Mail Art Periodicals - MoMA

Third Manifesto of Praxis." Also includes, ""Pusher," and "Straight," two works of
fiction.
No. 11 ([1989]). Offset. 16 1/2"x 11 3/4" (oversize). (8 pages).
"Plagiarism Special." "Demolish Serious Culture!" "We call on all cultural workers
to put down their tools and cease to make, distribute, sell, exhibit, or discuss
their work from January 1st 1990 to January 1st 1993. We call for all galleries,
museums, agencies, 'alternative' spaces, periodicals, theatres, art schools &c, to
cease all operations for the same period./ Art is conceptually defined by a selfperpetuating
elite and marketed as an international commodity. Those cultural
workers who struggle against the reigning society find their work either
marginalised or else co-opted by the bourgeois art establishment..." "Karen
Eliot." "Karen Eliot is a name which refers to an individual human being who can
be anyone. The name is fixed, the people using it aren't. Smile is a name which
refers to an international magazine with multiple origins. The name is fixed, the
types of magazines using it aren't. The purpose of many different magazines and
people using the same name is to create a situation for which no one n particular
is responsible and to practically examine western philosophical notions of
identity, individuality, originality, value and truth." "20 of the Most Difficult,
Awkward & Searching Questions You could Ask About the Art Strike 1990-1993."
"Confession in Support of the 1990-93 Art Strike." "Art and Class." "About the
Situationist International and Its Historification." Gender, Sexuality & Control."
"Deboredom," a review of "Lipstick Traces: A Secret History of the 20th Century,"
by Greil Marcus (USA). "Towards An Acognitive Culture," a conversation with
Henry Flynt (USA) and Stewart Home (England). Schedule of events for the
"Festival of Plagiarism," Transmission Gallery, Glasgow, Scotland, August 4-11,
1989.
SMILE. Pete Horobin, Editor. DATA, Dundee, Scotland. 1987.
(1987). Photocopy and Rubber Stamp. 11 3/4"x8 1/4". (16 pages).
"OPEN LETTER To British Correspondence & Mail Artists," by the editor. "during
a visit to robin crozier he expressed some concern about the future of his
archived correspondence & mailart. a concern which i shared and one which i
am sure we all share. for apart from the tate library there is no official private or
state supported organised body equipped to handle or capable of protecting the
outpourings of our generation. the tate dispite its healthy collection of modern art
does not have a policy to collecting mailart & correspondence art. even if we all
bequeathed our collections it is doubtful that the tate would put enough
resources into preserving & publishing the documents. i came away from
sunderland chewing over this problem as an accompaniment to my vegetarian
diet/after some days it struck me that between us we could organise our own
british archive for correspondence & mailart./this would have obvious advantages
over any other form of permanent preservation. as a separate independent
museum it would be able to concentrate its resources upon archiving &
publishing as well as cataloguing all the material of how the network
functions./clearly the first thing to do is to be on the lookout for a suitable building