"x10

1/2" (oversize). 64 pages. "Performance," "Books," and "Magazines," and

"Films" reviewed. "Letters" includes correspondence from Ray Johnson (USA),

Robert Cumming (USA), David Gilhooly (USA), et al. "Pablum for the Pablum

Eaters," by Image Bank (Canada), a collage photo-documentation with brief text,

includes, "Making art art made art art and so we made art without producing an

object and said there we have made art art and we had. That was called the dematerialization

of art and that was when the whole shithouse blew up." "Top Ten:

Where are They Now," includes notices of the whereabouts for Mr. Peanut

(Canada), Granada Gazelle (Canada), Dr. Brute (Canada), Flakey Rose Hips

(Canada), John "Bum Bank Dowd (USA), et al. "Arti-Facts: Merger is in the Air-

The Mysterious East and The Western Front," discusses Western Front,

Vancouver, and A Space, Toronto. "Travel" mentions the visit of Mr. Peanut to

San Francisco to meet Arthur Craven (aka Charles Chickadel, USA), Dada

Processing (aka Tim Mancusi, USA), Dadaland (aka Bill Gaglione, USA), et al.

"Media: It's a Very Touchy Subject," examines notices of the emerging Mail Art

scene in various media outlets. "It's a very touchy subject when the corres-

Spongers decide to go to press. Lately it's been very hit and run as familiar

names and traces surface in the media. FILE has made the decision to go

general public and the Gold diggers have been burning the candles at both ends

long into the night forming strategies to deal with the media junkies. it's collage or

perish and the regular media channels are a whole new ground to plant your foot

in your mouth in. So let's pick up the papers and see what's been knews

worthy...Marred Surfacing of the Year award goes to David Zackenstein...for his

'Phenomenon of Mail Art' article in the February issue of 'Art in America'. There

was much chatter on the mail scene when this one hit the fans...Marcel Idea sent

a letter of explanation to editor Brian O'Doherty and Dave Zack; and Ray

Johnson was wondering why he was chosen 'the meanest man in town'..." More

gossip in "Pass it On," with mentions of E. M. Plunkett (USA), Dana Atchley

(USA), Ray Johnson (USA), Bay Area Dadaists (USA), Ken Friedman (USA),

Image Bank (USA), Milan Knizak (Czechoslovakia), Jorge Glusber(g)

(Argentina), Western Dakota Junk Company (USA), et al. "Greg Curneo: A FILE

Interview." "Image Bank Image Request List." FILE "Artists' Directory."

Contributions by COUM (aka Genesis P-Orridge, England), Michael Scott

(England), Tim Mancusi, Hoo Hoo Archives (aka buZ blurr, USA), Ray Johnson,

E. M. Plunkett, Arthur Craven (aka Charles Chickadel), Readers Da-Jest (aka

Perry Mancusi, USA), et al.

Vol. 2, No. 4 (December 1973). Offset and Newsprint. 14 1/4"x10

3/4" (oversize). 48 pages. "The Network is an Eternal flutter!/Cooing

correspondents in engaging stances./Agog aver spilt mail:/Sugardada shuts his

trap/With Ad Reinhardt's adhesive tape./Waiting reporters/Sniff out the stench of

image futures./The Wild boys hide in the foyer./The Bride pauses before her

mirror,/Adjusting reflections of '84./And the seven grooms, poor

chaps,/Unwittingly sitting/On their best men's best foot forward,/Enjoy a quiet

pause/With General Idea's FILE Megazine./Our Megazine reminds them of the


Bride./It too has piquant personality,/The lure of Image bondage,/Allround

excellency worthy of it subscribers./FILE Megazine crosses the threshold/Into

subliminal realities,/Mirroring the appreciation of a patronage/Coaxed by the

caressingly subversive./FILE is utterly unique in image appeal,/Answering

tomorrow's new needs/Today. "Reviews of "Performance," "Books," "Zines," and

Records." FILE Letters," with correspondence from A. M. Fine (USA), Anna

Banana (Canada), (who writes, "I didn't get enough attention. Those listings that

I submitted are fine but in no way compare with some editorial notice. There

were several spots where 'AB/Ban Rag' should have been mentioned but

weren't."), Robert Cumming (USA), et al. "The Search for the Spirit of Miss

General Idea (1984)." "Art's Birthday and the Hollywood Decca-Dance," by

Michael Morris (Canada) announces "On February 2nd and 3rd, 1974 IMAGE

BANK, MR. PEANUT, DR. BRUTE of BANAL BEAUTY INC., FAT CITY

SCHOOL OF FINDS ART, THE NEW YORK CORRES SPONGE DANCE

SCHOOL OF VANCOUVER, THE JOHN DOWD FAN CLUB, GENERAL IDEA,

ACE SPACE CO., ROBERT FILLIOU OF THE TERRITOIRE DE LA

REPUBLIQUE GENIALE, WILLOUGBY SHARP and others will throw a party for

Art's one million and eleventh birthday at the Elks Hotel in Hollywood, California.

this event will be the first to bring together an international group of artists who

have been working closely together on the subliminal." "Nude Egoes in a Nude

Era." "Traveling with Robin Page," a "FILE Interview by Flakey," profiles the

Canadian Fluxus artist. Contributions by Ray Johnson (USA), May Wilson (USA),

Bay Area Dadaists (USA), Jim De Sana (USA), Robert Filliou (France), Gilbert

and George (England), Klaus Groh (West Germany), et al.

Vol. 3, No. 1 (Fall 1975). Offset and Newsprint. 14"x10 3/4"

(oversize). 79 pages. "LIFE" magazine takes on "FILE" megazine. Book and

magazine reviews. "Glamour Issue." "This is the story of General Idea and the

story of what we wanted./We wanted to be famous, glamorous and rich. that is to

say we wanted to be artists and we knew that if we were famous and glamorous

we could say we were artists and we would be./We never felt we had to produce

great art to be great artists. We knew great art did not bring glamour and fame.

We knew we had to keep a foot in the door of art and we were conscious of the

importance of berets and paint brushes. We made public appearances in

painters' smocks. We knew that if we were famous and glamorous we could say

we were artists and we would be. We did and we are. We are famous,

glamorous artists. This is the story of Glamour and the part it has played in our

art." "Get Down Amarillo," features Ant Farm (USA) and Stanley Marsh 3 (USA).

"Image Bank Image Request List." Contributions by Bill Gaglione (USA), Michael

Cooper (USA), Terry Reid (New Zealand), et al.

Vol. 4, No. 3 (Summer 1980). Offset and Newsprint. 14"x10 3/4"

(oversize). 64 pages. "Editorial." "It seems that FILE is still a network

magazine. In the early seventies our context was the correspondence network,

artists in correspondence and collaboration through exchange and rewrites via

the mail. Like chain letter addicts, they threw out a vast debris of art garbage of

no use to the collector's market...or so we thought./Almost ten years later we


can't help but notice that a shift has been affected. Through rubbing against the

mass media, McLuhan's Global village has moved downtown. FILE finds itself

servicing the needs of a new network: the Global Downtown./With this 'Architect

Tonic Issue' of FILE we take a look at the ists, isms, and posts of today's Neodesign

aesthetic at work within this Global Downtown...In this Neo FILE issue,

the architectural aesthetic permeates art, industry, writing, fashion, music and

more..."

fishcake UBMA. afungusboy, Editor. Philadelphia, Pennsylvania.

1992.

No. 4 (October 1992). Photocopy. 4 3/4"x4 1/4". (12 pages). "The

drawings in this book(let) were inspired from the works of Stampmiester Kevin,

and John Bennett. (and all my other mail art friends.)"

598. Pere Sousa, Editor. Barcelona, Spain. 2001.

No. 0 (Winter 2001-2002). Photocopy and Mixed Media. 5 3/4"x4".

16 pages. Documentation of various "Art Strikes," including those in San

Francisco, California, and at the Museum of Modern Art, New York. Luther

Blissett in Spain.

Flatland Catalog. Jim Martin, Editor. Flatland, Fort Bragg,

California. 1991.

(January 1991). Newsprint. 11"x8 1/2". (64 pages). "News Stand by

Mail" catalog of small press publications, including mail art. Interview with Tom

Vague (England). Includes notices for magazines "Box of Water," "ND," "Smile,"

and the book, "Plagiarism," by Stewart Home (England).

Florida DooDaa. Paul Rutkovsky, Editor. Tallahassee, Florida.

(1984).

Vol. 1, No. 4 ([1984]). Newsprint. 15"x11 1/2". (28 pages). Satire on

consumer culture. Contributions by Al Ackerman (USA), Steve Random (USA),

Charlton Buch (USA), Clemente Padin (Uruguay), Carol Stetser (USA), Carlo

Pittore (USA), Fran Rutkovsky (USA), David Greenburger (USA) Mick Mather

(USA), Hannes Clerico (West Germany). et al.

Fluxzine. Ed Varney, Editor. Vancouver, Canada. n.d.

No. 1 (n.d.). Offset. 7"x4 1/4". 7 pages. Publication by the editor of

"Artistamp News."


Fluxus Bucks. Ex-Posto-Facto (Julie Jeffries), Editor. Garland,

Texas. 1996-2000.

(1996-2000). Assortment of "Fluxus Bucks" sent into the Mail Art network to be

modified by artists and returned to the editor, who then documents the results

and issues an inventory of contributors. Also includes "Fluxus Bucks" produced

by Ruud Janssen (Holland).

Fnord! Seth Tisue and Paul Leonard, Editors. St. Charles,

Illinois. 1990.

No. 2 (January 1990). Photocopy. 8 1/2"x7". (38 pages). Contributions

by John M. Bennett (USA), Bob Black (USA), Malok (USA), et al. Publication

reviews.

Foist. Scott Dohring, Editor. Rochester, New York. (1988).

({1987]). Photocopy. 11"x8 1/2". (4 pages). "Zeens of like Approach."

"Mail Art Shows: Documentation, Catalogues."

No. 7 ([1988]). Photocopy. 8 3/4"x6 3/4". 67 pages. Contributions from

over 50 artists including Gerard Barbot (USA), Gilberto Prado (Brazil), Shozo

Shimamoto (Japan), Andrej Tisma (Yugoslavia), Luc Fierens (Belgium), John

Held, Jr. (USA), Damaso Ogaz (Venezuela), A-1 Waste Paper Co. Ltd.

(England), Stephen Perkins (USA), et al. Mail Art project and exhibition

opportunities.

FOMT Bulletin. David Johnson, Editor. Publishers Group South

West (Ireland), Allihies, County Cork, Ireland. 1984.

See also "DJ at FOMT."

No. 4 (January 1984). Photocopy. 11 3/4"x8 1/4". (14 pages). Letters

from David Zack (Mexico), Al Ackerman (USA), Andre Stitt (Ireland), Tentatively

A Convenience (USA), John M. Bennett (USA), et al. "I don't think any

confidences have been broken, and maybe nothing significant is said here.

There is strength in the simple existence of these letters though, the evidence of

people in the process of living. The underbelly of history."

Food for Thought. R. Seth Friedman, Editor. New York, New

York. 1991.


Vol. 1, No. 1 (Spring 1991). Photocopy. 8 1/2"x5 1/2". 15 pages. The

zine Friedman published before assuming editorship of "Factsheet Five."

Vol. 1, No. 2 (July 1991). Photocopy. 8 1/2"x5 1/2". 23 pages. "The

Seth Friedman Method," Zine reviews.

Force Mental. Guy Schraenen, Editor. Small Press Archives,

Antwerp, Belgium. 1986.

No. 13.A. (Summer 1986. Offset. 8"x5". (16 pages). "The Archive for

Small Press & Communication wants to be the witness and the memory of

actions, independent of all power and influences, where passes the breath of

non-conformism, liberty and creation. We want to preserve the patrimony built up

by people active from inside and not from outside the international artscene."

Format: Art & the World. C. L. Morrison, Editor. Saint Charles,

Illinois. 1982-1983.

Vol. 4, No. 4 (Autumn 1982). Newsprint. 10 1/2x7 1/2". 35 pages.

Cover by Bill Stipe (USA). Mention of "Duplex Planet."

Vol. 5, No. 2 (Spring 1983). Newsprint. 10 1/2"x7 1/2". Art by Bill Stipe.

"How to Recognize Your reviewer," by George Myers, Jr.

Found Street. Larry Tomoyasu, Editor. A Found Street

Publication, Monterey Park, California. 1994.

Vol. 3 (1994). Photocopy. 8 1/2"x5 1/2". (40 pages). Contributions by

Richard Kostelanetz (USA), Musicmaster (USA), Spencer Selby (USA), et al.

4-U-2 POST. Mick Mather, Editor. Syracuse, New York, 1985.

No. 1 ([1985]). Photocopy. 5 1/2"x4 1/4". (4 pages). "Initially 4-U-2

POST was a postcard set of 3 cards that grew to a dozen (then 2 dozen) and

eventually included my favorite postal-art item, stamps. It's always been my

intention to have my mail-art contacts use the stamps & postcards I send out,

now 4-U-2 POST Magazine looks to expand that premise. many things are

possible and contributions or suggestions are welcomed." (Third Printing).

No. 3 (n.d.). Photocopy. 5 1/2"x4 1/4". (4 pages). "Each issue contains a

'Make-It-Yourself 4-U-2 POSTCARD', artistamps, a few words from the editor,

AND...the upper right hand corner of each '4-U-2 POST MAGAZINE cover is in

color and applied individually by the 4-U-2 POST Mail-Artboy."


No. 4 ([1985]). Photocopy. 5 1/2"x4 1/4". (4 pages). "The Make-Your-

Own-Postcard has been specifically designed for use with rubberstamps & any

other medium the artist wishes to use...I even have visions of getting some of

them returned for a future 4-U-2 POST project." (Second Printing).

No. 5 ([1985]). Photocopy. 5 1/2"x4 1/4". (4 pages). Do-It-Yourself

postcard and artistamps.

No. 6 ([1985]). Photocopy. 5 1/2"x4 1/4". (4 pages). "Look at what you

get: artistamps, post cards, mail-art, projects, wallet size collages, lotsa darn

fun."

Special Art Preacher Issue ([May 1985]). Photocopy. 5 1/2"x4 1/4".

(4 pages). "This issue is special in that it has been designed specifically for Bill

Whorrall, the ART PREACHER. The make-your-own postcard is from Bill as you

may have noticed, and the general overtone of these pages is an offer of

inspiration & the 'go-ahead' for each of you to copy & distribute, clip & post; or

get dangerous and do-it-yourself."

No. 7 ([1985]). Photocopy. 5 1/2"x4 1/4". (8 pages). "With this issue I've

made good my threats to expand the format. I've printed on both sides of the

page, adhered to a more formal magazine-type format and engaged in a bit of

cutting and final assembly."

The Little Learner's Art School Issue. (n.d.). Photocopy. 5 1/2"x4

1/4". 7 pages. "How-to-Make-A-Little-Magazine."

([August 20, 1985]). Photocopy. 5 1/2"x4 1/4". (4 pages). Collage with

rubber stamp reading, "Official Mailart 4-U-2-POST."

2nd Anniversary Super Special ([September 1985]). Photocopy. 8

1/2"x5 1/2". (4 pages). New larger format.

Special 1/3 Off Issue ([November 7, 1985]). Photocopy. 8 1/2"x5

1/2". (8 pages). Includes a contribution by Gail Alien (USA).

No. 8 (January 1985). Photocopy. 8 1/2"x5 1/2". (8 pages). "With this

issue I plan to begin a regular publishing schedule with 6 editions per year. I've

also finally committed myself to limiting each edition to 50 copies. I don't know

for sure if any of you are collecting these but if so, now is the time to get caught

up. to date there are 4-U-2 POST magazines #1 thru #8, the "SPECIAL Art

Preacher ISSUE' and the 'ANNIVERSARY SUPER SPECIAL' Issue. I've already


put Issue #2 on the out-of-print list, sorry, special postcard editions of Issue #2

are available however."

Fractals: In the Arts Magazine. Stephen A. Rozwenc, Robert

Steinem, and Sherry Steiner, Editors. Williamsburg Arts Council,

Williamsburg, Massachusetts. 1991.

(Spring/Summer 1991). Newsprint. 17"x11 1/2". (16 pages).

"Correspondence Art," by John Held, Jr. (USA). A pre-publication text of the

entry appearing in "Grove's Encyclopedia of Art."

Fragment. "Kennedy," Editor. Toronto, Canada. (1993).

No. 47 ([1993]). Photocopy, Rubber Stamps, Mixed Media and

Cassette Tape. 11"x8 1/2". (10 pages). "Each copy is different."

From the Archive: Mail Art and Networking Culture. Neil Degnay,

Editor. Brisbane, Australia. 1996.

No. 3 (Spring 1996). Photocopy, 8 1/4"x5 3/4". (8 pages). "Motico

Issue." "Friday 13th January 1995 Ray Johnson 'swan dives' to oblivion off a

bridge in Sag Harbour (sic), New York. The death of Johnson at a time when

Mail Art is being usurped by the all conquering Internet and its ability to transmit

aesthetic messages instantly to a vast audience, can be interpreted as 'a turning

point' in the continual flux of Mail Art." Contributions by Keith Bates and Leanda

Ryan (England), Dada Kan (Japan), Vittore Baroni (Italy). Pete Spence

(Australia), featured in "Rubber Stamp Zine Exhibition Space."

Front. Carl Loeffler and Mary Stofflet, Editors. La Mamelle, San

Francisco, California.

Vol. 1, No. 3 (March 1976). Newsprint. 17 1/2"x11". (8 pages). Notice

for the exhibition, "The Printed Word," at San Jose State University, featuring

Mail Artists Robert Cummings (USA), Lowell Darling (USA), Tyler Hoare (USA),

Pat Tavenner (USA), et al. Mail Art exhibition and project opportunities. Listing of

books, periodicals, catalogs, and Something Else Press publications available at

Arts Center Bookstore.

Vol. 1, No. 4 (May 1976). Newsprint. 17 1/2"x11". (10 pages). "Special

Catalog Edition: International Rubber Stamp Exhibition." Work by Ray Johnson

on the cover. Documents an important and early Rubber Stamp Art exhibition (La

Mamelle Arts Center, San Francisco, April 23-May 30, 1976. "Introduction," by

Carl Loeffler. Additional texts by Herve Fischer (France), Klaus Groh (Germany),


E. M. Plunkett (USA), Carol Law (USA), Ken Friedman (USA) and Georg M.

Gugelberger. "Selected Bibliography." List of contributing artists.

Frozen HYPNOSIS. Malok, Editor. (Wasau, Wisconsin). n.d.

No. 2 (n.d.). Photocopy. 8 1/2"x5 1/2". (8 pages). Collages by the editor.

Collaborative work with Bern Porter (USA) on the back cover.

Full Moon. Dazar, Editor. Omaha, Nebraska. 1987.

(1987). Photocopy and Mixed Media. 11"x8 1/2". 106 pages.

Assembling magazine. Over 100 contributors including Petra Grund (East

Germany), Monty Cantsin (Canada), Lon Spiegelman (USA), Tarzana Savannah

(USA), Dogfish (USA), Pascal Lenoir (France), Information Sickness (USA),

Klaus Groh (Germany), H. R. Fricker (Switzerland), et al.

Für Alle. Horst Tress, Editor. Haberscheid, Germany. 1984-1985.

No. 3 (March 1984). Newsprint. 16 1/4"x11 1/4". 12 pages.

Contributions by Uwe Dressler (East Germany), Arno Arts (Holland), Klaus Groh

(West Germany), Robert Rehfield (East Germany), Timm Ulrichs (West

Germany), et al.

No. 4 ([January 1985]). Newsprint. 16 1/4"x11 1/4". 7 pages.

Graphics by Joseph Beuys (Germany), and Klaus Groh (Germany), et al.

Further Too. Jon Simmons-Jones, Editor. London, England.

(1992).

(1992). Photocopy. 8 1/4"x5 3/4". (20 pages). "To Indiepop or to Mailart,

that is the Question, whether it is Nobler in the Mind Fate and fortune blah Blah

Blah..." Mail Art exhibition and project opportunities. Interview with A1 Waste

Paper Co. (England). "Why are there so few women in the network?," answered

by Michael Leigh (England), Hazel Leigh (England), et al. "Shopping for

clothes!," by R. Seth Friedman (USA). Publication reviews.

Garatiuja. Ademir Antonio Bacca, Editor. Bento Gonçalves,

Brazil. 1995.

No. 43 (November 1995). Newsprint. 15"x11 1/2". 16 pages. Visual

Poetry by Clemente Padin (Uruguay) on the cover. Additional graphics by

Avelino de Araújo (Brazil), Paulo Bruscky (Brazil), Hugo Pontes (Brazil), et al.


Generator. John Byrum, Editor. Generator Press, Mentor, Ohio.

1990.

No. 4 (1990). Offset. 8 1/2"x7". 103 pages. Contributions by Vittore

Baroni (Italy), John M. Bennett (USA), Dick Higgins (USA), Crag hill (USA),

Ruggero Maggi (Italy), Spencer Selby (USA), et al.

Get. Paul Rutkovsky, Editor. D. D. Florida, Tallahassee, Florida.

1984-1986.

Vol. 1, No. 1 (1984). Newsprint. 14"x11". (12 pages). "All graphics

prepared on a modern computer." Satire of consumer culture.

Vol. 1, No. 3 (1986). Newsprint. 15"x11 1/2". (20 pages). "The Gets

Visit the Future." Computer graphics by the editor.

Ghostdance. Hugh Fox, Editor. East Lansing, Michigan. 1975

No. 25 (Spring/Summer 1975). Offset. 8 1/2"x5 1/2". 37 pages.

"Special Dada Issue." Contributors include Opal L. Nations (USA), Geoffrey

Cook (USA), Richard Kostelanetz (USA), Dick Higgins (USA), John Pyros (USA),

et al. Anna Banana on the cover. Co-published with "Camels Coming" magazine,

edited by Richard Morris.

Giants Play Well in the Drizzle. Martha King, Editor. Brooklyn,

New York. 1988.

No. 18 (May 1988). Photocopy. 11"x8 1/2". (6 pages). Includes a poem

by Al Ackerman.

Girl-illa Art 'Zine, The. Miriam Parcés (aka The Stamp Goddess),

Editor. Piedmont, California. 1993-1996.

Vol. 1, No. 1 (Autumn Equinox 1993). Photocopy. 11"x8 1/2". 13

pages. Mail and Rubber Stamp Art by 27 Fe-Mail artists including Beth

Jacobson (USA), Julie Hagan Bloch (USA), Rusty Clark (USA), Sister

Stampalotta (USA), et al.


Vol. 1, No. 2 (Full Moon in May 1994). Photocopy. 11"x8 1/2". 11

pages. Rubber Stamp Art by 23 contributors including Julie Hagan Bloch

(USA), Becky Ivancic (USA), Laurel Hall (USA), Cathy McGuire (USA), et al.

Vol. 3 (August 1994). Photocopy. 11"x8 1/2". 16 pages. Rubber Stamp

Art by 22 contributors including Beth Jacobs (USA), Laural Hall (USA), Rubber

Poet (USA), Stampaphyl (USA), et al. Mail Art exhibition opportunities.

Vol. 1, No. 3 (October 1994). Photocopy. 11"x8 1/2". 16 pages.

"Mars Edition Second Printing." Artistamps replace Mail Art exhibition listings.

(Spring 1995). Photocopy. 11"x8 1/2". (20 pages). "Faux Post Issue."

contributions by Beth Jacobs (USA), Laural Hall (USA), Cathy McGuire (USA),

Gone Gecko (USA), Julie Hagan Bloch (USA), Rusty Clark (USA), et al.

(1996). Photocopy. 11"x8 1/2". (26 pages). "Turtle Moon Issue." Rubber

stamp art contributed by 21 artists including Arte Ala Carte (USA), Have Stamps

Will Travel (USA), Julie Hagan Bloch (USA), Rick Banning (USA), Sean

Whatever (USA), et al.

Global Mail. Ashley Parker Owens; Michael Dittman, Editors.

Chicago, Illinois; San Francisco, California; Grove City,

Pennsylvania. 1992-1999.

(January [1992]). Offset. 11"x8 1/2". (4 pages). "A newsletter of

international mail art events..." The beginning of the premier Mail Art info-zine.

"Over 100 Mail Art Listings."

(May Issue 1992). Offset and Rubber Stamp. 11"x8 1/2". (4 pages).

"Please copy and distribute to networkers."

Issue 3 (September 1992). Offset and Rubber Stamps. 11"x8 1/2".

(4 pages). "Over 180 mail Art Listings."

Issue 4 (January 1993). Offset. 11"x8 1/2". (4 pages). "Over 200

Listings!" Sections on Mail Art Shows, Question, Archives, Art Projects and

books, Compilations, Computer, Exchanges, Fax Projects, Letter, Tape and

Video Projects, Zines. "Approximately 4000 copies were made of this issue."

Issue 5 (May 1993). Offset. 11"x8 1/2". (4 pages). "Over 240 Listings."

Issue 6 (September 1993). Offset. 11"x8 1/2". 7 pages. "Over 470

Listings! Over 35 countries!" Sections on Time Sensitive Entries; Mail Art Shows;


Archives, Anarchism, and Art Projects; Books and Compilations; Exchanges;

Email and BBS Listings; Eroticism and Gender; Misc.; Newcomers and Penpals;

Politics; Rubber Stamps, Postal Stamps; Tape and Video Projects; Zines

requesting contributors.

Issue 7 (January 1994). Offset. 11"x8 1/2". 8 pages. "Over 400

Listings! Over 30 Countries!"

Issue 9 (September-December 1994). Offset. 11"x8 1/2". 8 pages.

"'Global Mail' is a cross-cultural, cross-media listing of all kings of art projects,

collaborations and mail art events. It comes out three times a year." "This issue

has approximately 400 entries from 39 countries." "New this issue: Poetry,

Queer, Postage Stamp, Rubber Stamp, and Conceptual Mail Art categories;

Address Changes; and a Reader Survey." Includes a personal note by the editor

concerning the next issue.

Issue 10 (January-April 1995). Newsprint. 10 1/2"x8". 15 pages.

Cover by M. B. Corbett (AKA Tensetendoned). "Global Mail is a listing of art

projects, zines, archives, actions, boycotts, exchanges, networks, sound & video

projects, mail art and collaborative events. The latest issue is 16 pages, with

over 500 entries from 45 countries." Results of Reader Survey. Biographical

notes on cover artist M. B. Corbett (USA). "Spotlight" on the Underground Press

Conference 1995.

Issue 11 (May-August 1995). Newsprint. 10 1/2"x8". 23 pages. "The

Hole to the Underground," added to masthead. Cover by John M. Bennett

(USA). Letters. "Spotlight" features "John Held, Jr. goes to Cuba; Angela and

Peter Netmail Explore Africa; Co-Op Publishing. "This issue has approximately

750 entries from over 40 countries."

Issue 12 (September-December 1995). Newsprint. 10 1/2"x8". 31

pages. Cover art by Angela Mark. Sections on Mail Art; Actions; Ad Swaps;

Anarchist; Archives; Art Projects; Books; Boycotts; Catalogs; Co-Op;

Comix/Humor; Compilations/Portfolios; Computer; Distros; Dreams; Conceptual;

Deaths; corrections; Email/BBS; Erotic; Events; Exchanges; Gender; Health;

Messages; Misc.; Networks; Newcomers; Penpals; Performance; Places; Poetry;

Politics; postage Stamps; Postcards; Queer; Research; Reviewers; Rubber

Stamps; SF/Fantasy; Tape/Sound/Comp; Text/Writing;Websites; Zines

Requesting Contributions; Address Changes; Thanks; rants; Letters; Peeves;

Tips; Harassment. "Spotlight" features Netland Book News. "this issue has

approximately 750 entries from over 40 countries"

Issue 13 (January-April 1996). Newsprint. 10 1/2"x8". 31 pages.

Editor moves to San Francisco, California. "Global Mail is a cross cultural crossmedia

listing of all kings of art projects, exchanges, collaborations, & mail art


events." Websites section added. "Living Scene Reports" section features a firstperson

account of the Hanshin, japan, earthquake by Mayumi Handa (Japan).

"Spotlight" includes a notice of a workshop at Picasso Gaglione's Stamp

Francisco with John Held, Jr. (USA) and Seth Friedman (USA). "This issue has

approximately 800 entries from over 45 countries."

Issue 14 (May-August 1996). Newsprint. 10 1/2"x8". 39 pages.

"Global Mail lists art and book projects, zines, archives, actions, boycotts,

resources, distros, exchanges, websites, sound and video projects, rants, news,

project updates, mail art events, and all kings of info for interesting people." Mail

Art Show Etiquette. "This issue has approximately 850 entries from over 45

countries."

Issue 15 (September-December 1996). Newsprint. 10 1/2"x8". 31

pages. Cover Artist, John Held, jr. (USA). "What is mail art?" "How can I get

started writing a zine?" "Missing Mail Art Project documentation," by (Theo.)

Breuer (Germany). "Mail Art as Means of Survival Under Communism," by

(Peter) Netmail (Germany). "This issue has 600 printed listings, with an

additional 150 website links available electronically through the global mail

Website List." "Letter from Ashley-This issue marks five wonderful years for

Global Mail. This letter is a farewell letter of sorts, as the locus of control and

publishing is being transferred to Michael Dittman starting with the next issue.

Michael has been involved in Global Mail over the last year or two as a

contributor and editorial consultant...Part of the benefits of doing GM is that I was

finally able to let go of existing in the material world. Perhaps it is a beautiful

outcome that dabbling in the underground makes you finally believe enough to

really let go of all your worldly ambitions, and slip into an alternative reality which

is indeed utopian."

Issue 16 (January-April 1997). Newsprint. 10 1/2"x8". 28 pages.

Edited by Michael Dittman, Grove City, Pennsylvania. Cover by Tim Mancusi

(USA). "Global Mail has always been an open forum and will remain as such. All

entries are uncensored and unscreened." Letters by Jose VdBroucke (Belgium),

Andrea Ovcinnicoff (Italy), Pag-hat the Rat-girl (USA), et al.

Issue 17 (January-April 1998). Newsprint. 10 1/2"x8". 29 pages.

Cover by Barbara Cooper (USA). Sections on Actions; Address Changes; Ad

Swaps; Art Projects; Boycott; Compilations; Comix; Computer; Conceptual;

Deaths; Distros; Dreams; Erotic; Events; Exchange; Gender; Health; Messages;

Misc.; Netwerking; Newcomers; Performances; Places; Poetry; Political; Stamps;

postcards; Queer; Research; Resources; Rubber Stamps; Noise; Texts; Zines;

Video. Letters. "Gazetta & Mummy MailArt," by Birger Jesch (Germany). "I

dedicate this short text to the kindred spirits who left our circle in the last

decade."


Issue 18 (May-August 1998). Newsprint. 10 1/2"x8". 29 pages. Cover

by Tim Mancusi (USA). Letter section answers the question, "How have your

projects changed you?"

Issue 19 (January-April 1999). Newsprint. 10 1/2"x8". 14 pages.

Project listings. "What's in a Name," by clASSwAR Karakoe (England) on various

names for Mail Art. Dale Speirs (Canada) on cross-currents in networking. "Many

SF fans belong to apas, mail artists take in literary zines, and political activist(s)

read SF." Ends with the section, "Question." "Anyone sending in an answer to

this issue's question will receive a free issue of Global Mail #20. What should

Global Mail be doing."

(August 21, 1993). Photocopy. 8 1/2"x5 1/2". 46 pages. "Directory 93:

a directory of mail artists and netwerkers." The largest listing compiled at the

time on Mail Artists and alternative cultural networkers. "Brought to you by Global

Mail." Names and addresses listed alphabetically within country. "1st 'crummy'

version," according to the editor.

(September 18, 1993). Photocopy. 8 1/2"x5 1/2". 46 pages. "Directory

93: a directory of mail artists and netwerkers." Final version of the above.

(December 27, 1994). Photocopy. 1"x8 1/2". 50 pages. "Netwerker

Directory '95: 3500 contacts from Global Mail." Edited by Ashley Parker Owens.

The largest such listing ever compiled. Names and addresses listed

alphabetically within country. "Please do not copy or disseminate this booklet.

This is a fundraising project and your assistance is greatly appreciated."

(August 1995). Photocopy with rubber stamps and stickers. 11"x8

1/2". 16 pages. "Technical Tips for Zine Makers: an informational pamphlet

from Global Mail." Edited by Ashley Parker Owens. " Guido Vermeulen (Belgium)

on, "Transformation through Zines." "Statements from Zinesters on Why They

Make Zines." Chris Dodge (USA) contributes, "Bibliography of Publications on

how to Make a Zine." More. Signed.

([1995]). Photocopy with rubber stamp and ink. 11"x8 1/2". 14 pages.

"Mail Art Info Sheet: an informational pamphlet from Global Mail." Edited by

Ashley Parker Owens. "What is mail Art?" "Glossary of Network Terms." Ruud

Janssen (Holland), "Some Thoughts About Mail-Art." "Interview with Ashley

Parker Owens by Michael Corbett (USA). Signed.

Global Village Voice. Trans-Global Media Communications,

Editor. London, England. 1990.


No. 1 (March 1990). Photocopy. 8 1/4"x5 3/4". 156 pages.

Contributors include Françoise Duvivier (France), Malok (USA), Miekal And and

Liz Was (AKA Xeroxial Endarchy) (USA), Michael Voodoo (USA), et al. Mail Art

show and magazine listings.

Grafopublik. Beograd, Yugoslavia. 1992.

(1992). Offset. 11 1/2"x7 3/4". 26 pages. Text and graphics on Miroljub

Todorovic (Yugoslavia), proponent of Signal Art, who popularized the phrase,

"Think About Mail Art." In Serbo-Croat.

Grand TRAX. Vittore Baroni, Editor. Near the Edge Editions,

Forte Dei Marmi, Italy. (1984).

TRAX 0184. ([1984]). Mixed Media. 13"x13" (oversize). Unpaged.

Assembling magazine. Includes prints, magazines ('Arte Postale!" #25),

artistamps, etc. Box-cover by Piermario Ciani (Italy). Contributions by Daniela

Ciullini (Italy), Robert Swierkiewizc (Hungary), Günther Ruch (Switzerland), S.

Gustav Hagglund (USA), Marlon Rockola (USA), Henning Mittendorf (West

Germany), Timm Ulrichs (West Germany), Gerald Jupitter-Larsen (Canada), et

al.

Great Adventure of Kanzan and Jyuttoku. Eiichi Matsuhashi,

Editor. Tokyo Street Museum, Tokyo, Japan. 2001.

(2001). Color Photocopy. 8 1/4"x5 3/4". (8 pages). Comix adventures of

the "Holy Homeless," by the curator of the Tokyo Street Museum and active Mail

Artist.

(2001). Color Photocopy. 8 1/4"x5 3/4". (8 pages). Comix adventures of

the "Holy Homeless," by the curator of the Tokyo Street Museum and active Mail

Artist.

(July 1, 2001). Color Photocopy. 8 1/4"x5 3/4". (8 pages). Comix

adventures of the "Holy Homeless," by the curator of the Tokyo Street Museum

and active Mail Artist. Edition 3/10.

(December 18, 2001). Color Photocopy. 8 1/4"x5 3/4". (8 pages).

Comix adventures of the "Holy Homeless," by the curator of the Tokyo Street

Museum and active Mail Artist. Edition 9/10.


Gulf Bulletins. Al Ackerman, Editor. The Odirono Circle, Portland

Oregon. 1976.

Issue No. 86 (March 1976). Photocopy. 8 1/2"x5 1/2". 40 pages.

Contributions by Ron Illardo (USA), Haddock (USA), David Zack (USA), Rain

Rien (USA), Terry Reid (Australia), Genesis P. Orridge (England) et. al. Plus the

editors' own writings. Issue number fictitious. Date probably correct. From the

birthplace of Neoism.

Gummiglot's Un-Weekly Reader...Bit's o' News: More Fun than a

Personal Note. Gummiglot (AKA Roz Stendahl), Editor.

Minneapolis, Minnesota. 1990.

Issue 1 (August 7, 1990). Photocopy. 11"x8 1/2". (4 pages). "Theme:

Writing." Reprinted newspaper articles.

Issue 2 (October 8, 1990). Photocopy. 11 2/2"x 8 1/2". 4 pages.

"Theme: Sleep Deprivation." Reprinted newspaper articles.

H23. Ron Rice, Editor. Pullman, Washington. 1989.

Vol. 1, No. 1 (Spring 1989). Newsprint. 11"x8 1/2". 30 pages.

Contains an interview with Daniel Plunkett (USA), Editor of "ND." "I also started

getting mail from mail-artists as my name would appear from time to time as a

contact. I became a real addict about the idea of exchanging art, music and

ideas with people from all over the world." Publication reviews.

Ham. John E. Mumbles, Editor. Wichita, Kansas. 1988-1989.

([1988]). Photocopy. 8 1/2"x5 1/2". (4 pages). Graphics by Al Ackerman

(USA) and F(ran). C(utrell). Rutkovsky (USA).

No. 3 (March 1989). Photocopy. 8 1/2"x5 1/2". (4 pages). Text and

graphic by Al Ackerman (USA). Contributions by F. C. Rutkovsky (USA) and The

Haddock (USA).

Hapunkt Special. Hapunkt Fix, Editor. Berlin, Germany. 1986.

Vol. 2, No. 1 (Summer 1986). Photocopy. 5 3/4"x4 1/4". 8 pages.

"Mail Art Corner." "The Sound of Neoism." Explanation of Fair Info Xchange. The

FIX is a project to spread around news. It's neither a magazine nor a newspaper.


It is a collection of original works, infor sheets & invitations to

contribute/collaborate, which artists & labels have sent me."

HalfLife Network Magazine. Scott Armstrong, Des McLean, Don

McPartland, Andrea Wheeler, Editors. Glassboro State College,

Glassboro, New Jersey. (1991).

No. 11 ([1991]). Photocopy. 8 1/2"x7". (4 pages). Contributor list for

Issue #11. Includes 37 contributors including Mike Dyar (USA), Jennifer Huebert

(USA), Pascal Lenoir (France), Ashley Parker Owens (USA), Carol Stetser

(USA), et al.

HeMisA-Book. Henning Mittendorf, Editor. Frankfurt am Main,

Germany. 1995-1996.

No. 2B (1995). Photocopy. 5 1/4"x5 3/4". 15 pages. "What is Mail Art?"

"In the following mail art is dealt with principally from the fine art's point of view,

not at last because it is this field of art that is mainly represented in mail art."

No. 1B (1996). Photocopy. 5 1/4"x5 3/4". 9 pages. "Visual Experimental

Poetry." "Especially as part of the network visual poetry develops an additional

quality. Circulating within the network it takes part in the alternative art's process:

It is not any longer steered by economical calculation, it is impulse and effect of

concerned artists and creative people interconnected through the global Eternal

Network, the eternal dialogue, 'multilogue', cognitive-communication process of

the network and part of the interconnected perspectives' change as evolving

knowledge's organisation."

No. 3B (1996). Photocopy and rubber stamps. 5 1/4"x5 3/4". 11

pages. "Naked Art as Mail Art: Included Some General Remarks About Man's

Body and Soul as a Whole." "Naked art becomes more effective, more effective

as art, when becoming a part of mail art as the optimum exemplary artistic

concept of influencing communication and cognition by interconnected

discoursive perspectives' change to get improved viable realities' constructions,

artistic ones and beyond that. Then naked art becomes coordinated between

concerned people and spread beyond them gobally."

herd. Jennifer Heubert. Rifton, New York; Chicago, Illinois. 1993-

1995.

Vol. 1, No. 1 ([1993]). Photocopy. 8 1/2"x7 1/4". 14 pages. "Winding

up 1992, the Year of the Networker, is HERD. This is a forum for women who are

active in the mail and men who wish to contribute...The responses gathered here

have been gleaned from women in many different facets of this 'Eternal


Network'...mail artist, visual artist, networker, rubberstamper, 'zine artist."

Statements by Elissa Rashkin (USA), Carol Stetser (USA), Jenny Soup (USA),

Lilian Ward (England), Ashley Parker Owens (USA), Pat Fish (USA), Helena

Perkins (USA), Tarzana Savannah (USA), Graciela Marx (Argentina), LaVona

Sherarts (USA), Julie Bloch (USA), Carol Schneck (USA), Arto Posto (USA),

Honoria (USA), Anna Banana (Canada), et al.

([June 1993]). Photocopy. 7 1/2"x5 1/2". 17 pages. Gender in Mail Art.

"'Do women perceive mail artists as an aggressive club?' I was asked some time

ago by an active male-mail-artist. If you're talking about the whole art world, well

then, Yes! Individuals don't generally act in an aggressive, impersonal manner

but GROUPS do. And the collective power of the male-dominated (art) world

(see page 3) is felt by women! Many women tell me they feel alienated, choose

not to participate in, or have LEFT the network." Statements by Julie Tant

(England), Crackerjack Kid (USA), Marilyn R. Rosenberg (USA), Anna Banana

(Canada), et al. Publication notices.

No. 3 ([January 1994]). Photocopy. 8 1/2"x7". (18 pages). "Welcome

to the Networking Issue about mail art and the Eternal Network. How terrific it

can be to be a networker, how essential in this age of information! The

Networker has evolved from Mail Artist, responding to the tremendous volume of

information out there today...Each networker's interpretation of the mail art world

is different, depending on their involvement. Some people have a handle on the

'big picture', other's sphere of interaction is close and personal. One can't

assume the mail artist has any grasp on mail art history or even a full picture of

what is considered a 'Networker'. It is happening, being created, right now. There

are no complete source references on it, few mail art historians or histories to

peruse. You just need to do it to discover its past. Mail Art is not exactly covered

in Art History courses; though it has been around for over 25 years (longer than

me!)." Includes "Mail Art by Carolyn Substitute." Letters by Rea Nikonova

(Russia), M. B. Corbett (USA), Crackerjack Kid (USA), John Held, Jr. (USA,

Stephen Perkins (USA), Julia Tant (England), FaGaGaGa (USA), et al. "Mail Art

Gender and Other Myths," by Crackerjack Kid (USA). Publication reviews.

Pullout contains a list of Mail Art publications cited by John Held, Jr. (USA)

during a lecture at the V&A Museum, London.

No. 4 (February 1995). Color and B&W Photocopy, rubber stamps.

(18 pages). Editor relocates to Chicago, Illinois. "herd this time is about

feminine protection, food, aggression and cars."

Hexa'gono. Edgardo-Antonio Vigo, Editor. La Plata, Argentina.

1971-1974.


Issue a (1971). Offset and Mixed Media. 11"x10". (5 pages). Visual

poetry by the editor. Contributions by Jochen Gerz (France), Carlos Ginzbug

(Argentina), and Germano Celant (Italy).

Issue a-b (1971). Offset and Mixed Media. 11"x10". (6 pages). Visual

and concrete poetry by the editor. Contributions by Clemente Padin (Uruguay),

Jochen Gerz (France), and Klaus Groh (West Germany).

Issue a-c (1971). Offset and Mixed Media. 11""x10". (12 pages).

"foew&ombwhnw" by Dick Higgins. In Spanish. Visual poetry by the editor.

Issue b-c (1971). Offset and Mixed Media. 11""x10". 8 pages.

Contributions from Hans-Werner Kalkmann (West Germany), Julien Blaine

(France), Klaus Groh (West Germany), et al. Visual Poetry by the editor. Essay

on Walter Benjamin.

Issue b-d ([1972]). Offset and Mixed Media. 11""x10". (9 pages plus

enclosures). Rubber stamped envelope by Robin Crozier (England). Visual

Poetry by the editor. "Múltiples Presentaciones de Imágenes Imigráficas."

Issue b-e (1972). Offset and Mixed Media. 11""x10". (9 pages plus 6

page "comic strip"). "La Calle: Escenario del arte Actual," by the editor. Visual

Poetry "comic-strip, "La (in) communicacion de los Medios de Comunicacion

Masivos (por caso la TV)," by the editor. Contributions by Betty Radin, Anna

Esposito and Miarella Bentivoglio.

Issue c-d (1973). Offset and Mixed Media. 11""x10". (12 pages).

Includes newsletter from CAYC (Centro de Arte y Communicación), Buenos

Aires, Argentina; a page of rubber stamp impressions; contributions by Zabala

(Argentina), Alberto Pellegrino, Bercetche, J. C. Romero (Argentina), et al.

Vistual Poetry by the editor.

Issue c-e ([1973]). Offset and Mixed Media. 11""x10". Sealed (too

fragile to open).

Issue c-f (1973). Offset and Mixed Media. 11""x10". (unpaged.).

Assembling magazine. Contains the periodical, "Arte Argentino de Vanguardia,"

No. 1, December 1973, with works by Argentine artists Benveniste, Leonetti,

Pazos, Romero, Vigo and Zabala. Contributions by Juan Bercetche (Argentina)

and Horacio Zabala (Argentina), Carlos Ginzburg (Argentina) and the editor.

Issue d-e (1974). Offset and Mixed Media. 11""x10". (11 pages).

Assembling magazine. Portfolio containing works by Barrlete, Horacio Zabala

(Argentina), Jorge Glusberg (Argentina),Luis Pazos (Argentina), and the editor.


Issue d-f (1974). Offset and Mixed Media. 11""x10". (13 pages).

Assembling magazine. Portfolio with contributions by E. Leonetti/J. C. Romero

(Argentina), Chuck Stake (Canada), Jorg Glusberg (Argentina), Endre Tót

(Hungary), Horacio Zabala (Argentina), Amelia Toledo (Argentina), Michael

Joseph Phillips (USA), Guillermo Deisler (Chile), Clemente Padin (Uruguay), and

the editor.

Issue d-g (1974). Offset and Mixed Media. 11""x10". (2 pages).

Contributions by Garcia Palou, E. Leonetti, J. C. Romeo, and the editor. (In

sealed portfolio with bullet holes [?].)

High Performance. Linda Frye Burnham, Editor. Los Angeles,

California. 1981.

Vol. 4, No. 3 (Fall 1981). 11"x8 1/2". 75 pages. Special

"Correspondence Art," section. Excerpts from "Correspondence Art: Source

Book for the Network of International Postal Art Activity," by Mike Crane and

Mary Stofflet (Contemporary Art Press, 1984). Advanced look at excerpted texts

by Mary Stofflet (USA), Michael Crane (USA), Anna Banana (Canada), Judith

Hoffberg (USA), Geoffrey Cook (USA), Richard Craven (USA), Ken Friedman

(USA) and Georg Gugelberger, Ulises Carrion (Holland), and Dick Higgins

(USA). Illustrated with works by Eric Metcalfe (Canada), Endre Tot (Hungary),

Anna Banana (Canada), Ray Johnson (USA), Pauline Smith (England), John

Dowd (USA), Vincent Trasov (Canada). Special pages by E. F. Higgins (USA),

Billy Curmano (USA), Lerner & Turner (USA), Nancy Frank (USA), Lon

Spiegelman (USA), Jerri Allyn (USA), Jeffrey Vallance (USA) and Monique

Safford (USA).

Historians Anonymous. Scott Garinger, Editor. El Segundo,

California. 1996-1998.

No. 1 (Spring 1996). Photocopy. 8 1/2"x5 1/2". 18 pages. "The Fish

Issue." "...I would like to wish you a warm welcome to 'Historians Anonymous'

(HA) where our credo is 'Everyone who wants to be a historian, is.'"

No. 2 (Summer 1996). Photocopy. 8 1/2"x5 1/2". 15 pages. "A Generic

Mail Art History," reprinted from "Global Mail."


No. 4 (Summer 1997). Photocopy. 11"x8 1/2". (40 pages). "The focus

of this issue is the postal service." Mark Bloch (USA) contributes "A Brief History

of Postal Art."

No. 5 (Winter 1998). Photocopy. 8 1/2"x5 1/2". 30 pages. "A Non-

History of Mail Art," by John Held, Jr. (USA). "A history of mail art? Yes, they've

been written and more will follow. Each will have it's own twist. Be a little wary of

each one. They are all written from a centrist view, when no such view actually

exists." Followed by "Bloch's Reaction to Held's Reaction."

History of Pagiarism, The. (Stephen Perkins), Editor. Plagiarist

Press, Iowa City, Iowa. 1992.

Vol. 1 (1992). Photocopy. 5 1/2"x4 1/4". (20 pages). "(the footnotes)."

Subjects covered include plagiarism, detournement, Stewart Home, "Art Strike,"

"The Festival of Plagiarism," xerography, Mail Art, Ralph Rumney, etc. Green

cover.

Vol. 1 (1992). Photocopy. 5 1/2"x4 1/4". (20 pages). Variant copy with

blue cover.

Vol. 1 (1992). Photocopy. 5 1/2"x4 1/4". (20 pages). Variant copy with

red cover.

Hoje Hoja Hoy. Graciela Gutierrez Marx, Editor. Asociación

Latinomericana y del Caribe de Artistascorreo, La Plata,

Argentina. 1985-1992.

Vol. 1, No. 1 (January 1985). Newsprint with rubber stamp. 9 3/4"x7

3/4". (8 pages). Statement by Hilda Paz (Argentina). Mail Art exhibition and

publishing opportunities. Statements on Mail Art by Vittore Baroni (Italy), Lon

Spiegelman (USA), Guy Bleus (Belgium), Mark Bloch (USA). "Manifesto of

Asociacion Latinomericana y del Caribe de Artistascorreo." C.D.O (Italy)

Manifesto (1982). Original graphic by the editor inserted (edition 470/500).

Vol. 1, No. 2 (April/May 1985). Newsprint. 11 1/2"x8". (8 pages).

Statement by Hilda Paz (Argentina). "El Artcorreo no Acepta se Definido," by the

editor. Contributors listed for "Mamablanca" Mail Art exhibition. Mail Art exhibition

and publication opportunities.

Vol. 1, No. 3 (July/August 1985). Newsprint. 11 1/2"x8". (8 pages).

Manifesto of the "Association of Latin American and Caribbean Mail Artists,"

signed by Susana G. Lombardo (Argentina), Juan Ferreyra (Argentina) Alfedo


Mauderli (Argentina), Hilda Paz (Argentina) and the editor. Contributions by

Jesus Romeo Galdamez (Mexico), Bettina Rege (Argentina), Martin Raul

Eckmeyer (Argentina), Rafael Cellini (Argentina), Crackerjack Kid (USA),

Ruggero Maggi (Italy), et al. Inserted poster by Ruggero Maggi (Italy) and the

editor (edition 170/400).

Vol. 2 No. 5 (March/April 1986). Newsprint with Mixed media. 11

1'2"x8". (8 pages). Graphics by Graciela G. Marx. Poster inserted.

No. 7 (September 1991). Photocopy with Rubber Stamp and Acrylic.

13 1/2"x8 1/2". (2 pages). Editorial. Announcement of a "Pre-Congress" in

December 1991 with John Held, Jr. (USA) in La Plata, Argentina. Networker

Congress announced for April 1992 in La Plata.

No. 8 ([1992]). Photocopy. 13 1/2"x8 1/2". (2 pages). "NC92 Spirit

Netlink Performance," by Crackerjack Kid (USA). "Resoluciones del Pre-

Congreso 1992, Realizado en Argentina." "Art Strike 1990-93," information by

Keith de Mendoza (England).

Honolulu Haole Flake. Indian Ralph (AKA Peter Mancusi), Editor.

Indian Ralph Publication, Kappa, Hawaii. 1999.

(April 7, 1999). Color and B&W Photocopy. 11"x8 1/2". 11 pages.

Contributions by Tim Mancusi (USA), Matt Tompson USA), Ed Giecek (USA),

John Wirtz (USA), the editor, et al.

Howler on the Toilet, The. Jean-Paul Leonis, Editor. Wépion,

Belgium. 1993.

No. 6 (October 1993). Photocopy. 8 1/4"x5 3/4". 42 pages. "The

place, the habits, and everything which can be associated with the theme; shit

and all about the toilets." 33 contributors including Fernand Barbot (USA), Guy

Bleus (Belgium), Ruud Janssen (Holland), Pascal Lenoir (France), Magda

Lagerwerf (Holland), Emilio Morandi (Italy), Reiu Túúr (Estonia), Guido

Vermeulen (Belgium), et al. Mail Art exhibition and publication opportunities.

No. 7 (December 1993). Photocopy and Rubber Stamp. 8 1/4"x5

3/4". 42 pages. Introduction by Guido Vermeulen (Belgium). 23 contributors

including J. Ahokas (Finland), Raimondo Del Prete (Italy), Mayumi Handa and

Shozo Shimamoto (Japan), Christ Reider (USA), Klaus Rupp (Germany), András

Voith (Hungary), et al. Mail Art exhibition and publication opportunities.


Humboldt Da-Jest, The. Indian Ralph (AKA Peter Mancusi),

Editor. Miranda, California. 1999.

(May 1, 1999). Color and B&W Photocopy. 11"x8 1/2". 30 pages.

Contributions by 30 artists including Arthur Secunda (USA), buZ blurr (USA),

Dadaland (USA), John Evans (USA), Lorana Chickadel (USA), Sticker Dude

(USA), John M. Bennett (USA), Mick Mather (USA). Tim Mancusi (USA), John

Held, Jr. (USA). et al.

Idea Fuggente. Brunco Pollaci, Editor. Accademia d'Arte, Pisa,

Italy. 1994.

Vol. 3, No. 18 (October 1994). Offset. 11 3/4"x8 1/4". (4 pages). The

editor exhibits at Modern Realism Gallery, Dallas, Texas. Mail Art exhibition and

publication opportunities.

Ideology of Madness. Dr. Don Prescott, editor. Yggdrassil Press,

Arlington, Texas. (1988).

(1988). Photocopy. 8 1/2"x7 1/4". 18 pages. "Factsheet Five" and Monty

Cantsin cited in "Other Weirdos" section.

No. 9 ([1989]). Photocopy. 8 1/2"x7 1/4". 13 pages. Sub-Genius

oriented with Neoist, Mail Art and zine overtones.

Idle Time Mail Art. Dixon, Editor. Denton, Texas. (1985).

([1985]). Photocopy. 11"x8 1/2". (7 pages). "The Concept of Monty

Cantsin," by Monty Cantsin, Baltimore (USA). Contributions by John S. Fawcett

(USA), Arturo G. Fallico (USA), Pier Van Dijk (Holland), Carol Stetser (USA),

David Cole (USA), John Held, Jr. (USA). Mail Art exhibition and publication

opportunities. "Idle Time Projects."

Idolise. Robert Nixon, Editor. Surrey, England. 1987.

No. 3 (November 1987). Photocopy. 8 1/4"x6 1/4". (32 pages).

Contributions by A.1 Waste Paper Co. Ltd. (England), Vittore Baroni (Italy),

Trevor Brown (England), Manfred Vançi Stirnemann (Switzerland), et al. Mail Art

publication and exhibition opportunities.

Illuminati. F. A. Nettelbeck, Editor. Los Angeles, California. 1986.


No. 12 (1986). Photocopy. 4 1/4"x2 3/4". (10 pages). Contributions by

John B. Bennett (USA), S. Gustav Hägglund, et al.

Impossibilists. Musicmaster, Editor. Hopkins, Minnesota;

Minneapolis, Minnesota. 1982-1986.

No. 17 (Spring 1982). Photocopy. 11"x8 1/2". (20 pages). "The

Unreligioning Issue." Contributions by John M. Bennett (USA), buZ blurr (USA),

Al Ackerman (USA), Scott Helmes (USA), Lon Spiegelman (USA), et al.

No. 19 (January 1985). Photocopy. 8 1/2"x5 1/2". (16 pages).

Contribution by fucci (USA). Drawings by the editor.

No. 20 (April 1985). Photocopy. 8 1/2"x5 1/2". 27 pages. "The 10th

Year...Anniversary Edition." Contributions by Bill Whorrall (USA), Long

Spiegelman (USA), Al Ackerman (AKA Harry Bates Club), et al.

No. 21 (February 1986). Photocopy. 8 1/2"x5 1/2". (14 pages).

"Syllogisms." Contributors include Bern Porter (USA), Al Ackerman (USA),

Rhoda Mappo (England), Pat Fish (USA), et al.

No. 22 (August 1986). Photocopy. 8 1/2"x5 1/2". 20 pages.

Contributions by Pat Fish (USA), Cerebral Discourse (USA), Tarzana Savannah

(USA), Al Ackerman (AKA Eel Leonard) (USA), et al.

impossible utterance, the. Brad Russell and Seth Tisue, Editors.

Plast Cramp Press, Wheaton, Illinois. 1990.

No. 1 (March 1990). Photocopy. 11"x4 1/4". (8 pages). Contributions

by John M. Bennett (USA), Jake Berry (USA), Geof Huth (USA), et al. "We

intend to destroy all dogmatic verbal systems."

No. 2 (March 1990). Photocopy. 11"x4 1/4". (8 pages). Contributions by

John M. Bennett (USA), Jake Berry (USA), Geof Huth (USA), et al.

No. 4 (May 1990). Photocopy. 11"x4 1/4". (8 pages). Contributions by

Miekal And (USA), Jake Berry (USA), Paul Weinman (USA), et al.

No. 5 (September 1990). Photocopy. 8 1/2"x7". (4 pages). "Mother's

Milk," by John Eberly.


No. 6 (August 1990). Photocopy. 11"x4 1/4". (8 pages). Contributions

by Guy R. Beining (USA), Crag Hill (USA), John M. Bennett (USA), et al.

In Remembrance. Jenny Soup, Editor. San Francisco, California;

North Hollywood, California; Studio City, California. 1988-1998.

No. 1 (n.d. [1988]). Photocopy. 8 1/2"x5 1/2". (12 pages). Goth poetry

with artistamps. Published in San Francisco.

No. 3 (n.d). Photocopy. 8 1/2"x5 1/2". (14 pages). "In Remembrance is

a grave collection of imagery and poetry from frail breath of mysterie that damply

creeps across my coffined thoughts." Published in North Hollywood. Edition 5/50.

No. 5 ({1989]). Photocopy. 8 1/2"x5 1/2". (18 pages). Goth zine.

Published in Studio City. Record reviews. Edition 3/100.

No. 6 ([1990]). Photocopy. 8 1/2"x5 1/2". (16 pages). Contributions by

Kalynn Campbell (USA), et al. Edition 64/500.

No. 11 (n.d). Photocopy. 8 1/2"x5 1/2". (20 pages). Eleven contributors.

Edition 23/500.

No. 12 (n.d.). Photocopy. 8 1/2"x5 1/2". (16 pages). Poetry. Music

reviews. Edition 38/500.

No. 13 (Winter 1994). Photocopy. 8 1/2"x5 1/2". (20 pages). Poetry.

Publication reviews. Music reviews.

(n.d.). Photocopy. 8 1/2"x5 1/2". (16 pages). Contributions by Kalynn

Campbell (USA), Stephen J. Romanko, et al. Record reviews. Edition 203/500.

(n.d.). Photocopy. 8 1/2"x5 1/2". (18 pages). Contributions by Kalynn

Campbell (USA), et al. Edition 278/500.

Final Issue (1998). Color and B&W Photocopy. 8 1/2"x5 1/2". (30

pages). "This issue has been a long time coming, and certainly the most difficult

to compile. Good-byes are hard and often painful, but they are necessary when

we are moving on to other things."

In the Mail. Tim Harding, Editor. Wordless Press, Lakewood,

Ohio; Washington, D. C. 1987-1992.


(December 10, 1987). Photocopy and rubber stamps. 8 1/2"x5 1/2".

(12 pages). "Video ¢lones" issue. Edition 3/58.

(January 1988). Photocopy. 8 1/2"x5 1/2". (20 pages). Contributions by

L(arry) Angelo (USA), Carlo Pittore (USA), Stephen Perkins (USA), Lancillotto

Bellini (Italy), Crackerjack Kid (USA), et al.

(February 1988). Photocopy and rubber stamps. 8 1/2"x5 1/2". (20

pages). Contributions by John Held, Jr. (USA), Xeno (USA), Musicmaster

(USA), F. Aguiar (Portugal), D(avid) Jarvis (England), Jacques Massa (France),

et al. "Colaborator" special edition included.

(March 1988). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). "Confined." Contributors include Jacques Massa (France), Carlo Pittore

(USA), JK Post (USA), Luc Fierens (Belgium), K. Francke (Holland), et al.

(April 1988). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). Contributors include buZ blurr (USA), Ruggero Maggi (Italy), F(rank)

Cissne (USA), Blaster Al Ackerman (USA), Mimi Holmes (USA), et al.

([May 1988]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 59

pages. 50 contributors including Carlo Pittore (USA), Patrick T. (USA), Pierre

Marquer (France), Ruggero Maggi (Italy). John Held, Jr. (USA), Nenad

Bogdanovic (Yugoslavia), Stephen Perkins (USA), F. Aguiar (Portugal), Everarts

(Holland), et al.

(July 1988). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). "Camouflage." Contributions by Jacques Massa (France), Guillermo

Deisler (East Germany), Jiri Hula (Czechoslovakia), Stephen Perkins (USA), JK

Post (USA), et al.

(January 1992). Photocopy. 8 1/2"x5 1/2". (20 pages). Published in

Washington, D. C. Contributors include Predrag Petrovic (Yugoslavia), State of

Being (USA), Clemente Padin (Uruguay), Raphael Nadolny (Poland), Kalynn

Campbell (USA), Pascal Lenoir (France), FaGaGaGa (USA), et al.

(February 1992). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). Contributors include Stephen Ronan (USA), John Held, Jr. (USA),

Lindley Bhanji (Australia), Guido Bondioli (USA), E. Z. Smith (USA), Crackerjack

Kid (USA), Claudine Barbot (USA), et al.


(March 1992). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). "'In the Mail' is distributed each month. On occasion there will be a

theme announced, and the issue may be expanded to include all of the mail

covering the topic-no refusals. Items that are not related to a theme are held for

inclusion in a regular issue. Anything that I receive that I can manage to copy will

eventually be included in an issue of 'In the Mail' - and a copy is sent to anyone

from whom I have received mail." Contributors include Private World (USA),

Stephen Perkins (USA), Sean Whatever (USA), Lavona Sherarts (USA), Shmuel

(USA), et al.

(May 1992). Photocopy. 8 1/2"x5 1/2". (18 pages). Work by Pascal

Lenoir (France), Rea Nikonova (Russia), et al.

(April 1992). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (20

pages). Contributions by Epistolary Stud Farm (USA), Musicmaster (USA),

Jake Berry (USA), Shmuel (USA), Larry Angelo (USA), et al.

In Your Mail. Dallas Swan, Editor. Salisbury, Maryland. 1988.

No. 1/2 (1988). Photocopy. 11"x8 1/2". 10 pages. "Of course this isn't

(the) first alternative publication you have received in the mail and I'm sure it

won't be your last. I hope to accomplish several things with and through you.

One is to enlighten each of us on whats available out there in mailand. I hope to

list some stuff available out there that you might not be aware of. Maybe some of

you might turn me on to something I'm not tuned in to. I enjoy hearing or seeing

something different." Publication listings.

INFO-MAM. Guy Stukens, Editor. Bruxelles, Belgium. 1988-1993.

No. 56 (May 1988). Photocopy. 8 1/4"x5 3/4". (12 pages). Cover by

Paul Rutkovsky (USA). Exhibition, publication, and cassette notices.

No. 60 (January 1989). Photocopy. 8 1/4"x5 3/4". (20 pages).

Exhibition and publication notices. "Hiroshima Shadow Project."

No. 61 (April 1989). Photocopy. 8 1/4"x5 3/4". (16 pages). Exhibition

and publication notices. "Les Nouveaux Timbres de H. R. Fricker." by Serge

Segay (Russia). "Archives for Small Press and Communication." by Guy

Schraenen (Belgium).

No. 62 (June 1989). Photocopy. 8 1/4"x5 3/4". (16 pages). Exhibition

and publication notices. "Les Correspondances Entre Fluxus et Mail Art," by the

editor. Issue decorated with collaborative artistamps by Ruggero Maggi (Italy), H.

R. Fricker (Switzerland) and John Held, Jr. (USA).


No. 64 (November 1989). Photocopy. 8 1/4"x5 3/4". (16 pages).

Exhibition and publication notices. "Le Mail-Art dans le Sud-Ouest des Etat-

Unis," by John Held, Jr. (USA).

(December 1993). Photocopy. 8 1/4"x5 3/4". (8 pages). Special English

Edition. "noarmally, INFO-MAM is published only in French. This is a special

issue devoted to the announcement of the change of address and the

presentation of certain structures (i.e., radios...) we are working with. In our

normal issue, we have an important section entitled 'Magazines'-where we

present books, fanzines, magazines, records, cassettes, exhibitions, and other

cultural activities." Text by Roger Avau (Belgium).

Information Sickness: The Journal of More Than You Needed to

Know. Alan K. Lipton, Editor. Berkeley, California. 1992-1996.

Issue 2 (September 1992). Photocopy. 11"x8 1/2". 36 pages. Poetry

and live music reviews by the editor.

Issue 3 (December 1992). Photocopy. 11"x8 1/2". 20 pages. "What

Information Sickness Is (submitted to the Decentralized Networker Congress,

8/11/1992)."

Issue 4 (December 1993). Photocopy. 11"x8 1/2". 36 pages. "The

Northernmost Mailart Ever. Angela and Peter NetMail travel the world with mail

art, delivering it in person to any networkers they meet."

Issue 5 (July 1994). Offset. 11"x8 1/2". 48 pages. Special "No theater"

issue.

Issue 6 (December 1994). Offset. 11"x8 1/2". 36 pages. Masthead

changed to, "The Testament of Our Ongoing Daze."

Issue 8 ([1996]). Offset. 11"x8 1/2". 96 pages. Contribution by

Musicmaster (USA).

Inia-Kelma: Taller Andaluz de Poesia Inista. Juan Oosco Ocaña,

Editor. Sevilla, Spain. (1995).

No. 4 ([1995]). Photocopy. 8 1/4"x5 3/4". (24 pages). Visual Poetry.

contributions by César Figueiredo (Spain), Ibirico (Spain), Jean-François Robic

(France), et al.


Inquirer: A Folio of Art and Ideas. Fran Kalmykov, Editor.

Houston, Texas. 1986.

Issue 12 (November-December 1986). Newsprint. 14"x11"

(oversize). 35 pages. "Mail Art/Artist postage Stamps," by Jon Held, Jr.

(USA). "Over a twenty-five year period an alternate art system has developed

connecting an international group of artists via the postal system. A mail artist is

one who relates on a fairly consistent basis with this network of artists. It is a

network without central leadership, without formal membership, but a network

nevertheless, which is said to encompass several thousand participants from

over thirty countries. The iconography of mail art is drawn from this pool of global

artistic interaction. Mail art is not the production of objets which are sent through

the mail, but the at of participation, and the 'correspondances' which occur

through involvement with the network...While the creation of precious objects

has not been of primary importance, visual statements have been made along

the way. And nowhere in mail art have those statements been made to better

effect than within the genre of artist postage stamps. In the world of philately,

they are often referred to as 'cinderellas,' stamps which are not intended for legal

postage. They can be either an offset, xerox, rubberstamp or drawing. It is an

aspect of mail art which instantaneously aligns itself with the postal medium. A

symbol, if you will, of the mail art experience..." contributions by Gene Laughter

(USA), E. F. Higgins III (USA), Ray Johnson (USA), Julie Hagan Bloch (USA),

Ruggero Maggi (Italy), H. R. Fricker (Switzerland), John Held, Jr., et al.

Instant Media Dispatch: The Journal of Quick Art. Buster

Cleveland, Editor. Andrew Nevai, Inc., Florida, New York. 1978.

Vol. 1, No. 2 (August 1978). Offset and Rubber Stamp. 14 1/2"x11

1/2". (8 pages). "First issue" rubber stamped on the cover. "Homage to Padin

and Caraballo," photo-documentation of a performance by Dadaland (Bill

Gaglione) (USA) and Buster Cleveland (USA) at A-Space, Toronto, "Canadada,"

August 12, 1978. Publication announcement for "The Rubber Stamp Album," by

Miller and Thompson. Dinner for Gaglione (USA) and Banana (Canada) in New

York City (photos). Exhibition and publication opportunities. Centerfold

documents a road trip by Buster Cleveland covering San Francisco, Toronto,

Florida, New York, and New York City, featuring appearances by Gaglione

(USA), Banana (Canada), Nancy Frank (USA), "Will-O-Be Sharp" (USA), et al.

Inter (La Revue Intervention). Andrée Fortin, Jean-Claude

Gagnon, Robert Délinas, Richard Martel, Alain-Martin Richard,

Editors. St. Jean, Québec, Canada. 1984-2001.

No. 25 (Autumn 1984). Offset. 11"x8 1/2". 60 pages. "In Memoriam

George Maciunas." Interview with Hervé Fischer (France). Publication reviews,

including "Lightworks," "DOC(K)S," and "Art Com."


No. 28 (Summer 1985). Offset. 12"x9". Unpaged. "Cavellini and Monty

Cantsin," by Monty Cantsin (Canada).

No. 29 (Autumn 1985). Offset. 11"x8 1/2". 84 pages. Listing of art

periodicals in the Le Lieu (organization publishing the magazine) archive.

No. 30 ((Winter (1986). Offset and Mixed Media. 11"x8 1/2". 69

pages. Fluxus. "The Box," by Llys Dana. "Contact-Réseau," section lists

periodicals of interest including "Lightworks," "DOC(K)S," and "Rampike."

No. 31 (Spring 1986). Offset. 12"x9". 65 pages. Joseph Beuys, 1921-

1986. "Contacts Réseau."

No. 32 (Summer 1986). Offset and Mixed Media. 12"x9". 66 pages.

Publication reviews include "Box of Water," Art/Life," "High Performance" and

"George Macunias and the Face of Time," by Fred Truck (USA).

No. 33 (Autumn 1986). Offset. 12"x9". 63 pages. Visual Poetry in Italy.

Notice of a Mail Art "vitrine" exhibited by Jean-Claude Gagnon, in connection

with the group, Réparation de Poésie.

No. 34 (Winter 1987). Offset. 12"x9". (62 pages). Inserted poster lists

concerns of the periodical including "Poésie Visuelle, Nouvelle Musique, Théatre

Expériméntal, Art Actuel, Festivals D' In(ter)vention, Editions Marginales, Mail

Art, Poésie Sonore, Revue des Revues, Photographie, Installation, Video, Audio

Art, Performance, Art Engagé." Special Mail Art section with contributions by

Anna Banana (Canada), Daniel Daligand (France), Rod Summers (Holland),

Carlo Pittore (USA), Chuck Stake (Canada), et al. "Heil Mail Art," by Daniel

Daligand (France). "Orientation for the Use of a Context and the context for the

use of an Orientation," by Karen Eliot. "Publications D'Art Postal," by Jacques

Massa (France), mentions "Mani Art," "Le Timbre," Photostatic," et al.

No. 35 (Spring 1987). Offset. 12"x9". 65 pages. "Espéces Nomades

features short biographies of Monty Cantsin (Canada), Jean-Claude Gagnon

(Canada), Jürgen Olbrich (Germany), Wolfgang Hainke (Germany). Nomads in

Germany (Chuck Stake, Jürgen Olbrich, Manfred Vançi Stirnemann, Günther

Ruch, et al.). "Smile" magazine. "Neoist Propaganda" lists 54 people using the

name. Report of Berlin Neoist Apartment Festival.

No. 36 (Summer 1987). Offset. 12"x9". 65 pages. Rod Summers

(Holland), "V.E.C. Computer Poem Display." Chuck Stake (Canada). Photocopy

Art by Emilio Morandi (Italy). Artistamps by Carlo Pittore (USA).


No. 52 (1991). Offset. 13 1/2"x8 3/4". 62 pages. Special section on

Hungary mentions Artpool (György Galantai). "Crhonique de L'Abominable

Homme des Lettres," by Jean-Claude Gagnon features Mail Art publications,

exhibition catalogs and project announcements, including works by Henning

Mittendorf (Germany), Pascal Lenoir (France), Peter Kaufmann (Switzerland),

Alberto Rizzi (Italy), Guillermo Deisler (East Germany). Reprint of the

announcement for the "Decentralized World-Wide Networker Congress 1992."

No. 53 ([1992]). Offset. 13 1/2"x8 3/4". 64 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and project announcements by Clemente Padin

(Uruguay), Luce Fierens (Belgium), De Decker Geert (Belguim), Cesar

Figueiredo (Portugal), Ruggero Maggi (Italy), Judith Hoffberg (USA), et al.

No. 60 (1994). Offset. 13 1/2"x8 3/4". 64 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and project announcements by Guy Bleus

(Belgium), Emillio Morandi (Italy), Anna Banana (Canada(, Pascal Lenoir

(France), Alessandro Ceccotto (Italy), Guillermo Deisler (Germany), Andréa

Ovcinnicoff (Italy), Ryosuke Cohen (Japan), Abelardo Mena (Cuba), et al.

"Premiére Rencontre International d'Art Postal," recounts the activities of a

"Networker Congress" in Québec, May 19-24, 1994 with Anna Banana (Canada),

Jean-Claude Gagnon (Canada), Monty Cantsin (Canada), Malcolm Reid

(Canada), John Held, Jr. (USA), State of Being (USA), Emilio Morandi (Italy),

Giovanni and Renata Stada (Italy), Marcel Stüssi (Switzerland), Rafaël

Courtosisie (Uruguay), et al.

No. 61 (1995). Offset. 13 1/2"x8 3/4". 77 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Dirk Frohlich (Germany),

Emanuele Calo (Italy), Guy Bleus (Belgium), Lancillotto Bellini (Italy), Nenad

Bogdanovic (Yugoslavia), Dobrica Kamperelic (Yugoslavia), Pascal Lenoir

(France), Antonio Gomez (Spain), Mauricio Guerrero (Mexico), et al.

No. 62 (1995). Offset. 13 1/2"x8 3/4". 92 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Baudhuin Simon (Belgium),

Shozo Shimamoto (Japan), Pascal Lenoir (France), John Held, J. (USA), John

M. Bennett (USA), Ryosuke Cohen (Japan), Jean-François Robic (France), Alice

Borealis (USA), Reid Wood (USA), Allesandro Ceccotto (Italy), et al.

No. 63 (1995). Offset. 13 1/2"x8 3/4". 76 pages.

No. 64 (1996). Offset. 13 1/2"x8 3/4". 69 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art


publications, exhibition catalogs and projects by M. B. Corbett (USA), La

Toanvinh (Canada), Reika Yamamoto (Japan), Judith Hoffberg (USA), Anna

Banana (Canada), Sol Cultural (Spain), Mielle Christophe (France), John Held,

Jr. (USA), Banco de Ideas Z (Cuba), Luce Fierens (Belguim), Ashley Parker

Owens (USA), et al.

No. 65 (1996). Offset. 13 1/2"x8 3/4". 77 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Clemente Padin (Uruguay),

"Score Magazine" (USA), John Byrum (USA), M. B. Corbett (USA), Cracker Jack

Kid (USA), Hans Braumüller (Chile), Juan Agius (Switzerland), Guy Bleus

(Belgium),Artpool (Hungary), et al.

No. 67 (1997). Offset. 13 1/2"x8 3/4". 83 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Jean-François Robic (France),

Andrea Ovcinnicoff (Italy), Lucien Suel (France), Merz Mail (Spain), et al.

No. 68 (1997). Offset. 13 1/2"x8 3/4". 76 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by BubbhaBabalMamaDadaDan

(AKA Dan Landrum) (USA), David Dellafiora (England), John Held, Jr. (USA),

Diane Bertrand (Canada), Ed Varney (Canada), et al.

No. 71 (1998). Offset. 13 1/2"x8 3/4". 83 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Juan Aguis (Switzerland), J. M.

Callega (Spain), Anna Banana (Canada), Malcolm Reid (Canada), Aleksandr

Zhamailo (Ukraine), Angela Pähler (Germany, et al.

No. 72 (1999). Offset. 13 1/2"x8 3/4". 83 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Francis Fan Mail (Ireland),

Christian Laporte (France), Manfred Vançi Stirnemann (Switzerland), Planet

Dada (England), Judith Hoffberg (USA), Thierry Tillier (Belgium), Ryosuke Cohen

(Japan), Henning Mittendorf (Germany), Fernando Aguiar (Portugal), Michael

Lumb (England), Ruud Janssen (Holland), et al.

No. 73 (1999). Offset. 13 1/2"x8 3/4". 92 pages. Dick Higgins, 1939-

1998. "Crhonique de L'Abominable Homme des Lettres," by Jean-Claude

Gagnon features Mail Art publications, exhibition catalogs and projects by Keiichi

Nakamura (Japan), Anna Banana (Canada), Cesar Regelo Campos (Spain),

Predrag popoic (Yugoslavia), Magda Lagerwerf (Holland), Angela and Peter

Netmail (Germany), et al.


No. 74 (1999). Offset. 13 1/2"x8 3/4". 76 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Guy Bleus (Belgium), Ruud

Janssen (Holland), Fernando Garcia Delgado (Argentina), Ryosuke Cohen

(Japan), Clemente Padin (Uruguay), Emilio Morandi (Italy), La Toan Vinh

(Canada), Carlo Pittore (USA), Eberhard Janke (Germany), et al.

No. 75 (2000). Offset. 13 1/2"x8 3/4". 74 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Vittorio Baccelli (Italy), Robin

Crozier (England), Christian Laporte (France), Scientist Sam (USA), Keiichi

Nakamura (Japan), Jean-François Robic (France), Henning Mittendorf

(Germany), Vittore Baroni (Italy), Le Peintre Nato (France), et al.

No. 76 (2000). Offset. 13 1/2"x8 3/4". 75 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Reed Aaltemus (USA),

Dragonfly Dream (USA), Angela and Peter Netmail (Germany), Artpool

(Hungary), Judith Hoffberg (USA), Wilfried Nold (Germany), Pascal Lenoir

(France), Dale Speirs (Canada), et al.

No. 77 (2000). Offset. 13 1/2"x8 3/4". 89 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by Jorg Seiffert (Germany), Guido

Vermeulen (Belgium), Dr Teresinka Pereira (USA), Vittore Baroni (USA), John

Byrum (USA), Guy Bleus (Belguim), Clemente Padin (Uruguay), Bruno Sourdin

(France), Nenad Bogdanovic (Yugoslavia), Lucien Suel (France), et al.

No. 78 (2001). Offset. 13 1/2"x8 3/4". 80 pages. "Crhonique de

L'Abominable Homme des Lettres," by Jean-Claude Gagnon features Mail Art

publications, exhibition catalogs and projects by José Vandenbroucke (Belgium),

A1 Waste Paper Co. Ltd. (England), Dobrica Kamperelic (Yugoslavia), Anna

Boschi (Italy), Diane Bertrand (Canada), Keiichi Nakamura (Japan), Carlo Pittore

(USA), et al.

No. 79 (2001). Offset. 13 1/2"x9". 80 pages. Performance art and

installation work by Andre Stitt (England). "Crhonique de L'Abominable Homme

des Lettres," by Jean-Claude Gagnon features Mail Art publications, exhibition

catalogs and projects by Vincent Courtois (France), Ginger Mason (USA), Dada

Kan (Japan), Reed Altemus (USA), Julien Blaine (France), Vittore Baroni (Italy),

Pascal Lenoir (France), Carla Bertola (Italy), Diane Bertrand (Canada). Jean-

Françoise Robic (France), Reid Wood (aka State of Being, USA), Emilio Morandi

(Italy), et al.


Interface. Advanced Computing Center for the Arts and Design,

Editors. Ohio State University, Columbus, Ohio. 1991.

Vol. 3, No. 2 (October 1991). Offset. 11"x8 1/2". 19 pages. "Some

Notes on The Reflux Project," by Wayne Draznin, discusses the project by Artur

Matuck, Carnegie Mellon University, which formed a component of the

"Decentralized World-Wide Networker Congress 1992." Computer art by Steve

Bradley, organizer of, "Post-Modem Facsimile," exhibition at the College of New

Rochelle, New York.

Vol. 5, No. 1 (September 1993). Offset. 11"x8 1/2". 19 pages.

"Gallery" section features Paul Rutkovsky (USA), editor of "Get, "Do Doo Daa

Florida," et al.

International Artists' Cooperation. Klaus Groh, Editor.

Edewecht-Fr'Fehn, Germany. 1977.

No. 25 (1977). Photocopy. 8 1/4"x5 3/4". 4 pages. One of the first Mail

Art info-zines listing exhibition and publication opportunities in the Eternal

network. Examples in this issue include "Seventh assembling," by Richard

Kostelanetz (USA), Mike Crane (USA) seeking contributions for a "Brief History

of Correspondance Art," preparation for a book on Visual Poetry by Bill Gaglione

(USA), Stempelplaats Gallery (Amsterdam, Holland), Mildura Arts Centre

(Australia), et al.

International Electrographic Magazine. Christian Rigal, Editor.

Paris, France. 1991.

Vol. 1, No. 1 (January 1, 1991). Photocopy. 11 3/4"x8 1/4". (12

pages). "A Publication: The International Electrographic Magazine," by the

editor. Works by Valentine Plisnier (France). International Museum of

Electrography (Spain).

International Poetry. Teresinka Pereira, Editor. University of

Colorado, Boulder, Colorado. 1982.

No. 36 ([1985]). Photocopy. 8 1/2"x5 1/2". 36 pages. Contributions by

Afzet (Holland), Christian Laporte (France), Daniel Passeado Branco Ribeiro

(Brazil), Guillermo Deisler (Bulgaria), Clemente Padin (Uruguay), Pascal Lenoir

(France), et al.

Interpretive Science. Julian Davis, Editor. BSBN Publishing,

Minneapolis, Minnesota. 1993.


No. 6 (1993). Photocopy. 11"x8 1/2". (35 pages). Contributions by Julee

Peeslee (USA), Guy Bleus (Belgium), M. B. Corbett (USA), FaGaGaGa (USA),

Obvious Front (USA), Jonathan Stangroom (USA), et al.

Invitation to Temple. José VdBroucke, Editor. Deerlijk. Belgium).

1990.

(October, 2, 1990). Photocopy. 8 1/4"x5 3/4". (75 pages).

Contributions to a project, requesting the contributors to add to imagery

distributed by the editor. Contributions by Jenny De Groot (Holland), Robin

Crozier (England), John Held, Jr. (USA), Ruggero Maggi (Italy), Pawel Petasz

(Poland), Michael Leigh (England), Emilio Morandi (Italy), Pascal Lenoir

(France), et al.

Irons Bulletin. Raphael Nadolny, Editor. Mosina, Poland. 1995.

No. 2 (November 1992). Photocopy. 8 1/4"x5 3/4" 4 pages. Special

issue with "Art-Zine Gallery." Introduction from the catalogue by N. Toxic

(Poland). "In the beginning this event was to be one evening-art-zines authors

meeting. But lots of answers and support of our idea made us extend this event

to three days...'Art-Zine-Gallery' is meeting only part of art-zine and mail-art

authors mostly from Poland. We hope that form and range will increased in the

future." The editor displayed a selection of Mail Art from his project, "In Memory

of Salvador Dali," at this event. Participant list. Mail Art exhibition, project and

publication opportunities.

No. 9 (February 1995). Photocopy. 8 1/4"x5 3/4". (12 pages). "In this

number of IRONs bulletin and some next I'd like to give more attention to art and

artists from countries, which are considered as periphery of the Europe,

somewhere on its borders. We don't have so much contacts with artists from

Romania, Bulgaria, Ukraine, Belarus and Baltic countries." Contributions by

Birger Jesch (Germany), Luc Fierens (Belgium), Ruud Janssen (Holland), Peter

and Angela Netmail (Germany), Ashley Parker Owens (USA), et al. Newspaper

reprint of Ray Johnson obituary.

Irregular Quarterly. Dion Wright, Editor. Laguna Beach,

California. 1987.

Vol. 3, No. 3 (1987). Photocopy. 8 1/2"x7". 148 pages. Includes,

"American Writer: A Jack Saunders Sampling."


IS. Vic d'Or, Editor. Toronto, Canada. 1975.

No. 17 (Fall 1975). Offset. 12 1/2"x8 1/2". (36 pages). Transcript of the

proceedings of the dinner celebrating "The Hollywood Deccadance, Art's

Birthday," at the Elk's Lodge, Los Angeles, California, February 2, 1974. This

was the first big gathering of Mail Artists, drawing participants from throughout

Canada (General Idea and Western Front) and the West Coast of the United

States. Those taking part included Marcel idea (Canada), A. A. Bronson

(Canada), Irene dogmatic (USA), Felix Partz (Canada), Lowell Darling (USA),

Willoughby Sharp (USA), Dr. Brute (Canada), Anna Banana (Canada), Futzie

Nutzle (USA), Vic d'Or (Canada), Chip Lord (USA), Bill Gaglione (USA), the

Oinga Boinga Band (England), et al. Awards given out in various categories,

including "The Spirit of Ray," award. An important document of the emerging

Eternal Network. Designed by A. A. Bronson (Canada).

ISCA Quarterly, The. Louise Neaderland, Editor. The

International Society of Copier Artists, Brooklyn, New York.

1986-1997.

Vol. 4, No. 4 (Summer 1986). Photocopy and Mixed Media. 11"x8

1/2". (Unpaged). Assembling magazine. "First Annual Bookworks Edition."

Sixteen-page catalog accompanies the work. Thirty-seven contributors including

Phyllis Cairns (USA), Freya Zabitsky (USA), David Jarvis (England), Claire

Moore (USA), Marilyn Rosenberg (USA), Carol Stetser (USA), Candy Jernigan

(USA), Dick Torchia (USA), Fruit Basket Upset (USA), Sarah Jackson (Canada),

et al.

Vol. 5, No. 1 (Fall 1986). Photocopy (Color & B&W) and Mixed

Media. 11"x8 1/2". (42 pages). Assembling magazine. Photocopy

contributions from 43 artists including Louise Neaderland (USA), Minoy (USA),

Homer Springer (USA), Carolyn Bery (USA), Phyllis Cairns (USA), Fruit Basket

Upset (USA), David Jarvis (England), et al. Edition 200.

Vol. 5, No. 2 (Winter 1986). Photocopy and Mixed Media. 11"x8

1/2". (50 pages). Assembling magazine. Photocopy Art. Fifty-one contributors

including Heino Partanen (Finland), David Jarvis (England), Phyllis Cairns (USA),

Museum für Fotokopie (Germany), Sarah Jackson (Canada), Minoy (USA),

Iberico (Spain), B. J Tisma (USA), et al. Edition 200.

Vol. 5, No. 3 (Spring 1987). Photocopy and Mixed Media. (57

pages). Assembling magazine. Sixty contributors including Sarah Jackson

(Canada), Carol Stetser (USA), Desmond McLean (USA), Marilyn Rosenberg


(USA), Minoy (USA), Tyler Hoare (USA), Fruit Basket Upset (USA), Iberico

(Spain).

Vol. 5, No. 4 (Summer 1987). Photocopy and Mixed Media. 8

1/2"x7". (Unpaged). Assembling magazine. "Second Annual Bookworks

Edition." Ten page catalog, including an untitled essay by William J. Dane,

Newark Public Library, accompany the work. Forty-six contributors including

Minoy (USA), Sarah Jackson (Canada), David Jarvis (England), Fruit Basket

Upset (USA), Carol Stetser (USA), et al.

Vol. 6, No. 1 (Fall 1987). Color and B&W Photocopy. 11"x8 1/2".

(Unpaged). Assembling magazine. "Poster Issue." Fifty-six contributors

including Heino Partanen (Finland), Euphemisms (USA), Fruit Basket Upset

(USA), Homer Springer (USA), Dick Torchia (USA), David Jarvis (England), Tyler

Hoare (USA), Klaus Urbons (Germany), et al.

Vol. 6, No. 2 (Winter 1987). 6 1/2"x4 1/2". (56 postcards). Assembling

magazine. "Second Annual Postcard Issue. Theme: Black and White."

Accompanied by a twenty-page "I.S.C.A. Yellow Pages," listing membership to

the Society. fifty-three contributors including Sarah Jackson (USA), Minoy (USA),

Carol Stetser (USA), David Jarvis (England), Ibirico (Spain), Gerard Barbot

(USA), Dick Torchia (USA), Galaxy Ver Batim (USA), Ruggero Maggi (Italy), et

al.

Vol. 6, No. 3. (Spring 1988). Photocopy and Mixed Media.

(Unpaged). Assembling magazine. Forty-five contributors including David

Jarvis (England), Homer Springer (USA), Carol Stetser (USA), Heino Partanen

(Finland), Fruit Basket Upset (USA), Phyllis Cairns (USA), Carolyn Berry (USA),

et al.

Vol. 6, No. 4 (Summer 1988). Photocopy and Mixed Media. 9"x7".

Unpaged. Assembling magazine. "Third Annual Bookworks Edition. Catalogue

accompanies individual bookworks. Includes the essay, "Library Books?," by

Beth Houghton, Librarian, Tate Gallery (London, England). Fifty-two contributors

including Sarah Jackson (Canada), Carol Stetser (USA), David Jarvis (England),

Galaxy Ver Batim (USA), Homer Springer (USA), Carolyn Berry (USA), Marcello

Diotallevi (Italy), Minoy (USA). Fruit Basket Upset (USA), Phyllis Cairns (USA), et

al.

Vol. 7, No. 1 (Fall 1988). Color and Black & White Photocopy and

Mixed Media. 14 1/2x8 1/2" (oversize). (47 pages). Assembling

magazine. "We now enter our seventh year as an organization devoted to the

promotion of the use of the copier as a creative tool. The 'I. S. C. A. Quarterly'

has earned an international reputation as the premier journal of xerography as a

print and bookworks medium and our traveling exhibition have appeared in


Europe, Canada and the United States..." Forty-five contributors including Phyllis

Cairns (USA), David Jarvis (England), Sarah Jackson (Canada), Homer Springer

(USA), Heino Partanen (Finland), Minoy (USA), Fruit Basket Upset (USA),

Marcello Diotallevi (Italy), et al.

Vol. 7, No. 2 (Winter 1988). Photocopy and Mixed Media. 8 1/2"x5

1/2". Unpaged. Assembling magazine. Photocopy Art. Thirty-five contributors

including Heino Partanen (Finland), Carolyn Berry (USA), Homer Springer

(USA), Marcello Diotallevi (Italy), et al.

Vol. 7, No. 3 (Spring 1989). Photocopy and Mixed Media. 11

1/2"x9". Unpaged. Assembling magazine. Photocopy Art in portfolio. forty

contributors including Carolyn Berry (USA), Homer Springer (USA), State of

Being (USA), Phyllis Cairns (USA), David Jarvis (England), Carol Stetser (USA),

Sarah Jackson (Canada), et al.

Vol. 7, No. 4 (Summer 1989). Photocopy and Mixed Media. 9"x7".

(Unpaged). Assembling magazine. "Fourth Annual Bookworks Issue." Twelvepage

catalogue accompanies the work. Includes the essay, "An ambiguity of

Function: Xerographic Artists Books," by Janice Woo, Brooklyn Museum. Fortyeight

contributors including Marcello Diotallevi (Italy), William Harroff (USA),

Sarah Jackson (Canada), David Jarvis (England), Heino Partanen (Finland),

Reid Wood (USA), et al.

Vol. 8, No. 1 (Fall 1989). Photocopy. 11"x8 1/2". (38 pages).

Assembling magazine. Photocopy Art. forty contributions including Carol Stetser

(USA), Reid Wood (aka State of Being) (USA), Sarah Jackson (Canada), Homer

Springer (USA), et al.

Vol. 8, No. 2 (Winter 1989). Photocopy and Mixed Media. 11"x8

1/2". (34 pages). Assembling magazine. Photocopy Art. Thirty-eight

contributors including Marcello Diotallevi (Italy), Carol Stetser (USA), Reid Wood

(USA), Steve Frenkel (USA), et al.

Vol. 8, No. 3 (Spring 1990). Photocopy and Mixed Media. 11"x8

1/2". (55 pages). Assembling magazine. Photocopy Art. Forty-seven

contributors including Carol Stetser (USA), Reid Wood (USA), Sarah Jackson

(USA), Heino Partanen (Finland), Naomi Ramieri-Hall (USA), William Harroff

(USA), et al. Edition 150.

Vol. 8, No. 4 (Summer 1990). Photocopy and Mixed Media. 9 3/4"x8

1/4". Unpaged. Assembling magazine. "Fifth Annual Bookworks Issue." thirtynine

contributors including Carolyn Berry (USA), Marcello Diotallevi (Italy), Heino

Partanen (Finland), Reid Wood (USA), et al.


Vol. 16, No. 2 (December 1997). Photocopy and Mixed Media. (58

pages). Assembling magazine. Photocopy Art. Fifty-one contributors include

Owen Smith (USA), Eiichi Matsuhashi (Japan), Dietmar Vollmer (Germany), et

al.

It Still Doesn't Matter. Al Ackerman, Editor. (San Antonio, Texas).

(1986).

No. 6&7 ([December 1986]). Photocopy. 11"x8 1/2". (2 pages). Litzine

featuring, "The Return of Ding-Dong Vice in America," by Dr. Al "Arboreal"

Ackerman.

It's the Andy Griffith Comic. John E. Mumbles, Editor. Wichita,

Kansas. 1989.

([1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Drawings and text by the

editor.

IUOMA Magazine. Ruud Janssen, Editor. The International Union

of Mail-Artists, Tilburg, Holland. 1991.

No. 1 (1991). Photocopy. 11 3/4"x8 1/4". 25 pages. "So one has joined

the network just by participating. For outsiders this isn't that easy to understand,

especially when they don't know what Mail-Art is all about. For these outsiders I

invented the I.U.O.M.A. as a kind of joke." Reactions to the project. Contributions

by Carlo Pittore (USA), Lon Spiegelman (USA), O. Jason (England), Arto Posto

(USA), et al. List of members of the I.U.O.M.A., with functions assigned by the

editor. Members and addresses of Mail Artists from 34 countries. Mail Art project

opportunities.

JB Arte Informativo. Jorge Barreto, Editor. Sao Paulo, Brazil.

(1996).

Vol. 2, No. 5 (January/February [1996]). Computer Print. 8 1/4"x4".

(6 pages). Mail Art project opportunities.

Jackpot Years. Mike Gunderloy, Editor. Pretzel Press,

Rensselaer, New York. (1992).


No. 1 ([January 1992]). Photocopy. 11"x8 1/2". 7 pages. "I think just

about everyone getting this will already have heard that after nine years I have

bailed out of publishing Factsheet Five. It was a tough decision to make,

preceded by two weeks of agonizing and followed by two weeks of grief, but it

was definitely the right decision to make." Journal from August through

December 1991. "So what's the story here? Well, I'm sending this out to two

groups of people (which do overlap, of course): Close Personal Friends and zine

editors...I intend to keep this zine small and personal. It will not be available by

subscription, nor will it be on the newsstand."

Joe's Art Corner Newsletter. Joe Decie, Editor. Nottingham,

England. 1999.

No. 2 (July 1999). Photocopy. 11 3/4"x8 1/4". (2 pages). Mail Art perzine.

Editor writes about his continuing Mail Art while pursuing his studies by

writing a dissertation on mail Art. Accompanied by the chart, "Networking: A Map

of a Network Project via Traditional Mail and Internet."

Juxbox Hq. Ulli Kattenstroth, Editor. Berlin, West Germany.

1984.

No. 1 (1984). Photocopy. 11 3/4"x8 1/4". (3 pages). Notice of the

editor's Mail Art exhibition, "Visionen Einer Imaginären Spartakiade am Nordpol."

No. 5 (1984). Photocopy. 11 3/4"x8 1/4". (one page). "Juxboxnetwork at

the moment are Ulli Kattenstroth, Berlin (D); Ruggero Maggi, Milano (I); Mark

Pawson, London (GB); Jürgen Olbrich, Kassel (D); Jörg Sonntag, Dresden

(DDR); and Angelo Vitale, Caserta (I). We've started in March '84 with sending to

each other 'art'-objects to be transmuted and overworked by every participant of

the network and for circulations to the next."

Juxta. Ken Harris and Jim Leftwich, Editors. Charlottesville,

Virginia. 1996.

No. 4 (1996). Photocopy. 11"x8 1/2". (128 pages). Forty-three

contributors including Jake Berry (USA), John M. Bennett (USA), Fernando

Aquiar (Portugal), Avelino de Araujo (Brazil), Clemente Padin (Uruguay),

Spencer Selby (USA), Pedro Juan Gutierrez (Cuba), Ficus Strangulensis (USA),

John Byrum (USA), Mike Basinski (USA), et al.

Kairan: Mail Art Forum. Gianni Simone, Editor. Johnnyboy

Production, Kanagawa-ken, Japan. 2000-2001.


No. 1 (May 2000). Photocopy and Mixed Media. 8 1/4"x5 3/4". 51

pages. Text driven periodical on the critical Mail Art issues of the day. Articles

by Henning Mittendorf (Germany), "The Artist at the Beginning of the new

Millennium (Part 1)"; Ruggero Maggi (Italy), "No Aesthetics But Ethics!"; César

Reglero (Spain), "For a Millennium of Life. No to Death Penalty"; Guido

Vermeulen (Belgium), "Mirror Medicine"; Theo Breuer (Germany), My-mail-Art-

ABC-News No. 5," and "Preface to YE No. 7 1999/2000." Special Feature; Mail

Artists vs. Professional Artists, featuring articles by Clemente Padin, "Debate on

Mail Art"; John Held, jr. (USA), "Point of View"; Charles Berg, "The Stamp Art

and Postal History of Michael Thompson and Michael Hernandez de Luna";

Michael Thompson, "Reply." Other articles include Vittore Baroni (Italy), "Mail Art

& Internet," Ruggero Maggi (Italy), "Mail Art & Technology." More. Graphics by

Michael Thompson (USA), Anna Banana Canada), Keiichi Nakamura (Japan), et

al. "this is copy #11 of Issue # 2.

No. 2 (November 2000). Photocopy and Mixed Media. 8 1/4"x5 3/4".

55 pages. Texts by the editor, "Mail Art and Money Do Mix (But We Can Limit

the Damage);" Hannamaija Teisko (Finland) and Luc Fierens (Belgium), "Letters

and comments to Issue #1;" Henning Mittendorf, "The Artist at the Beginning of

the New Millennium (Part 2);" John Held, Jr. (USA), "Mail Art ABC;" Geert De

Decker (Belgium), "Critical Notes About E-Mail Art;" Gianni Simone (Japan),

"The David Dellafiora Tape Interview;" Clemente Padin (Uruguay), "Trends in

Mail Art Mr. Jensen Wants;" K. Frank Jensen (Denmark), "Defining Mail Art;"

Stephen Perkins (USA), "SMILE Magazine: Collective Identities and the

Mechanics of Historicisation;" Michael Leigh (England), "Mail Art ABC;" et al.

Graphics by Keith Bates (England), John M. Bennett (USA), Emilio Morandi

(Italy), et al. "This is copy #20 of issue #2."

No. 3 (May 2001). Photocopy and Mixed Media. 8 1/4"x5 3/4". 52

pages. Special issue commemorating the 20th anniversary of TRAX project by

Vittore Baroni (Italy) and Piermario Ciani (Italy). Texts by Henning Mittendorf

(Germany), "Hommage a the TRAX Saga;" Wilfried Nold (Germany), "Mail Art

and the 'Cosmic Cross';" The Sticker Dude (USA), "A Question of Balance;"

Vittore Baroni (Italy), "TRAX-the 20th Anniversary Commemorative Rant;" Gianni

Simone (Japan), "Retracing the TRAX;" Sztuka Fabrika (Belgium), "Mail Art

ABC;" Dobrica Kamperelic (Yugoslavia), "The Shortway of the Mind/The

Diagonale of Presentiment;" Keith Bates (England), "A Draft Manifesto of

Abstract Realism; et al. Graphics by Bruno Capatti (Italy), David Dellafiora

(Australia), Emilio Morandi (Italy), Jürgen Olbrich (Germany), et al.

No. 4 (November 2001). Photocopy and Mixed Media. 8 1/4"x5 3/4".

51 pages. Articles by K. Frank Jensen (Denmark), "When is a Documentation a

Documentation?;" Guido Vermeulen (Belgium), "On Documentation;" Ruediger

Boettcher (Germany), "Accumulator of Networking Spirit (A Purifying Mail

Action);" David Baptiste Chirot (USA), "Mail Art: Refuse/Refuse;" Reed Altemus


(USA), "Copy-Art;" Jürgen Olbrich (Germany), "Touching the Material: Some

Thoughts About My Copy-Art;" Gianni Simone (Japan), "A Question of Style?"

Special section on "The Balkans," featuring works by Sasa Stojanovic

(Yugoslavia), Slavko Mali (Yugoslavia), Svjetland Mimica (Croatia), Dobrica

Kamperelic (Yugoslavia), Predrag Petrovic (Yugoslavia). Additional graphics by

Trajce Blazevski (Macedonia), Tatjana Cvejin (Yugoslavia), Slatko Krstevski

(Macedonia), Dusan Lesevic (Yugoslavia), Miroljub Todorovic (Yugoslavia), et al.

Kaldron: A Journal of Visual Poetry and Language. Karl

Kempton, Editor. Grover City, California, 1980-1982

No. 11 (Summer 1980). Newsprint. 17 1/2"x11". (20 pages).

Contributions by Scott Helmes (USA), Betty Danon (Italy), Bill Gaglione (USA),

Paul Zelevansky (USA), Vittore Baroni (Italy), K. S. Ernst (USA), R. Saunders

(USA), Miroljub Toderovic (Yugoslavia), A. de Araugo (Brazil), Bern Porter

(USA), et al. Publication reviews.

No. 12 (Winter Solstice 1980). Newsprint. 17 1/2"x11". (24 pages).

Russian Futurism visual poetry by Illya Zdanevich (1919), curated by Gerald

Janecek (USA).

No. 13 (1981). Newsprint. 17 1/2"x11". (20 pages). Typewriter poems by

the editor.

No. 14 (Spring Equinox 1981). Newsprint. 17 1/2"x11". (20 pages).

Contributions of visual poetry by Ruth Wolf-Rehfield (East Germany), Vittore

Baroni (Italy), Betty Danon (Italy), Guillermo Deisler (Bulgaria), Giovanni Fontana

(Italy), A. de Araujo (Brazil), Scott Helmes (USA), et al.

No. 15 (Fall Equinox 1982). Newsprint. 17 1/2"x11". (20 pages).

Contributions of visual poetry by Marilyn R. Rosenberg (USA), Miekal And

(USA), Vittore Baroni (Italy), Robert Rehfield (East Germany), Miroljub Todorovic

(Yugoslavia), A. de Araugo (Brazil). Paulo Bruscky (Brazil), Guillermo Deisler

(Bulgaria), Ruth Wolf-Rehfield (East Germany), David Cole (USA), et al.

Publication reviews and notices.

Karta Zine. Bartek Nowak, Editor. Myszkow, Poland. (1995).

No. 12 ([1995]). Assembling magazine. Contributions by A. De Araujo

(Brazil), Michael Lumb (England), Peter Netmail (Germany), Fa GaGaGa (USA),

Paulo Bruscky (Brazil), David Dellafiora (Australia), Stephen Perkins (USA),

Giovanni Strada (Italy), Michael Fox (Germany), Keiichi Namamura (Japan), et

al.


KFR-(Kentucky Fried Royalty) Indibase Newsflyer. Andreas

Heilwagen, Editor. Sinzig, West Germany. (1990).

([1990]). Computer print. 5"x4 1/4". (5 pages). "We are searching for

contacts, interested in Mail Art, especially Computer Mail Art."

Kettle of Fisk. Afungusboy, Editor. Brockport, New York; Laurel,

New Jersey; Philadelphia, Pennsylvania. (1991-1993).

Vol. 2, No. 1 ([1991]). Photocopy and Mixed Media. 7"x4 1/4". 16

pages. Graphics by the editor. (Published in Brockport, New York).

Vol. 2, No. 4 ([1992]). Photocopy and Rubber Stamp. 4 1/4"x3 1/2".

(36 pages). Contributions by Mike Diana (USA), buZ blurr (USA), fucci (USA),

Jake Berry (USA), Arturo Fallico (USA), Michel Pollard (People's Republic of

China), et al. (Published in Laurel, New Jersey).

Vol. 2, No. 5 ([March 1992]). Photocopy. 4"x3 1/2". 31 pages.

Contributions by Hoagart (USA), Arturo G. Fallico (USA), Larry Angelo (USA),

Citizen X. (Japan), Mike Diana (USA), et al.

Vol. 3, No. 1 ([1992]). Photocopy and Mixed Media. 5 1/2"x4 1/4". 29

pages. Interview with John M. Bennett (USA). "Memories and Archives," by

John Held, Jr. (USA). "My archives are the echo of my crying out to the network.

The archive becomes a result of my communication with others. All my

correspondence is used to elicit a response. My archives tell me how I'm doing.

They are the summation of my desires and obsessions." "Archive (ing): Notes

from the Network," with statements by Michel Pollard (China), J.K. Post (USA),,

Nicol Kostic (USA) and Larry Angelo (USA). "Nakedwomen: Mail Art Project

Documentation." Contributions by Geof Huth (USA), Arturo G. Fallico (USA),

Kingdom of Edelweiss (USA), Musicmaster (USA), Crackerjack Kid (USA), et al.

Publication notices. (Published in Philadelphia, Pennsylvania).

Vol. 3, No. 2 ([1993]). Photocopy. 5 1/2"x4 1/4". 31 pages. Editorial.

"Some Thoughts on: Xerox Art vs. hand made Art," with replies by M. B. Corbett

(USA), Rubber Grace (USA), et al. "(This is Not a Lecture: From a Letter to

afungusboy Dated August 21, 1991)," by John Held, Jr. (USA). " I'm not sure

how to react to your frustration about the lack of quality in the replies you get to

your work, or no reply at all. I answer everything and try to make as little

distinction as possible between quality/non-quality, age of correspondents,

longevity in the network, etc. People grow. Those who mail junk today might end


up as the masters of tomorrow. It's a question of patience. You need to cultivate

it if you want to hang around the network. Of course, equals tend to find each

other. It's a search and an adventure. I urge you to continue on the path in spite

of the obstacles. It's worth it." More documentation of the "Naked Women

Project." Motivations for networking by Peter Küstermann (Germany).

"Influences," by Arturo G. Fallico (USA). Publication reviews. Addition

contributions by Michel Pollard (USA), Julee Peezlee (USA), Michael Kaczynski

(Poland), Shigeru Tamaru (Japan), buZ blurr (USA). et al.

Vol. 3, No. 3 ([1993]). Photocopy. 5 1/2"x4 1/4". 32 pages. Editorial.

"Networking," by the editor. "(What is) International Networker Culture

(Anyway)?," by John Held, Jr. (USA). "Television Mailart Project Documentation."

Publication reviews. Additional contributions by Jean-Claude Gagnon (Canada),

Mike Diana (USA), Mike Dyar (USA), Nonlocal Variable (USA), Art Ala Carte

(USA), et al.

Kinokaze: Report from the Underground. Mischievous

Productions, Editor. London, England. 1993.

No. 2 (1993). Photocopy, 8 1/4"x5 3/4". 44 pages. Interview with David

Greenberger (USA), Editor of "Duplex Planet." "Neo vs. Neo," Paddy pain

interviews Stewart Home (England) and Monty Cantsin (AKA Istvan Kantor)

(Canada). "Like many avant-garde groups, the Neoists have been plagued by infighting

and splits. The most notorious was the 1985 split initiated by Stewart

Home, novelist, polemicist and provocateur. Home's version of Neoism was

published in 1991 by AK Press as "The Neoist Manifestoes."

kontexts. Michael Gibbs, Editor. Amsterdam, Holland. 1976/1977.

No. 9/10 (Winter 1976/1977). Newsprint and Mixed Media. 10 3/4"x8

1/4". (88 pages). Contributions by Dick Higgins (USA), Fred Truck (USA),

Scott Helmes (USA), Peter Meyer (Sweden), Ulises Carrión (Holland), Robin

Crozier (England), Endre Tot (Hungary), et al. News. Publication reviews.

Contributing Editor, Ulises Carrión.

Kreuz-Aktionen. Wilfred Nold, Editor. Frankfurt, Germany. 2001.

(2001). Offset. 8 1/4"x5 3/4". 48 pages. "I have provided a written

accompaniment to the 'Cosmic Cross' in the form of the 'Kreuz-Aktionen' series

of journals, with a total of five issues and two special issues. The project and the

publications are the result of a personal research programme which I initiated for

myself, for which I am solely responsible, and which I finance on a private basis.

The practical realization of this idealistic idea was only made sufficiently possible

through the medium of Mail Art..." "The Graffiti v Mail Art Project," by Joe Decie

(England).


Kryptogame. Hanna Bremer and Jack Marlow, Editor. Bremen,

Germany. 1980.

No. 2 (April 1980). Offset and Mixed Media. 11 1/2"x8 1/4". 93

pages. Contributions by Vittore Baroni (Italy), Michel Corfou (France), Opal

Louis Nations (USA), et al.

KS. K. S., Editor. Vancouver, Canada. 1982.

No. 47 (1982). Photocopy and Mixed Media. 6 1/2"x4 1/4". (28

pages). Contributions by Gerald Jupitter-Larsen (Canada), Piermario Ciani

(Italy), Birger Jesch (East Germany), Vittore Baroni (Italy), Lon Spiegelman

(USA), Alex Torrid Zone Igloo (USA), A. De Araugo (Brazil), Carlo Pittore (USA),

Ruggero Maggi (Italy), Ed Varney (Canada), Robert Swierkiewicz (Hungary), et

al.

La Langouste. Dominique Leblanc, Editor. Strasbourg, France.

1987-1989.

No. 4/5 (July/August). Photocopy. 11 3/4"x8 1/4". (4 pages).

Informational supplement to the magazine, "Model Peltex." Sections on

Graphics, Records, Music, and Fanzines.

No. 8 (November 5, 1987). Photocopy. 11 3/4"x8 1/4". (4 pages).

"Mail Art" section added. Project and publication opportunities.

No. 9 (December 8, 1987). Photocopy. 11 3/4"x8 1/4". (4 pages).

Pascal Lenoir (France) responsible for the Mail Art section of the info-zine.

No. 12 (March 7, 1988). Photocopy. 11 3/4"x8 1/4". (4 pages).

Expanded Mail Art section features publication, exhibition and project

opportunities.

No. 13 (April 7, 1988). Photocopy. 11 3/4"x8 1/4". (4 pages). Mail Art

publication, exhibition and project opportunities. "Art Postal: Comment ça

Marche!!!," by Pascal Lenoir (France). Graphics by Ryosuke Cohen (Japan), Luc

Fierens (Belgium), et al.

No. 20 (Spring 1989). Photocopy. 11 3/4"x8 1/4". (12 pages). Pascal

Lenoir (France) responsible for the mail Art section. Mail Art publication,

exhibition and project opportunities. Graphics by Mike Duquette (Canada),

Teruyuki Tsubouchi (Japan), et al.


la mamelle. C. E. Loeffler, Editor. San Francisco, California.

1975.

Vol. 1, No. 2 (Fall 1975). Offset. 11"x8 1/2". 48 pages. Anna Banana,

"Discovery of the Banana." Ken Friedman, "Perspective: Brief Notes on an

Exhibition." Tyler James Hoare, "Xerography-Process and History."

Vol. 1, No. 3 (Winter 1976). Newsprint. 18"x11 1/2" (oversize). 30

pages. Video Issue. "Still Another Interview Between Dudley Finds and

Lowell Darling-Hollywood, 1975," by Lowell Darling (USA). "Eleanor Antin: An

Interview with Mary Stofflet." "Literary Video," by Richard Kostelanetz (USA).

Vol. 1, No. 4 (Spring 1976). Newsprint. 22 3/4"x17 1/2" (oversize).

27 pages. Performance issue. Contributions by Daddaland (aka Bill Gaglione,

USA), Anna Banana (USA), Monte Cazazza (USA), et al.

Laugh Clown Laugh. "eddie & fifi", Editor. Wickatunk, New

Jersey. (1990-1995).

No. 1 ([1990]). Photocopy with Mixed Media. 11"x8 1/2". (22 pages).

Contributions by Gene Kuhn (USA), Malok (USA), et al.

No. 2 (1991). Photocopy and Mixed Media. 11"x8 1/2". (28 pages).

Contributions by Mike Diana (USA), Jeanie M. (USA), et al. "Mail Art

Conspiracy."

No. 3 ([1992]). Photocopy and Mixed Media. 11"x8 1/2". (20 pages).

Assembling magazine. Contributions by Jeanie M. (USA), Guy Hensel (USA),

Ficus Strangulenisis (USA), Mike Diana (USA), Dogfish (USA), Paul Weinman

(USA), et al.

No. 3 (([1992]). Photocopy and Mixed Media. 11"x8 1/2". (20 pages).

Assembling magazine. As above. Variant.

No. 6 ([1995]). Photocopy and Mixed Media. 11"x8 1/2". (20 pages).

Assembling magazine. Contributions by Mike Diana (USA), J. Vasseur (USA), et

al.

Laughing Postman. Dr. Al Ackerman, Editor. Portland, Oregon.

1981.


No. 3 (1981). Photocopy. 11"x8 1/2". (5 pages). Ackerman on "Duplex

Planet." Editor David B. Greenberger replies.

Le Timbre. Daniel Daligand, Editor. Levallois, France. 1983-1992

No. 2 (May 1983). Photocopy. 11 3/4"x8 1/4". (9 pages). Published in

English. "Is Mail-Art Art or Not?," by the editor. "Mail Art is also a kind of critic of

the reigning way of living. If mail-art cannot change the world, it can express the

universal wish to change it into a true human world. It's why mail-art is

important." "A Brief History of Mail Art in Europe," by the editor. "In the Mailbox,"

features correspondence from Mogens Otto Nielsen (Denmark), Plagiat

(Denmark), Mario Giavino (Italy), Ryosuke Cohen (Japan), Dobrica Kamperelic

(Yugoslavia). Contributions by Guillermo Deisler (Bulgaria), Klaus Groh

(Germany), et al. Published in an edition of 100 copies.

No. 3 (July 1983). Photocopy. 11 3/4"x8 1/4". (8 pages). Published in

Spanish. "Elogio del Arte Correo," by the editor. Text by Ruggero Maggi (Italy).

MailArt exhibition and publication opportunities. Contributions by Klaus Groh

(Germany). Guillermo Deisler (Bulgaria), Vittore Baroni (Italy), et al.

No. 4 (August/September 1983). Photocopy. 11 3/4"x8 1/4". (12

pages). Published in Italian. Contributions by Serse Luigetti (Italy), X.C.L.

Francke (Holland), Anna Banana (Canada), Arno Arts (Holland), Roberto Zito

(Italy), Guillermo Deisler (Bulgaria), et al. Mail Art exhibition opportunities. "Mail

Art/Debate-Inquest," by Ruggero Maggi (Italy). "Arte Postale,: by the editor.

No. 6 (January 1984). Photocopy. 11 3/4"x8 1/4". (10 pages). "This

issue is mainly on east European countries: Jugoslavia, German Democratic

Rep., Bulgaria,...unfortunately we did receive anything from Poland since some

months, and we never received anything from USSR." reprint of article by the

editor published in Yugoslavia. Contributions by Andrej Tisma (Yugoslavia),

Dobrica Kamperelic (Yugoslavia), Robert Rehfield (East Germany), Ruth Wolf-

Rehfield (East Germany), Guillermo Deisler (Bulgaria), Filimir (Yugoslavia), et al.

Edition 100.

No. 7 (February/March 84). Photocopy. 11 3/4"x8 1/4". (14 pages).

"L'Art Postal: Un Pretexte Pour L'Unite," by Clemente Padin (Uruguay). Text by

Eduardo Diaz Espinoza (Chile) on Padins' imprisonment by the government on

"suspicion of contravening public security of the state." Names and addresses of

Mail Artists listed in, "In the Mail Box." Mail Art exhibition, publication and project

opportunities. Contribution by Ben Vautier (France).

(No. 8) (1984). Photocopy. 11 3/4"x8 1/4". (12 pages). "Since our last

issue in February, we have received 2,5 kg of mail art..." "Il Contraiburo Della

Mail-Art All Nuove Esperienze Visive di Scrittura," by Bruno Chiarlone (Italy).


Open letter to D. Ronny Cohen (USA) written by crackerjack Kid (USA).

Contributions by David Cole (USA), Damasco Ogaz (Venezuela), Manfred Martin

(East Germany), et al. Mail Art project, exhibition and publication opportunities.

No. 9 (September 1984). Photocopy. 11 3/4"x8 1/4". (12 pages). "As

usual Le TImbre is issued at 100 copies it contents: -Mail Art in Mexico. -In the

mail box. -past and coming exhibitions. I apologize for the correspondance I

forgot to mention. no computer has been used in its fabrication." Contributions by

Andrej Tisma (Yugoslavia), Ryosuke Cohen (Japan), Guy Bleus (Belgium),

Ruggero Maggi (Italy), Crackerjack Kid (USA), Robert Swierkiewicz (Hungary),

Carlo Pittore (USA), Damasco Ogaz (Venezuela), Clemente Padin (Uruguay), et

al.

Nouvelle Série, No. 1 (August 1986). Photocopy. 11 3/4"x8 1/4".

(18 pages). Special issue on Brazil. "Arte Correio: Hoje a Arte é Este

Comunicado," by Paulo Bruscky. "1st Congresso Frances-Brasileiro de Arte

Correio," with Daniel Daligand (France), and Brazilians Paulo Bruscky, Daniel

Santiago, Iota Medeiros, L. F. Duch, Silvio Hansen, Artur Matuck, Alexandre

Nobrega, Eurince Duarte, Unhandeijara Lisboa, Roberto da Silva, and Mauricio

Silva. Photos of the Congress. Edition 55/100.

Nouvelle Série, No. 2 (October 1986). Photocopy. 11 3/4"x8 1/4". (6

pages). "Mail Art Congress in Paris," with Jacques Massa (France), Daniel

Daligand (France), Charles François (Belgium), Andrezej Dudek-Dürer (Poland),

Elie-Gérard Maman (France). "Resolution" (1). Mail art is communication. (2).

Every man is an artist but he is not conscious of being an artists. To become

artist he must act with the consciousness of being an artist when he is making

bread, pizza, shoes, and so on. (3). mail art has no limitation, no convention, no

jury... (4). mail art is not for sale." Edition 58/100.

Nouvelle Série, No. 3 (November 1986). Photocopy and Rubber

Stamp. 11 3/4"x8 1/4". (8 pages). "Venice" issue. "Mail Art Congress in

Venice, November 13, 1986," with participants Lancillotto Bellini (Italy), Daniel

Daligand (France), Christiane Daligand (France), Giovanni Bragantini (Italy).

Edition 83/100.

Nouvelle Série, No. 4 (January 1987). Photocopy. 11 3/4"x8 1/4". (8

pages). "Shozo Shimamoto á Paris." Performance at Diagonale with Ben

Vautier (France) writing on the shaven head of Shimamoto (Japan). Visits with

Joki Mail Art (Germany) and Jacques Massa (France). Edition 93/100.

Nouvelle Série, No. 5 (October 1987). Photocopy. 11 3/4"x8 1/4".

(10 pages). "Paris 6th September 1987: Fernand & Claudine Barbot were in

France." News and coming events. "Mail At Ten Years After: a common project

by Leonhard Frank Duch (Brazil) and Daniel Daligand (France)."


Nouvelle Série, No. 6 (April 1988). Photocopy. 11 3/4"x8 1/4". (912

pages). "Special Exhibitions." Reproduction of various Mail Art exhibition

invitations, including Jenny de Groot (Holland), Jean-Noël Laszlo (France), AU

(Japan), Pawel Petasz (Poland), et al.

Nouvelle Série, (August 1988). Photocopy and Photograph. 11

3/4"x8 1/4". (10 pages). "Special Japon." Documentation of "World Peace for

Hiroshima," events (Hiroshima, Nishinomiya, Osaka, Ryujin, Kyoto, Sennan,

Nagano, Tokyo) with the editor, John Held, Jr., (USA), Gerard Barbot (USA),

Ruggero Maggi (Italy), Shozo Shimamoto (Japan), Ryosuke Cohen (Japan),

Mayumi Handa (Japan), Shigero Tamatsu (Japan), et al.

Nouvelle Série, No. 9 (February 1990). Photocopy and Rubber

Stamp. 11 3/4"x8 1/4". (16 pages). "What is Mail Art?" Statements by Paul

Hartel (Canada), Michael Leigh (England), John Held, Jr. (USA), Guido Bondioli

(Guatemala), Lancillotto Bellini (Italy), FaGaGaGa (USA), Peter Küstermann

(Germany), Ruud Janssen (Holland), Andrej Tisma (Yugoslavia), Ruggero Maggi

(Italy), et al. List of 61 mail Artists responding to the question. Edition 88/100.

Nouvelle Série, No. 10 (September 1990). Photocopy and Rubber

Stamps. 11 3/4"x8 1/4". (12 pages). Photo documentation of meetings in

Paris by Mail Artists Fernand Barbot (USA), Françoise Duvivier (France), Shozo

Shimamoto (Japan), and Mayumi Handa (Japan). The editor visits Dallas, Texas,

to meet John Held, Jr. (USA). Exhibition opportunities.

Nouvelle Série (1992). Photocopy. 11 3/4"x8 1/4". (16 pages).

"Special Congress 1992." Peter Küstermann in Paris, January 1992.

"Decentralized Worldwide Networker Congress 1992: Compiegne, France,

February 28, 1992." Participants included Daniel Daligand (France), Gilberto

Prado (Brazil), Charles François (Belgium), Jean-Noël Laszlo (France), Pascal

Lenoir (France), et al.

Nouvelle Série (1992). Photocopy. 11 3/4"x8 1/4". (10 pages).

"Decentralized World Wide Networker Congress: 1992 Liege/Maastricht." August

7-9, 1992. Documentation of the Congress with participants Daniel Daligand

(France), Gilberto Prado (Brazil), Charles François (Belgium), Metallic Avau

(Belgium), Volker Hamann (Belgium), Guy Stuckens (Belgium), Luc Fierens

(Belgium), Rod Summers (Holland), H. R. Fricker (Switzerland), et al.

Left-Handed. Ric Soloway (AKA Tip Top), Editor. Tucson,

Arizona. (1974).


([1974]). Quickprint. 5 1/2"x4 1/4". (16 pages). Early "Bay Area Dada"

publication, circa 1974. Contributors include Linda Vista (USA), Futzie Nutzle

(USA), TipTop (USA), Roger Yogis (USA), Aldous Tubb (USA).

Leisure. Matthew Fuller, Editor. Cardiff, Wales. (1991).

([1991]). Newsprint. 16 1/2"x11 3/4". (8 pages). "The Anticopyright

network distributes just about anything that an be squeezed through a

photocopier. It spreads the widest and wildest collection of agitational and

generally scurrilous art / flyposters available worldwide." "Listings" include

mentions of Mark Pawson (England), "ND" and "Retrofuturism" magazines.

([1991]). Offset. 11 3/4"x8 1/4". (24 pages). Publication by the author of

"Flyposter Frenzy" (Working Press, 1992). "Network: Beyond the Cathode

Homelands," by the editor. "Who Were the Situationists?" "Contacts" section lists

"Censoria From Censorium," "Arte Postale!," magazine edited by Vittore Baroni

(Italy), Stewart Home (England), Mark Pawson (England), FaGaGaGa (USA),

"The Decentralized Worldwide Networker Congress 1992." Back cover by O.

Jason (AKA Institute of Fatuous Research) (England).

LET's ALL ENJOY The CHAOs of Life: A newsletter from the

dispatcher of Signs & Stones. Guido Vermeulen, Editor.

Brussels, Belgium. 2001.

(June 2001). Photocopy. 11 3/4"x8 1/4". (6 pages). Mail Art publication,

exhibition and project opportunities. Stampsheet by A.1. Waste Paper Co. Ltd.

Listing of French Mail Artists.

Lettre Documentaire. Philippe Billé. Editor. Bordeaux, France.

1989-1990.

No. 1 (October 1998). Photocopy. 8 1/4"x5 3/4". (4 pages). "A Propos

de l'Internationale Situationniste et de son Historicisation: Conversation avec

Ralph Rumney, par Stewart Home," translated from English to French by the

editor. Past publishing history and letter to "Factsheet Five" by the editor.

No. 2 (November 1989). Photocopy. 8 1/4"x5 3/4". (4 pages). Tracing

the publishing history of Lloyd Dunn (USA), editor of "PhotoStatic" and

"Retrofuturism" magazines. Notice of a project by Jean-Françoise Robic

(France). Graphic from NYCS, Nyack Campus (USA).


No. 3 (December 1989). Photocopy. 8 1/4"x5 3/4". (4 pages). Graphic

by John Rininger (USA). "Le marriage du chateau Fort," by Michel Ohl (France).

Poem by John M. Bennett (USA), translated into French by the editor.

No. 4 (January 1990). Photocopy. 8 1/4"x5 3/4". (6 pages). On "Art

Strike, 1990-1993." Includes a bibliography of publications in regard to the "Art

Strike." Inserted text in English by the editor, reading in part, "Nevertheless, there

is without doubt much to deplore, and so to criticize, in the present state of arts,

culture & civilization: at least enough, I think, to make it possible to consider this

unrealist idea of the Art Strike (1990-1993) as opportune, even if only as a curse,

or an invitation to reflection."

No. 5 (February 1990). Photocopy. 8 1/4"x5 3/4". (4 pages).

No. 6 (Mid-February 1990). Photocopy. 8 1/4"x5 3/4". (4 pages).

Reflections on "Art Strike, 1990-1993," by Jacques Abeille (France), Jacques

Massa (France), Jean-François Robic (France), et al.

No. 7 (March 1990). Photocopy. 8 1/4"x5 3/4". (4 pages). Interview

with the art group, Presence Panchounette (France).

LEVEL. Brian Callahan, Editor. Indianapolis, Indiana. 1982-1988.

No. 1 (June 1982). Photocopy and Mixed Media. 11"x8 1/2'.

Unpaged. Assembling magazine. "LEVEL is a non-linear newsletter based on

the promulgation of Art and information; designed to release the reader from the

thraldom of three dimensions and open up the ability to experience and operate

on all levels./LEVEL is an opportunity for all readers to become part of the

creative process. The newsletter is compiled from the contributions of readers

whose creations find no compatible pigeon-hole in linear, restrictive, predictable

magazines. We will publish almost anything in LEVEL, provided it is not illegal or

too long./copyrights for all items appearing in LEVEL remain in the hands of the

contributor. We are merely a distribution network, a spaceship to carry the

visions of Post-P3 Mutants to others of their kind. It is a toy." Contributions by

Victor Vanix (USA), Dennis Baldwin (USA), the editor, et al.

No. 2 (September 1982). Photocopy and Mixed Media. (Unpaged).

Assembling magazine. Sixteen contributors. "LEVEL MAGAZINE cannot exist

without your contributions of artworks, writings, toys etc...If you would like to see

more of this thing then help us to offer a wider variety of materials by sending

your contributions to us. We will see that they are distributed to others like

yourself who are motivated enough to react to our simple request. We do not

solicit any profit from this venture...only the nominal costs incurred through

packaging and mailing the contributions of our subscribers./Our mailing list at


this time numbers 100./You are but one of a hundred others who have been

chosen to receive our send issue and in return all that we are asking is a

response... that is all...a postcard telling us how you liked or disliked the

contents, an idea or two on how we might upgrade the effort, a printing press if

you happen to have an extra one gathering dust in your kitchen...that is

all./There ain't no editor at LEVEL MAGAZINE headquarters in Indianapolis. Just

some-intellectual' artist types stuffing manila envelopes full of your stuff and

lickin' the stamps that get LEVEL into your mailbox. This is the whole idea

behind LEVEL MAGAZINE. We don't edit any fucking thing except explosives or

threats to public figures."

No. 3 (January 1983). Photocopy and Mixed Media. 11"x8 1/2"

(oversize). Unpaged. Assembling magazine. Contributions by the staff of

LEVEL including Victor Vanix (USA), Brian Callahan (USA), Kathryn Hawley

(USA), et al. "Letters to LEVEL." "Contributing to LEVEL 4."

(No. 4) (n.d.). Photocopy and Mixed Media. 14"x10" (oversize).

Unpaged. No issue number specified. Poster issue. Contributions by C(arol)

Schneck (USA), Musicmaster (USA), Richard Kostelanetz (USA), Annie (aka

Annie Wittels, USA), State of Being (aka Reid Wood, USA), Laura Poll (USA),

Geoff Huth (USA), et al.

No. 5 (December 1983). Photocopy and Mixed Media. 12"x9 1/2"

(oversize). Unpaged. Assembling magazine. Contributions by Joe Schwind

(USA), Mark Bloch (USA), et al. Also contains "Mail Art Page" and

"Publication/Music Listing."

No. 6 (June 1984). Mixed Media. 11 3/4"x9 1/4". Unpaged. "Do you

like to receive mail? Do you like to receive strange things in the mail? Would you

like to receive strange things from strangers in the mail????? Finally, civilization

has advanced to the point where this is possible, and LEVEL is the result!/Here

is how LEVEL works: People from all around the planet each send 105 mailable

objects to LEVEL. an edition of 105 issues of LEVEL is made, with one mailable

object from each contributor in each copy. so, the end result is a box full of

stories, cartoons, drawings, toys, whatever. Each issue is unique and different

from the others." Forty contributors by Minóy (USA), Xerox Sutra Editions (aka

Liz Was and Miekal And, USA), Vittore Baroni (Italy), Luke McGuff (USA), Steve

Willis (USA), Mr. Bop (USA), et al. Extensive listing of Mail Art publications.

No. 7 ([1985]). Mixed media. 11 3/4"x9 1/2". Unpaged. Assembling

magazine. Approximately 40 contributors including Vittore Baroni (Italy), Minoy

(USA), Fruit Basket Upset (USA), Ruggero Maggi (Italy), Ryosuke Cohen

(Japan), Mike Mather (USA), et al. Includes an information sheet with sections

on "Mail Art," "Resources," and "Publications." In a portfolio with a cover by

Victor Vanix (USA).


No. 7 ([1985]). Mixed media. 11 3/4"x9 1/2". Unpaged. Variant copy.

No 1-7 (July 1985). Mixed Media. 12 1/2"x9 3/4". Unpaged.

Assembling magazine. "Here are items from old LEVELS #1-7.

No. 8 (July 1985). Mixed Media. 12"x9". Unpaged. Assembling

magazine. Approximately 50 contributors including Vittore Baroni (Italy), Ryosuke

Cohen (Japan), Ruggero Maggi (Italy), Keith Bates (England), Achim Schnyder

(Germany), Carlo Pittore (USA), John M. Bennett (USA), Teresinka Pereira

(USA), Mick Mather (USA), Jürgen Olbrich (Germany), Minoy (USA), Luc Fierens

(Belgium), Wolfgang Hainke (Germany), Miekal And and Liz Was (USA), et al.

Includes a list of Mail Art contacts. Address list of contributors. Sheet for

contributors to "Level" includes instructions to, "Send us 105 copies of your

submission. We will put one of your items in each package. You will receive one

copy of LEVEL for each submission, maximum two copies...Send us a copy of

your submission and 10 cents per page (20 cents for both sides of a page); we

will copy it for you with the best quality and material that we can get for the

money. You will receive one copy of LEVEL...Send us your Magazine, Art,

Catalog, Publication, Promo for inclusion in our Listings. Every issue we list

publications, art and music outlets." Sheet listing "Publications" and "Resources."

Packaged in a silk-screened cloth bag.

No. 8 (July 1985). Mixed Media. 12"x9" (oversize). Unpaged. Variant

copy.

No. 9 (April 1986). Mixed Media. 9 1/2"x6 1/2". Unpaged. Assembling

magazine. 51 contributors including Keith Bates (England), John M. Bennett

(USA), Epistolary Stud Farm (USA), Pat Fish (USA), Wolfgang Hainke (West

Germany), Ruggero Maggi (Italy), Teresinka Pereira (USA), Carol Stetser (USA),

Jürgen Olbrich (West Germany), Vittore Baroni (Italy), Luc Fierens (Belgium),

Carlo Pittore (USA), Achim Schnyder (West Germany), Lon Spiegelman (USA),

Malok (USA), Joe Schwind (USA), John Held, Jr. (USA), Bern Porter (USA),

Craig Hill (USA), et al. Eight-page insert lists "Mail Art," "Resources," and

"Publication," sections.

No. 10 (January 1987). Mixed Media. 11 1/2"x9". Unpaged.

Assembling magazine. Approximately 50 contributors including Ryosuke Cohen

(Japan), Mark Pawson (England), Serse Luigetti (Italy), Ruggero Maggi (Italy),

Steve Perkins (USA), Minoy (USA). John Held, Jr. (USA), Achim Schnyder (West

Germany), Pat Fish (USA), Lon Spiegelman (USA), Carol Stetser (USA), et al.

No. 10 (January 1987). Mixed Media. 11 1/2"x9" (oversize).

Unpaged. Variant copy.


No. 11 (July 1987). Mixed Media. 9"x7". Unpaged. Assembling

magazine. Issue Theme: "Dead Things." contributors include Vittore Baroni

(Italy), Park Pawson (England), Minoy (USA), Pat Fish (USA), John M. Bennett

(USA), The Mumbles (USA), Luc Fierens (Belgium), Malok (USA), et al.

No. 12 ([1988]). Mixed Media. 9 1/2"x6 1/4". Unpaged. Assembling

magazine. "Liberty Mail Art Show." Contributors include Steve Perkins (USA),

Fruit Basket Upset (USA), Vittore Baroni (Italy), Jürgen Olbrich (West Germany),

Chuck Stake (Canada), Lon Spiegelman (USA), Ruggero Maggi (Italy), Mark

Pawson (England), Serse Luigetti (Italy), John Held, Jr. (USA), Carlo Pittore

(USA), Carol Stetser (USA), Carol Schneck (USA), Pat Fish (USA), Tentatively A

Convenience (USA), et al.

Libellus: A Monthly Mail-Art Publication. Guy Schraenen, Editor.

International Cultureel Centrum, Antwerp, Belgium. 1981.

No. 5 (February 1981). Newsprint with Rubber Stamps. 11 3/4"x8

1/4". (8 pages). "Mail Art News," includes information of exhibition and

publication opportunities. Contributions (in the manner of "Brain Cell," with

snippets of images culled from the editor's correspondence) by 39 artists,

including J. H. Kocman (Czechoslovakia), Robert Filliou (France), Richard C.

(USA), Cavellini (Italy), Guillermo Deisler (Bulgaria), Ruth Wolf-Rehfield (East

Germany), Horace Zabala (Argentina), Robert Rehfield (East Germany), Richard

Kostelanetz (USA), Ben Vautier (France), Metallic Avau (Belgium), Hervé

Fischer (France), A. De Araujo (Brazil), et al. List of Mail Art received daily from

January 2-31, 1981. "Libellus is published monthly until October 1981, date of

the Antwerp International Mail-Art Festival. This festival will include several

projects such as postage stamps, audio-cassettes, postcards, yellow-pages,

video, mail-art history, etc. All your mail will also be displayed monthly in our

show-window."

No. 7 (April 1981). Newsprint with Rubber Stamps. 11 3/4"x8 1/4". (8

pages). "Mail Art News," includes information on exhibition and publication

opportunities. List of Mail Art received by the editor from March 2-31, 1981.

Contributions by approx. 60 artists, including Henryk Bzdok (Poland), E. F.

Higgins III (USA), Ko de Jonge (Holland), Miroljub Todorovic (Yugoslavia),

George Brett (USA), Carlo Pittore (USA), Tane (New Zealand), Paulo Bruscky

(Brazil), Bill Gaglione (USA), Robert Rehfield (East Germany), Crackerjack Kid

(USA), György Galantai (Hungary), G. A. Cavellini (Italy), Damasco Ogaz

(Venezuela), Pawel Petasz (Poland), et al.

No. 8 (May 1981). Newsprint with Rubber Stamps. 11 3/4"x8 1/4". (4

pages). "Mail Art News," lists exhibition and publication opportunities. Journal of

Mail Art received by the editor from April 1-April 30, 1981. Contributions by


György Galantai (Hungary), David Jarvis (England), E. F. Higgins III (USA),

George Brett (USA), Johan Van Geluwe (Belgium), et al.

No. 9 (June 1981). Newsprint with Rubber Stamps. 11 3/4"x8 1/4". (8

pages). "Mail Art News," lists exhibition and publication opportunities. Journal of

Mail Art received by the editor from May 2-30, 1981. "Mail Art Shows Manifesto"

distributed by Lon Spiegelman (USA). "Mail-Art Dada Skank," song lyrics by Rod

Summers (Holland). Contributions by Arno Arts (Holland), Vigo-Marx (Argentina),

Vittore Baroni (Italy), Damasco Ogaz (Venezuela), Crackerjack Kid (USA), et al.

(August 1981). Newsprint with Rubber Stamps. 11 3/4"x8 1/4". (8

pages). "Mail Art News," lists exhibition and publication opportunities. Journal of

Mail Art received by the editor from July 1-August 31, 1981). Contributions by Bill

Gaglione (USA), Johan Van Geluwe (Belgium), Ulises Carrion (Holland), Rolf

Staeck (West Germany), Gábor Tóth (Hungary), Leonhard F. Duch (Brazil), J. H.

Kocman (Czechoslovakia), Mohammed Centro di Comunicazione Ristretta

(Italy), et al.

Light of the He-Art. Svjetlana Mimica, Editor. Split, Croatia. 1992-

1996.

No. 7 (June 1992). Typewriter Carbon Paper. 11 3/4"x8 1/4". (2

pages). Poem by Kimmo Framelius (Finland). "News" includes mentions of

José VD Broucke, Antonio Cherchi (Italy), Ruggero Maggi (Italy), et al. "Special

thanks to Croatian good friend John Held Jr." "People on the Street are Talking

About...Mail Art." One response from "Maja (23, unemployed artist). It's loosing

of time if it's not a payable job. Network? What will I do about it?"

No. 8 (July 1992). Typewriter Carbon Paper. 11 3/4"x8 1/4". (2

pages). "How I've Gotta be Objective-I Feel Like a Movie," by Malok (USA).

"Mail Art News" includes mentions of Barry Edgar and Eve Pilcher (England),

Eliot Cantsin (USA), Mike Dyar (USA), FaGaGaGa (USA). Poem by Kimmo

Framelius (Finland).

No. 19 (June 1993). Photocopy, 8 1/4"x5 3/4". (2 pages). "Magazine

for ordinary people-contents news from 25/4 '93 til 16/5 '93." Mail Art news about

the activities of Ashley Parker Owens (USA), Peter Küstermann (Germany), Joss

(Belgium), Toast Posts (USA). "People on the Street are Talking About-Ordinary

People," contains responses to the editor's question asked to friends and

strangers on the street.


No. 23 (October 1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "This

issue contents news from 30/8 - 10/10 '93, Written and designed by Mimic-

Croatian Mail-Artist." News section mentions Raphael Nadolny (Poland), Sergio

Spadoni (Italy), Ruud Janssen (Holland), Bill Gaglione (USA), John Held, Jr.

(USA), Joki Mail Art (Germany), et al.. "People on the Streets are Talking

About...Global Mail Art." "During last month we put some articles and adds (sic)

in a local papers and mail-boxes in Split, waiting for answers...but, nobody

answered!"

No. 23 (1993). Photocopy. 8 1/4"x5 3/4". (2 pages). "News from 16/5

'93-18/6 '93. Mentions Kimmo Framelius (Finland), Birger Jesch (Germany),

John Held, Jr. (USA), Obvious Fish (USA), Ruud Janssen (Holland), et al.

"People on the Streets are Talking About..."

No. 21 (1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "Mail Art News,"

mentions Ashley Parker Owens (USA), Giovanni Strada (Italy), Shozo

Shimamoto (Japan), Jose VD Broucke (Belgium), Greg Byrd (USA), Shigeru

Tamaru (Japan), Ruud Janssen (Holland), Ruben Contreras (Panama), et al.

"People on the Streets...How could you use your life the best? Are you happy

man/woman?"

No. 22 (1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "Contents are

from 20/7-30/8 '93." "Mail Art News" mentions Malok (USA), M. B. Corbett (USA),

Vincze Laszlo (Romania). Societe Anonyme (Belgium), FaGaGaGa (USA),

Ashley Parker Owens (USA), et al. "People of the Streets are Talking

About...How Your cultural life looks like in a war?" A typical response by Mirjana

(30, lawyer) reads, "People, especially refugees, come to the library every daythey

read a lot, there's no other fun for them (it's cheap) and there's no

electricity. I'm not so interested in reading or something else-I read only

(journals) for women."

No. 25 (December 1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "Mail

Art News" includes mention of Melissa Clark (Canada), Ruud Janssen (Holland),

John Held, Jr. (USA), Kracker Jack Kid (sic) (USA), et al. "Invitation! Important!

What can you do fro a war hospital in Nova Billa, Bosnia? You can save 60,000

lives. How? You artists of the world, can show sympathy for the children born in

cellars who can't go to school, who are killed by snipers and granates (sic)...The

most important is that we, mail artists all over the world, as a common people,

wouldn't stop the believe (sic) that we can do nothing. We can, we wish and we

have to open the white ways for the people and children which are eaten by a

black death of silence and resignation." "The last bridge on Neretva river in

Mostar, more 400 years old, is destroyed by Serbian bombs. We asked people

on the streets...do you still believe in a bridges between people?"

No. 32 (July 1994). Photocopy with Rubber Stamp. 11 3/4"x8 1/4". (2

pages). "This issue contents news from 25/5 94-26/6 94." Mail Arts mentioned


in news section include Pips (Germany), Phillipe Billé (France), Ruud Janssen

(Holland), Melissa Clark (Canada), Sdenek Sima (Czech Republic), et al.

"People on the Streets are Talking About...Summer Vacations."

No. 44/45/46 (October/November/December 1995). Photocopy. 11

3/4"x8 1/4". (2 pages). "Mail Art News" mentions Clemente Padin (Uruguay),

Guido Bondioli (Guatemala), Bruno Pollacci (Italy), et al. "People in the Street

are Talking About...What will you do in peace?" One response by "Ljerka

(pensioned editor, 82) When I've first time traveled by train from Zagreb to Split, I

had seen so terrible views-corpses on the streets, burned hauses (sic), mad

cows and dogs, destroyed churches and cemeteries...I wept all the time. I'll live

as before. I can nothing to hope for." Poetry by Elliot Cantsin (USA).

No. 50/51/52 (April/May/June 1996). Photocopy. 11 3/4"x8 1/4". (2

pages). "Mail Art News" mentions Keiichi Nakamura (Japan), K. Frank Jensen

(Denmark), et al. poetry by Alberto Rizzi (Italy). "People on the Street are Talking

About...Do you want to Include Yourself in Mail Art? (Second Part)." One

response by Marcelo (model maker-he makes models of ships)-I'm pensioned.

Do you know what does it mean? It means that I haven't money even to survive.

I haven't intention to give my ships so far away fro home for the exhibition. And

who will pay expenses for mail? Me? Are you crazy?"

Lightworks. Deborah Schwartz; Charlton Burch, Editor. Ann

Arbor, Michigan; Brookline, Massachusetts; Birmingham,

Michigan. 1976- 2000.

Vol. 1, No. 2 (February 1976). Newsprint. 15 1/2"x111/2" (oversize).

(12 pages). "With no apologies or reservations here is the first in a long line of

Lightworks. Back-breaking and mind boggling as it was, we are overjoyed to

bring this to you...the important thing is that our readers find a little bit of joy and

information in these pages. And if you do send along your comments. feedback

is the best quality control. Submissions are also welcome. One of your crazy

ideas could make you famous." "Correspondence" features mail from Third Story

(aka Charlton Burch, USA), future editor of the magazine. Deborah Schwartz

(USA), editor. Published in Ann Arbor, Michigan.

Vol. 1, No. 3 (March 1976). Newsprint. 15"x11 1/2" (oversize). (16

pages). "Art Flash Cards," by Third Story (aka Charlton Burch, USA). Deborah

Schwartz (USA), editor. Published in Ann Arbor, Michigan.

Vol. 1, No. 4 (April 1976). Newsprint. 15"x11 1/2" (oversize). (20

pages). "Correspondence." "Mail Art: Communications Media," by Third story

(aka Charlton Burch, USA). "Our images are transmissions of our spirit. The

synthesis yields place and rotation via positive media where content and control


lie solely with the artists. Here comes the return to one-to-one...The premise is

and has been that we are all the artists of our own making. focusing and

Centering...The Eternal network a notion developed by FILE (Manhattan-based

presently) and the image Bank of Vancouver are two Canadian enclaves visibly

demonstrating that you too can be a worldwide famous artist via

correspondence. Contributions by Ray Johnson (USA), Robert Rehfield (East

Germany), Rain-Rein Nevermind (USA), et al. Eric Keller (USA), Publisher. Co-

Edited by Deborah Schwartz (USA) and Charlton Burch. Published in Ann Arbor,

Michigan.

Vol. 1, No. 5 (June 1976). Newsprint. 15"x11 1/2" (oversize). 27

pages. "A Journal of Images, Ideas & Information." "Correspondence." "Nam

June Paik," by Mariane Doezema (USA) focuses on the artist's video

contributions. Contributions by Third Story (aka Charlton Burch, USA) and Jim

Shaw (USA). Published by Eric Keller (USA). Co-Edited by Charlton Burch and

Eric Keller. Published in Ann Arbor, Michigan.

No. 6 (December-January, 1977). Newsprint. 15"x11 1/4" (oversize).

38 pages. "Mail," has contributions from John M. Bennett (USA), Rolf Staeck

(West Germany), Mike Kelly (USA), Harley (aka Harley Lond, Intermedia, USA),

et al. "Xerography," by Charlton Burch (USA). "Out of the technological hovel of

the sixties springs Xerography as a potent and viable source for truly

democratized communication and media art forms. Xerograpy, or electrostatic

photo-mechanical reproduction or xerox, its non-generic, patented tradename,

stands as a virtually instantaneous information image recorder. Every library,

office and public gathering point has adapted the tool as an accessible quick and

high-quality system of reproduction. The consequence of a highly-efficient word

processor is enormous for the businessworld. As well the social and artistic

possibilities also abound." "Xerox Art," by Jim Shaw (USA). Published by Eric

Keller. Co-Edited by Charlton Burch and Eric Keller. Published in Ann Arbor,

Michigan.

No. 7 (Summer 1977). Offset and Mixed Media. 11"x8 1/2".

Unpaged. "Lightworks offers an eclectic view of contemporary graphic art

forms. This issue documents suchdiverse processes of image reproduction and

generation as computer art, hand silk-screened fabrics, photography, paper cutouts,

and xerography, exploring the particular sensitivities of each. 'Lightworks' is

an extension of these pieces themselves in providing the artists with an

acessible and inexpensive means of exposing their work to the public. Out of this

emerges a changing and expanding definition of art as an alternative to

traditional artist/viewer/patron relationships." Includes contributions by John M.

Bennett (USA), E. F. Higgins, III (USA), Opal L. Nations (Canada), et al.

No. 8/9 (Winter 1977). Offset. 11"x8 1/2". 57 pages. Contributions by

Dadaland/Bill Gaglione (USA), G. A. Cavellini (Italy), Ken Saville (USA), Anna

Banana (Canada) et al. "Mail" by Damaso Ogaz (Venezuela), B. Haddock (USA),


Pat Tavenner (USA), Musicmaster (USA), Robert Rehfield (East Germany),

Paulo Bruscky (Brazil), Peter Van Beverin (Holland). "Cavellini 1914-2014,"

"Notes on the History of the Alternative Press," by Ken Friedman (USA).

No. 10 (Fall 1978). Offset. 11"x8 1/2". 64 pages. "Poorman's Art:

Postcards by Ken Brown." "Concrete Poetry," features work by Ruth Wolf-

Rehfeldt (East Germany), Karl Kempton (USA), et al. "And So Forth: Excerpts

from a book by Richard Kostelanetz." "Collage by Ray Johnson," features the

artists work and a small text. "He's a hot New York commodity. As jester to the

fanciful world surrounding him, Ray Johnson has become an artists' artist."

"Correspondence" includes works sent to the magazine by Haddock and Mappo

(USA), Scott Helms (USA), H. Niotou (France). "Correspondence art, a regular

feature in Lightworks, is simply the latest batch of visuals we have received from

artists around the world. Often called mail ar or Post art, it is a fascinating

communications model using the global postal system as its

medium...Lightworks presented an exhibition of mail art this summer at the Ann

Arbor Public Library entitled the 'Envelope Invitational.'"

No. 11/12 (Fall 1979). Offset. 11"x8 1/2". 64 pages. "Art You Can Lick,"

features a text on artistamps with examples by George Maciunas (USA), Donald

Evans (USA), E. F. Higgins, III (USA), Cavellini (Italy), Pawl Petasz (Poland),

Peter Below (Germany), Ken Friedman (USA), Endre Tot (Hungary), Robert

Watts (USA), James Felter (Canada). Patrick Beilman (USA), Harley Francis

(USA), C. T. Chew (USA), and G. E. Marx Vigo (Argentina). Bibliography

accompanies the text. "A Child's History of Fluxus," by Dick Higgins (USA).

"Fluxus in New York," by Peter Frank (USA). "Some More About Fluxus," by

George Brecht (USA). "Three Fluxships," by Geoff Hendricks (USA). Other

contributions on Fluxus by Alison Knowles (USA), Robert Watts (USA), Ray

Johnson (USA), a. m. fine (USA), Ben Vautier (France), Wolf Vostell (Germany).

Additional contributions by Ray DiPalma (USA), and Buzz Spector (USA).

"Correspondence," features work by Angelika Schmidt (West Germany), Vittore

Baroni (Italy), Madam X (USA), Myrna Shiras (USA), et al.

No. 13 (Fall 1980). Offset. 11"x8 1/2". 64 pages. "Alphabets of the New

World," by Opal Louis Nations (Canada). Zero Art. Madam X (USA). "Art

Alternatives in Print," features "Doc(k)s," "The Duplex Planet," 'Kaldron," "The

Keeper (Ackerman, ed.), "Vile," etc. "Correspondence," features the work of

Endre Tót (West Germany), Richard C. (USA) et. al. Short biography on Richard

C(raven). Editorial office: Brookline, Massachusetts.

No. 14/15 (Winter 1981/82). Offset (Ben Vautier "Total Art

Matchbook" on front cover). 11"x8 1/2". 64 pages. "Ben on Ben: an

Interview with and y Ben Vautier." "Art Total," by Ben Vautier. Documentation of

a performance/installation by Paul Rutkovsky (USA), "Don't Step Over the

Fence: Part II." "Landmass Translocation," by George Brecht (USA). "Visual

Poems," by Karl Kempton. A profile of Photocopy artist Sonia Landy Sheridan by


Diane Kirkpatrick. Art by Robert Cumming (USA). Russian Futurism. "Founds,"

by Bern Porter (USA)." Art Alternatives in Print." "Correspondence" features work

by Bill Ray (USA), Guy Schraenen (Belgium), Faith Heisler (USA), Angelika

Schmidt (Germany), buZ blur (USA), Edgardo-Antonio Vigo (Argentina), Barry

Edgar Pilcher (Wales), Steven Durland (USA), et al. "Europeans seem to have a

more acute sense of order. Certainly their outlook on mail art tends to be more

formal, dogmatic and systematized than others. Archives are a good example.

Far and away the greatest concentration of 'official' archives is in Europe. Such

institutions as Artpool...and C.D.O....and Contart...are substantial collections

maintained by zealous advocates of the art form." Focus on Mohammed, a

"center of restricted communication," in Genova, Italy, administrated by Plinio

Mesciulam. Editorial office moved to Birmingham, Michigan.

No. 16 (Winter 1983/1984). Offset. 11"x8 1/2". 64. Cover collage by

Shozo Shimamoto (Japan). Ray Johnson (USA) as "hitch hiker," as conceived by

artist Jim Pallas (USA). "The Stamping Activity of Géza Perneczky," with

examples of the Hungarian/German artists' work in the rubber stamp medium.

"Gutai & the Avant-Garde in Japan," features the work of Shozo Shimamoto. "the

Beginnings of Gutai," by Shozo Shimamoto. "These Things Too," feature

independently published work. "Don't Bother checking the 'New York Times

Bestsellers Lit' to find the items described here. Chances of finding them there

are slim to none. But they're around and very much worth your time and money."

Publications cited include "About Vile," "Bile," "Care," "The Duplex Planet,"

"ISCA Quarterly," "LEVEL," "Me," "My Secret Life in the Mail," "Stampola," et al.

"Mail Art," features work by Billy Curmano (USA), Ryosuke Cohen (Japan),

Dogfish (USA). A. De Araujo (Brazil), Sas Colby (USA), Joan Rabascall (France),

Michel Corfu (France), Magget & Son (USA, and David Miller (USA).

"Correspondence between and among artists and mail art as an artform cannot

be contained. It grows exponentially. There are more shows, more critical

thinking and more exchange than ever....Mail art can be mindless fun or a very

serious, exquisitely rendered, attempt to be in touch with others. Regardless, it is

an art that reaches for contacts allowing full and unfettered ranges of expression

and response. It operates on all sorts of levels and it goes right on in more ways

that anyone can keep track of. Mail art can bring joys. It is its own reward."

No. 17 (1985). Offset. 11"x8 1/2". 56 pages. "Apotypoma: Marking

Territory with Mit Mitropoulos," portrays fine art work by the Greek Mail Artist.

"Xerography" by Edgar Allen Bushmiller (USA), editor of "Thermos" magazine.

"These Things Too" list a number of alternative publications, including "Aerosol,"

"Doo Daa Florida," "Inter," "Kaldron," "Loatta Poetica," "National

Stampagraphic," "Posthype," and "Spiegelman's Mailart Rag," magazines.

"Thrill," by Ray Johnson contributes a work in response the issue's "Sky" theme.

"Seasonal Zipcodes for the Constellations," by Opal L. Nations (Canada) and

Peter Payack. "Mail Art," section includes works by Joki MailArt (Germany), H. R.

Fricker (Switzerland), Hideki (Japan) Serse Luigetti (Italy), Les Cammer (USA),

Gerard Barbot (USA), Steve Random (USA), and Ruggero Maggi (Italy).


No. 18 (Winter 1986/1987). Offset and Mixed Media. 11"x8 1/2". 56

pages. "Art in a Flash: Canadian & German Photocopy," includes work by

Albrecht D. (Germany), Jürgen Kierspel (Germany), Klaus Urbons (Germany), et

al. "A Free Surprise in Every Package: The Adventures of the Cracker Jack Kid,"

discusses the work of mail Artist Chuck Welch (USA). "PoeMvelope," by Joel

Lipman (USA). "Either/Or: Telecommunications Art w/a Contemporaneous

Glance @ Mail Art," by Gary S. Vasilash. "Networking Beyond the Horizon," by

Mit Mitropoulos (Greece). "Glimmerings," notes such alternative publications as

"Box of Water," Factsheet Five," "Assembling," "Clinch," "Our International

Stamps," and a special section on "Smile," magazine. Listing of "serial

publications that have come our way on a continuing basis." "Postscript" features

the work of Guy Bleus (Belgium), Giovanni Strada (Italy), Aloys Ohlmann (West

Germany), Eerie Billie Haddock (USA), Achim Schnyder (West Germany)Thierry

Tilier (Belgium), et al. Stampsheet by Crackerjack Kid (USA) on back cover. Coeditor,

Gary S. Vasilash.

No. 19 (Winter 1988/1989). Offset and Mixed Media. 11"x8 1/2". 56

pages. "Maintaining a Lotus in a Snakepit: the Life and Art of A. M. Fine."

Photography by Czech Mail Artist Ivan Sládek. "Her Weaving, Weaving Ways:

Miscellanea from the Missives of Fran Cutrell Rutkovsky," in which the Mail Artist

takes to weaving paper. "To Tell the Truth," by Stewart Home (England), which

includes an explanation of "Smile" magazine. "The Way We Were: Robin

Crozier's Gathering and Exchange of Memories," illustrated with

"MEMO(RANDOM)s' by Clemente Padin (Uruguay), John M. Bennett (USA), Lon

Spiegelman (USA), et al. A Window on Gaines Street gallery project by Stephen

Bradley (USA). "Glimmerings," focuses on "SMS," compiled by William Copley.

Other publications cited include "AMOK," "Banana Rag," "Photobooth Portraits,"

"Photostatic," Rubberstampmadness," "Get," "ISCA Quarterly," "Stamp Axe," etc.

Special section on the publications of Miekal And (USA) and Liz Was (USA).

"This is (Not) a Recording," by Daniel Plunkett, editor of "ND." Listing of artists

involved in the "cassette underground," includes Klaus Groh (Germany), Minoy

(USA), Peter R. Meyer (Sweden), et al. "Postscript" includes Mail Art by Pat

Larter (Australia), Madam X (USA), Fumiko Tatematsu (Japan), Carl Camu

(Germany), A1 Waste Paper Co. Ltd. (England), Carol Stetser (USA), Damaso

Ogasz (Venezuela), et al. Special section on the Mail Art of Marcello Diotallevi

(Italy). Co-edited with Gary S. Vasilash.

No. 20/21 (1990). Offset. 11"x8 1/2". 72 pages. "Actions on the Outskirts:

An issue of Troublesome Art & Bothersome Ideas (sic)." "Modern Leftovers,"

features notices on the work of E. M. Plunkett (USA) and Brendt Lobach-

Hinweiser (Germany). Artistamps by Jürgen Olbrich (Germany). "Ubiquitous

Absence: The Self-Creating/Self-Sustaining Acts of Richard Kostelanetz.," an

interview conducted by Gary S. Vailash. "Strike Out on Your Own: A Reader's

Guide to Simulated Reality in the Years Without Art." "Mind the Gap: Bridging Art

and Life During a One-Week Mail Art Performance Party in London," by John

Held, Jr., includes information on London Mail Artists Stewart home, Mark


Pawson, Michael Leigh and Hazel Jones (A1 Waste paper Co. Std.), Art Naphro,

Andre Stitt, Shaun Caton, David Jarvis, et al." 'Istvan Kantor,'" by Dr. Al

Ackerman, "Royal Historian of Neoism." "Neoism?! Neoist?! Monty Cantsin?!

Anachro-Neoism?!: Notes from the fast-note-book of Standard writing," by Istvan

Kantor/Monty Cantsin. "Inside Ray Johnson's House," by Matthew Rose.

"Glimmerings," includes information on the periodicals "Brain Cell," The Duplex

Planet," Electronic Cottage," "FILE," "Inter," "Lost and Found Times," "Margaret

Freeman," Metro Riquet," "ND," et al. "Postscript" features a portrait of H. R.

Fricker (Switzerland), as well as work by Mogens Otto Nielson (Denmark), Any

Slayer (USA), Keith Bates (England), Luc Fierens (Belgium), FaGaGaGa (USA),

NYCS Nyack Campus, Crackerjack Kid, et al.

No. 22 (1995-2000). Offset. 11"x8 1/2". 96 pages+CD. "The Ray

Johnson Issue." "This is not the document of Ray Johnson's wall art. It's not

about his famous collages or what remains in museums and for sale in galleries.

It's an issue about the 'atmosphere' of Ray Johnson-the element, the ambient

specifics of who he was and what he did. Years in the making, it's an homage to

the Ray Johnson who made communication, letterwriting and otherwise unlikely

creative gestures his art. It's about Ray's correspondences seen and not seen,

sent or otherwise, and his notions of the world that he caused to flow between

islands of friends, acquaintances and strangers." Includes articles, interviews

and reminiscences by Matthew Rose, Marie Tavroges Stilkind, William S.

Wilson, Edward M. Plunkett, Alison Knowles, Richard Craven, Dick Higgins,

Peter Frank, Geoffrey Hendricks, Charlton Burch, Henry Martin, Clive Phillpot,

Coco Gordon, Anne Collins, Nick Maravell, Richard Connolly, Mike Crane, and

John Held, Jr. CD from a video by Nick Maravell. Profusely illustrated throughout.

One of the best sources of information on the art and life of The Father of Mail

Art.

Lime Green News. Carolyn Substitute, Editor. Florissant,

Missouri; Green Mountain Falls, Colorado. 1993-1997.

No. 2 (February 1993). Photocopy. 8 1/2"x5 1/2". 11 pages. "Beets,"

by Glans T. Sherman (AKA Al Ackerman) (USA). "Dress Carolyn Project"

contributions by Elliot Cantsin (USA), Arte Ala Carte (USA). Backed with "Crispy

Bug Comix," No. 1 (9 pages). Lime green cover.

No. 5 (1993). Photocopy. 11"x8 1/2". (8 pages). "General Comments

About My Life," by the editor. Letters by Malok (USA), Elliot Cantsin (USA), Jake

Berry (USA). Editorial offices moved to Green Mountain Falls, Colorado.

No. 6 (January 1994). Photocopy. 5 1/2"x4 1/4". (32 pages).

Publication reviews including, "Let Them East Massive Amounts of Clay," by Al

Ackerman (USA). Mail Art project opportunities.


No. 7 (February 1994). Photocopy. 11"x8 1/2 ". (8 pages). Letters by

Al Ackerman (USA), Malok (USA), Elliot Cantsin (USA). "Dress Carolyn Project."

No. 8 (1994). Photocopy. 11'x8 1/2". (8 pages). "The Letters Issue."

Correspondence by Crackerjack Kid (USA), Michael Basinksi (USA), Al

Ackerman (USA), John Held, Jr. (USA). Mail Art project opportunities.

No. 9 (1994). Photocopy. 11"x8 1/2". (8 pages). "Poetry Issue," with

contributions by John M. Bennett (USA), Linda Hedges (USA), et al. Mail Art

project and publication opportunities.

No. 11 (February 1995). Photocopy. 8 1/2"x5 1/2". 23 pages.

"Readers' Poll #1." "Blender Art Documentation," lists contributions by 17

participants. List of Mail Art contacts includes Pag-Hat the Rat-Girl (USA), Al

Ackerman (USA), Crackerjack Kid (USA), John Held, Jr. (USA), Ashley Parker

Owens (USA). Letter from Al Ackerman. Exhibition, project and publication

opportunities.

No. 12 (July 1995). Photocopy. 8 1/2"x5 1/2". 23 pages. Letters from

Seth Mason (USA), Teddy Ficklen (USA), John Held, Jr. (USA), Al Ackerman

(USA), et al. Mail Art project, publication and exhibition opportunities.

Contributions by Julee Peeslee USA) and Julie Atomic (USA). "Al Ackerman

Hacks John Bennett." Editorial offices moved to Florissant, Missouri.

No. 13 (September 1995). Photocopy. 8 1/2"x5 1/2". 23 pages.

Letters by Crackerjack Kid (USA), Arte Ala Carte (USA), Bugpost (USA), Luiz

Rebouças Torres (Brazil), Al Ackerman (USA), et al. Artistamp sheet insert. "Y

Mail Art," by Ralf Schulze (USA). "Readers Poll" responses. Mail Art project,

exhibition, and publication opportunities.

No. 14 (February 1996). Photocopy and Rubber Stamp. 8 1/2"x5

1/2". 23 pages. Contributions to "Networker Necklace Project," initiated by the

editor. Visual Poetry by Avelino de Araugo (Brazil). Letters by Seth Mason

(USA), Julee Peeslee (USA), Crackerjack Kid (USA), Pag-Hat the Rat-Girl

(USA), Luis Rebouças Torres (Brazil), Al Ackerman (USA), Ted Ficklen (USA), et

al. "Lime Green News Readers' Poll No. 2," asks 1) Who is the most famous mail

artist? 1.5) Is it wrong to even ask that question? 2) What is your favorite kind of

mail art?, etc." Mail Art project, publication and exhibition opportunities. "Zine

News."

No. 15 (June 1996). Photocopy and Rubber Stamps. 8 1/2"x5 1/2".

23 pages. Collages by the editor. "Plagiarism, the Extreme Code," by Nielsen

Gavina ([USA]). Zine reviews. Zine news. "Stamps and Stamping." "Internet."

Mail Art exhibition, publication and project opportunities.


No. 16 (1997). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 23

pages. Letters from Rusty Clark (USA), Zebraman (USA), Al Ackerman (USA),

et al. "List of Participants in Readers Participation Story." "Lime Green Project

Results: Reader Participation Story." Zine reviews and news. "Mail Art Calls."

No. 17 (October 1997). Photocopy and Rubber Stamp. 8 1/2"x 5

1/2". 24 pages. "Questions for Blaster Al." "Do It Yourself Postage Stamps,"

by John Held, Jr. (USA), followed by "Additional Information Compiled by

Carolyn Substitute." "Mail Art Calls." Zine news and reviews. "Factsheet Five"

review copy, listing publication information.

Lips. Hiroshi Saga, Editor. Kawasaki, Japan. (1989).

Vol. 1 ([1989]). Photocopy. 11 3/4"x8 1/4". 9 pages. Documenting the

editor's Mail Art project of collecting lip prints. Contributors include John Held, Jr.

(USA), Gerard Barbot (USA), Claudine Barbot (USA), Fran Cutrell Rutkovsky

(USA), et al.

LISME. Monty Cantsin (aka Arthur Berkhoff), Editor.

Neositischer Kontrollposten, Amsterdam, Holland. 1985.

No. 3 (July 1985). Photocopy. 8 1/4"x5 3/4". 40 pages. Title is an

anagram of "SMILE" magazine. Contributions by Pete Horobin (Scotland), Robin

Crozier (England), Niels Lomholt (Denmark), Mark Pawson (England), Guy Bleus

(Belgium), Guillermo Deisler (East Germany), Birger Jesch (East Germany),

Damasco Ogaz (Venezuela), David Zack (Mexico), Ryosuke Cohen (Japan),

Dogfish (USA), Leonhard Frank Duch (Brazil), Vittore Baroni (Italy), Carlo Pittore

(USA), Graf Haufen (West Germany), et al.

Litanik. Sylvia James, Editor. Syle, Germany. 1982.

Liste 5 (June 1982). Photocopy. 8 1/4"x6". (20 pages). Small press

distribution service carrying Mail Art items, such as those by Giovanni Fontana

(Italy), "Llys Dana Prod." (France), Vittore Baroni (Italy). Also "Sphinx" magazine

and the Mail Art project catalog, "Mail Art is No Label."

Little Cockroach Press. Maurizio Nannucci, Editor. Art

Metropole, Toronto, Canada. 2000.

No. 17 (2000). Offset. 8"x5". (14 pages). Italian artist continues his

documentation projects by photographing the refrigerators of Canadians John

Goodwin, AA Bronson, Peggy Gale and Michael Snow.


Live from the Stagger Cafe. Luke McGuff, Editor. Minneapolis,

Minnesota. 1986.

No. 3 (Fall 1986). Photocopy. 8 1/2"x5 1/2". 27 pages. Contributions by

Leavenworth Jackson (USA), Candi Strecker (USA), et al.

Ljubav/Love: Bulletin of the Institute for the Spreading of Love.

Andrej Tisma, Editor. Institute for the Spreading of Love, Novi

Sad, Yugoslavia. 1992-1993.

No. 1 (January 1992). Photocopy. 11 3/4"x8 1/4". 7 pages. Editorial.

"In the 'LOVE' bulletin, whose first number you are just holding, we will publish

reports bimonthly on the world-wide love activities, and will send it to those who

show interest in that, and to all collaborators whose contributions will be

published." Essay by the editor, "Reflections on Love." Letter from Siglinde

Kallenbach (Germany). Response by the editor reads in part, "The meditation for

Yugoslavia is a very good thing to do. The art today, I think, should be meditation

and inspiration of people and nature in order to help. The War situation that is at

the moment in Yugoslavia is a good opportunity to send positive waves and

support positive forces that are existing here, but have a really hard time in their

struggle with negative forces that are suddenly released after 50 years of

totalitarism and artificial balance between Yugoslavian nations, republics and

their economies." Documentation of the editor's "Rituals of the Spreading of

Love, 1984-1991."

No. 2 (August 1993). Photocopy. 11 3/4"x8 1/4". 11 pages. "In the

time when we in Yugoslavia are living so close to death, we can feel more clear

how much love is precious and important. If there would be real love between

people there would be no war. It simply could not be possible." Report of the

editor's performance, "43 Cubic Meters of Love," Beograd, March 21, 1992.

Other "Spreading of Love Rituals," performed in Sr. Karlovci, Belgrade and

Senta, Yugoslavia. Contributions by Ruud Janssen (Holland), José VdBroucke

(Belgium), Chuck Welch (USA), Ruggero Maggi (Italy), Vincze Lászlo (Romania)

et al. Extraordinary documents published in wartime conditions.

Lo Straniero (The Stranger). Ignazio Corsaro, Editor. Napoli,

Italy. 1989-1996.

No. 8 (1989). Newsprint. 28"x20". 4 pages. "The Stranger's Directory"

lists "Contributors," (30) and "Applicants," (176). "Contributors" include Marcello

Diotellevi (Italy), Ruggero Maggi (Italy), Friedrich Winnes (East Germany). Form

reading "I would like to have my name and address printed (free of charge)) in

the Stranger's Directory, to be used by other readers for correspondence on art

and culture."


No. 9 (1990). Newsprint. 27 1/4"x19 1/2". "This is the catalogue of the

Fifth Stangers's Exhibition where we estranged artists invite everybody to see

our works and share our ideas but we don't ask/ Visitors to buy our paintings/

Critics to sell us their criticism/ Editors to sell us their publicity/ Politicians to sell

us their help." 88 contributors listed in the Mail Art section. "Stranger's Directory"

contains names and addresses in "Contributor" and "Applicant" categories.

No. 10 (1990). Newsprint. 27 1/2"x19 1/2". (4 pages). "When-five years

ago-I started the publication of this magazine, I made a list of addresses who I

thought could have been interested in it, since then I've added the name of

whoever as asked me, so that by now this list is amply trebled." Large listing of

names and addresses of those involved in alternative culture. "Official Gazette of

Estrangement from the Dishonesty of the Honest!" Contributors to "Poster-

Exhibition Devoted to Man's Inner Revolt and Estrangement," include Philippe

Billé (France), Guy Bleus (Belgium), O. Jason (England), Ruggero Maggi (Italy),

Henning Mittendorf (Germany), Shozo Shimamoto, et al. Art Strike, 1990-1993.

"The Stranger's Directory...Assembles the names, of people interested in

analysing the ideas fostered by 'The Stranger', a magazine devoted to a wide

research on estrangement that, in the domain of art, intends to: 1). fight the

present 'system', that rules the lucrative business of art manipulating premisesorganizations-budgets

through the chain of Editors-Merchants-Critics-Politicians-

Parties. 2). Build a new way based on free communication and freed of official

Mafia." 600 plus names and addresses.

No. 11 (1991). Newsprint. 27 1/2"x19 1/2". (4 pages). "Founded in 1985

by Ignazio Corsaro to be the Mega-Zine Openly Estranged from the Dishonesty

of the Honest." "Stranger's Manifesto." Centerfold, "This Poster is Devoted to

Man's..Inner Revolt and Estrangement." Contributions by Michael Leigh

(England), Guy Bleus (Belgium), H. R. Fricker (Switzerland), Stewart Home

(England), Georgina Margareta Witta Kiessling Smith Jensen (Denmark), Luce

Fierens (Belgium), Arthur Berkoff (Holland), Ruggero Maggi (Italy), Mark Pawson

(England), ManWoman (Canada), Fausto Paci (Italy), Mogens Otto Nielsen

(Denmark), O. Jason (England), Achim Weigelt (West Germany), Dr. Klaus Groh

(West Germany), Mike Gunderloy (USA), Michael Lumb (England), DKA

Productions (USA), Simon Baudhuin (Belgium), et al. "Stranger's Directory," of

which the editor writes "This magazine, devoted to a wide research on

estrangement, in the domain (of) art intends to fight the system that rules the

lucrative business of premises-organizations-budgets through the chain of

Editors-Merchants-Critics-Politicians-Union Leaders, building a new way based

on free communication and freed of official Mafia."

No. 12 (1991). Newsprint. 27 1/2"x19 1/2". 4 pages. "Last Exhibit in

Oxford, May 1991," includes photo-documentation with Dawn Redwood

(England), Barry Pilcher (Wales), et al. "Estranged Artists of all the World Unite

in Sicily, Newt Exhibi6t in Catanaia-September 91." Documentation of the


"Seventh Stranger's Exhibition in Oxford/England," listing contributors. Huge

listing of names and addresses gathered by the editor, coded by their

involvement in the fields of "Art, Biology, Gay/Lesbian, Graphic Arts Literature,

Mailart, Multimedia, Music, Painting, Photography, Politics, Poetry, Psychology,

Radio, Sociology, Universal Mafia, Video, and Zine."

No. 13 (1992). Newsprint. 27 1/2"x19 1/2". 8 pages. "Message About

the War in the Persian Gulf," by Philippe Billé (France). "Message from John

Held, Jr. (USA). "Networker Challenge," by Crackerjack Kid (USA). "In Quest of

Netland," by Guy Bleus (Belgium). Other contributions from afungusboy (USA),

Anna Banana (Canada), Vittore Baroni (Italy), Keith Bates (England), John M.

Bennett (USA), Ryosuke Cohen (Japan), Geert De Decker (Belgium), Pascal

Lenoir (France), Ashley Parker Owens (USA), Jean-François Robic (France),

Antonio-Edgardo Vigo (Argentina), et al. Large listing of names and addresses of

those involved in international networker culture.

No. 14 (1992). Newsprint. 19 1/2"x13 1/2". 12 pages. Section on

"Mailart Network," features contributions by Jean-François Robic (France), John

Held, Jr. (USA), Jim Klingbeil (USA), Maximum Traffic (USA), Irish Art Strike

Action Committee (Ireland), John Evans (USA), Kimmo Framelius (Finland),

Swami Nirmalananda (India), Klaus Groh (Germany), Crackerjack Kid (USA),

Ryosuke Cohen (Japan), et al. "Stranger's Unclassified Director," containing

hundreds of names and addresses. Announcement of the editor's "Anti-System-

Gallery Project."

No. 15 (1993). Offset. 19 1/2"x13 1/2". 12 pages. "Open Letter to an Art

gallery," by Ruggero Maggi (Italy). Photo-documentation of Peter Küstermann

(Germany) and Angela Pähler (Germany) meeting with the editor, Naples, Italy.

"Stranger's directory." Section on "Mailart Network," contains contributions by

Ashley Parker Owens (USA), Alberto Rizzi (Italy), Maximum Traffic (USA), Vittore

Baroni (Italy), Guy Bleus (Belgium), Christian Laporte (France). Richard

Kostelanetz (USA), et al.

No. 16 (1993). Offset. 19 1/2"x13 1/2". 8 pages. "The Stranger's

Directory." Stranger's Mailart Network," includes contributions by The Barbot

Family (USA), Philippe Billé (France), Crackerjack Kid (USA), Eric Finlay

(England), Ruggero Maggi (Italy), Malok (USA), Henning Mittendorf (Germany),

Angela and Peter Netmail (Germany), Aloys Ohlman (Germany), et al. Letter

from Ray Johnson (USA) reads, "Dear Ignazio Coraro, I do not speak one work

of Italian or German...But I plan to send may kinds of letters: 'startling' letters,

'informative ones, 'hilarious', 'delicate', 'involving,' 'mysterious,' 'joyful,' 'crazy,'

'dizzying,' and 'dazzling,' 'transitory' and 'ephemeral,' even 'forget-me-not' letters,

and some more as well...Ray Johnson."

No. 17 (1994). Offset. 19 1/2"x13 1/2". 8 pages. "Contribution to Lo

Straniero. Contribution is open to artists intellectuals and free spirits. dissenters'


opinions are highly welcome for a free debate. Lo Straniero isn't subsidized by

any political party or church, therefore we accept financial contribution towards

the cost of the space-printing-mailing devoted to the publishing of contributors'

works, which we spread all over the world." "The Stranger's Directory." "Mailart

Network" includes contributions from Feh! (USA), Siglinde Kallenbach

(Germany), Angela and Peter Netmail (Germany), Friedrich Winnes (Germany),

et al.

No. 19 (1995). Offset. 19 1/4"x13 3/4". 8 pages. "Stranger's Directory,"

continues with a startling number of international contacts. Contributors to

"Mailart Network," include Carla Nadismo (USA), John Light (England),

Crackerjack Kid (USA), Michael Fox (Germany), Enrico Baj (Italy), et al.

No. 22 (February 1996). Offset. 13"x9 1/2". 24 pages. "Cultural

Contacts," contains listing of names and addresses. "Mailart Network," section

features contributions by Ray Johnson (USA), Picasso Gaglione (USA), John M.

Bennett (USA), Merz Mail (aka Pere Sousa, Spain), Pascal Lenoir (France), et

al. "Stranger's Directory."

Lola Fish. Bruno Pommey, Editor. Mainvilliers, France. 1990-

1996.

No. 3 (1990). Photocopy and Mixed media. 6"x4 1/4". (16 pages).

Editorial. Contributions by José Oliveira (Portugal), Reid Wood (USA), R.

Rupocinski (Poland), Vittore Baroni (Italy). Publication reviews. Project and

publication opportunities.

No. 23 (1995). Photocopy. 6"x4 1/4". 15 pages. Graphics by Baudhuin

Simon (Belgium). Publication reviews.

No. 24 ([1996]). Photocopy. 6"x4 1/4". (20 pages). 23 pages. Editorial.

Contributions by Emanuel Rubin (Brazil), Vincent Courtois (France), Ruscoe

(France), Guido Bondioli (Guatemala), et al. "Press review."

London Psychogeographical Association Newsletter.(Stewart

Home), Editor. East London Section of the London

Psychogeographical Association, London, England. 1994-1995.

No. 6 (1994). Photocopy. 11 3/4"x8 1/4". (4 pages). "Smash the Occult

Establishment," reads the headline splashed across the front cover. Publication

by Stewart Home issued in his Post-Art Strike conspiratorial period. as if written

by one of Home's fictional "Anarcho-Situ" protagonists.


No. 7 (1994). Photocopy. 11 3/4"x8 1/4". (4 pages). "Who Rules

Britain?" Correspondence from Hakim Bey (USA).

No. 8 (1994). Photocopy. 11 3/4"x8 1/4". (4 pages). "Triumph at

Tyburn." Luther Blissett.

(Fall 1994). Photocopy. 11 3/4"x8 1/4". (4 pages). "Bay Area

Supplement." Definitions of "psychogeography; theory; The Fourth Law of

Detournement; and Detournement." "Report by Ivan Shcheglov (alias Gilles

Ivain), adopted by the Lettriste Internationale, October 1953."

No. 9 (1995). Photocopy. 11 3/4"x8 1/4". (4 pages). "Poussin Holds the

Key." "the Preliminary committee for the founding of a new Lettrist International

has been organised by the Neoist Alliance and the LPA. delegates from the

Associazione Psicogeografica di Bologna (Sezione Luther Blissett) attend the

first session (January 1995)."

No. 10 (1995). Photocopy. 11 3/4"x8 1/4". (4 pages)."Kiss of Peace? or

Kiss of Death."

No. 11 (1995). Photocopy. 11 3/4"x8 1/4". (4 pages). "Supercede the

Nuclear Jubilee." "Psigeografica dei Italia," lists "Associazione Psicogeografica"

cells in Italy, along with "The Luther Blissett Situationautic Theatre."

No. 13 (n.d.). Photocopy. 11 3/4"x8 1/4". (4 pages). "Isle of Dogs

Leyline Bombed." Recommended reading includes, "Situationists as

Rosicrucians," by Luther Blissett.

No. 14 (n.d.). Photocopy. 11 3/4"x8 1/4". (4 pages). "Run up to Ritual

Murder."

No. 18 (n.d.) Photocopy. 11 3/4"x8 1/4". (4 pages). "Say NO to the

Millenium."

Lost & Found Times. John M. Bennett, Editor. Luna Bisonte

Prods., Columbus, Ohio. 1983-1998.

No. 13/14 (March 1983). Photocopy. 8 1/2"x5 1/2". (44 pages). Mail

Art lit-zine. Contributions by al Ackerman (USA), Julien Blaine (France), David

Cole (USA), K. S. Ernst (USA), S. Gustav Hägglund (USA), Davi Det Hompson

(USA), Joel Lipman (USA), Harry Polkinhorn (USA), Brendan de Vallance, Paul

Weinman (USA), et al.


No. 30 (July 1992). Photocopy. 8 1/2"x5 1/2". 56 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), Michael Basinski (USA), Jake Berry

(USA), Robin Crozier (England), Richard Kostelanetz (USA), Serse Luigetti

(Italy), Malok (USA), Musicmaster (USA), Rea Nikonova (Russia), Jürgen Olbrich

(Germany), Mark Pawson (England), Fran Cutrell Rutkovsky (USA), Ficus

Strangulensis (USA), et al.

No. 32 (May 1994). Photocopy. 8 1/2"x5 1/2". 52 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), afungusboy (USA), Harry Burras

(USA), Robin Crozier (England), Crag Hill (USA), Richard Kostelanetz (USA),

Joel Lipman (USA), Malok (USA), Musicmaster (USA), Mark Pawson (England),

Serge Segay (Russia), Spencer Selby (USA), et al.

No. 34 (May 1995). Photocopy. 8 1/2"x5 1/2". 52 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), Hans Braumüller (Chile), Robin

Crozier (England), Richard Kostelanetz (USA), Malok (USA), Ry Nikonova

(Russia), Lucien Suel (France), et al.

No. 35 (November 1995). Photocopy. 8 1/2"x5 1/2". 56 pages. Mail

Art lit-zine. Contributions by Al Ackerman (USA), Avelino de Araujo (Brazil), Hans

Braumüller (Chile), Robin Crozier (England), Eberhard Janke (Germany), Willie

Marlowe (USA), Rea Nikonova (Russia), Fran Rutkovsky (USA), Jack Saunders

(USA), Lucien Suel (France), et al.

No. 36 (May 1996). Photocopy. 8 1/2"x5 1/2". 56 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), Vittore Baroni (Italy), Alice Borealis

(USA), Geoffrey Cook (USA), Robin Crozier (England), Kevin Friend (USA),

Richard Kostelanetz (USA), Malok (USA), Musicmaster (USA), Rea Nikonova

(Russia), Rudy Rubberoid (USA), Fran Cutrell Rutkovsky (USA), et al.

No. 38 (May 1997). Photocopy. 8 1/2"x5 1/2". 56 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), Roy Arnella (USA), Luther Blissett

(USA), Malok (USA), Musicmaster (USA), Jack Saunders (USA), Serge Segay

(Russia), Spencer Selby (USA), et al.

No. 39 (November 1997). Photocopy. 8 1/2"x5 1/2". 52 pages. Mail

Art lit-zine. Contributions by Al Ackerman (USA), Diane Bertrand (Canada),

Gerald Burns (USA), Richard Kostelanetz (USA), Dan Landrum (USA), Joel

Lipman (USA), Musicmaster (USA), Jack Saunders (USA), et al.

No. 40 (June 1998). Photocopy. 8 1/2"x5 1/2". 60 pages. Mail Art litzine.

Contributions by Al Ackerman (USA), Michael Basinski (USA), Ficus

Strangulensis (USA), Eberhard Janke (Germany), Richard Kostelanetz (USA),

Scott McLeod (USA), Malok (USA), Serge Segay (Russia), et al.


Love Letters. Sheba, Editor. Exoticia Post, Seattle, Washington.

(1993-1998).

No. 2 ([1993]). Photocopy. 8 1/2"x5 1/2". (24 pages). Love letters, both

found and composed, by contributors. Submissions by mike Dyar (USA),

Dominique Bugpost (USA), Pag-hat the Rat-girl (USA), Buttons (USA), et al.

No. 3 ([1993]). Color and B&W Photocopy. 8 1/2"x5 1/2". (18 pages).

Love letters, both found and composed, by contributors. Submissions by

Tensetendoned (AKA M. B. Corbett) (USA), Bugpost (USA), Obvious Front

(USA), Mike Dyar (USA), Pag-Hat the Rat-Girl (USA), et al.

No. 4 ([1994]). Photocopy. 8 1/2"x5 1/2". (18 pages). Love letters, both

found and composed, by contributors. Submissions by Mike Dyar (USA),

Dominique Bugpost (USA), Tensetendoned (USA), et al. "Letters to the Editor."

No. 5 ([1995]). Photocopy. 8 1/2"x5 1/2". (20 pages). Love letters, both

found and composed, by contributors. submissions by Bugpost (USA), pas de

Chance (Canada), Pag-hat the Rat-Girl (USA), Geoffrey Cook (USA), et al.

No. 6 ([1996]). Photocopy. 8 1/2"x5 1/2". (36 pages). Love letters, both

found and composed, by contributors. Anonymous submissions. "This is not a

correspondence zine. What you see is what you see. We don't write letters, we

don't run personals. We don't care who you are. We want your love letters not

your love. We don't have naked pictures of us for your personal collection. we

just use them in the zine so don't ask."

No. 7 ([1997]). Photocopy and Mixed Media. 8 1/2"x5 1/2". (28

pages). Love letters, both found and composed, by contributors. Submissions

by Bill Gaglione (USA), Mike Dyar (USA), Michael Dittman (USA), et al. "We

publish annually on Valentine's Day."

No. 8 ([1998]). Photocopy. 8 1/2"x5 1/2". (40 pages). Love letters, both

found and composed, by contributors. Anonymous submissions.

Lower Rosedale Review. C. F. Kennedy, Editor. Toronto,

Canada. 1994-(1995).

No. 5 (August 1994). Photocopy. 11"x8 1/2". (8 pages). Reviews "of

small zines found in the mail." Includes reviews of "Action Resource Guide,"

"Brain Cell," "Pips-Dada-Corporation," Malok (USA), "Opuntia," et al.


No. 10 ([1995]). Photocopy. 11"x8 1/2". 12 pages. "Final Issue." "When,

a few years back, it was decided to begin reviewing material sent here in the

mails, by you, the reader (and often publisher)-there was no glitz, no fancy

pictures, no mailart, not even a distorted photo of two, just for decoration.

Instead, it was 'just the words, ma'am, just the words'-and that was what you

got...for now, though, it's time to move along, and to concentrate more on other

things."

LPDA Magazine. Frederic Boucher, Editor. Paris, France. 1986.

No. 86 (May 1986). Photocopy. 8 1/4"x5 3/4". 31 pages. Publication

reviews including "Devil-Paradis," "Mani Art," "Photostatic," "Raunch-O-Rama,"

etc. Contributions by Pierre Marquer (France), et al. Notice for "Mail Art

Congress" at De Media, Eeklo, Belgium.

Lunatique. Jan de Boever, Editor. Lunatique, Eeklo, Belgium.

1983.

No. 6 (1983). Newsprint. 12"x8 1/2". 12 pages. Listing of Mail Art

exhibitions at Lunatique including Cavellini (Italy), Jürgen Olbrich (Germany), Ko

De Jong (Holland), Ruggero Maggi (Italy). Publication and exhibition

opportunities. Centerfold by Ruggero Maggi composed of Mail Art portraits.

"Extra Edition," no. 6a enclosed. "A magazine is a museum of news."

Lund Art Press. Jean Sellem, Editor. School of Architecture,

University of Lund, Lund, Sweden. 1990.

Vol. 1, No. 3 (Spring/Summer 1990). Offset. 8 1/4"x5 3/4". 225

pages. "Contributions by Albrecht/D. (Germany), Michael Duquette (Canada).

Vol. 1, No. 4 (Summer/Autumn 1990). Offset. 8 1/4"x5 3/4". 331

pages. "L'Art Critique de L'Environnement," by Bernd Löbach (Germany),

"Three- Element Stories," by Richard Kostelanetz (USA). "On Fluxus," an

interview with Ken Friedman (Norway). Contributions by Luc Fierens, editor of

"Postfluxbooklets" (Belgium), Dobrica Kamperelic, editor of "Open World"

(Yugoslavia), Ph. Billé, editor of "Lettre Documentaire" (France).

Lyrische Collagen/Lyrical Collages. Peter Küstermann, Editor.

Writers Forum, Minden, Germany. 1982-1985.

No. 3 (1982). Photocopy. 8 1/4"x5 3/4". 21 pages. "A Visit to Britain

1982." The editor became the most traveled "tourist" in the Mail Art network, but

this early work reveals his initial contact with the medium. Invitation to a postcard


Mail Art exhibition, "No Nukes in My Town," organized by the editor. Edition

229/250.

No. 5 (1982). Photocopy. 8 1/4"x5 3/4".39 pages. "Casually Inspecting

the World." Poetry by the editor, his partner Barbara Wehking (Germany), David

Jarvis (England), et al. Edition 269/300.

(June/July 1982). Photocopy. 8 1/4"x5 3/4". (36 pages). Catalog for

the exhibition "Lyrische Collagen," by Peter Küstermann at the Heimatmuseum

Lippstadt, Lippstadt, Germany.

No. 11 (October 1985). Photocopy. 8"x5 1/2". (64 pages). Catalog for

the Mail Art exhibition, "Tempo Mail-Art," organized by Friedhelm Küstermann

(West Germany). Contributions reproduced from all 103 participating artists.

McJob. Julee Peeslee, Editor. Dyslexic, Boulder, Colorado.

(1995-1996).

(No. 1) ([1995]). Photocopy. 8 1/2"x5 1/2". 19 pages. The zine Mail

Artists turn to when venting on their day job. In between on-the-job horror stories,

you'll find information on "global Mail," and some of the editor's many projects.

No. 2 ([1995]). Photocopy. 8 1/2"x5 1/2". 26 pages. "Job Experiences,"

by Obvious Front (USA), Christ Reider (USA), Mike Woolridge (USA),

Musicmaster (USA), Maximum Traffic (USA), et al. Ads for publications including

"Anodyne," Global Mail." and "Craphound."

No. 3 ([1996]). Photocopy. 8 1/2"x5 1/2". 31 pages. "Letters" from Jokie

X. Wilson (USA), Jim goad (USA), et al. "101 Annoying Things that Convenience

Store Customers Do or Types of Annoying Customers," by Jokie X. Wilson.

"Aunt Elvis's," by Ken Miller (US). "Ashey Parker Owens (USA), " Anti-Resume."

No. 4 ([1996]). Photocopy. 8 1/2"x5 1/2". 55 pages. Continuation of "100

Annoying Things that convenience Store customers do or Types of Annoying

Customers," by Jokie X. Wilson (USA). "Hey, rude Clerks: No. 49!." by m. B.

Corbett (USA). "A Work Story," by Ashley Parker Owens (USA).

MadWoman. Helena Perkins, Editor. SisterSerpents, Chicago,

Illinois; Madison, Wisconsin. 1990-1998.

No. 1 (1990). Photocopy. 11"x8 1/2". 36 pages. "Start Carrying

Weapons," by Ashley Parker Owens (USA). Contributions by Caroll Brooks

(USA), Lancillotto Bellini (Italy), et al.


No. 2 (Summer 1991). Photocopy. 11"x8 1/2". 36 pages. "True

confessions from women who laugh in the face of patriarchy while fighting

against the horrors of misogyny." Contributions by Jo-Anne Echevarria Myers

(USA), FaGaGaGa (USA), Willie Marlowe (USA), Barbara Rosenthal (USA), the

editor, et al.

No. 3 (Spring 1992). Newsprint. 11 1/4"x8 3/4". 27 pages. "You will

notice this madwoman is mostly graphics. We're planning for the next one to b

mostly words." Contribution by FaGaGaGa (USA).

No. 4 (Spring 1993). Photocopy. 11"x8 1/2". 48 pages. "A Brief

Hissssstory of Sisterserpents." Contribution by Any Salyer (USA). "Used

Boyfriend Auction." Zine reviews.

No. 5 (January 1994). Photocopy. 8 1/2"x5 1/2". 24 pages.

Contribution by Epistolary Stud Farm (USA). "Used Boyfriend Auction."

No. 6 (August 1994). Photocopy. 8 1/2"x 5 1/2". 44 pages.

Contribution from Birger Jesch (Germany). Zine reviews.

No. 7 (June 1995). Photocopy. 11"x8 1/2". 16 pages. Contributions by

Clemente Padin (Uruguay), Birger Jesch (Germany), Sean Whatever (USA), et

al. "Used Boyfriend Auction."

No. 8 (July 1996). Photocopy. 11"x8 1/2". 20 pages. "Used Boyfriend

Auction." Editorial office moved to Madison, Wisconsin.

No. 9 (December 1997). Photocopy. 11"x8 1/2". 21 pages. Editor has

a miscarriage. "Used Boyfriend Auction." Detourned graphics.

No. 10 (September 1998). Photocopy. 11"x8 1/2". 16 pages. The

editor has a baby. "Used Boyfriend Auction."

Madam X's Gazette. Madame X, Editor. Newspace, Los Angeles,

California. 1992-1993.

No. 11 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "Nothing Happened."

Newspaper mock-up.

No. 12 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "End of the

World/Beginning of the World."

No. 13 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "Bad Guy Day!"


No. 14 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. ""Z-Z-Z-Z."

No. 15 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "Congress Declares:

1/2 of World Unconstitutional."

No. 16 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "Word War I."

No. 17 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "National Normal

Dept."

No. 18 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "Man is Not Part of the

Universe!"

No. 19 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "High Court Rules:

Everybody in Guilty."

No. 20 (n.d.). Photocopy. 5 1/2"x3 1/2". 4 pages. "All is One."

No. 25 ([1992]). Photocopy. 6"x4". (4 pages). "Wise Man Missing."

No. 30 (1993). Photocopy. 7"x4 1/2". (. 12 pages). "Leader Gives State

of the Universe Message."

MADNESS!. Mike Gunderloy, Editor. Medford, Massachusetts.

1984.

No. 1 ([1984]). Photocopy. 11"x8 1/2". (10 pages). By the future founder

and editor of 'Factsheet Five.'" "Well, this first issue of MADNESS! (that being

what I've decided to call this new pseudo-apa) seems to have turned out rather

well. I'm not going to spoilt the fun by telling you who-all is involved; leave that to

the writers themselves." Contributions by Luke McGuff (USA), Phanatasm Press

(USA), et al.

No. 2 (1984). Photocopy. 11"x8 1/2". (10 pages). "The next regular issue

of MADNESS! will be put together on or about August 10th, 1984. Yep, two

whole months down the road (well, almost). Meanwhile, though, I want to try

something different for #3-we'll be doing what Luke McGuff calls 'add-on/passon'

with maybe a twist or two. We'll all work on the same pages, passing 'em

along by mail, and when they get back to me I'll make copies available for a buck

apiece."

No. 5 (1984). Photocopy. 11"x8 1/2". (10 pages). Collage.


No. 6 ([1984]). Photocopy. 11"x8 1/2". (9 pages). "Processed World:

The Real Terror Network," by Bob Black. Collage. Project opportunities.

Mail Art. Jörg Seifert, Editor. Annaberg-Buchholz, West

Germany). 1997.

No. 12 (September 1997). Photocopy and Mixed Media. (17 pages).

Assembling magazine. contributions by Antonio Gomez (Spain), Patricia Collins

(England), Pascal Lenoir (France), Vittore Baroni (Italy), Anne-Miek Bibbe

(Holland), Jürgen Kierspel (Germany), et al. Edition of 20.

Mail Art Archive. Ceccotto Alessandro, Editor. Mail Art Archive,

Adria, Italy. (1991-1992).

No. 2 ([1991]). Photocopy. 8 1/4"x5 3/4". (12 pages). Artistamp sheet by

FaGaGaGa (USA) and John Held, Jr. (USA). "Stamp Art," by Andrej Tisma

(Yugoslavia), "Amazon," by Ruggero Maggi (Italy). "The Question of Mail Art," by

Guy Bleus (Belgium), John Held, Jr. and Carol Stetser (USA). Press release,

"Mail Art: An Annotated Bibliography." "Ecoarte," by Bruno Chiarlone (Italy).

No. 3 ([1992]). Photocopy. 8 1/4"x5 3/4". (16 pages). "From Moticos to

Mail Art: Five Decades of Postal Networking," by John Held, Jr. "Dai Moticos alla

Mail Art: Cinquantanni di Circuita Postale," by John Held, Jr. (translated into

Italian by Alberto Rizzi [Italy]). Listing of Italian sessions of the "Decentralized

Networker Congresses 1992."

Mail Art Interviews. Ruud Janssen, Editor. TAM (Traveling Art

Mail) Archive, Tilburg, Holland. 1994-2000.

TAM Publication 950065 (May 1995). Photocopy. 8 1/4"x6". 11

pages. "The Mail-Interview with Michael Leigh (England)." Interview with the

founder of A-1 Waste Paper Co. Ltd., London, England. "Well, it was soon after I

had chanced upon the mail art network in 1980 at the Artlink International

exhibition at the Greenwich Theatre gallery in London that I decided I too could

have a weird and wonderful nom de plume that many of my fellow mail artists

had contrived for themselves."

(May 1995). Photocopy. 8 1/4"x6". 12 pages. "The Mail-Interview with

Klaus Groh." Interview with the German Dadaist and Mail Artist. "I discovered the

network idea of Correspondence-Art in 1967 in San Francisco (USA) when I was

looking for material for my doctoral thesis at Dada-Post-Dada- and human art

activities. Art, distributed by the normal Postal-System really was fascinating for

me. I suddenly was deep involved with that great idea."


TAM Publication 950076 (1995). Photocopy. 8 1/4"x6". 16 pages.

"The Mail-Interview with Arto Posto." Interview with the Mail Artist from Atlanta,

Georgia. "Can't tell exactly when I started mailing art. It was with an artist friend

who had moved to California, Susan Petelik, and she always added art to her

envelopes, letters, etc., tucked art inside. She inspired me to do the same, and I

started sending back to her in like manner. That was during the late 1960s. I

wasn't actually aware of the international mail art movement as such until about

eight to ten years ago."

TAM Publication 950080 ([1995]). Photocopy. 8 1/4"x6". 10 pages.

"Mail-Interview with Rod Summers (VEC)." Interview with the English/Dutch Mail

Artist, the originator of the VEC Audio Exchange. The editor introduces the text

by stating, "In this mail-interview with Rod Summers I used lots of different

communication-methods, and also Rod used as many as possible methods. A

nice coincidence was that besides the E-mail, snail-mail, FAX and exchanging

diskettes, we also could use the help of John Held Jr. and Bill Gaglione for the

transport of one answer from Maastricht to Tilburg." Summers' responds to the

question of his starting in Mail Art, "I began involvement in the mail-art movement

in either late 1973 or early 1974, it's quite difficult to be more precise as I

destroyed my mail-art archive as part of a performance in De Appel in

Amsterdam in 1977."

TAM Publication 950085 (1995). Photocopy. 8 1/4"x6". 20 pages.

"Mail-Interview with Henning Mittendorf (Germany)." Interview with the erasercarver

and writer of Mail Art theory from Frankfurt-Main, Germany. "After having

studied and practiced fine arts since 1959 (with interruptions), participated in

shows and after having had some personal exhibitions since 1970, I decided to

enter the network of mail art, i.e. to become a conscious-networker in 1980."

TAM Publication 950087 (February 1995). Photocopy. 8 1/4"x6". 8

pages. "Mail-Interview with Dobrica Kamperelic (Yugoslavia). Interview with the

editor of, "Open World'." "...my friend Zarko Rosulj, visual-poet, literary critic,

technical editor in publish house NOLIT (where I'm working too) gave me in 1978

some m. a. invitations and introduced me with some interesting art-people/alterartists...Than,

I've started to collaborate in/with WEST EAST, international

association for concrete and visual poetry, I found may addresses from alterartists

all over the world and became a mail-artist (from) that time."

TAM Publication 950091 ([1995]). Photocopy. 8 1/4"x6". 9 pages.

"Mail-Interview with Robin Crozier (England)." Interview with the late Dean of

English Mail Art. "So, from early 1972, slowly but surely, I became involved in the

'Eternal Network' (Filliou) which had been christened 'Mail Art' in 1971 by Jean-

Marc Poinsot who had organized the envoi action at the Paris Biennale. And

then the snowball began to roll..."


TAM Publication 950092 (1995). Photocopy. 8 1/4"x6". 8 pages.

"Mail-Interview with Anna Banana (Canada)." Interview with the Canadian Mail

Artist. "In 1971, I was living outside the small town of Sooke, on Vancouver

Island. In an attempt to connect with some creative people, I declared myself the

Town Fool of Victoria... that turned out to be an uphill climb, and in an effort to

communicate with the populace of Victoria, I started publishing the 'Banana

Rag.'"

TAM Publication 950095 (November 1995). Photocopy. 8 1/4"x6".

16 pages. "Mail-Interview with John Held, Jr.: Part 1." Interview with the Mail

Artist from Dallas, Texas. "My first trip to Europe was in 1975. I went to France,

Italy, Greece, Austria, Germany, and Holland. In Amsterdam I came across a

rubber stamp store by chance."

(November 1995). Photocopy. 8 1/4"x6". 1 pages. "The Mail-Interview

with Carlo Pittore." Interview with the American Mail Artist (no publication number

noted). "In response to your query, I began my network mail art activity in 1978,

encourage by Bern Porter...When Bern Porter encouraged me to send an

original postcard off to a mail art exhibition, I was ripe for mail art. Not only had I

been a philatelist as a kid, but I was eager for community, and was an

appreciator of intimate mailed communication."

(1995). Photocopy. 8 1/4"x6". 14 pages. "Mail-Interview with Chuck Welch

(USA)." No publication number cited. Interview with the active American Mail

Artist (AKA Crackerjack Kid) and author of "Eternal Network: A Mail Art

Anthology "(Calgary University Press , 1995). "My first exposure to mail art and

subsequent participation is linked to the historic "Omaha Flows (sic) Systems"

held at Joslyn Art Museum, Omaha, Nebraska and curated by Fluxus artist Ken

Friedman. So my involvement began in April 1973, but at the time I didn't know

that this major exhibition was the precedent for all mail art shows that followed.

My active involvement in mail art occurred in 1978 when I began corresponding

under the nom de plume of crackerjack kid."

(January 2, 1996). Photocopy. 8 1/4"x6". 15 pages. "Mail-Interview with

Jenny De Groot (Netherlands)." Interview with the Mail Art publisher and

exhibition organizer from Hengelo, Holland. "The first time I came across mail art

was in 1983, when I was studying photography and design at AKI (Academy for

Arts and industry). One of my teachers was Bart Boumans, who at the time was

very active in the mail art circuit. He gave me a list of addresses in japan: I was

doing some 'research' on Japanese calligraphy, and I needed the addresses for

information. Among those who replied were people like Shozo Shimamoto and

Ryosuke Cohen and voila; there it all began..."

TAM Publication 960103 (January 1996). Photocopy. 8 1/4"x6". 8

pages. "Mail-Interview with Svjetlana Mimica (Croatia)." Interview with the editor


of, "The Light of the He-Art," from Split, Croatia. "Well, how and when I entered

in mail art. It has been during '89 when I first met (late?) Tihomir Govoskovich,

Croat from Vojvodina (ex-Yugoslavia). We met each other casually, via one

magazine for meeting new loves. We've never become more than friends, but

really very good friends. As he knew I draw (in that time, I used ink and pencils in

my art and made drawings of various shells, which has been my favorite motive),

he gave me good advice (I didn't think I'm so good!) and -an invitation for a mail

art action WEST-EAST in Seattle at CW-Post-AFGN Gallery. I sent materials

and waited for a year to receive an answer!"

TAM Publication 960104 (1996). Photocopy. 8 1/4"x6". 23 pages.

"Mail-Interview with Ken Friedman (Norway). Interview with the Fluxus artist and

writer. "Dick Higgins introduced me to Ray (Johnson). In 1964 or 1965, Dick

published Ray's book, The Paper Snake. I already knew the book. In August of

1966, I was visiting Dick in New York...Dick suggested I ought to send something

to Ray. I chopped a negative of the photo into a jug-saw puzzle and mailed it.

That was our first contact."

TAM Publication 960105 (January 1996). Photocopy. 8 1/4"x6". 20

pages. "Mail-Interview with Dick Higgins (U.S.A.)." Interview with the late Fluxus

artist. "I got involved in the mail-art network in July 1959 shortly after I met Ray

Johnson in June. He sent me a marzipan frog, a wooden fork and three small

letters in wood, which I correctly misunderstood. I sent him some wild

mushrooms which I had gathered, and they arrived at his place on Dover Street

just before they decomposed."

TAM Publication 960110 (March 1996). Photocopy. 8 1/4"x6". 10

pages. "Mail-Interview with Ashley Parker Owens (USA)." Interview with the

editor of "Global Mail." "In 1981, I somehow received a mail art chain letter. I

believe the source was through an art professor or one of their assistants. At the

time, I was married, living in Cincinnati, Ohio, and attending art school with my

husband. The chain letter was really fascinating because it had exotic names

and addresses from all over the world."

TAM Publication 960114 (1996). Photocopy. 8 1/4"x6". 13 pages.

"Mail-Interview with Clemente Padin (Uruguay)." Interview with the long-time Mail

Art participant. "My first experiences in Mail Art date from 1967 when with my

Latin-American friends Edgardo Antonio Vigo, Guillermo Deisler and Damasco

Ogasz we started to exchange our reviews: Diagonal Cero, Ediciones Mimbre,

La Pata de Palo & Los Huevos del Plata (Diagonal Zero, Osier Editions, Leg of

Wood and The Eggs of the Silver) and our mail-art works."

TAM Publication 960115 (1996). Photocopy. 8 1/4"x6". 16 pages.

"The Mail-Interview with Mark Bloch (USA). Interview with the New York City

Mail Artist. "I did mail art in 1968 when I did a postage stamp of a kid in my 6th

grade class who used to scream a lot."


TAM Publication 960116 (1996). Photocopy. 8 1/4"x6". 16 pages.

"Mail-Interview with M. Greenfield (England)." Interview with the English Mail

Artist. "I began in the seventies corresponding with various friends. At that time I

was an art student, much of what was discussed was about art, many times

including examples, sometimes illustrating the envelope. However it was not until

the late eighties that I read an article in one of the art magazines I was

subscribing to, about 'mail art' and took part in a 'mail art' project."

TAM Publication 960123 (May 1996). Photocopy. 8 1/4"x6". 13

pages. "Mail-Interview with John M. Bennett (USA)." Interview with the

Columbus, Ohio, Mail Artist. "...until about 1974 when I started doing mail art at

the instigation of a friend, the now-deceased painter. Mr. Sensitive. It was great

fun and still is."

TAM Publication 960124 (May 1996). Photocopy. 8 1/4"x6". 10

pages. "Mail-Interview with Patricia Collins (England)." Interview with the

coordinator of the "Artist's Book Exchange." "I first became involved in mail art in

summer 1993. I had taken out the U. K. listings magazine, 'Artist's Newsletter'

and saw the ads in the mail art section. I had not heard of mail art + could find

nothing about it. To satisfy my curiosity, I wrote to the magazine and I received a

splendid letter from Robin Crozier in Sunderland, U. K. telling a little about his

notions of mail art and inviting me to take part in his ongoing Memo?Memory

project."

TAM Publication 960140 ([1996]). Photocopy. 8 1/4"x6". 10 pages.

"Mail-Interview with Rudi Rubberoid (USA)." Interview with the Mail Artist from

Bellingham, Washington. "...I owned a store in Bellingham called 'The Postcard

Palace', which sold postcards and notecards. I saw some 'art rubber stamps' at a

trade show and added some of them to the stock of the store...of course I had to

play with them; one day a friend of mine Bob Urso, came in while I was stamping

and mentioned that he was starting a rubber stamp company (BOBZ) and that

stamps could be used for mail art. That was the first I heard of it."

TAM Publication 960145 (October 1996). Photocopy. 8 1/4"x6". 15

pages. "Mail-Interview with Andrej Tisma (Yugoslavia)." Interview with the

talented eraser-carver and theoretician of Mail Art. "I made my first mail-art work

in 1973 after a visit to one of the pioneers of Yugoslavian mail-art, Bogdanka

Poznanovic from Novi Sad. I mailed to her two bus tickets I used going to her

and returning home, fixed on a postcard."

TAM Publication 960145 (October 1996). Color and B&W

Photocopy. 8 1/4"x6". 15 pages. "Mail-Interview with Andrej Tisma

(Yugoslavia)." As above with variant color photocopy cover.


TAM Publication 960147 (March 1997). Photocopy. 8 1/4"x6". 19

pages. "Mail-Interview with Vittore Baroni (Italy)." Interview with the Italian Mail

Artist and editor of "Arte Postale!". "I got involved in the mail art net in 1977,

when I discovered the existence of mail art through the work of G. A. Cavellini-I

had seen an ad in Flash Art magazine for G. A. C.'s 'Free' Art Books-I wrote him,

got the books, started a correspondence with G. A. C. (my first contact!) and

soon with Anna Banana and all the other late 70's regulars."

TAM Publication 9500151 (1997). Photocopy. 8 1/4"x6". 16 pages.

"Mail-Interview with Ayah Okwabi (Ghana)." Interview with one of the few Mail

Artists in Africa. "I got involved in mail art in 1979 when Volker Hamann

introduced me to his Anthropological Art Project. Anthro-Art was Volker's idea of

linking Anthropology to Art. Later I suggested a meeting of mail artists involved in

the AnthroArt network to work on a community-based workcamp project in a

village in Ghana."

TAM Publication 9500151 (1997). Color and B&W Photocopy. 8

1/4"x6". 16 pages. "The Mail-Interview with Ayah Okwabi (Ghana)." Variant

issue, with color photocopy cover. (A limited edition with color photocopy cover

was published for some of the works in the "Mail Art Interview" series.)

TAM Publication 960135 (July 1996). Photocopy. 8 1/4"x6". 13

pages. "Mail-Interview with Jenny Soup (USA). Interview with the editor of "In

Remembrance." "I first got involved with mail art and the network back in 1987. I

was living in San Francisco at the time, going to Art School. I was introduced to

the addicting world of mail art by my boyfriend at that time, and thus the

enigmatic Gaglione, the wacky and wonderful Radio Free Dada, the ever present

(and past and future) John Held Jr., and others."

TAM Publication 970159 (July 1997). Photocopy. 8 1/4"x6". 12

pages. "Mail-Interview with Julie Hagan Bloch." Interview with the talented

eraser carver from Upstate New York. "Well, it was probably around the early

'80's...1983 maybe. It sort of pounced...I'd been carving eraser-stamps for a few

years & heard of a couple of rubberstamp magazine. Rubberstamp-madness &

National Stampagraphic. I wrote to them and they both showed favorable interest

in my carvings right away. Very quickly I was corresponding with some folks via

the rubberstamp magazines, and also got in a group that exchanged mail-art on

a monthly basis."

(July 1997). Photocopy. 8 1/4"x6". 15 pages. "Mail-Interview with Michael

B. Corbett (USA)." Interview with the editor of the assembling magazine,

"Tensetendoned." ""I first heard about mail art from a fellow art school student

when he gave me a Cavellini sticker in 1983 or '84. He also invited me to his

home to speak with Ryosuke Cohen in japan during a group telephone call. I had

no idea who these people were or what they were about."


TAM Publication 970161 (November 1997). Photocopy. 8 1/4"x6".

12 pages. "Mail-Interview with Julie Paquette (USA)." Interview with the

Garland, Texas, Mail Artist, the publisher of "Fluxus Bucks." "I've determined that

I was introduced to the network in 1991 by 'arto posto' in Atlanta, GA (she was in

Chicago, IL, USA at the time). I had been looking at posts on bulletin boards on

Prodigy, a computer service network, and found the ones on rubber stamps

especially interesting."

TAM Publication 970163 (1997). Photocopy. 8 1/4"x6". 19 pages.

"The Mail-Interview with Ruud Janssen." Interview with the originator of the

series, by guest interviewer Mark Greenfield (England). "My first mail art

exhibition was in an official Gallery, the 'Melkveg' 1985, in Amsterdam.

TAM Publication 970167 ([1998]). Photocopy. 8 1/4"x6". 20 pages.

"Mail-Interview with Günther Ruch (Switzerland)." Interview with the editor of,

"Clinch." "My first involvement with the mail art network goes back to 1974,

through my contact with the group "ECART" (Geneva), which had in that time an

extensive correspondence exchange with the first mail-networkers (look hereby

this old rubber stamp which mentioned 1974 as begin of my "NETWORK"

activity)."

TAM Publication 970169 (July 1997). Photocopy. 8 1/4"x6". 18

pages. "Mail-Interview with Ruud Janssen, by Carol Stetser (USA)." The

originator of the "Mail Art Interview" project responds to questions by the

Sedona, Arizona, Mail Artist. "...I also got in touch with Guy Bleus, who I asked

for some more addresses. In 1983 he sent me a list of about 800 addresses at

the time. Probably a list of a project he was working on. This really started me,

and I began to write to names that sounded interesting, or countries that looked

promising. My search in the network started."

TAM Publication 970171 (1997). Photocopy. 8 1/4"x6". 13 pages.

"The Mail-Interview with Carol Stetser (USA)." Interview with the Arizona Mail

Artist. "In 1976 I founded Padma press and proceeded to publish in the next 3

years, three offset books of my photographs. In July 1978 Judith Hoffberg

reviewed one of my books in 'Umbrella' and it is in this periodical that I first read

about mail art."

(1998). Offset. 8 1/2"x5 1/2". 32 pages. "The E-Mail-Interview with Guy

Bleus: Mail Art from Surface Mail to Cyberspace." Collaboration with Ruud

Janssen (Holland) and Joel S. Cohen (AKA The Sticker Dude) (USA), who

writes, "For a long time I have been enamored with archivists and historians who

specialize in alternative culture movements. Like the role played by storytellers of

indigenous cultures, they help document, disseminate & revitalize what

mainstream culture would pass over and dismiss..." Interview with Guy Bleus


(Belgium) conducted by Ruud Janssen (Holland). "One could stimulate the virtual

existence of a slick mail-art paradox. on the one hand, that nobody ever gets

involved in a metaphysical or mythical mail-art network. Because 'the' corporate

network, that is, the network as a well defined body, does not exist. On the other

hand, that an artist who comes in close contact with the links of the Netland, gets

absorbed by the spongy mail-art web."

(March 7, 1998). Rough draft of the above publication, with letter to

Guy Bleus (Belgium) and Ruud Janssen (Holland) by Joel Cohen

(USA).

([1999]). Photocopy with Artistamp and Sticker. 8 1/4"x6". 12 pages.

"Faked Mail-Interview with Pina Artasmurdo Partisan D'Amour (No-Mans-Land)."

Interview with a fictitious Mail Artist from Albania. "That was at the beginning of

1995. I first found a bill from the stamp manufacturer dating from the last day of

1994. I devised a fine year plan back then, encompassing several subversive

activities. this put my activities into a different framework beyond the traditional

Mail Art concept. I found that the flood of images in the letter box doesn't

necessarily reset in a flood on images in one's mind, other mechanism are at

work. the five years will run out at the end of 1999 and that is why I am willing to

give this interview."

(September 24, 2000). Computer Print. 11"x8 1/2". 14 pages. "The

Mail-Interview with Normon Solomon (Mr. Postcards). On-line version of the

interview with the late friend of Ray Johnson's from the 1950s. Never formally

published. Other "Mail Art Interviews," published on-line only (no booklet) from

this point forward. "I met Ray Johnson in the F. W. Woolworth's variety store at

37th Street and 5th Avenue in New York City where I had gone to purchase

some factory-made ephemera. This was during the noon hour of March 17th,

1951. Ray had been on his way to the matinee premiere of Puccini's Turandot at

the Metropolitan Opera House and had stopped at the Woolworth's for lunch."

Mail Art Message. Ruud Janssen, Editor. TAM (Traveling Art

Mail), Tilburg, Holland. n.d.

No. 25 (n.d.). Photocopy. 4 1/2"x1 3/4". (one page). "You are most

fortunate to receive mail from me because since October 1st '88 I limited myself

by only sending out one piece of mail-art every day. This I will keep up for a

whole period of five years.

Mail Art Messenger, The. Antoine Cupial, Editor. Domerat,

France. (1996).


No. 2.1 ([1996]). Photocopy. 11 1/2"x8 1/4". (2 pages). "A periodic

fanzine grouping some actual projects and news about the network." Listing of

Mail Art Project, publication and exhibition possibilities. "A Chaotic Network," by

the Editor. "We received recently a log of projects about Ray Johnson's works &

history. I hope the artists who are concerned are in contact with each other,

because I think the artists should work together when projects are similar. And

it's available for all kinds of projects. It's necessary if want to make something

exceptional because a lot of energy, money, and time is needed...Then, what

about a collective archive of all the themes which have ever been used in Mail

art?"

Mail Art News. Friedhilm Schulz, Editor. Einbeck, West

Germany. 1985.

No. 4 (1985). Photocopy. 8 1/4"x5 3/4". (18 pages). "Mail Art-My Dream

of Freedom and Love," by Henning Mittendorf (Germany). "Introduction of a New

Gallerist," by the editor.

Mail Art Obscurities Mirror. K. Frank Jensen, Editor. Ouroboros,

Roskilde, Denmark. 1997.

No. 2 (1997). Color and B&W Photocopy. 8 1/4"x5 3/4". (22 pages).

"The Fake Mail Interview with K. Frank Jensen (DK), interviewed by Asta Erte."

Spoof of "The Mail Art Interview" project of Ruud Janssen (Holland). "AE: The

very last question. Why do you call this a fake interview? KFJ: There is a mail

artist, Ruud Janssen, who runs a series of interviews with mail artists. He told me

that he himself either selected the people he wanted to interview, or made

interviews, when a sufficient number of people asked for an interview with a

particular mail artist. Most of his interviews are with the mail art establishment or

with people, who are more interested in the communicatory and political aspects

rather than in the art aspect of mail art...This is a fake interview, because it is

within RJ's concept but he didn't make it."

Mail Art Paper E3. Kazuyoshi Takeishi, Editor. Aerial Print,

Tokyo, Japan. 1989-1991.

No 001-100 (April 1989/June 1990). Photocopy. 8 1/4"x5 3/4". (16

pages). Index to "Easy & Instant Mail Art Mag E3, Nos. 1-100" listing Mail

Artists and the issues they appeared in.

No. 103 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Le Peintre Nato (France), Kjell Nyman (Sweden). Mail Art

exhibition notice.


No. 109 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Shigeru Tamaru (Japan), Shmuel (USA), Factor X (England),

Guillermo Deisler (Germany), Art maggots (USA), et al. Exhibition opportunities.

No. 119 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Solamito Luigino (Italy), Crash (Italy), Dada Kan (Japan),

Ryosuke Cohen (Japan), et al. Mail Art exhibition notice.

No. 124 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by John Held, Jr. (USA), Reiu Tüür (Estonia), Kimmo Framelius

(Finland), et al. Mail Art exhibition opportunity.

No. 125 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Reiu Tüür (Estonia), Lily p. Scholes (England), John Held, Jr.,

(USA), Ilmar Kruusamae (Estonia), Clemente Padin (Uruguay), et al. Mail Art

exhibition notice.

No. 128 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Jun Kuramitsu (Japan), Janusz Cywicki (Poland), Dada Kan

(Japan), Shozo Shimamoto (Japan), Kimmo Framelius (Finland), et a. Mail Art

publication opportunity.

No. 129 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Jerry Marquez (USA), Giovanni Strata (Italy), Société Anonyme

(Belgium), John Held, jr. (USA), et al. mail Art exhibition notice.

No. 131 (February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Bruno Capatti (Italy), John held, jr. (USA), Luc Fierens

(Belgium), Wm. Stipe (USA), Al Ackerman (AKA The Blaster) (USA), et al.

No. 141 ((February 12, 1991). Photocopy. 11 3/4"x8 1/4". (2 pages).

Contributions by Lancilloto Bellini (Italy), Guido Bondioli (Guatemala), Lawrence

Upton (England), Guy Bleus (Belgium), et al. Mail Art exhibition notice.

No. 178 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Renee Bouws (Holland), John Held, Jr. (USA), Joachim

Buchholz (Germany), et al.

No. 179 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Bruno Capatti (Italy), John Held, Jr. (USA), Ruggero

Maggi (Italy), et al.


No. 181 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Joachim Buchholz (Germany), John Held, jr. (USA),

Ruggero Maggi (Italy), Factor X (England), et al.

No. 183 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Bruno Capatti (Italy), John Held, Jr. (USA), Pascal

Lenoir (France), Musicmaster (USA), et al.

No. 184 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Ignazio Corsaro (Italy), John Held, Jr. (USA),

Musicmaster (USA), Solamito Luigino (Italy), Kimmo Framelius (Finland), et al.

No. 185 (September 16, 1991). Photocopy. 11 1/2"x8 1/4. (one

page). Contributions by Mike Gunderloy (USA), Xavier Mulet (Spain), John

Held, Jr. (USA), Alessandro Ceccotto (Italy), et al.

Mail Art Portraits. Eamonn Robbins, Editor. Dublin, Ireland.

1988-1990.

No. 8 (1988). Photocopy and Mixed Media. 5 3/4"x4 1/4". (8 pages).

"Friends!! This is an ongoing series. If you'd like to participate please send your

portrait (photocopy is fine)...All participants will receive a copy of each inprint

mini in the series!" Contributions by Mary Jewett (USA), Julia Loyd (USA), Miara

Igniatijevíc-Rommy (Yugoslavia), Liza McCool (AKA FaGaGaGa) (USA).

No. 11 (1988). Photocopy and Mixed Media. 5 3/4"x4 1/4". (8 pages).

Contributions by Chris Dodge (USA), Françoise Duvivier (France), Shmuel

(USA), Mark Corroto (AKA Fa GaGaGa) (USA), Ivok Konac (Yugoslavia),

Tamotsu Watanabe (Japan).

No. 12 (1988). Photocopy and Mixed Media. 5 3/4"x4 1/4". (8 pages).

Contributions by David Urban (Czechoslovakia), Nenad Bogdanovic

(Yugoslavia), Guido Bondioli (USA), et al.

No. 15 (1988). Photocopy and Mixed Media. 5 3/4"x4 1/4". (8 pages).

Contributions by Vincent O'Brien (USA), Kiss Emilia (Romania), Clemente Padin

(Uruguay), Antonio Gomez (Spain), et al.

No. 17 (1988). Photocopy and Mixed Media. 5 3/4"x4 1/4". (8 pages).

Contributions by Terrapin Syndicate (France), Dobrica Kamperelic (Yugoslavia),

Nevenko Petric (Yugoslavia), John Held, Jr. (USA), et al.


No. 22-24 (1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (16

pages). Contributions by A1 Waste Paper Co. Ltd. (England), Ivan Sladek

(Czechoslovakia), Ivan Merlin (Yugoslavia), Barry Edgar Pilcher (England),

Guillermo Diesler (East Germany), Dobrica Kamperelic (Yugoslavia), et al.

No. 25-27 ( March 1989). Photocopy and Mixed Media. 5 3/4"x4

1/4". (20 pages). Cover by Jenny de Groot (Holland). Contributions by 14

artists including Ruggero Maggi (Italy), Jacques Massa (France), Ivan Sladek

(Czechoslovakia), Anna Boschi (Italy), FaGaGAGa (USA), Eve Pilcher

(England), Michael Leigh (England), et al. "This special issue of Mail Art Portraits

is being sent to everyone who has participated in the project, so far!!"

No. 28-30 (1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (24

pages). Contributions by 21 artists including Jenny de Groot (Holland), Wally

Darnell (Saudi Arabia), Carol Schneck (USA), Gerard Barbot (USA), et al. "This

is an ongoing series (over 100 artists have participated so far!). If you'd like to

participate send you portrait (photocopy is fine)..."

No. 31-33 (1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (20

pages). Cover by Marcello Diotallevi (Italy). Contributions by 16 artists

including Jacques Massa (France), Ona Doodle (England), "Shozo, Ruggero,

Gerard, John etc., etc mail artists supreme!," Craig Hill (USA), Barry Pilcher

(England), et al.

No. 34-36 ((1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (20

pages). Contributions by 16 artists including Guillermo Deisler (East Germany),

Lucien Suel (France), Dobrica Kamperelic (Yugoslavia), Carol Schneck (USA), et

al.

No. 43-45 (1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (22

pages). Cover by John Held, Jr. (USA), Contributions by Lutz Wohlrab (East

Germany), Kristof D'Haeseleer (Belgium), Ruggero Maggi (Italy), State of Being

(USA), et al. "Mail Art Portraits. Details: this is an ongoing series. To participate

send your portrait (photocopy is fine). copy of mini book to all."

No. 46-48 (1989). Photocopy and Mixed Media. 5 3/4"x4 1/4". (20

pages). Contributions 17 artists including FaGaGaGa (USA), Barry Edgar

Pilcher (England), O. Jason (England), W. W. Neumann (East Germany),

Shmuel (USA), et al.

Mail Art Service. Andrea Bonanno, Editor. Mail Art Archive,

Sacile, Italy. 2000.


Vol. 7, No. 31 (June 2000). Photocopy. 8 1/4"x 5 3/4". 10 pages.

Editorial. Text by Ruggero Maggi (Italy). Poem and biography of Teresinka

Pereira (USA). Contributions by Fausto Paci (Italy), Guido Bondioli (Guatemala),

et al.

Mail-Art Statements from Ruud Janssen. Ruud Janssen, Editor.

TAM (Traveling Art Mail), Tilburg, Holland. 1993-1999.

No. 6 (October 28, 1993). Photocopy. 6 1/2"x2 1/2". (one page).

"When you are lucky, you are able to answer all the mail-art you get..."

No. 10 (May 23, 1994). Photocopy. 6 1/2"x1 1/4". (one page). "It is

strange to find out that mail-art is addictive to you."

No. 11 (May 12, 1986). Photocopy. 6 1/2"x1 1/2". (one page). "The

only thing that is more fun then receiving mail-art is meeting the mail-artist."

No. 13 (August 18, 1993). Photocopy. 6 1/4"x1 3/4". (one page).

"When two mail-artists meet, and talk about this 'mail-art' they will always

discover that it is something different for both of them..."

(May 22, 1994). Photocopy. 6 1/2"x2". (one page). "Today I started with

putting all the statements I once wrote into one big file. The old statements and

any new statement I write I will scatter randomly into the mail-art network. So

from now on you probably see fragments of my thoughts in the mail-art you get."

No. 15 (May 23, 1994). Photocopy. 6 1/4"x2 1/4". (one page). "The

new forms in mail-art, like using the FAX and E-mail, have also to do with the

factor time..."

No. 16 (June 13, 1994). Photocopy. 6 1/2"x3 1/4". (one page). "The

word 'MAIL-ART' is used by mail-artists to give a name to the things we do.

Defining what it is all about is more difficult..."

No. 18 (July 4, 1994). Photocopy. 6 1/2"x3". (one page). "When you

reach the point that you are sending out a xeroxed open letter to all your mail-art

friends that you aren't able to answer all their mail you are doing something

wrong..."

No. 24 (October, 15, 1994). Photocopy. 6 1/4"x2 1/2". (one page). "I

still get those letters: 'Please add me to your mailing-list'. But I don't have a

'mailing-list', a limited list with addresses I send certain things too..."


No. 25 (April, 14, 1986). Photocopy. 6 1/4"x1 3/4". (one page). "Mail-

Artists all over the world must realize that the future of the mail=art network

depends on the search towards new things in mail..."

No. 26 (October 18, 1994). Photocopy. 6 1/4"x2". (one page).

"Sometimes I wonder if what I read about the mail-art history is all true..."

No. 27 (October 19, 1994). Photocopy. 6 1/2"x1 3/4". (one page).

"Why do so many people write about mail-art and not practice it that often. There

is a lot of exchange of data but I sure sometimes miss the Dada..."

No. 28 (November 4, 1994). Photocopy. 6 3/4"x2 1/4". (one page).

"More and more I realize that my private life and my mail-art work are mixed

together..."

No. 30 (January 22, 1995). Photocopy. 6 3/4"x2 1/2". (one page).

"The large ART-institutes are discovering the Mail-Art movement. It starts with

the Postal Musea which want to show that mail and 'real' art go together..."

No. 31 (January 24, 1995). Photocopy. 6 3/4"x2 1/4". (one page).

"Oops, I made the mistake to number these statements, so now I got mail from

someone who is collecting all of them. But I only send out a few at a time. So I

advised him to visit all my contacts and to look for all the numbers. This

statement is especially for him. I won't send this one to him, I won't tell him to

whom I sent it, and so he must become a real TOURISM-addict just in search for

this statement."

No. 36 (November 2, 1995). Photocopy. 6 3/4"x2 3/4". (one page).

"Just today I realized an important difference between E-mail and mail-art when

it comes down to the mailing address. If somebody is out of money, they can still

receive mail, they just can't afford to answer..."

No.. TAM-93003 (August 1993). Photocopy. 11 3/4"x8 1/4". 3 pages.

Twenty-one "mail-art statements." "P.S. this collection of statements will

constantly change because mail-art is also constantly changing as is my own life

and views about things."

(January 8, 1999). Photocopy and Mixed Media. 8 1/4"x5 3/4. (14

pages. "With the year 2000 very close it is time to make some critical

statements for the mail-art network. It is not only good and beautiful what is done

in the mail-art network. Please write your own statements as well and spread

them to your friends. the time to speak out is there. Don't wait till the traditional

postal services stop to function and mail art is dead (and e-mail lives!)"

Statements on "E-Mail Art, Mail-Art Internet Sites, Repetition, New Mail Artists


are Born?, Stealing, Statements, Quality in Mail-Art, Mail Art Archives, New

Things in Mail Art, Women and Mail Art."

Mail Box: Correspondance Art From Around the World. Michael

Harford, Editor. Sausalito, California. 1996.

No. 1 (October 1996). Photocopy. 11"x8 1/2". (28 pages). Cover by

Picasso Gaglione (USA). Mail Art news. Interview with Clemente Padin

(Uruguay) conducted by Ruud Janssen (Holland). "Notes Toward a history of

Artistamps," by John Held, Jr. (USA). "The Pacific Rim Artistamp Congress

1997." Mail Art project, exhibition and publication opportunities. Contributions by

Laurel Hall (USA), A1 Waste Paper Co. Ltd. (England), Tally & Russ Johnson

(USA), et al.

Mail Interview Newsletter. Ruud Janssen, Editor. TAM

Publications, Tilburg, Holland. 1998.

(October 1998). Photocopy. 11 3/4"x8 1/4". 6 pages. "The Mail

interview project started in 1994. this is the newsletter that explains the History,

the process, and to be short all important aspects of the project."

(November 1998). Photocopy. 11 3/4"x8 1/4". 8 pages. Includes

"Appendix-1 (Overview of all finished interviews so far)."

Mail Order Art. Patricia Tavenner, Editor. Mail Order Art

Association, Oakland, California. 1971-1972.

(1971). Newsprint. 15"x11 1/2". (8 pages). Artistic items for sale through

the mail. Offered by the editor, Demonic-Fern Productions (USA), Phillis Ideal

(USA), Ron Gasowski (USA), Lew Carson (USA) et al.

Vol. 1 No. 3 (1972). Newsprint. 15"x11 1/2". (12 pages). Offerings by

Demonic Fern Ltd. (AKA Irene dogmatic) (USA), Lew Carson (USA), Pat

Tavenner (USA), Curio City (USA), Ron Gasowski (USA), et al.

Vol. 1 No. 4 (1972). Newsprint. 15"x11 1/2". (12 pages). Artist

produced items for sale by Pat Tavenner (USA), Davi Det Hompson (USA),

Curio City (USA), Ron Gasowski (USA), et al.

MAILARTSPACE.International. Romano Peli and Michaela

Versari, Editors. C.D.O. (Centro Documentazione Oranizzazione),

Parma, Italy. 1981-1982.


No. 0 (June 1981). Photocopy and Mixed Media in Color Offset

Cover. 10"x7". (Unpaged). Assembling magazine. Contributions by Cavellini

(Italy), Marcello Diotellevi (Italy), Ruggero Maggi (Italy), Vittorio Baccelli (Italy), et

al. Edition of 200.

No. 1 (January 1982). Photocopy and Mixed Media in Color Offset

Cover. 10"x7". (Unpaged). Assembling magazine. Introduction by the

editors. Thirty-three artists from 14 countries. Original works by Vittore Baroni

(Italy), Michael Scott (England), Pawel Petasz (Poland), Cavellini (Italy), et al.

List of Mail Art magazines. "This second number of

'MAILARTSPACE.International' aims to verify an unusual project because we

have called artists to different culture and countries to work out a product in their

own mother-tongue." Edition of 150.

Main Book Catalogue/Sampler, The. Mark Melnicove and George

Benington, Editors. The Maine Writers & Publishers Alliance,

Harpswell, Maine. (1982).

No. 2 ([1982]). Newsprint. 11"x8". 47 pages. Illustrated in part by Carlo

Pittore (USA), including stampsheet on back cover. Large selection of works by

Bern Porter (USA).

Malcontent. Laura Poll, Editor. Theater of the Oblique, Navesink,

New Jersey. 1995.

No. 33 (May 1995). Photocopy and Mixed Media. 11"x8 1/2". (28

pages). Assembling magazine. Contributions by 18 artists including Alice

Borealis (USA), Patricia Collins (England), Antonio Gomez (Spain), M. B. Corbett

(USA), et al.

MaLLife. Mike Miskowski, Editor. Bomb Shelter Propaganda,

Tempe, Arizona. 1986.

No. 11 (Winter 1986). Photocopy. 8 1/2"x5 1/2". (60 pages). Magazine

of photocopy art. Contributions from 49 artists including Miekal And (USA),

Gerard Barbot (USA), John M. Bennett (USA), Lloyd Dunn (USA), Pat Fish

(USA), Ruggero Maggi (Italy), Musicmaster (USA), Stephen Perkins (USA),

Malok (USA), et al.

Catalog No. 2 (February 1987). Photocopy. 8 1/2"x5 1/2". (12

pages). Publications from the editor, including back issues of "MaLLife,"

anthologies, and "Iconographics," by Lloyd Dunn (USA).


Mambo Press Update. Al Ackerman, Editor. San Antonio, Texas.

1982-1983.

(November 1982). Photocopy. 14"x9". (4 pages). "RE: BLOCKS OF

LIFE/Six-Fingers research, Mambo Press relocation, Poem!" Text, graphics and

detourned images by the editor.

(January 1983). Photocopy. 14"x9". (6 pages). RE: Continuing Six-

Fingered Research, The Harlem-Ireland Cultural Exchange, D. Davey Speaks,

Tale! Padma progress, Statement." Text and graphics by the editor.

([May 1983]). Photocopy. 14"x9". (6 pages). "RE: continuing Six Fingered

Research, THE CHICKEN MOVEMENT! TRENDWATCHERS:" Contributions by

Steve Random (USA), David Zack (Mexico), Michael Leigh (England), John M.

Bennett (USA), Carlo Pittore (USA), tentatively, a convenience (USA), et al. Text

and graphics by the editor.

(July 1983). Photocopy. 17"x11". (4 pages). RE: Six-Fingers doings,

Further word on the CHICKEN MOVEMENT, the SAMMY PETALUMA STORY!,

Pome, and more..." Contributions by Snowwhite Jung (England), Minoy (USA),

Steve Random (USA), John M. Bennett (USA), Michael Leigh (England), et al.

(September 1983). Photocopy. 14"x9". ((8 pages). "RE: SEX, THE

ADVENT OF THE PURPLE FETID ONE, Huichol births, at last the unsolicited

drawing from MAVIS IN COLUMBUS!! More." Text and graphics from the editor.

Contributions by David Zack (Mexico), Eerie Billy Haddock (USA), Carlo Pittore

(USA), Carol Stetser (USA), John M. Bennett (USA), Minoy (USA), Mick Mather

(USA), Michael Leigh (England), Gene Laughter (USA)...and Mavis (USA), et al.

Man and High Tech. Dino Golbo, Editor. Silea, Italy. (1991).

No. 40 (October 1990). Photocopy. 8 1/4"x5 3/4". (11 pages). Visual

Poetry. Contributions by Andrea Ovcinnicoff (Italy), John M. Bennett (USA),

Johan Glaw (Germany), and the editor.

Mani Art. Pascal Lenoir, Editor. Grandfresnoy, France. 1992-

2001.

No. 57 (July 1992). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 28 artists including Giovanni

Strada (Italy), Guillermo Deisler (Germany), Jürgen Olbrich (Germany), Arte Ala

Carte (USA), Paulo Bruscky (Brazil), John Held, Jr. (USA), Ruud Janssen

(Holland), Daniel Daligand (France), et al.


No. 58 (August 1992). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 25 artists including Arte Ala

Carte (USA), M. Greenfield (England), Hans Braümuller (Chile), Marcel Stüssi

(Switzerland), Alberto Rizzi (Italy), Vittore Baroni (Italy), Antonio Gomez (Spain),

et al.

No. 60 (October 1992). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 23 artists including

Guillermo Deisler (Germany), David Hunter (USA), Pierre Marquer (France),

Shigeru Tamaru (Japan), Antonio Gomez (Spain), et al.

No. 61 (November 1992). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 24 artists including

Guillermo Deisler (Germany), Jürgen Olbrich (Germany), Vittore Baroni (Italy),

Magda Lagerwerf (Holland), Pas de Chance (Canada), M. B. Corbett (USA),

Jonathan Stangroom (USA), Jean-Claude Gagnon (Canada), et al.

No. 62 ([December 1992]). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 26 artists including Krzysztof

Szymczak (Poland), Theo Breuer (Germany), Teresinka Pereira (USA), Altor

(Italy), Vincent Courtois (France), Serge Stolarenko (Russia), et al.

No. 63 (January 1993). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 25 artists including Giovanni

Strada (Italy), Vittore Baroni (Italy), Guillermo Deisler (Germany), mike Duquette

(Canada), Michael Fox (Germany), Shigeru Tamaru (Japan), M. B. Corbett

(USA), et al.

No. 64 (February 1993). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 29 artists including Theo

Breuer (Germany), Guillermo Deisler (Germany), Anatonio Gomez (Spain),

David Dellafiora (England), Michael Greenfield (England), State of Being (USA),

Sal Wood (England), Clemente Padin (Uruguay), Hans Braumüller (Chile), et al.

No. 65 (March 1993). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 27 artists including

Guillermo Deisler (Germany), Tapio Holopainen (Finland), Stephen Perkins

(USA), M. B. Corbett (USA), Teruyuki Tsubouchi (Japan), Ruggero Maggi (Italy),

Hans Brauüller (Chile), et al.

No. 66 (April 1993). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 29 artists including

Sagebrush Moderne (USA), Guy Bleus (Belgium), Lanciliotto Bellini (Italy),


Vittore Baroni (Italy), Pierre Marquer (France), Pas de Chance (Canada),

Clemente Padin (USA), State of Being (USA), Magda Lagerwerf (Holland), et al.

No. 67 (May 1993). Photocopy and Mixed Media. 9"x6 1/2".

Unpaged. Assembling magazine. Contributions by 31 artists including M. B.

Corbett (USA), Andrea Ovcinnicoff (Italy), Guy Bleus (Belgium), Shigeru Tamaru

(Japan), Galantai György (Hungary), Bruno Sourdin (France), Guillermo Deisler

(Germany), Julee Peezlee (USA), Larry Angelo (USA), et al.

No. 70 (August 1993). Photocopy and Mixed Media. 9"x6 1/2".

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