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Mail art

From Wikipedia, the free encyclopedia

Mail art (also known as postal art and correspondence

art) is a populist artistic movement centered on sending
small scale works through the postal service. It initially
developed out of the Fluxus movement in the 1950s and 60s,
though it has since developed into a global movement that
continues to the present. The American artist Ray Johnson is
considered to be the first mail artist, and the New York
Correspondence School that he developed is considered the
first self-conscious network of mail artists.[1][2]

Media commonly used in mail art include postcards, paper, a

Mail art by Gyrgy Galntai, 1981
collage of found or recycled images and objects, rubber
stamps, artist-created stamps (called artistamps), and paint,
but can also include music, sound art, poetry, or anything that can be put in an envelope and sent via post. Mail
art is considered art once it is dispatched. Mail artists regularly call for thematic or topical mail art for use in
(often unjuried) exhibition.[1][3]
The mail artist community values the interconnectedness of the participants and promotes an egalitarian ethos
that frequently circumvents official art distribution and approval systems such as the art market, museums, and
galleries. Mail artists rely on their network as the primary way of sharing their work, rather than being
dependent on the ability to locate and secure exhibition space.[4] The community embraces this outsider or
alternative status, and refers to itself as "The Eternal Network" or just "The Network."[5] At its core, mail art is
about interpersonal communication, exchange and the creation of a virtual community of participants. In this
way, mail art can be seen as anticipating the cyber communities founded on the Internet.[6]

Contents
1 History
1.1 Early avant-garde experiments with the postal system
1.2 Ray Johnson, the New York Correspondance School, and Fluxus
1.3 1970s and 80s
1.4 1990s and the impact of the Internet era
2 Philosophy and norms of the mail artist network
3 Media and artistic practices in the creation of mail artworks
3.1 Rubberstamps and artistamps
3.2 Envelopes
3.3 Printing and copying
3.4 Lettering and language
3.5 Other media
4 Quotations
5 References
6 Further reading
7 External links
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History

Early avant-garde experiments with the postal system

Artist Edward M. Plunkett has argued that communication-as-art-form is

an ancient tradition; he posits (tongue in cheek) that mail art began when
Cleopatra had herself delivered to Julius Caesar in a rolled-up carpet.[7]
While some might consider early avant-garde experiments with the
postal system to be the origin of the movement, the term "mail art" was
not coined until the 1960s.[7] "The Futurists already had taken an interest
in mail art, but the official birth of the phenomenon dates to the early
1960s when Ray Johnson's New York Correspondance [sic] School,
institutionalized the free exchange of postal messages between artist and
artist or between artist and audience."[1][8]

Ray Johnson, the New York Correspondance School, and

Fluxus

Ray Johnson's invitation to the first

mail art show, 1970

Ray Johnson's experiments with posting instructions and soliciting

activity from his recipients began in the late 1950s, and provided mail art
with a blueprint for the free exchange of art via post. In 1962, Plunkett coined the term "New York
Correspondence School" to refer to Johnson's activities; Johnson adopted this moniker but intentionally
misspelled it as "correspondance."[7] The deliberate misspelling was characteristic of the playful spirit of the
Correspondance School and its actions.[9]

Most of the Correspondance School members are fairly obscure, and the letters they sent, often featuring simple
drawings or stickers, often instructed the recipient to perform some fairly simple action. Johnson's work consists
primarily of letters, often with the addition of doodles and rubber stamped messages, which he mailed to friends
and acquaintances. The Correspondance School was simply a network of individuals who were artists by virtue
of their willingness to play along and appreciate Johnson's sense of humor. One example of the activities of the
Correspondance School consisted in calling meetings of fan clubs, such as one devoted to the actress Anna May
Wong. Many of Johnson's missives to his network featured a hand drawn version of his personal logo, a bunny
head.[9]
In a 1968 interview, Johnson explained that he found mailed correspondence interesting because of the limits it
puts on the usual back and forth interaction and negotiation that comprises communication between individuals.
Correspondence is "a way to convey a message or a kind of idea to someone which is not verbal; it is not a
confrontation of two people. It's an object which is opened in privacy, probably, and the message is looked at ...
You look at the object and, depending on your degree of interest, it very directly gets across to you what is
there ..."[10]
In 1970, Johnson and Marcia Tucker organized The New York Correspondence School Exhibition at the
Whitney Museum in New York, which was the first significant public exhibition of the mail art genre.[1]

On April 5, 1973, Johnson declared the "death" of the New York Correspondance School in an unpublished
letter to the Obituary Department of The New York Times and in copies that he circulated to his network.
However, he continued to practice mail art even after this.[11][12]

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Although much of Johnson's work was initially given away, this hasn't prevented it from attaining a market
value. Andy Warhol is quoted as saying he would pay ten dollars for anything by Johnson."[13]

In his 1973 diagram showing the development and scope of Fluxus, George Maciunas included mail art among
the activities pursued by the Fluxus artist Robert Filliou.[14] Filliou coined the term the "Eternal Network" that
has become synonymous with mail art.[15] Other Fluxus artists have been involved since the early 1960s in the
creation of artist's postage stamps (Robert Watts, Stamp Dispenser, 1963), postcards (Ben Vautier, The
Postman's Choice, 1965: a postcard with a different address on each side) and other works connected to the
postal medium. "Indeed, the mail art network counts many Fluxus members among its earliest participants.
While Johnson did not consider himself directly as a member of the Fluxus school, his interests and attitudes
were consistent with those of a number of Fluxus artists.[9][10]

1970s and 80s

In the 1970s, the practice of mail art grew exponentially, providing a

cheap and flexible channel of expression for cultural outsiders and
demonstrating a particular vitality where state censorship prevented a
free circulation of alternative ideas, as in certain countries behind the
Iron Curtain or in South America.[16]

Mail art stamp and envelope with

The growth of a sizable mail art community, with friendships born out of
official Colt Anniversary postmark
[17]
Chuck Welch, aka Cracker Jack Kid,
personal correspondence and, increasingly, mutual visits,
led in the
1980s to the organization of several festivals, meetings and conventions
1984
where networkers could meet, socialize, perform, exhibit and plan
further collaborations. Among these events were the Inter Dada Festivals
organized in California in the early 1980s[18] and the Decentralized Mail Art Congress of 1986.[19]

In 1984, the evolving norms of the mail art community were tested when curator Ronny Cohen organized an
exhibition for the Franklin Furnace, New York, called "Mail Art Then and Now."[20] The exhibition was to have
an historical aspect as well as showing new mail art, and to mediate the two aspects Cohen edited the material
sent to Franklin Furnace, breaking an unwritten but commonly accepted custom that all works submitted must
be shown. The intent to edit, interpreted as censorship, resulted in a two-part panel discussion sponsored by
Artists Talk on Art (organized by mail artist Carlo Pittore and moderated by art critic Robert C. Morgan) in
February of that year, where Cohen and the mail artists were to debate the issues. On the second night, the mail
artists read a prepared manifesto penned by Pittore,[21][22] and Cohen was jeered from the stage; during the
ensuing melee[23] all of the panelists also walked out.[24] The excluded works were ultimately added to the
exhibition by the staff of the Franklin Furnace, but the events surrounding it and the panels revealed ideological
rifts within the mail art community. Simultaneously fanning the flames and documenting the extent to which it
was already dominated by a small, mostly male, coterie of artists, the discussions were transcribed and published
by panelist John P. Jacob in his short-lived mail art zine PostHype.[25] In a letter to panelist Mark Bloch, Ray
Johnson (who was not a panelist) commented on the reverse-censorship and sexism of the event.[26]
The rise of mail art meetings and congresses during the late '80s, and the articulation of various "isms"
proclaimed by their founders as movements within mail art, were in part a response to fractures made visible by
the events surrounding the Franklin Furnace exhibition.[27] Even if "tourism" was proposed satirically as a new
movement by H.R. Fricker, a Swiss mail artist who was one of the organizers of the 1986 Mail Art Congress,
nevertheless mail art in its pure form would continue to function without the personal meeting between so-called
networkers.[19] As mail artist Anna Banana put it, "the best part about mail art is that you don't have to be there

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in person to be in on the action."[28]

1990s and the impact of the Internet era

In 1994, Dutch mail artist Ruud Janssen began a series of

mail-interviews which became an influential contribution in the field of
mail art.[29]

By the 1990s, mail art's peak in terms of global postal activities had been
reached, and mail artists, aware of increasing postal rates, were
beginning the gradual migration of collective art projects towards the
web and new, cheaper forms of digital communication.[30] The Internet
facilitated faster dissemination of mail art calls (invitations) and
precipitated the involvement of a large number of newcomers. Mail art
blogs and websites became ever more frequently used to display
contributions and online documentation, even if many mail artists still
preferred the surprise of a catalogue found in their mailbox.

Philosophy and norms of the mail artist

network

American mail-artist David Horvitz

(active since the 2000s) meets
Brazilian mail artist Paulo Bruscky
(active since the 1970s) in Berlin,
Germany in November 2015.

In spite of the many links and similarities between historical avant-garde,

alternative art practices (visual poetry, copy art, artist's books) and mail
art, one aspect that distinguishes the creative postal network from other
artistic movements, schools or groups (including Fluxus) is the way it
disregards and circumvents for the commercial art market.[6] Any person
with access to a mailbox can participate in the postal network and exchange free artworks, and each mail artist is
free to decide how and when to answer (or not answer) a piece of incoming mail. Participants are invited by
network members to take part in collective projects or unjuried exhibitions in which entries are not selected or
judged. While contributions may be solicited around a particular theme, work to a required size, or sent in by a
deadline, mail art generally operates within a spirit of "anything goes."[2]

The mail art philosophy of openness and inclusion is exemplified by the "rules" included in invitations (calls) to
postal projects: a mail art show has no jury, no entry fee, there is no censorship, and all works are exhibited.[2]
The original contributions are not to be returned and remain the property of the organizers, but a catalogue or
documentation is sent free to all the participants in exchange for their works. Although these rules are sometimes
stretched, they have generally held up for four decades, with only minor dissimilarities and adjustments, like the
occasional requests to avoid works of explicit sexual nature, calls for projects with specific participants, or the
recent trend to display digital documentation on blogs and websites instead of personally sending printed paper
to contributors.
Mail art has been exhibited in alternative spaces such as private apartments, municipal buildings, and shop
windows, as well as in galleries and museums worldwide.[4] Mail art shows, periodicals, and projects represent
the "public" side of postal networking, a practice that has at its core the direct and private interaction between
the individual participants. Mail artists value the process of exchanging ideas and the sense of belonging to a
global community that is able to maintain a peaceful collaboration beyond differences of language, religion and
ideology; this is one aspect that differentiates the mail art network from the world of commercial picture
postcards and of simply "mailed art."[31]

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A mail artist may have hundreds of correspondents from many different

countries, or build a smaller core circle of favorite contacts. Mail art is
widely practiced in Europe, North and South America, Russia, Australia
and Japan, with smaller numbers of participants also in Africa, and
China. In addition to being kept by the recipient, mail art archives have
attracted the interest of libraries, archives, museums, and private
collectors.[6] Or, the works may be 'worked into' and recycled back to the
sender or to another networker.
Ray Johnson suggested (with a pun) that "mail art has no history, only a
present", and mail artists have followed his playful attitude in creating
their own mythologies. Parody art movements like neoism and
plagiarism have challenged notions of originality, as have the shared
pseudonymous names Monty Cantsin and Karen Eliot, which were
proposed for serial use by anyone.[32] Semi-fictional organizations have
been set up and virtual lands invented, imaginary countries for which
artistamps are issued.[33] Furthermore, attempts have been made to
document and define the history of a complex and underestimated
phenomenon that has spanned five decades. Various essays, graduate
theses, guides and anthologies of mail art writings have appeared in print
and on the Internet, often written by veteran networkers.[31]

Media and artistic practices in the creation of

mail artworks

BananaPost '89 artistamps by Anna

Banana, 1989

Mail Art envelope from H.R. Fricker,

1990

Because the democratic ethos of mail art is one of inclusion, both in

terms of participants ('anyone who can afford the postage') and in the
scope of art forms, a broad range of media are employed in creation of
mail artworks. Certain materials and techniques are commonly used and
frequently favored by mail artists due to their availability, convenience,
and ability to produce copies.

Rubberstamps and artistamps

Mail art has adopted and appropriated several of graphic forms already
associated with the postal system. The rubber stamp officially used for
franking mail, already utilized by Dada and Fluxus artists, has been
embraced by mail artists who, in addition to reusing ready-made rubber
stamps, have them professionally made to their own designs. They also
carve into erasers with linocut tools to create handmade ones. These
unofficial rubber stamps, whether disseminating mail artists' messages or
simply announcing the identity of the sender, help to transform regular
postcards into artworks and make envelopes an important part of the
mail art experience.[31]

Sheet of artistamps by Piermario

Ciani, c. 1995

Mail Art rubber stamps by Jo Klafki

(left) and Mark Pawson (right), 1980s

Mail art has also appropriated the postage stamp as a format for
individual expression. Inspired by the example of Cinderella stamps and Fluxus faux-stamps, the artistamp has
spawned a vibrant sub-network of artists dedicated to creating and exchanging their own stamps and stamp

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sheets.[34] Artist Jerry Dreva of the conceptual art group Les Petits
Bonbons created a set of stamps and sent them to David Bowie who then
used them as the inspiration for the cover of the single "Ashes to Ashes"
released in 1980.[35] Artistamps and rubber stamps, have become
important staples of mail artworks, particularly in the enhancement of
postcards and envelopes.[33] The most important anthology of
rubberstamp art was published by the artist Herv Fischer in his book Art
and Marginal Communication, Balland, Paris, 1974 - in French, English
and German.

Envelopes

Some mail artists lavish more attention on the envelopes than the
contents within. Painted envelopes are one-of-a-kind artworks with the
handwritten address becoming part of the work. Stitching, embossing
and an array of drawing materials can all be found on postcards,
envelopes and on the contents inside.[36]

Printing and copying

Carved eraser print by Paul Jackson,

aka Art Nahpro, c. 1990

Printing is suited to mail artists who distribute their work widely. Various printmaking techniques, in addition to
rubber stamping, are used to create multiples. Copy art (xerography, photocopy) is a common practice, with both
mono and color copying being extensively used within the network.[3] Ubiquitous 'add & pass' sheets that are
designed to be circulated through the network with each artist adding and copying, chain-letter fashion, have
also received some unfavorable criticism. However, Xerography has been a key technology in the creation of
many short-run periodicals and zines about mail art, and for the printed documentation that has been the
traditional project culmination sent to participants. Inkjet and laserprint computer printouts are also used, both to
disseminate artwork and for reproducing zines and documentation, and PDF copies of paperless periodicals and
unprinted documentation are circulated by email. Photography is widely used as an art form, to provide images
for artistamps and rubber stamps, and within printed and digital magazines and documentation,[31] while some
projects have focused on the intersection of mail art with the medium itself.[37]

Lettering and language

Lettering, whether handwritten or printed, is integral to mail art. The written word is used as a literary art form,
as well as for personal letters and notes sent with artwork and recordings of the spoken word, both of poetry and
prose, are also a part of the network.[3] Although English has been the de facto language, owing to the
movement's inception in America, an increasing number of mail artists, and mail artist groups on the Internet,
now communicate in Breton, French, Italian, German, Spanish, and Russian.

Other media

In addition to appropriating the postage stamp model, mail artists have assimilated other design formats for
unique and printed artworks. Artists' books, decobooks and friendship books, banknotes, stickers, tickets, artist
trading cards (ATCs), badges, food packaging, diagrams and maps have all been explored.

The wealth of materials, techniques and formats available ensures that mail artists routinely mix media. Collage
and photomontage are popular, affording much mail art the stylistic qualities of pop art or Dada. Mail artists
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often use collage techniques to produce original postcards, envelopes and

work that may be transformed using copy art techniques or computer
software, then photocopied or printed out in limited editions.
Printed matter and ephemera are often circulated among mail artists, and
after artistic treatment, these common items enter into the mail art
network.[3] Small assemblages, sculptural forms or found objects of
irregular shapes and sizes are parceled up or sent unwrapped to
deliberately tease and test the efficiency of the postal service. Mailable
fake fur ("Hairmail") and Astroturf postcards were circulated in the late
1990s.[36]
Having borrowed the notion of intermedia from Fluxus, mail artists are
often active simultaneously in several different fields of expression.
Music and sound art have long been celebrated aspects of mail art, at
first using cassette tape, then on CD and as sound files sent via the
Internet.[38]

Performance art has also been a prominent facet, particularly since the
advent of mail art meetings and congresses. Performances recorded on
film or video are communicated via DVD and movie files over the
internet. Video is also increasingly being employed to document mail art
shows of all kinds.[39]

Cover of Kairan Mail Art zine edited

by Gianni Simone, aka Johnnyboy,
2007

Quotations

"Correspondence art is an elusive art form, far more variegated by its very nature than, say, painting.
Where a painting always involves paint and a support surface, correspondence art can appear as any
one of dozens of media transmitted through the mail. While the vast majority of correspondence art
or mail art activities take place in the mail, today's new forms of electronic communication blur the
edges of that forum. In the 1960s, when correspondence art first began to blossom, most artists
found the postal service to be the most readily available - and least expensive - medium of
exchange. Today's micro-computers with modern facilities offer anyone computing and
communicating power that two decades ago were available only to the largest institutions and
corporations, and only a few decades previous weren't available to anyone at any price." -Ken
Friedman[40]
"Cultural exchange is a radical act. It can create paradigms for the reverential sharing and
preservation of the earth's water, soil, forests, plants and animals. The ethereal networker aesthetic
calls for guiding that dream through action. Cooperation and participation, and the celebration of art
as a birthing of life, vision, and spirit are first steps. The artists who meet each other in the Eternal
Network have taken these steps. Their shared enterprise is a contribution to our common future." Chuck Welch[31]
"The purpose of mail art, an activity shared by many artists throughout the world, is to establish an
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aesthetical communication between artists and common people in every corner of the globe, to
divulge their work outside the structures of the art market and outside the traditional venues and
institutions: a free communication in which words and signs, texts and colours act like instruments
for a direct and immediate interaction." - Loredana Parmesani[41]

References
1. "Mail Art". Collection: MOCA's First Thirty Years. MOCA: The Museum of Contemporary Art, Los Angeles.
Retrieved 11 April 2013.
2. Phillpot, Clive (1995). Chuck Welch, ed. Eternal Network: A Mail Art Anthology. Canada: University of Calgary
Press. Retrieved 11 April 2013.
3. "Mail Art". Digital Collections, UB Libraries. University at Buffalo, The State University of New York. Retrieved
11 April 2013.
4. "Mail Art @ Oberlin". Oberlin College Art Library. Oberlin College & Conservatory. Retrieved 11 April 2013.
5. Richard Kostelanetz; H. R. Brittain (2001). A Dictionary of the Avant-gardes. Routledge. p. 388.
ISBN 978-0-415-93764-1.
6. "About John Held Jr. in the Spark episode "The Fine Art of Collecting" ". Spark. KQED. 2004. Retrieved 11 April
2013.
7. Plunkett, Edward M. (1977). "The New York Correspondence School". Art Journal (Spring). Retrieved 11 April 2013.
8. Francesco Vincitorio, "Informalista o videoartista? Le tendenze artistiche dagli anni '40 ad oggi", L'Espresso n.44, 7
November 1982
9. Danto, Arthur C. (March 29, 1999). "Correspondance School Art". The Nation. Retrieved 11 April 2013.
10. "Oral history interview with Ray Johnson, 1968 Apr. 17". Archives of American Art. Smithsonian Institution.
Retrieved 11 April 2013.
11. "Ray Johnson mail art to Lucy R. Lippard, 1965 June 29". Archives of American Art. Smithsonian Institution.
Retrieved 11 April 2013.
12. "Ray Johnson Biography". Ray Johnson Estate. Retrieved 11 April 2013.
13. Stewart Home, The Assault On Culture, Aporia Press & Unpopular Books, London 1988
14. Hendricks, Jon (1988). Fluxus Codex, New York: Harry N. Abrams, pp 329333. ISBN 978-0-8109-0920-5
15. Bloch, Mark. "An Authentik and Historikal Discourse On the Phenomenon of David Zack, Mail Artist". In Istvan
Kantor. Amazing Letters: The Life and Art of David Zack. Retrieved 11 April 2013.
16. Jacob, John (1985). "East/West: Mail Art & Censorship". PostHype 4 (1). ISSN 0743-6025.
17. Lloyd, Ginny (1981). "The Mail Art Community in Europe". Umbrella Magazine 5 (1).
18. Ross, Janice (August 26, 1984). "A gleefully rebellious festival of dada". Oakland Tribune (Art: The Tribune
Calendar). Retrieved 11 April 2013.
19. "Hans-Reudi Fricker". Mail Art @ Oberlin. Oberlin College & Conservatory. Retrieved 11 April 2013.
20. "Mail Art From 1984 Franklin Furnace Exhibition". Franklin Furnace. Retrieved 25 January 2014.
21. Pittore, Carlo. "An Open Letter to Dr. Ronny Cohen (part 1)". panmodern.com. Retrieved 25 January 2014.
22. Pittore, Carlo. "An Open Letter to Dr. Ronny Cohen (part 2)". panmodern.com. Retrieved 25 January 2014.
23. Azon, Gary (March 13, 1984). "Mailart Melee". Village Voice. Retrieved 25 January 2014.
24. Mark, Bloch. "Franklin Furnace Fracas". Retrieved 25 January 2014.
25. Jacob, John (1984). "Mailart: A Partial Anatomy". PostHype 3 (1). ISSN 0743-6025.
26. Mark, Bloch. "Ray Johnson's letter to me after the event, questioning the issue of sexism.". panmodern.com. Retrieved
25 January 2014.
27. Jacob, John (1987). The Coffee Table Book of Mail Art: The Intimate Letters of J.P. Jacob, 1981 - 1987. New York:
Riding Beggar Press.
28. Anna Banana, mailartist and editor of Vile magazine
29. Ruud Janssen, Mail-Interviews, Tilburg 19942001
30. Guy Bleus (Ed.), Re: The E-Mail-Art & Internet-Art Manifesto, in: E-Ple-Mle: Electronic Mail-Art Netzine, Vol.III,
n 1, T.A.C.-42.292, Hasselt, 1997.
31. Welch, C. (1995). Eternal network: A mail art anthology (http://www.worldcat.org/oclc/231651233). Calgary, Alta:
Univ. of Calgary Press.
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32. C. Carr (9 April 2012). On Edge: Performance at the End of the Twentieth Century. Wesleyan University Press.
pp. 105. ISBN 978-0-8195-7242-4.
33. Frank, Peter, E.F. Higgins III, Rudolf Ungvry. "Postal Modernism: Artists' Stamps and Stamp Images
(http://www.artpool.hu/Artistamp/PFranke.html)." World Art Post, Artpool Archive, Museum of Fine Arts Budapest,
April 1982 (pp. 14)
34. [1] (http://www.bpost.be/site/fr/particuliers/timbres-poste/philat%C3%A9lie/timbres/2003/emission-sp%C3%A9ciale09-du-19-mai) Belgian Postal Service, Guy Bleus & Jean Spiroux, Journe du Timbre: Mail-Art, 2003.
35. Griffin, Roger. "Scary Monsters". Bowie Golden Years.
36. Elving, Bell (April 30, 1998). "Pushing The Envelope". The Washington Post.
37. Jacob, John (1984). The International Portfolio of Artists Photography. New York: Riding Beggar Press.
38. Christoph Cox; Daniel Warner (1 September 2004). Audio Culture: Readings in Modern Music. Continuum. pp. 60.
ISBN 978-0-8264-1615-5.
39. "The Techniques". Mail-Art:The Forum. Retrieved 23 October 2013.
40. Friedman, Ken (1984). Wilson, Martha, ed. "Mail art history: the Fluxus factor". FLUE - Special Issue: Mail Art
(Franklin Furnace) 4 (34).
41. Loredana Parmesani, text under the entry "Poesia visiva", in L'arte del secolo - Movimenti, teorie, scuole e tendenze
19002000, Gi Marconi - Skira, Milan 1997

Further reading
Jean-Marc Poinsot, Mail Art: Communication A Distance Concept,
Paris 1971
Herv Fischer, Art et Communication Marginale: Tampons
d'Artistes, Paris 1974
Joni K. Miller-Lowry Thompson, The Rubber Stamp Album, New
York 1978
Giovanni Lista, L'Art Postal Futuriste, Paris 1979
Ginny Lloyd, Tour '81 Sketch BOOK, TropiChaCHa Press, Jupiter,
1981 - 2011
Ginny Lloyd, Blitzkunst: have you ever done anything illegal in
order to survive as an artist?, Kretschmer & Grossmann,
Frankfurt, 1983
Michael Crane-Mary Stofflet (editors), Correspondence Art:
Sourcebook for the Network of International Postal Art Activity,
San Francisco 1984
John P. Jacob, Mail Art: A Partial Anatomy, PostHype volume 3
number 1, New York, 1984
Ginny Lloyd, The Storefront: A living art project, San Francisco,
1984
Chuck Welch, Networking Currents: Contemporary Mail Art
Subjects and Issues, Boston 1986
Mail Art by A.D. Eker
Gnther Ruch (editor), MA-Congress 86, Out-press, Geneva 1987
(Thuismuseum), 1985
John P. Jacob, The Coffee Table Book of Mail Art: The Intimate
Letters of J.P. Jacob, 1981-1987, Riding Beggar Press, New York,
1987
Jon Hendricks, Fluxus Codex, New York 1988
H.R. Fricker, I Am A Networker (Sometimes), St. Gallen 1989
John Held Jr., Mail Art: An Annotated Bibliography, Metuchen 1991
Jean-Nol Laszlo (editor), Timbres d'Artistes, Muse de la Poste, Paris 1993
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Gza Perneczky, The Magazine Network: The Trends of Alternative Art in the Light of Their Periodicals
19681988, Kln 1993
Friedrich Winnes-Lutz Wohlrab, Mail Art Szene DDR 1975 1990, Berlin 1994
Chuck Welch (editor), Eternal Network: A Mail Art Anthology, Calgary 1995
Sandra Mizumoto Posey, Rubber Soul: Rubber Stamps and Correspondence Art, Jackson 1996
Vittore Baroni, Arte Postale: Guida al network della corrispondenza creativa, Bertiolo 1997
Donna De Salvo-Catherine Gugis (editors), Ray Johnson: Correspondences, Paris-New York 1999
John Held Jr., L'arte del timbro - Rubber Stamp Art, Bertiolo 1999
James Warren Felter, Artistamps Francobolli d'artista, Bertiolo 2000
Craig J. Saper, Networked Art, Minneapolis-London 2001
Renaud Siegmann, Mail Art: Art postal Art post, Paris 2002
Ina Blom, The Name of the Game. The Postal Performance of Ray Johnson, Oslo/Kassel/Sittard, 2003
Vittore Baroni, Postcarts - Cartoline d'artista, Rome 2005
Tatiana Bazzichelli, Networking: The Net as Artwork, Aarhus 2008
Kornelia Rder, Topologie und Funktionsweise des Netzwerkes der Mail Art, Bremen 2008
Jennie Hinchcliff & Carolee Gilligan Wheeler, Good Mail Day: A Primer for Making Eye-Popping Postal
Art, Quarry 2009
Graciela Gutirrez Marx, Artecorreo artistas invisibles en la red postal, La Plata, Argentina 2010
Franziska Dittert, Mail Art in der DDR. Eine intermediale Subkultur im Kontext der Avantgarde, Berlin
2010
Ginny Lloyd, Women in the Artistamp Spotlight, Jupiter 2012
Thomas Bey William Bailey, Unofficial Release: Self-Released And Handmade Audio In Post-Industrial
Society, Belsona Books Ltd., 2012
Fernando Garca Delgado, El Arte Correo en Argentina, Vortice Argentina Ediciones., 2005
Ulises Carrin, "El Arte Correo y el Gran Monstruo", Tumbona ediciones, Mexico, 2013
Ginny Lloyd, Inter DADA 84: True DADA Confessions, Jupiter 2014

External links

Mogens Otto Nielsen Mail Art Archive (http://mailartarchive.com/), 10,000 pieces held by the Kunsten
Museum of Modern Art Aalborg
[2] (http://www.artists-pub.eu/presentations/archives-collections/mail-art-archive-at-the-staatlichesmuseum-schwerin/) Mail Art-Archive at the Staatliches Museum Schwerin], 30,000 pieces
"[3] (http://blog.aaa.si.edu/2012/10/youve-got-mail-art-discovering-john-held-jrs-role-as-librarianand-mail-artist.html) You've Got Mail Art: Discovering John Held Jr.'s Role as Librarian and Mail
Artist]," Archives of American Art, Smithsonian Institution
[4] (http://doodapost.com/about_stamps.html/) E.F.Higgins III - Doo Da Postage Works]
Mail Art (http://digital.lib.buffalo.edu/collection/LIB-PC001/) digital collection from the University at
Buffalo Libraries
[5] (http://iuoma-network.ning.com/) IUOMA network with active discussions on Mail-Art]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mail_art&oldid=725132275"
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15.06.2016 04:48

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