Mail Art Periodicals - MoMA

eproducing it here." Photo-documentation of book signing party at the home of
Skooter (aka Neil Taylor) on June 14, 1987.
RatLLA. Michael Fox, Editor. Mail-Art-Activities, Hildesheim,
Germany. 1994.
(1994). Photocopy. 8 1/4"x5 3/4". (32 pages). "Ratilla is a Catalan word
with far more meaning than cognate words such as radius (Latin); raggio
(Italian); raayeo (Spanish); raie (French). ray (English). "Ratlla-Collen von 1993-
1994 von Michael Fox." Results of a project by the editor, who sent work to Mail
Artists asking them to "please add, change and send back." Contributions by
Rene Montes (Mexico). Pinky (Italy), Aerial Print (Japan), Ruud Janssen
(Holland), JEM (USA), et al.
Ratty Gazette, The. Pag-hat the Rat-Girl (aka Jessica Amanda
Salmonson). Seattle, Washington. (1993-1995).
No. Winter ([October 1993]). Photocopy and Artistamp. 11"x8 1/2".
(one page). "Available for cinderella stamps, weird post cards, loony zines,
interesting stuff." "Why is the stupid term 'artistamps' so popular among mail
artists? Fake postage stamps have been called 'cinderellas' for at least 30 years,
probably a lot longer. I made my first cinderella stamps in the early 1970s when
only a few people did it. At that time, the term cinderella was adapted from old
time philatelists. When I started making them again about three years ago, I was
startled that numerous people told me they were 'artistamps.' They are not!
Artistamp is a stupid word. I make cinderellas." Edition of 40.
No. 2 (n.d.). Photocopy. 11"x8 1/2". (2 pages). "Available for cinderella
stamps, letters, lunatic zines, newspaper clippings about rats & amazingly cool
mail art; if anyone sends me handcarved eraser images of ratties, I'll leap for
joy!" "CINDERELLAS. The explosion in cinderella stamp manufacture is an
uppermost saving grace of the mail art scene. In the 1970s a small handful of
people worldwide made cinderellas. Nowadays it's increasingly common-and
often exceedingly well done, thanks, probably to advances in word processors
and color laser printers, though I personally use nothing so fancy. The artful
expansion has its corrupters, as some uptown artists have been making them
throughout the last decade and selling them for $200.00 of more for an offset
printed sheet. (For etchings or mezzotints or original teensy drawings, I might
accept such a value; but what I've actually seen are worth three buttons and a
toad.) Like in what way does this help disperse the mail art revolution? Such
commercialization encourages packratism, the hiding away of unrealistically
costly treasure, which in the end turns out to be nothing but scrap paper anyway.
It undermines the origins of the mail art community, which has stood for
democratically anarchic surreal imaginative communication-not hoarding or