John Held Jr. - Collection of Mail Art Periodicals

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Mail Art periodicals An Annotated Inventory John Held, Jr.
Collection Modern Realism Archive San Francisco, California.
Depsito del archivo de John Held en el MoMA de N.Y.
#@%*&#
A Margem
Abastor
About Drawing
Abraham
Absurdistiche Liga
Ack's Wacks
Acts of the Shelflife
Ad Astral!
Add and Pass
Aerosol
Afzet
Ah! L'Arte Postale
Alice's Zine of Dreams
AMAE
Amano
An Artist Speaks
ANALgine Books
ANNA
Annie's for the Communication
Anodyne
Anti-Isolation
Antivalues
Apocrypha
AR/280
ARG (Action Resource Guide)
ARG Cata-Zine
ARLIS/NA Newsletter
Art and Absence of Clothes
Art and Communication Network
Art Brigade
Art by Mail
Art Com
Art Contemporary
Art For Um
Art Papers
Art Romp
Art Works
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Art Zoo
Arte Arte
Arte Postale!
Artforum International
Artist Call
The Artist Calls
Artistamp News
Artistsampzine
Artists Internat'l Newsposter
Artpaper
Ask Ling
Assembling
Atalaya
Atmosphere
AU
Autograph Book
Automne
B Scene
Bad News Bingo
Bag Art
Balkon
Bambu
Banal
Banana Rag
Bawana-Art
Beat Poet
Bern Porter International
Better Marking
beyond baroque 691
Beyond Midnight
Bibliozine
BILE Dadazine
Birdada
Birk Neark
Blah
Blammoroots
Blitzkunst
BNETZINE
BOEK
BOEK 861 WWW
Bones
Box of Water
Boy Evacuee
Brain Cell
Bread Doll Fancier
Bric-a-Brac
Brulot, Le
Bugle, The
Bulletin Reparation de Poesie
Cacophony
Cafe Box
Cage: Anti-Embargo Magazine
Calgary Philatelist
Camolawa-Pish
Canadian Journal of Detournement
Canvas Ranch
C(art)A
Cassette Mythos
Catch-Up Files
Cenizas
Character Disorder
Choice Words!
Chronique de L'Abominable Homme des
Letteres, La
Circolo Pickwick
Circular
Circus Bee
Cirque Divers
City of Tiny Lights, The
Clarke A. Sany Newsletter
Clear
Clinch
Closed World = Open World
CLWN WR
Collaboration By
Commonpress
Computerized TAM-Bulletin, The
Convolutions
Cook Island News
Copy
Copy-left
Correo Del Sur/Southern Post
Correspondence Novelas
Couch Potato Magazine
Crash Update
Crazy, Old Poets Magazine
Creatif Art Revue
Creative Discourse
Cult Comix
Curios Dog
Curious Thing
Curious X
CVS
Dada News Source
Dadazine
DATA FILE
De Media
Dead Mail-Artists
Devil/Paradis
Devil's Playground
Diapoteka Bulletin
Diary of Neo-Psychedelic Man
Die Katastrophe
Die Young
Dimensao

DJ at FOMT
Do Wonders Invention Manual
DOC(K)S
Documents
doda Florida
Doo Daa Florida
Double
Dream Magazine
Dreams of Pag-hat the Rat-girl
Dreamtime Talkingmail
Duplex Planet
Dyslexic People
E-Pele-Mele
Easy & Instant Mail Art Mag E3
Eat It Up
Effluvium
Einbecker Kunstblatt Mail-Art-News
Einai Aypio:A Mail Art Magazine
El Djarida
El Gallo Isustrado
El Networker Latinoamericano
Electronic Cottage: International Magazine
Electronic Mail Art
Elefanzine
11x30: A Publication of the Toledo Poets
Center
EMILS
Emozioni
Energy: The Mailart Journal of Thoughts
and News
Enigma
Entartete
Ephemera
Eraser Carver's Quarterly
Escape from Gravity
Evidence of Active Thought
Exclusive: Underground Mail World Wide
Expatriot, The
Experimenta
Expresion Deforme
Eyrie
F
Face of the Congress, The
Factsheet Five
Fallout
Fandagos
Farm Pulp
Farrago
Fashion
Fatuous Times
Fault, The
Feeling of Infinity
Fiji Times
FILE
fishcake UBMA
598
Flatland Catalog
Florida DooDaa
Fluxzine
Fluxus Bucks
Fnord!
Foist
FOMT Bulletin
Food for Thought
Force Mental
Format
Found Street
4-U-2 POST
Fractals
Fragment
From the Archive
Front
Frozen HYPNOSIS
Full Moon
Fur Alle
Further Too
Garatiuja
Generator
Get
Ghostdance
Giants Play Well in the Drizzle
Girl-illa Art 'Zine, The
Global Mail
Global Village Voice
Grafopublik
Grand TRAX
Great Adventure of Kanzan and Jyuttoku
Gulf Bulletins
Gummiglot's Un-Weekly Reader...Bit's
o'News
H23
Ham
Hapunkt Special
HalfLife Network Magazine
HeMisA-Book
herd
Hexa'gono
High Performance
Historians Anonymous
History of Pagiarism, The
Hoje Hoja Hoy
Honolulu Haole Flake
Howler on the Toilet, The
Humbolt Da-Jest, The
Idea Fuggente
Ideology of Madness
Idle Time Mail Art
Idolise
Illuminati
Impossibilists
impossible utterance, the
In Remembrance
In the Mail
In Your Mail
INFO-MAM
Information Sickness
Inia-Kelma
Inquirer
Instant Media Dispatch
Inter
Interface
International Artitsts Cooperation
International Electrographic Magazine
International Poetry
Interpretive Science
Invitation to Temple
Irons Bulletin
Irregular Quarterly
IS
ISCA Quarterly, The
IUOMA Magazine
JB Arte Informativo
Jackpot Years
Joe's Art Corner Newsletter
Juxbox Hq
Juxta
Kairan: Mail Art Forum
Kaldron
Karta Zine
KFR
Kettle of Fisk
Kinokaze
kontexts
Kreuz-Aktionen
Kryptogame
KS
La Langouste
la mamelle
Laugh Clown Laugh
Laughing Postman
Le Timbre
Left-Handed
Leisure
LET's ALL ENJOY the CHAOs of Life
Lettre Documentaire
LEVEL
Libellus: A Monthly Mail-Art Publication
Light of the He-Art
Lightworks
Lime Green News
Lips
LISME
Litanik
Little Cockroach Press
Live from the Stagger Cafe
Ljubav/Love
Lo Straniero
Lola Fish
London Psychogeographical Association
Newsletter
Lost & Found Times
Love Letters
Lower Rosedale Review
LPDA Magazine
Lunatique
Lund Art Press
Lyrische Collagen/Lyrical Collages
McJob
MadWoman
Madam X's Gazette
MADNESS!
Mail Art
Mail Art Archive
Mail Art Interviews
Mail Art Message
Mail Art Messenger
Mail Art News
Mail Art Obscurities Mirror
Mail Art Paper
Mail Art Portraits
Mail Art Service
Mail-Art Statements from Ruud Janssen
Mail Box: Correspondance Art from
Around the World
Mail Interview Newsletter
Mail Order Art
MAILARTSPACE
Main Book Catalogue/Sampler, The
Malcontent
MaLLife
Mambo Press Update
Man and High Tech
Mani Art
Margaret Freeman Digest
Maximum Traffic
MC
mcard
ME
Megazine Bulletin
Melmoth Vancouver
Mendo Do De Do, The
Metal Mail
Mente Locale
Metro Riquet
Mexico Inista
Minds Adrift
Miniboek 861:Miniboletin de Mail Art y
Poesia Visual
Minifictions
Miracle Whip
Mirror Images
Mixed Media
Moj Swiat
Mollocca
Monthly: An Irregular Periodical, The
Monthly Journal
Moonhead News 79
Mouth: Revista Aperiodica di Poesia e
Poesia Visiva
MSRRT Newsletter
Mumbles in Love
Multiplication
My Secret Life in the Mail
Mystery Hearsay International
National Stampagraphic
ND (New Dachau)
Nebuleux Gazine
The Neo
Neo-Nooze
Neo-Psychadelic Man
Net-Informer: Monthly Networking
Magazine
New World News
Netshaker
Netshaker Online
Network News
Network Times
Networker Congress Statements
Networking
Netzine
New Bulletin
New Lazarus Review
New Observations
Newark Press
Newsletter
Newsletter about the Mail-Interview
Project with updated information
Newsletter for Participants and Other
People Interested in the Mail-Interview
Project
925
No Exit
Nomo the Zine
Nostril
NOVA
Novoid
Novy Zivot/New Life
nu-art
Numero
NYCS (New York Correspondence School)
Weekly Breeder
O
O Dos: Revista de Arte Correo
O!!Zone
Occasional, Tuesday-Art News
Ocean Front
oFF;oFF
Offerta Speciale
Okrazoidical
Open Forum
Open Netmag: International Network
Culture
Open World
Opuntia
Or
Origin Project: Portfolio de Arte Postal-
Mail Art
The Other Times: An Alternative Mail Art
Format
Our International Stamps/Cancelled
Seals/Nuestro Libro Internacional de
Estampillas y Matasellos
Overview
Ovum
The Oxidized Look
P.O Box
Panmag: International Magazine
Paper
Paper Work
Parallel-International Creative Magazine
Parallelogramme
Parking Lot Reporter
Participation
Pas de Chance Index
Pelo+Pelo-
Peltex
Pent-Up Observations
Perceptual Motion
Phosphorusflourish
Photostatic Magazine
The Photostatic Retrofuturist
PhrenQuellonium: A Quarterly Arts Review
PIPS: Zeitschrift fur UnZeitgist &
UnKomMerz
Place Stamp here: A Literary Magazine on
Postcards-Visual Poetry
Planet Roc: An Alternative Arts Journal
PMTTD's Standard Catalogue Update
Po
Poesia en Circulacion/Poetical Network
Poezine
Popular Reality
Post/Arte
PostHype: The Journal of Happy Young
People Enterprises
Post Kunst
The Poster: Official Publication of the Local
Post Collectors Society
Postflux Fluxpoem
Postfluxpostbooklet
(Shouting at the) Postman
La Preciosa Nativa
Presents of Mind
The Primal Plunge Catalog
Prole
Prop
Prove it Pretzel Boy
Proyecto 'Vortice'
Public Property
Pulse
Punkomik
punks
Punta Cero
The Pup
Perfect Arrow: A Publication of Arrows,
Concepts, and Correspondance
Push-Machinery
Pyramid Magazine
Quack-Quack Stories
Quasi per Caso
Quoz?
Ram Art Review
Rampike
Random Entry Comix
Rant
RatLLA
The Ratty Gazette
Raunch O Rama Information Sheet
Re:Action:Newsletter of the Neoist
Alliance
Readymail
Real Correspondence
Rebus Quarterly
Recycling Booklet
red dog chop
Reparation de Poesie
Retrofuturism
Ripority Folio
Robert's Telling Tales
Rubber
Rubber Buddies
The Rubber Fanzine
The Rubber Fanzine II
Rubber Manic
The Rubber Stamp Folio: The
International Forum for Rubberstamp Art
Rudy in the Network:(a)periodical bullettin
Rubberstampmadness
Salt Lick
Scarabeus
Scarborough Speaks
Scatter Balance: Underground Visual and
Aural Arts
Schism
SCHMUCK Anthological
(S)crap
Score
Secret Life of Marcel DuChamp
Secert Love
Secret Thoughts About Mail Art
Semiautomatic
Sempervivum
Sensoria from Censorium
Serious Attentions
Shattered Wig Review
Shigeru Magazine
Shimbu
Shit Diary
Short Fuse
Shots: A Journal About the Art of Fine
Photography
Shredding Teeth
Shredding Trout
Shushma: The official Secret Newsletter of
the Shushma Legion
Sh'WIPE!
Sick Roof: A Journal of Humorous,
Pathetic, and Serious Poetry
SIGN'zine: Cuadernos de Expresion Visual
Signal: International Review
Signs and Stones Magazine
Sin City
Sirqwork
Sivullinen Newsletter
Skinny Chest
Slowness of Being (Die Langsamkeit des
Seins)
Slugfest
Slugnet Mailart Summary and Christmas
Card List
S'Mail: global-NETWORK-zine
(Smile)
SMILE (Viareggio, Italy)
SMILE (Baltimore, MD)
SMILE (Berlin, Germany)
SMILE (Oakdale, IO)
SMILE (Madison, WI)
Smile (Berlin, West Germany)
SMILE (London, England)
SMILE (Dundee, Scotland)
Smile: Art-Magazin
SMILE (London, England) (ed. Mark
Pawson)
SMILE (London, England) (ed. Simon
Ford)
Snack
Snacks
Snail Mail Gets a New Shell: A Newsletter
from the Dispatch of Signs and Stones
So Called
Socks, Dregs & Rockin' Chairs
Sol Cultural
Some Thoughts About Mail Art
Il Soppalco(The Balcony):Home Art
Gallery
Sorriso Vertical, II
SoS Jazz
Source: Music of the Avant Garde
Spaziomostre Alternative
The Sphinx: A Journal of Inscrutability
Spiegelman's mailart rag
Square
STAMP
The Stamp Act
Stamp Art
Stamp Axe
Stamp World
Stampola
Stamps From/Collage of Stamps From
Stark Fist of Removal: The Newsletter of
the Church of the SubGenius
Stars & Types: International Comics-
Fanzine
State University of New York at Buffalo
Reporter
Stirnnetz Mit Der Spinne
Stomp!
Strange Faeces
Stress: The First Italian Music & Life Free
Newsletter
Stretch Marks: A Rubber-Stamp Art Zine
Strike/Strike
Stripper's Lament
Student Artist Call for Survival
Sty Zine
The Subliminal Zone Chronicles Comix
The Subtle Journal of Raw Coinage
Suite en Fin
Summer Rites
Sushi
Synthetica
Syzygy
Sztuka Fabryka News
Tabloid Trash
TACT?
Taggerzine: Isle of Views: A Participatory
Fanzine
Taggerzine Specials
TAM-Bulletin
The TAM Rubberstamp Archive
Information-Newsletter
Tamotsu Watanabe
Tampon De-Collage
Taproot
Temple Post
Temple Post Gazetta
Tensetendoned
Testtube
That Long Newspaper Spoon
Thought Crime
3-6-2: A Quasi-Poetic Broadside
Through the Cracks: A Mini-Journal of
Socially Relevant Words and Images
Thurds: From the Art of Rosalea's Hotel
To Be Continued to the End
Toad & Rice Weekly
Tonga Dada
Total
Tourism Review
Tracks; a journal of artists' writings
Transfusion: New Bulletin
Transmog
Travelin' with Marilyn
Travelling Project
Triangle Collage: Collage Collaborations
The Tropical Trousersnake
Tui Tui Philatelic Bulletin
Turtle Island Dazibao: Another Little Piece
of the Eternal Network
TV
Twisted Imbalance
Two-Ton Santa
U-Direct
U-Mak-It
UBMA (Una Brecha Muy Abierto)
Umbrella
Unda Review: Poetry & Mail Art
Networking Netmag
UNI/ver(;):Visual and Experimental Poetry
Portfolio
Unmuzzled Ox
Unowned Worlds
Vague (Greenfield, MA)
Vague (London, England)
Valentine Project
Vamp Stamp News
Variant
Velocity
Verificato per Censura
Version 90
Video'n Print:the Newsletter of Richie's
Video
VILE
The Village Voice Literary Suppliment
El Virus
Visions of Eros: Erotic Time Capsule
Visual Delight v Visual Disaster
Visual Poem Collab
Void
Vortex 3: Grafica Experimental & Poesia
Visual/Visual poetry & Experimental
Graphic
Wall
Weast: An Art Magazin
Weekly Breeder
Weekly Readers Da-Jest
Wellcomet Boletim
West Bay Dadaist
Whap! Magazine
What the Hell is Going On?
White Worm Review
Wild Children: A Zine for and By Kids Age
0-18
Wild Rabbit News
The Wire
Wire Magazine
Words Used in Mail Art
Workarea Art Ambient
The Works: The Block Island Art Magazine
Workspace News
Worldmap
X-Ray Magazine
Xero-Post
Xerolage
Yawn
Zines! the Postcard
Zippily: The First Belgian Gazette for Mail
Junkies of the 90s
Znak

#@%*&#. 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 Gmez (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 Brtolech (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. Qubec, 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 Stssi (Switzerland) and John Held, Jr. (USA).
Issued jointly with Rparation de Posie 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), Jrgen 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 info-zine with
exhibition invitations reproduced.
No. 75368 (April, 1989). Photocopy. 16 1/2"x11 3/4". (2 pages). Mail Art info-zine 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 dream-like & 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 Espaoles). 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 info-zine with
reproduced texts and graphics. Biographies of Bartolome Ferrando (Spain) and Antonio
Gmez (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 Lpez 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 Corp
(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 Jos 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. Csar 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. Arrire-
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 Herv
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 multiple-edition 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 want-and 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 Jrgen 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 Kstermann
(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 Gyrgy 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), Jrgen 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
Carrin (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. Gnther 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 Marn (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 clichs.
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), Gnther Ruch (Switzerland), Dogfish (USA), et al.
No. 44 (October/November 1983). Photocopy with Mixed Media. 8 1/2"x6". Unpaged.
Assembling magazine. Contributors include Jrgen 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 Bill (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 Kstermann (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 Bill (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 Jrgen 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 Manit. 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 Muse 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 Kstermann and Angela Phler
(Germany), Gnther Ruch (Switzerland), Bruce Grenville (USA). Books and periodicals
review. New artistamp issues by Vittore Baroni (Italy), Gyrgy 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 Kstermann (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 Brunstrm, 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 Kstermann (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 Kstermann (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 Jos
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 Kstermann 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 Bz, 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, Jos VdBroucke, Charles Franoise, 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 - Bulletin Rparation de Posie

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), Blint 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. Bill
(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. Bill (France), Jennifer Henderson (USA) Jan W. Vugts (Holland), Salvatore de
Rosa (Italy), et al.

Balkon. Istvn Hajdu, Editor. Budapest, Hungary. 1994.
94/2 (February 1994). Offset. 13"x9 1/2". 46 pages. Articles by Mail Art scholar Gza
Perneczky (Germany), "Ipics-apacs pop art," and Blint Szombathy (Yugoslavia), "Dvid
Vera elektroimzsai."
94/5 (May 1994). Offset. 13"x9 1/2". 43 pages. Article on pioneering Hungarian Mail
Artist Endre Tt. 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-Franois 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 Muse 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: Ren 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. Csar 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 Jess Montia (Spain).Reproduction of a artistamp sheet by Peter Kstermann
and Angela Phler (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 (Accin 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 "Intervi" 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. Csar 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 Nord (Norway), Lucio Kume (Brazil), et
al. Front cover by Daniel Daligand (France). Back cover by Jrgen 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. Gza Perneczky, Editor. Institute for Research in Neoism, Kln,
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 62 artists from 13 countries. Instructions (with personal note).
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).
No. 32 (August 2, 1986). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (2 pages).
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).
No. 52 (March 13, 1987). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3 pages).
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."
Contributions from 57 artists from 15 countries.
No. 69 (September 7, 1987). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3 pages).
No. 74 (October 20, 1987). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3 pages).
No. 75 (November 3, 1987). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (2 pages).
pages). Contributions by 63 artists from 18 countries.
No. 80 (December 31, 1987). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3
No. 89 (April 9, 1988). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3 pages).
No. 98 (July 20, 1988). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (2 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).
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. 115 (January 8, 1989). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3 pages).
No. 120 (February 16, 1989). Gocco Printing and Photocopy. 11 1/2"x16 1/2". (3
No 145 (August 23, 1989). 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 from 54 artists from 15 countries.
pages). Contributions from 56 artists from 18 countries.
pages). Contributions from 53 artists from 15 countries.
Contributions by 50 contributors from 13 countries. Instructions.
No. 270 (February 28,1993). 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.
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).
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.
Contributions by 54 artists from 14 countries. Instructions printed on back of envelope.
Contributions by 53 artists from 19 countries. "Brain Cell" essay on verso of contributors
list. Instructions on back of envelope.
Contributions by 53 artists from 19 countries. Variant issue without "Brain Cell" essay. No
instructions on reverse of envelope.
Contributions by 53 artists from 19 countries. Variant issue without "Brain Cell" essay.
Instructions printed on reverse of envelope.
pages). Contributions by 53 artists by 15 countries. Instructions on reverse of envelope.
pages). Contributions by 51 artists from 20 countries. Instructions on back of envelope.
Contributions by 58 artists by 18 countries.
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
Contributions by 59 artists from 18 countries. Project invitation.
Contributions by 45 artists from 19 countries. (Review copy to "Factsheet Five" magazine.
Review by John Held, Jr. enclosed.)
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."
Contributions by 48 artists from 16 countries. "Mail Art-Brain Cell-Fractal" essay on verso
of contributors list.
Contributions by 48 artists from 14 countries. "Mail Art-Brain Cell-Fractal" essay in
Japanese on separate sheet of paper.
Contributions by 41 artists from 12 countries. "Mail Art-Brain Cell-Fractal" essay in
Japanese on separate sheet of paper.

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 Rparation de Posie. Jean-Claude Gagnon, Editor. Collectif Rparation de
Posie, 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 - CVS
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 Kstermann (Germany), Angela Phler (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 Gnther
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), Jos 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. 7 (n.d.). 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. 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. 21 (1997). Photocopy. 8 1/2"x5 1/2". (4 pages). Mention of Luther Blissett.
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. 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 Rparation de posie, 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 Prez-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 Franois (Belgium), et al.
No. 108-109-110 (June/July/August 1989). Offset. 5 3/4"x4". Unpaged. "Mail Art R
Debanteri (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 Cit
Administrative de Liege)." "Mail Art A. Hallet."
No. 116 (February 1990). Offset. 5 3/4"x4". Unpaged. "Mail Art R. Debanteri
(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. Franois." "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 curiosit 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 clichs 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. Gnther Ruch, Editor. Genve-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/ CO-mentaries/ CO-ntributions/ CO-
operations/ CO-mpositions/ CO-nferences/ CO-nclusions /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 Jrgen 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. Gnther 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 Gza 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 (rubber-
stamps/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. Bill (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 mail-artists 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 Carrin, 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). Gnther 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). Gyrgy and Julia Galntai,
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 Kstermann,
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 ISDN-network (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 Jrgen 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). Gza 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. Zrich, 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),
Csar 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 lit-zine. 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 re-cycle 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 - Dyslexic People

Dada News Source. Uncle Bob, Editor. J-Star Productions, San Bernandino,
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 Bill, 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 Sldek (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 Hgglund
(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-Franois 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 Bill (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). Co-edited 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 - Eyrie

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.
Ivica Culoak-Catcherii (Yugoslavia), Le Peintre Nato (France), Kowa Kato (Japan), Shozo
Shimamoto (Japan), et al. Edition 4/20.
Dada Kan (Japan), Rod Summers (The Netherlands), Shozo Shimamoto (Japan), et al.
Edition 19/20.
Solamito Luigino (Italy), Shozo Shimamoto (Japan), Jun Kuramitsu (Japan), Luce Fierens
(Belgium), Matthias Dreyer (Germany), et al. Edition 17/20.
Vittorio Baccelli (Italy), Mukata Takamura (Japan), Ryosuke Cohen (Japan), Pascal Lenoir
(France), Kowa Kato (Japan), et al. Edition 14/20.
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.
Musicmaster (USA), Pascal Lenoir (France), Kowa Kato (Japan), Fernand Barbot (USA), et
al. Edition 8/20.
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.
Katsutoshi Sakai (Japan), Jean Spiroux (Belgium), Bruno Capatti (Italy), Shmuel (USA), et
al.
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 Kythonka (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 Kythonka (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),
Gza Perneczky (Germany), Pascal Lenoir (France), Guido Bondioli (Guatemala), Shozo
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), Gza 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 Gza
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), Gza 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 Nord, Editor. Trondheim, Norway. 1986-1993.
No. 2 (March 1986). Newsprint. 16 1.2"x11 1/2". (28 pages). Contributions by Manfred
Vani 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 Vani 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;"
Gza 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 Gza
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 Beltrn, 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 Gnther Ruch (Switzerland). "The
Marginal Codices of MaMaBLAnCa," by Graciela Gutirrez 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 Braumller (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 E-mail 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 Carrin, 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.
Communiqu 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. Bill. This is his diary of the adventure. In
this issue December 1, 1994-January 10, 1995.
Communiqu No. 2 (February 1995). Photocopy. 6"x4 1/4". (24 pages). Diary
continues from January 16, 1995-February 6, 1995.
Communiqu No. 3 (March 1995). Photocopy. 6"x4 1/4". (24 pages). "Suicide Special."
Observations on the deaths of Ray Johnson and Guy Debord.
Communiqu No. 4 (April 1995). Photocopy. 6"x4 1/4". (24 pages). Diary from
February 20-April 6, 1995. New "Mail corner" feature.
Communiqu 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').
Communiqu No. 6 (June 1995). Photocopy. 6"x4 1/4". (24 pages). The diary of a Mail
Art expatriate continues.

Experimenta. Yolanda Prez 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-Frstenau, 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 - Further Too

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 Quionero, 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 Kstermann (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 Nord (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.
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).
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. 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. 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. 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.

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 de-materialization 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 Neo-design 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.

Fr 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 - Gummiglot's Un-Weekly Reader...

Garatiuja. Ademir Antonio Bacca, Editor. Bento Gonalves, 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 Arajo (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 Parcs (aka The Stamp Goddess), Editor. Piedmont,
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 cross-media listing of all kings of art
projects, exchanges, collaborations, & mail art events." Websites section added. "Living
Scene Reports" section features a first-person 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
Franoise 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),
Gnther 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 - Humbolt Da-Jest

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. "Mltiples
Presentaciones de Imgenes Imigrficas."
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 Communicacin), 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 Tt (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. Asociacin 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. Wpion, 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
Tr (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), Andrs 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 - IUOMA Magazine

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
Vani 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 Hgglund, 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 Ocaa, Editor. Sevilla,
Spain. (1995).
No. 4 ([1995]). Photocopy. 8 1/4"x5 3/4". (24 pages). Visual Poetry. contributions by
Csar Figueiredo (Spain), Ibirico (Spain), Jean-Franois 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). Andre Fortin, Jean-Claude Gagnon, Robert
Dlinas, Richard Martel, Alain-Martin Richard, Editors. St. Jean, Qubec, Canada.
1984-2001.
No. 25 (Autumn 1984). Offset. 11"x8 1/2". 60 pages. "In Memoriam George Maciunas."
Interview with Herv 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-Rseau," 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
Rseau."
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, Rparation de
Posie.
No. 34 (Winter 1987). Offset. 12"x9". (62 pages). Inserted poster lists concerns of the
periodical including "Posie Visuelle, Nouvelle Musique, Thatre Exprimntal, Art Actuel,
Festivals D' In(ter)vention, Editions Marginales, Mail Art, Posie Sonore, Revue des Revues,
Photographie, Installation, Video, Audio Art, Performance, Art Engag." 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. "Espces Nomades features short
biographies of Monty Cantsin (Canada), Jean-Claude Gagnon (Canada), Jrgen Olbrich
(Germany), Wolfgang Hainke (Germany). Nomads in Germany (Chuck Stake, Jrgen
Olbrich, Manfred Vani Stirnemann, Gnther 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 (Gyrgy 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
project announcements by Guy Bleus (Belgium), Emillio Morandi (Italy), Anna Banana
(Canada(, Pascal Lenoir (France), Alessandro Ceccotto (Italy), Guillermo Deisler
(Germany), Andra Ovcinnicoff (Italy), Ryosuke Cohen (Japan), Abelardo Mena (Cuba), et
al. "Premire Rencontre International d'Art Postal," recounts the activities of a "Networker
Congress" in Qubec, 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 Stssi
(Switzerland), Rafal Courtosisie (Uruguay), et al.
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.
projects by Baudhuin Simon (Belgium), Shozo Shimamoto (Japan), Pascal Lenoir (France),
John Held, J. (USA), John M. Bennett (USA), Ryosuke Cohen (Japan), Jean-Franois 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.
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.
projects by Clemente Padin (Uruguay), "Score Magazine" (USA), John Byrum (USA), M. B.
Corbett (USA), Cracker Jack Kid (USA), Hans Braumller (Chile), Juan Agius (Switzerland),
Guy Bleus (Belgium),Artpool (Hungary), et al.
projects by Jean-Franois Robic (France), Andrea Ovcinnicoff (Italy), Lucien Suel (France),
Merz Mail (Spain), et al.
projects by BubbhaBabalMamaDadaDan (AKA Dan Landrum) (USA), David Dellafiora
(England), John Held, Jr. (USA), Diane Bertrand (Canada), Ed Varney (Canada), et al.
projects by Juan Aguis (Switzerland), J. M. Callega (Spain), Anna Banana (Canada),
Malcolm Reid (Canada), Aleksandr Zhamailo (Ukraine), Angela Phler (Germany, et al.
projects by Francis Fan Mail (Ireland), Christian Laporte (France), Manfred Vani
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.
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.
projects by Vittorio Baccelli (Italy), Robin Crozier (England), Christian Laporte (France),
Scientist Sam (USA), Keiichi Nakamura (Japan), Jean-Franois Robic (France), Henning
Mittendorf (Germany), Vittore Baroni (Italy), Le Peintre Nato (France), et al.
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.
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.
projects by Jos 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-Franoise 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. Jos 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
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 fr 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." Twelve-page catalogue
accompanies the work. Includes the essay, "An ambiguity of Function: Xerographic Artists
Books," by Janice Woo, Brooklyn Museum. Forty-eight 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." thirty-nine 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). Lit-zine 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 - Juxta

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 per-zine. 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 Imaginren 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);
Jrgen Olbrich, Kassel (D); Jrg 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 - KS

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!"; Csar 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), Jrgen 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;" Jrgen 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

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 Kstermann (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 in-fighting 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 Carrin (Holland), Robin Crozier (England), Endre Tot (Hungary),
et al. News. Publication reviews. Contributing Editor, Ulises Carrin.

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 - Lyrische Collagen

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 a 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
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 Srie, No. 1 (August 1986). Photocopy. 11 3/4"x8 1/4". (18 pages). Special
issue on Brazil. "Arte Correio: Hoje a Arte 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 Srie, 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
Franois (Belgium), Andrezej Dudek-Drer (Poland), Elie-Grard 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 Srie, 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 Srie, No. 4 (January 1987). Photocopy. 11 3/4"x8 1/4". (8 pages). "Shozo
Shimamoto 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 Srie, 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 Srie, 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-Nol Laszlo (France), AU (Japan), Pawel Petasz (Poland), et al.
Nouvelle Srie, (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 Srie, 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 Kstermann (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 Srie, 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), Franoise Duvivier (France), Shozo Shimamoto (Japan), and Mayumi Handa
(Japan). The editor visits Dallas, Texas, to meet John Held, Jr. (USA). Exhibition
opportunities.
Nouvelle Srie (1992). Photocopy. 11 3/4"x8 1/4". (16 pages). "Special Congress 1992."
Peter Kstermann in Paris, January 1992. "Decentralized Worldwide Networker Congress
1992: Compiegne, France, February 28, 1992." Participants included Daniel Daligand
(France), Gilberto Prado (Brazil), Charles Franois (Belgium), Jean-Nol Laszlo (France),
Pascal Lenoir (France), et al.
Nouvelle Srie (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
Franois (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 Bill. 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-Franoise 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-Franois
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 Miny (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), Jrgen 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), Jrgen 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), Jrgen 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), Herv 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), Gyrgy 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 Gyrgy 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
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
editor from July 1-August 31, 1981). Contributions by Bill Gaglione (USA), Johan Van
Geluwe (Belgium), Ulises Carrion (Holland), Rolf Staeck (West Germany), Gbor Tth
(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 Jos 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 Kstermann (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 day-they 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 Bill (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 cut-outs, 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 Tt (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 Gza 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), Jrgen
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. Co-editor, 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 Sldek. "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
Jrgen 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
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 Rebouas 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 Rebouas 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), Jos VdBroucke
(Belgium), Chuck Welch (USA), Ruggero Maggi (Italy), Vincze Lszlo (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 Bill (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 premises-organizations-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 Bill (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-Franois 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-Franois 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 Kstermann (Germany) and Angela
Phler (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 Bill
(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 Jos 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).
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 Hgglund (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 lit-zine. 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), Jrgen 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 lit-zine. 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.
by Al Ackerman (USA), Hans Braumller (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 Braumller (Chile),
Robin Crozier (England), Eberhard Janke (Germany), Willie Marlowe (USA), Rea Nikonova
(Russia), Fran Rutkovsky (USA), Jack Saunders (USA), Lucien Suel (France), et al.
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.

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 lit-zine. 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.
composed, by contributors. Submissions by Mike Dyar (USA), Dominique Bugpost (USA),
Tensetendoned (USA), et al. "Letters to the Editor."
composed, by contributors. submissions by Bugpost (USA), pas de Chance (Canada), Pag-
hat the Rat-Girl (USA), Geoffrey Cook (USA), et al.
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."
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), Jrgen 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 Lbach (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. Bill, editor of "Lettre Documentaire" (France).

Lyrische Collagen/Lyrical Collages. Peter Kstermann, 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 Kstermann 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 Kstermann (West Germany).
Contributions reproduced from all 103 participating artists.
McJob - Mystery Hearsay Intl.
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/pass-on' 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. Jrg 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), Jrgen 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 eraser-carver 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/alter-artists...Than, I've started to
collaborate in/with WEST EAST, international association for concrete and visual poetry, I
found may addresses from alter-artists 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..."
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!"
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."
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."
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."
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."
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 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."
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."
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."
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.
with Gnther 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)."
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."
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.
Le Peintre Nato (France), Kjell Nyman (Sweden). Mail Art exhibition notice.
Shigeru Tamaru (Japan), Shmuel (USA), Factor X (England), Guillermo Deisler (Germany),
Art maggots (USA), et al. Exhibition opportunities.
Solamito Luigino (Italy), Crash (Italy), Dada Kan (Japan), Ryosuke Cohen (Japan), et al.
Mail Art exhibition notice.
John Held, Jr. (USA), Reiu Tr (Estonia), Kimmo Framelius (Finland), et al. Mail Art
exhibition opportunity.
Reiu Tr (Estonia), Lily p. Scholes (England), John Held, Jr., (USA), Ilmar Kruusamae
(Estonia), Clemente Padin (Uruguay), et al. Mail Art exhibition notice.
Jun Kuramitsu (Japan), Janusz Cywicki (Poland), Dada Kan (Japan), Shozo Shimamoto
(Japan), Kimmo Framelius (Finland), et a. Mail Art publication opportunity.
Jerry Marquez (USA), Giovanni Strata (Italy), Socit Anonyme (Belgium), John Held, jr.
(USA), et al. mail Art exhibition notice.
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.
Bruno Capatti (Italy), John Held, Jr. (USA), Ruggero Maggi (Italy), et al.
Joachim Buchholz (Germany), John Held, jr. (USA), Ruggero Maggi (Italy), Factor X
(England), et al.
Bruno Capatti (Italy), John Held, Jr. (USA), Pascal Lenoir (France), Musicmaster (USA), et
al.
Ignazio Corsaro (Italy), John Held, Jr. (USA), Musicmaster (USA), Solamito Luigino (Italy),
Kimmo Framelius (Finland), et al.
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 Igniatijevc-Rommy (Yugoslavia), Liza McCool (AKA
FaGaGaGa) (USA).
Chris Dodge (USA), Franoise Duvivier (France), Shmuel (USA), Mark Corroto (AKA Fa
GaGaGa) (USA), Ivok Konac (Yugoslavia), Tamotsu Watanabe (Japan).
David Urban (Czechoslovakia), Nenad Bogdanovic (Yugoslavia), Guido Bondioli (USA), et al.
Vincent O'Brien (USA), Kiss Emilia (Romania), Clemente Padin (Uruguay), Antonio Gomez
(Spain), et al.
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!!"
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."
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,
(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), Jrgen 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 Bramuller (Chile), Marcel Stssi (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), Jrgen
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
Braumller (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 Brauller (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 Gyrgy (Hungary), Bruno
Sourdin (France), Guillermo Deisler (Germany), Julee Peezlee (USA), Larry Angelo (USA),
et al.
magazine. Contributions by 28 artists including Emilio Morandi (Italy), Hartmut Andryczuk
(Germany), Guy Bleus (Belgium), Jean-Franois Robic (France), Pere Sousa (Spain), M. B.
Corbett (USA), et al.
magazine. Contributions by 24 artists including Giovanni Strada (Italy), Guillermo Deisler
(Germany), Ruggero Maggi (USA), Paulo Bruscky (Brazil), Theo Breuer (Germany), M. B.
Corbett (USA), Alice Borealis (USA), et al.
No. 73 (November/December 1993). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Contributions by 25 artists including Patricia Collins (England),
Dyslexic (USA), Pierre Marquer (France), Paulo Bruscky (Brazil), M. B. Corbett (USA), et al.
Edition 30/60.
magazine. Contributions by 31 artists including Altor (Italy), Solar Z (USA), Vittore Baroni
(Italy), Sagebrush Moderne (USA), Paulo Bruscky (Brazil), Patricia Collins (England),
Antonio Gomez (Spain), Alice Borealis (USA), David Dellafiora (England), et al. Edition
27/60.
magazine. Contributions by 25 artists including Giovanni Strada (Italy), Patricia Collins
(England), Jrgen Olbrich (Germany), Carlos Montes de Oca (Chile), Franoise Latulippe
(Canada), Pas de Chance (Canada), Johnny Brewton (USA), Serge Segay (Russia), M. B.
Corbett (USA), et al. Edition 57/60.
No. 79 (September 1994). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Contributions by 26 artists including Aerial Print (Japan), Jean-Franoise Robic
(France), Ryosuke Cohen (Japan), Baba Dada (USA), Non-local Variable (USA), Julia Tant
(England), Lucien Suel (France), et al.
magazine. Contributions by 24 artists including Bruno Sourdin (France), Crackerjack Kid
(USA), Lancillotto Bellini (Italy), Antonio Gomez (Spain), Clemente Padin (Uruguay), Paulo
Bruscky (Brazil), M. B. Corbett (USA), Emilio Morandi (Italy), Patricia Collins (England), et
al. Edition 21/60.
magazine. Contributions by 29 artists including Keiichi Nakamura (Japan), Shigeru Tamaru
(Japan), Guttorm Nord (Norway), Emilio Morandi (Italy), Antonio Gomez (Spain), Jean-
Franois Robic (France), Crackerjack Kid (USA), et al. Edition 58/60.
No. 82 (January/February 1995). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Contributions by 27 artists including Jonathan Stangroom (USA),
Magda Lagerwerf (Holland), Reed Altamus (USA), Alice Borealis (USA), Marcello Diotallevi
(Italy), Gyrgy Galantai (Hungary), Keiichi Nakamura (Japan), Pas de Chance (Canada), et
al. Edition 54/60.
magazine. Contributions by 22 artists including Clemente Padin (Uruguay), Guttorm Nord
(Norway), Ruggero Maggi, K. Tateno (Japan), M. B, Corbett (USA), Antonio Gomez (Spain),
et al. Edition 47/60.
magazine. Contributions by 25 artists including Gyula Mt (Hungary), Alice Borealis
(USA), Jrgen Olbrich (Germany), Magda Lagerwerf (Holland), Jean-Franois Robic
(France), K. Frank Jensen (Denmark), Patricia Collins (England), M. B. Corbett (USA),
David Hunter (USA), Vincent Courtois (France), et al. Edition 36/60.
magazine. Contributions by 21 artists including Crackerjack Kid (USA), Ruggero Maggi
(Italy), Shigeru Tamaru (Japan), Norbert Klassen (Switzerland), Renete-Johanne Carelse
(Holland), Vittore Baroni (Italy), Antonio Gomez (Spain), M. B. Corbett (USA), et al. Edition
25/60.
No. 86 (June 1995). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Contributions by 18 artists including Jrgen Olbrich (Germany), Giovanni Strada
(Italy), Jorge Garnica (Argentina), Patricia Collins (England), Guttorm Nord (Norway),
Kurt Beaulieu (Canada), Crackerjack Kid (USA), Alice Borealis (USA), et al. Edition 40/60.
magazine. Contributions by 26 artists including Antonio Gomez (Spain), Crackerjack Kid
(USA), David Dellafiora (England), Paulo Bruscky (Brazil), Jrgen Olbrich (Germany), K.
Tateno (Japan), Litsa Kaschau-Spathi (Germany), et al. Edition 53/60.
magazine. Contributions by 24 artists including Patricia Collins (England), A1 Waste Paper
Company Ltd. (England), Artpool (Hungary), Giovanni Strada (Italy), K. Frank Jensen
(Denmark), Clemente Padin (Uruguay), Ruggero Maggi (Italy), et al. Edition 27/60.
magazine. Contributions by 27 artists including Pedro Juan Gutierrez (Cuba), Patricia
Collins (England), Anne-Miek Bibbe (Holland), K. Takeishi-Tateno (Japan), Shigeru Tamau
(Japan), Stephen Perkins (USA), Bruno Sourdin (France), et al. Edition 44/60.
magazine. Contributions by 26 artists including Antonio Gomez (Spain), Giovanni Strada
(Italy), Jrgen Olbrich (Germany), Patricia Collins (England), Marcel Stssi (Switzerland),
Chuck Welch (USA), M. B. Corbett (USA), Sergey Stolarenko (Russia), Bartek Nowak
(Poland), Bruno Sourdin (France), et al. Edition 29/60.
No. 91 (December 1995). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Contributions by 19 artists including Hartmut Andryczuk (Germany), J. B. Dodd
(USA), W. R. Melnikov (Russia), Michel Pollard (Portugal), Andrea Sey (Argentina), Anne-
Miek Bibbe (Holland), et al. Edition 20/60.
magazine. Contributions by 20 artists including David Dellafiora (England), Antonio Gomez
(Spain), Patricia Collins (England), Vittore Baroni (Italy), Andrea Rey (Argentina),
Crackerjack Kid (USA), M. B. Corbett (USA), K. Frank Jensen (Denmark), Bruno Sourdin
(France), Atmospheric Cookie (AKA Julie Paquette) (USA), et al. Edition 51/60.
(January 1996). Photocopy. 8 1/4"x5 3/4". (16 pages). Index Nos. 82-91. Reproductions
of Contributor's Page for each issue. "Mani Art: An international Networker magazine
assembling Mail Art Works since 12 years. Send 60 originals or 60 copies size: 21x15 cm or
60 postcards. In return, receive assembled collection of all submitting artists' work.
Medium and Theme open. No deadline."
magazine. Contributions by 26 artists including Claudia Richter (Germany), Ruud Janssen
(Holland), Jrgen Kierspel (Germany), Cristiano Pallara (Italy), Theo Breuer (Germany),
John M. Bennett (USA), David Dellafiora (England), et al. Edition 17/60.
magazine. Contributions by 24 artists including Anna Boschi (Italy), Antonio Gomez
(Spain), Giovanni Strada (Italy), Patricia Collins (England), Michael Greenfield (England),
Boog (USA), Clemente Padin (Uruguay), M. B. Corbett (USA), S. N. Stolarenko (Russia),
Diane Bertrand (Canada), Henk Van Ooijen (Holland), et al. Edition 5/60.
magazine. Contributions by 21 artists including Giovanni Strada (Italy), Kurt Beaulieu
(Canada), Ulla Rohr (Switzerland), Andrea Rey (Argentina), Vincent Courtois (France),
Antoni Mir (Spain), Hans Braumller (Germany), Dmitry Bulatov (Russia), Laura Pikstone
(Australia), et al. Edition 4/60.
No. 96 (June/July 1996). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Contributions by 24 artists including Pas De chance (Canada), Smallville Funny
Farm (USA), Cristiano Pallara (Italy), Emanuel Rubin (Brazil), K. Frank Jensen (Denmark),
Mark Greenfield (England), et al. Edition 10/60.
No. 97 (August/September 1996). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Contributions by 24 artists including K. Frank Jensen (Denmark),
Joy McManus (USA), Boog (USA), Eberhard Janke (Germany), Magda Lagerwerf (Holland),
Jean-Franois Robic (France), et al. Edition 28/60.
No. 98 (October/November 1996). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Contributions by 27 artists including Antonio Gomez (Spain), M. B.
Corbett (USA), Crackerjack Kid (USA), Tartarugo (Spain), Vittore Baroni (Italy), Diane
Bertrand (Canada), Hans Braumller (Germany), et al. Edition 32/60.
No. 99 (December 1996). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Contributions by 27 artists including Gyula Mt (Hungary), Ibirico (Spain),
Cesar Figueiredo (Portugal), Paulo Bruscky (Brazil), Barkek Nowak (Poland), Henk Van
Ooijen (Holland), et al. Edition 20/60.
magazine. Contributions by 26 artists including Vittore Baroni (Italy), Boog (USA), Diane
Bertrand (Canada), Dmitrij Zinovjev (Latvia), Cesar Figueiredo (Portugal), P.
L. G. Frieslaender (Germany), Picasso Gaglione (USA), M. B. Corbett (USA), Jrg Seifert
(Germany), Ruggero Maggi (Italy), et al. Edition 5/60.
magazine. Contributions by 26 artists including Kurt Beaulieu (Canada), Henk Van Ooijen
(Holland), Anne-Miek Bibbe (Holland), Patricia Collins (England), Marcello Diotallevi (Italy),
Tartarugo (Spain), Jorg Seifert (Germany), et al. Edition 38/60.
magazine. Contributions by 33 artists including buZ blurr (USA), JC Synthetics (England),
Nonlocal Variable (USA), Theo Breuer (Germany), K. Frank Jensen (Denmark), Vittore
Baroni (Italy), Picasso Gaglione (USA), Cesar Figueiredo (Portugal), Jorg Seifert
(Germany), m. B. Corbett (USA), et al.
magazine. Spiral binding. Contributions by 20 artists including Walter Pennachhi (Italy),
Guy Bleus (Belgium), Keith Bates (England), Magda Lagerwerf (Holland), Diane Bertrand
(Canada), Vittore Baroni (Italy), et al.
No. 104 (July/August 1997). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 29 artists including Jean-Claude
Gagnon (Canada), Lothar Trott (Switzerland), Jn Husr (Slovakia), Patricia Collins
(England), Pete Spence (Australia), M. B. Corbett (USA), Vittore Baroni (Italy), Picasso
Gaglione (USA), et al. Edition 16/60.
magazine. Spiral binding. Contributions by 26 artists including Bruno Sourdin (France),
Patricia Collins (England), Anne-Mieke Bibbe (Holland), Jorg Seifert (Germany), M. B.
Corbett (USA), Lothar Trott (Switzerland), Guttorm Nord (Norway), Vittore Baroni (Italy),
Francine Boulet (Canada), et al. Edition 5/60. Includes review of "Mani Art" by John Held,
Jr. (USA), which appeared in "Factsheet Five."
No. 106 (December 1997). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 22 artists including Patricia Collins
(England), Anne-Miek Bibbe (Holland), Giovanni Strada (Italy), buZ blurr (USA), Guy Bleus
(Belgium), Bruno Sourdin (France), Jrg Seifert (Germany), et al. Edition 38/60.
magazine. Spiral binding. Contributions by 24 artists including Stephen Perkins (USA), Jrg
Seifert (Germany), Vittore Baroni (Italy), Jrgen Olbrich (Germany), Joe Decie (England),
Eberhard Janke (Germany), Vincent Courtois (France), Theo Breuer (Germany), David
Dellafiora (England), et al. Edition 52/60.
magazine. Spiral binding. Contributions by 23 artists including Antonio Gomez (Spain), Kurt
Beaulieu (Canada), Jrg Seifert (Germany), Patricia Collins (England), Jean-Franois Robic
(France), Magda Lagerwerf (Holland), Jim Leftwich (USA), et al. Edition 29/60.
magazine. Spiral binding. Contributions by 24 artists including Giovanni Strada (Italy),
Fabio Sassi (Italy), Vittore Baroni (Italy), Anna Boschi (Italy), Diane Bertrand (Canada),
Eberhard Janke (Germany), K. Frank Jensen (Denmark), Emily Joe (Italy), The Sticker
Dude (USA), et al. Edition 25/60.
magazine. Spiral binding. Contributions by 25 artists including Vani Stirnemann
(Switzerland), Ins Lopez Dobn (Argentina), Rota Doriano (Italy), Jrgen Olbrich
(Germany), Bruno Sourdin (France), Vittore Baroni (Italy), Emily Joe (Italy), et al. Edition
6/60.
magazine. Spiral binding. Contributions by 26 artists including Anne-Miek Bibbe (Holland),
Antonio Gomez (Spain), Patricia Collins (England), Eiichi Matsuhashi (Japan), Eberhard
Janke (Germany), M. Vni Stirnemann (Switzerland), Hans Braumller (Germany), Boek
861 (Spain), et al. Edition 13/60.
magazine. Spiral binding. Contributions by 21 artists including Pips-Dada-Co (Germany),
Vittore Baroni (Italy), Joe Decie (England), Graciela Chippari (Argentina), David Dellafiora
(Australia), Fernando Garcia Delgado (Argentina), et al. Edition 13/60.
No. 113 (September 1998). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 27 artists including Guy Bleus
(Belgium), Jrg Seifert (Germany), Dogfish (USA), Keiichi Nakamura (Japan), Joe Decie
(England), K. Frank Jensen (Denmark), et al. Edition 25/60.
magazine. Spiral binding. Contributions by 23 artists including Jrg Seifert (Germany),
Patricia Collins (England), Cesar Reglero Campos (Spain), Diane Bertrand (Canada), Keiichi
Nakamura (Japan), Iramar Peteado (Brazil), Joe Decie (England), Vittore Baroni (Italy), et
al. Edition 34/60.
No. 115 (November 1998). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 20 artists including Fidel Viddal
(Spain), Frank Osowski (Australia), Stephen Perkins (USA), Anna Boschi (Italy), K. Frank
Jensen (Denmark), Raul De Obaldia (Panama), Antonio Gomez (Spain), et al. Edition 2/60.
No. 116 (December 1998). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 22 artists including Anna Boschi
(Italy), Giovanni Strada (Italy), Christian Alle (France), Keiich Nakamura (Japan), Ed
Varney (Canada), et al. Edition 30/60.
magazine. Spiral binding. Contributions by 23 artists including David Dellafiora (Australia),
Walter Pennacchi (Italy), Iramar Penteado (Brazil), Boek 861 (Spain), Serge Segay
(Germany), et al. Edition 31/60
magazine. Spiral binding. Contributions by 26 artists including Serge Segay (Germany),
Boek 861 (Spain), Raul de Obaldia (Panama), Eiichi Matsuhashi (Japan), Theo Breuer
(Germany), Keiichi Nakamura (Japan), Jankovics Zoltan (Hungary), Graciela Chippari
(Argentina), K. Frank Jensen (Denmark), Vortice Bacacay (Argentina), et al Edition 36/60.
magazine. Spiral binding. Contributions by 27 artists including Anna Banana (Canada),
Vittore Baroni (Italy), Magda Lagerwef (Holland), Patricia Collins (England), Pete Spence
(Australia), Anna Boschi (Italy), Birger Jesch (Germany), Guttorm Nord (Norway), Pas de
Chance (Canada), et al. Edition 38/60.
magazine. Spiral binding. Contributions by 25 artists including Antonio Gomez (Spain), Jrg
Seifert (Germany), Serge Segay (Germany), Diane Bertrand (Canada), Cesar Figueiredo
(Portugal), Crackerjack Kid (USA), Eberhard Janke (Germany), Pete Spence (Australia), et
al. Edition 35/60.
magazine. Spiral binding. Contributions by 22 artists including Kurt Beaulieu (Canada),
Giovanni Strada (Italy), Aaron Flores (Mexico), Alexis F. Benalcazar (Panama), Vittore
Baroni (Italy), Dao Badao (Switzerland), et al. Edition 36/60.
magazine. Spiral binding. Contributions by 24 artists including Jae Ming Song (South
Korea), M. Vni Stirnemann (Switzerland), Nora Menghi (Argentina), Guy Bleus (Belgium),
Emilio Morandi (Italy), Keiichi Nakamura (Japan), et al. Edition 10/60.
No. 123 (September 1999). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 26 artists including A Kos Szkely
(Hungary), Fidel Vidal (Spain), Eiichi Matsuhashi (Japan), Patricia Collins (England), Raul
de Obaldia (Panama), Diane Bertrand (Canada), Vittore Baroni (Italy), Michael Lumb
(England), Magda Lagerwerf (Holland), Emilio Morandi (Italy), et al. Edition 29/60.
Assembling magazine. Spiral binding. Contributions by 25 artists including Keiichi
Nakamura (Japan), Boek 861 (Spain), the Sticker Dude (USA), Anna Boschi (Italy), Pete
Spence (Australia), Norma Campaz (Brazil), et al. Edition 29/60.
No. 125 (December 1999/January 2000). Photocopy and Mixed Media. 9"x6 1/2".
Unpaged. Assembling magazine. Spiral binding. Contributions by 22 artists including
Richard Kostelanetz (USA), Vittore Baroni (USA), David Dellafiora (Australia), B. Saved
(USA), Ovidiu Petca (Romania), Walter Pennacchi (Italy), The Sticker Dude (USA), Theo
Breuer (Germany), et al. Edition 29/60.
(January 2000). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling magazine.
Spiral binding. "MANI(C) ART-A Special 2000 Fake Project." "Some time ago, I received
this card ('The Big 2000 Assembling-Zine! Theme: Manic Art. Send 200 contributions for
this assembling zine before 31-12-1999...Receive back your copy of the first assembling
zine of the year 2000. Send to: Pascal Lenoir, Manic Art...') from the U.K. advertising a
project for the year 2000. The name of the man in charge was by no means unknown to
me: it was mine! No doubt about it: I was he innocent victim of a fake project I had not
organized but which somehow bore my name. Several contributions ended up here, which
shows that the mysterious project had been broadly advertised. I have nevertheless
decided to bring it to its artistic conclusion. So here it is." Contributions by 20 artists
including Vittore Baroni (Italy), Patricia Collins (England), J. C. Synthetics (England), Theo
Breuer (Germany), Angela Phler and Peter Kstermann (Germany), Keiichi Nakamura
(Japan), Gianni Simone (Japan), SNAK-y (Italy), Ovidiu Petca (Romania), et al. Edition
76/2000.
magazine. Spiral binding. Contributions by 23 artists including Zlatko Krstevski
(Macedonia), Ella Joosten (Holland), Patricia Collins (England), Boek 861 (Spain), Christian
Alle (France), Antonio Gomez (Spain), Jrg Seifert (Germany), Anna Boschi (Italy), et al.
Edition 26/60.
magazine. Spiral binding. Contributions by 23 artists including Marilyn Dammann (USA),
Bruno Capatti (Italy), Keith Bates (England), Jrgen Olbrich (Germany), Jean-Hugues
Dupont (France), Giovanni Strada (Italy), Boek 861 (Spain), Ovidiu Petca (Romania), et al.
Edition 30/60.
magazine. Spiral binding. Contributions by 25 artists including Keiichi Nakamura (Japan),
A.1 Waste Paper Company Ltd. (England), buZ blurr (USA), Serge Segay (Germany),
Fernando Aguiar (Portugal), Magda Lagerwerf (Holland), Shinoh! Nodera (Japan), Patricia
Collins (England), Christian Alle (France), Raul de Obaldia (Panama), et al. Edition 36/60.
No. 129 ("Join" 2000). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Spiral binding. Contributions by 28 artists including Boek 861 (Spain), Steffen
Markus (Switzerland), ficus strangulensis (USA), Jrgen Olbrich (Germany), Keiichi
Nakamura (Japan), Shigeru Tamaru (Japan), Jean-Claude Gagnon (Canada), Obvious Front
(USA), Dale Speirs (Canada), Boog (USA), et al. Edition 2/60.
No. 130 (July/August 2000). Photocopy and Mixed Media. 9"x6 1/2". Unpaged.
Assembling magazine. Spiral binding. Contributions by 26 artists including Scientist Sam
(USA), Anne-Miek Bibbe (Holland), Ovidiu Petca (Romania), Anna Boschi (Italy),
Popomailart (Belgium), Antonio Gomez (Spain), Rmy Pnard (France), Keiichi Nakamura
(Japan), Bruno Capatti (Italy), Ruud Janssen (Holland), et al. Edition 34/60.
Assembling magazine. Spiral binding. Contributions by 21 artists including Petra Netmail
(Germany) and Dawn Redwood (England), Diane Bertrand (Canada), Jrg Seifert
(Germany), Piermario Ciani (Italy), Giovanni Strada (Italy), Kurt Beaulieu (Canada), Bernd
Lobach-Hinwiser (Germany), Antonio Gomez (Spain), et al. Edition 22/60.
magazine. Spiral binding. Contributions by 22 artists including J. Ricart (Spain), Jrgen
Olbrich (Germany), Eiichi Matsuhashi (Japan), Keiichi Nakamura (Japan), Raul de Obaldia
(Panama), Bruno Sourdin (France), Anne-Miek Bibbe (Holland), et al. Edition 34/60.
No. 134 (May-June 2001). Photocopy and Mixed Media. 9"x6 1/2". Unpaged. Assembling
magazine. Spiral binding. Contributions by 25 artists including Giovanni Strada (Italy),
Diane Bertrand (Canada), Keiichi Nakamura (Japan), Boog (USA), Ko de Jonge (Holland),
Jan Honza (Poland), Piermario Ciani (Italy), Anna Boschi (Italy), Antonio Gomez (Spain),
Marilyn Dammann (USA), Jrgen Olbrich (Germany), et al. Edition 36/60.
magazine. Spiral binding. Contributions by J. Ricart (Spain), Jrgen Olbrich (Germany),
Giovanni Strada (Italy), Hector Toch (Belgium), A. 1 Waste Paper Company Ltd. (England),
Veb Freie Brandstiftung (Germany), M.H.W. Hornschuh (Germany), George Parson (USA),
Maurizia Carantini (Italy), Keiichi Nakamura (Japan), Harmut Graf (Germany). Edition
42/60. The last issue. "MANI ART is a non-profit assembling magazine in a limited edition
(60 copies); a living and contemporary Mail Art anthology with several hundred artists'
originals works: postcards, photos, drawings, paintings, artistamps, collages, visual
poetry...from all countries and with an underground spirit! Each mail artist receives all
works with his participation for free. Since 1984, MANI ART circulates Mail Art to private
and public archives such as Guy Bleus Archive (Belgium), Galantai-Artpool (Hungary), The
Ruth and Marvin Sackner archive of concrete and visual poetry (USA)...Bibliothque
Nationale (France), Muse de la Poste (France), etc."

Margaret Freeman Digest. Mille Christophe, Editor. Pantin, France. 1990-1991.
(February 1990). Photocopy. 11 3/4"x8 1/4". (4 pages). "This listing is a perms of a
guide/directory for us underground contacts I'm preparing to be published in French. If you
think you could be one of these: don't hesitate to send me your material/catalogues and
information you want to be listed in this guide. Feedback guaranteed."
Vol. 1, No. 2 (February 1990). Photocopy. 11 3/4"x8 1/4". (4 pages). "'Margaret
Freeman Digest' est une newsletter d'informations alternatives et underground."
Libertarianism. Loompanics Unlimited. "Freeland's Postage Stamps."
Vol. 1, No. 3 (March 1990). Photocopy. 11 3/4"x8 1/4". (4 pages). "Cette newsletter est
essentiellement interesse par les muliples expressions underground internationales." The
Church of the Sub-Genius. Elizabeth Was (USA) and Miekal And's (USA) Xeroxial Endarchy.
"ND" magazine.
Vol. 1, No. 4 ([April 1990]). Photocopy. 11 3/4"x8 1/4". (6 pages). Art Strike, 1990-
1993. Letter by Stephen Perkins (USA), editor of "Box of Water" magazine. "Temple Post
1990" artistamp sheet by John Held, Jr. (USA).
Vol. 1, No. 5 ([May 1990]). Photocopy. 11 3/4"x8 1/4". (6 pages). Contributions by
Vittore Baroni (Italy), Fa Ga Ga Ga (USA), Church of the Sub-Genius (USA), et al.
Vol. 2, No. 6 ([June 1990]). Photocopy. 11 3/4"x8 1/4". (6 pages). "Lightworks"
magazine. Art Strike, 1990-1993. Contribution by John Held, Jr. (USA). Steven Bradley
(USA) biography. Lucien Suel (France).
Vol. 2, No. 7 ([July 1990]). Photocopy. 11 3/4"x8 1/4". (8 pages). "Novoid" magazine.
Artistamp by John Held, Jr. (USA). Paul Rutkovsky (USA), "Regarding the Great Art Strike
1990-1993 and Its Relative Effects," by Malok (USA). "Margaret Freeman Digest is
interested with all form of underground & marginal expressions including home music,
weird publications, tattoo & piercing, obscure videos & films, poetry, mail art, unusual cults
and religions, pirate & experimental radios, comics, Discordian & SubGenius mythologies,
anarchist groups, dada, UFO contactees etc. etc. etc...This monthly newsletter is made for
networking, creating new contacts between readers (200 copes each month) and for me to
get more documentations cause the main purpose of my activities is the preparation of a
huge guide/directory of north American underground sources. this guide will be the 1st
French guide of that type, only interested with the real US & Canadian underground spirit."
Vol. 2, No. 8 ([August 1990]). Photocopy. 11 3/4"x8 1/4". (8 pages). Art Strike, 1990-
1993. Anticopyright. Contributions by Fa Ga Ga Ga (USA), John Held, Jr. (USA), Ken Brown
(USA), et al. "Metro Riquet" magazine. "The Latest from Loompanics," by Bob Black (USA).
Vol. 2 No. 9 ([September 1990]). Photocopy. 11 3/4"x8 1/4". (8 pages). Neoist stickers
by Stewart Home (England). Contributions by John Held, Jr. (USA), Musicmaster (USA),
Malok (USA), et al. Notices for "Popular Reality," and "ND" magazines. Panman Productions
offers works by Mark Bloch (USA). Church of the SubGenius.
Vol. 2, No. 10 ([December 1990]). Photocopy. 11 3/4"x8 1/4". (8 pages). Stampsheet
by Vittore Baroni (Italy). Contributions by Bob Black (USA), Musicmaster (USA), Mark Bloch
(USA), et al. Notices for "Noospapers," and Factsheet Five" magazines. "The Fuck Dirge,"
by Malok (USA).
Vol. 3, No. 12 ([January 1991]). Photocopy. 11 3/4"x8 1/4". (8 pages). Stampsheet by
John Held, Jr. (USA) on the cover. Contribution by Le Peintre Nato (France). Notices for
Xexoxial Editions (USA), "Smile" magazine.
Vol. 3, No 15 ([1991]). Photocopy. 11 3/4"x8 1/4". (8 pages).Contributions by H. R.
Fricker (Switzerland), Malok (USA), Vittore Baroni (Italy), Miekal And (USA), Musicmaster
(USA), Mark Bloch (USA), et al. Notice for "Farm Pulp" Magazine.

Maximum Traffic. Maximum Traffic, Editor. Butler, Pennsylvania. 1991-1993.
Vol. 2, No. 6 (June 1991). Photocopy with Silkscreen Cover. 8 1/2"x5 1/2". 31 pages.
"Mail Art Traffic Report." Contributions by Sergey Grigorkin (USSR), Fa Ga Ga Ga (USA), et
al.
Vol. 2, No 7 ([1991]). Photocopy. 8 1/2"x5 1/2". 32 pages. "The Peace, Love, Freedom
issue. More Great Neo-Psychedelic artwork from around the world. Multi-source enviro--
updates. Mail Art contacts, reviews. Seeking trippy art, B & W only. Multi-colored neon
wavy checkered bucking electric pony silkscreened print included this issue." Contributions
by Andrej Tisma (Yugoslavia), John Held, Jr. (USA), Stampmeister Kevin (USA), et al.
Vol. 2, No. 9 ([1991]). Photocopy. 2 1/4"x2 3/4". (32 pages). "The Teeny Tiny Issue."
"In the very short time that I have been involved in Mail Art and zine publication, I have
been astonished & delighted by the sheer numbers of talented & communicative &
wonderful individuals who mail stuff to me. Thank you very much. As always, we are
seeking neo-psychedelic artwork for publication (black & white-copies only).
Vol. 2, No. 10 (September 1991). Photocopy. 8 1/2"x5 1/2". (16 pages). Contributions
by Kevin Friend (USA), John Held, Jr. (USA), M. A. Longbottom (England), Stampmeister
Kevin (USA), Blair Wilson (USA), et al.
Vol. 2, No. 11 ([1991]). Photocopy. 8 1/2"x5 1/2". (16 pages). Catalog for "Steal This
Mail Art Show," Mail Art exhibition "presented on December 7, 1991 at the Benedum
Auditorium, University of Pittsburgh." Listing of 53 artists participating in the show.
Exhibition installation reproduced.
Vol. 2, No. 12 (December 1991). Cloth. 21"x21". (Unpaged). Letter from the editor
accompanies printed (black) green cloth bandanna. "This last issue of Max. Traffic from
1991 (Dec); Silkscreened Linen Rainforest Bandana - Vol. II#12. It has a Backgammon
board printed on it..."
Vol. 3, No. 1 (June 1992). Photocopy. 11"x8 1/2". (32 pages). Contributions by 46
artists including afungusboy (USA), A Classic pair (USA), Jokie X. Wilson (USA), Julee
Peeslee (USA), John Held, jr. (USA), Malok (USA), Ric Freeman-Zachery (USA), et al.
Second Printing. Edition 16/100.
Vol. 3, No. 3 (1992). Photocopy and Rubber Stamps. 4 1/4"x5 1/2". (16 pages).
"Throbbing Blob of Plasma Kept Alive by Science Comix." Contributions by John (Held, Jr.)
(USA), Julee (Peeslee) (USA), Malok (USA), Xeno (USA), et al.
Vol. 3, No. 4 ([1992]). Photocopy. 4 1/4"x3 3/4". (12 pages). "Neo-Psychedelic Man #2:
Life Aboard Maximum Traffic."
Vol. 3, No. 7 (1992). Photocopy. 8 1/2"x2 3/4". (8 pages). Contributions by Arte Ala
Carte (USA), Ace Backwards (USA), Blair Wilson (USA), et al.
Vol. 3, No. 12 (1992). Photocopy. 8 1/2"x3 3/4". (3 pages). Also titled, "Neo-Psychedelic
Man #5."
(Vol. 3, No. 15 (August 1992). See "Random Entry Comix," No. 2.")
Vol. 4, No. 19 ([1993]). Photocopy. 5 1/2"x4 1/4". 40 pages. Contributions by over 30
artists including John Held, Jr. (USA), Julie Peasley (USA), Mike Diana (USA), Sasa Rakezic
(Yugoslavia), Clemente Padin (Uruguay), Stephen Perkins (USA), Fucci (USA), et al.

MC. David Cole and Paul Zelevansky, Editors. Brooklyn, New York. 1981-1984.
No. 1 ([1981]). Offset. 11"x8 1/2". (4 pages). "The Responsibility of the Artist in
Contemporary Society." Contributions by Jack Saunders (USA), Peter Frank (USA),
Crackerjack Kid (USA), Scott Helmes (USA), Klaus Peter Denker (Germany), Bern Porter
(USA), Carolee Schneemann (USA), Lon Spiegelman (USA), Robin Crozier (England), et al.
First issue published in New York, New York.
No. 4 (March 1983). Newsprint. 17"x11 1/2". (16 pages). "MC gathers created or found
material from visual artists and poets on matters political, social and economic.
Submissions are in the form of one or two standard 3"x5" index cards. The index card is
our building block, our metaphor and our assurance that submissions will be clear and
concise./ MC believes in politics as a day-to-day phenomenon that begins with simple
exchanges of information and support and which holds in common a ground of concern that
all can agree on. We are interested in a local, humanistic, thoughtful criticism which,
though it aspires to beauty and harmony, should begin on the ground where experience
crosses experience. We are not interested in abstractions, labels, or ideological
propaganda/ Ultimately, we want MC to serve as a clearing house and retrieval system for
both old and new ideas and hope that in time, readers and contributors will begin talking to
each other. MC welcomes comments and inquiries from general readers as well as artists,
for while MC is both visual and verbal, it is not exclusively art or literature. It is NEWS and
so belongs in a public space as public work. (David Cole & Paul Zelevansky)." contributions
by Carlo Pittore (USA), Klaus Groh (Germany), Gyrgy Galantai (Hungary), Michael Leigh
(England), Robin Crozier (England), Richard C. (USA), John M. Bennett (USA), K. S. Ernst
(USA), Bern Porter (USA), David Cole (USA), Jack Saunders (USA), Peter Frank (USA),
Marilyn R. Rosenberg (USA), Crackerjack Kid (USA), Ulises Carrion (Holland), et al.
No. 5 (September 1983). Newsprint and Rubber Stamp. 17"x11". (12 pages). "Crime"
issue. Contributions by J. P. Jacobs (USA), Michael Leigh (England), Warclaw Ropiecki
(Poland), Crackerjack Kid (USA), Lon Spiegelman (USA), Joachim Frank (USA), John M.
Bennett (USA), Des McLean (USA), S(ue) Fishbein (USA), John Evans (USA), Richard
Meade (USA), Jack Saunders (USA), Joseph Nechvatal (Austria), Bart Boumaus (Holland),
Ubaldo Giacomucci (Italy), Richard C. (USA), Robin Crozier (England), Joel Lipman (USA),
Fred Truck (USA), Richard C. (USA), Ruggero Maggi (Italy), Karl Kempton (USA), David
Greenberger (USA), Guy Bleus (Belgium), et al.
No. 6 (January 1984). Newsprint. 11"x8 1/2". (24 pages). "Timeless Light" issue.
Contributions by John M. Bennett (USA), Mark Melnicove (USA), Robert Ashworth (USA),
David Zack (Mexico), Peter Frank (USA), Robin Crozier (USA), Leavenworth Jackson (USA),
Scott Helms (USA), Jrgen Olbrich (Germany), Jack Saunders (USA), Joachim Frank (USA),
Davi Det hompson (USA), Fred Truck (USA), Ryosuke Cohen (Japan), Michael Leigh
(England0, Carol Stetser (USA), Lon Spiegelman (USA), Steve Random (USA), Paul
Rutkovsky (USA), Karl Kempton (USA), et al.
No. 7 (Spring 1984). Newsprint. 11"x8 1/2". (28 pages). "Map Coordinates," issue.
Contributions by Daniel Daligand (France), Joel Lipman (USA), Mark Bloch (USA), Gene
Laughter (USA), Cracker Jack Kid (USA), David Miller (USA), Mark Melnicove (USA), Ruth
Howard (USA), Rockola (USA), David Cole (USA), Gustav Hagglund (USA), The Gerlovans
(USA), Guy Bleus (Belgium), Creative Thing (USA), Alex Igloo (USA), Karl Kempton (USA),
Eric Finlay (England), Private World (USA), Thierry Tillier (Belgium), Michael Groschopp
(Germany), Barry Pilcher (Wales), Ulises Carrion (Holland), Salvatore da Rosa (Italy), Mick
Mather (USA), Klaus Groh (Germany), Edgar Bushmiller (USA), Barbara Rosenthal (USA),
Benedict Tisa (USA), Roberta Sperling (USA), Mark Wambling (USA), H. R. Fricker
(Switzerland), Carlo Pittore (USSA), Michael Leigh (England), Judith Hoffberg (USA), Lon
Spiegelman (USA), Miekel And (USA), Robin Crozier (England), Serse Luigetti (Italy), John
M. Bennett (USA), Kum Nam Baik (South Korea), Steen Rasmussen (Denmark), Tom Pack
(USA), Stephen s'Soroff (USA), Carol Stetser (USA), Tuli Kupferberg (USA), Graciela Marx
(Argentina), Ruggero Maggi (Italy), Ryosuke Cohen (Japan), John Evans (USA), et al.

mcard. mnq, Editor. Santa Cruz, California. 1992.
No. 7 (January/February 1992). Postcard. 8 1/2"x5 1/2". Unpaged. Graphics on front.
Publication information and personal note on verso.

ME. Pittore Euforico (AKA Carlo Pittore), Editor. New York, New York. 1980-1985.
Vol. 1, No. 1 (1980). Offset. 11"x8 1/2". 6 pages. "Having been denied (either for
political, social, economic, religious or aesthetic reasons) media & publication access &
review & exhibition facilities for my work & views in established public forums, I declare my
independence & create my own state of ME." Graphics by the editor. The editor on Bern
Porter (USA). Contributions by Bern Porter.
Vol. 2, No 1 (1981). Offset and Artistamp Sheet. 11"x8 1/2". (8 pages). "If not ME, who?
If not now, when? Please Contribute." "In Pursuit of Carlo Pittore," a graphic tale by the
editor. "Hand-maide Muficks," by the editor. Return addresses by John Evans (USA),
Vittore Baroni (Italy), Robin Crozier (England), Ko de Jonge (Holland), Harley Francis
(USA), Mohammed (Italy), Pawel Petasz (Poland), et al. Biography of the editor, and
photograph of his "La Galleria dell'Occhio," New York, New York.
Vol. 2, No. 2 (1981). Offset, Photocopy and Artistamps and Rubber Stamps. 11"x8 1/2".
(14 pages). Exhibitions at La Galleria dell'Occhio, including Bern Porter (USA), Political Art
Documentation/Distribution (PADD), and "International Mail Art Exhibition." Contributors
list for Bern Porter Mail Art exhibition. Bern Porter biography. Examples of "Bern Porter
Commemorative Stamp Series Book," containing "Post Me's Commemorative Series."
Vol. 3, No. 2 ([1983]). Offset. 11"x8 1/2". 15 pages. "Independence Movement," by the
editor. "Isolating artists from one another and from our audiences is the most effective way
of keeping us powerless." "On Mail Art," by the editor. "Thoughts on Mail
Art/Correspondence Art," by John Evans (USA). "The International mail Art Exhibition Salva
la Campagna Romana." E. M. Plunkett (USA) contributes, "Report from Hypnagogic City:
The Lanz Mail Art Banquet (The Beasts at the Feast)." Article by H.Y.P.E. (AKA John P.
Jacobs) (USA). "Send No Ordinary Letters: Poetical Essay on ray Johnson," by Valery
Oisteanu (USA). "The Maine Mail Art Exhibition." Documentation for La Galleria
dell'Occhio's "Boxing International Mail Art Exhibition," with a listing artists including
Buster Cleveland (USA), Wally Darnell (Saudi Arabia), Ryosuke Cohen (Japan), Vittore
Baroni (Italy), Guy Bleus (Belgium), Al Ackerman (AKA Harry Bates Club) (USA), et al.
"Mail Art Bout," by Judd Tully (USA). Contributions by Paulo Bruscky (Brazil), Larry D.
Smith (USA), Gene Laughter (USA). "Network Announcements," lists exhibition, publication
and project opportunities.
Vol. 3, No. 3 (1983). Offset and Mixed Media. 11"x8 1/2". Unpaged. Sixth issue ('ME" No.
4 was a audio cassette). "On Mail Art," by the editor. Postcards and artistamp sheet as part
of documentation for the "International Mail Art Exhibition," August 5-7, 1983 in Brunswick,
Maine. Documentation for "The Influence of Classical Italian Art on Contemporary
Aesthetics International Mail Art Exhibition," April 5 to May 1, 1983, at La Galleria
dell'Occhio, New York. Postcards by David Zack (Mexico), Epistolary Stud Farm (USA),
David Cole (USA), Eric Finlay (England), et al.
Vol. 4, No. 1 ([1985]). Offset. 13 1/2"x9". (6 pages). "ME Magazine #7...This issue is
published by the cultured State of Italy, and the Museo d'Arte Moderna, Catanzaro, Italy;
Tom Ferro, guest editor." English and Italian versions of "The Artist is a Fighter," by Carlo
Pittore (USA). "Do You Think Electronics will Oust the Book," by Andrea la Porta. Exhibition
history of La Galleria dell'Occhio. Mail Art exhibition opportunities.

Megazine Bulletin. Jan De Boever, Editor. De Media, Eelklo, Belgium. (1989).
No. 15 ([1989]). Photocopy. 11 3/4"x8 1/4". 8 pages. "This is Megazine Bulletin nr. 15.
It's a special number which will be distributed for free at the 'Europe Against the Current'
festival in Amsterdam...a special aspect of our activities is the Small Mags Archive. We
started this archive in 1983 and up to now about 4000 magazines / 1100 different titles are
stocked in this archive. (They) are all magazines: -with a limited edition (max. 500) -
without a real commercial purpose -who are not distributed by a big company -that deal
with subculture or counter culture or the margin of official culture. Those mags can be:
independent art(ist) mags, underground papers, punkzines, little graphic or satirical mags,
specialized musicpapers, cassette gazettes, alternative poetry-zines, curiosa, free press,
comix zines, various fanzines etc. At the beginning of '87 we started Megazine Bulletin, a
supplement to the media-newsletter, and what's called a fanzine's fanzine. as you can see
it's a little magazine, which describes other zines, mags, newsletters, bulletins and so on.
the purpose of Megazine Bulletin was and is to promote the small press and to create a
service which is still unique in the Dutch speaking countries (Flanders and Holland)."

MelmothVancouver. Tim Iles, Editor. Vancouver, Canada. 1986.
Vol. 4, No. 2 (1986). Offset. 8 1/2"x7". 46 pages. A publication of the Vancouver
Surrealist Group, including the participation of Ed Varney (Canada). Artist pages includes
two collages by Varney. "Cadavre Exquis," by Lori-Ann Latremouille (Canada), M, Guderna
(Canada), and Ed Varney. List of international Surrealist publications.

Mendo Do De Do, The. (Steve Caravello), Editor. Gollinkambi Productions,
Talmage, California. (1974).
([1974]). Offset. 5 1/4"x4 1/4". (10 pages). Bay Area Dada publication, circa 1974.
Surrealist collages.

Metal Mail. Metal Dog, Editor. Cincinnati, Ohio. (1995-1996).
Vol. 1, No. 1 ([1995]). Computer Print and Mixed Media. 8 1/4"x3 3/4". (3 pages).
Computer graphics and text with artistamp enclosures.
Vol. 1, No. 2 ([1996]). Computer Print. 9 3/4"x4". (12 pages). "I hope you enjoy the
second coming of Metal Mail, a collection of mental meanderings and visual fol-der-rols."
Issue theme, "Words." Sophisticated color computer graphics. Announcement of a "Mail Art
Exchange," on the theme of dreams.

Mente Locale. Ettore Zanfi, Editor. Modena, Italy. 1989.
Vol. 1, No. 1 (June 1989). Offset. 11 1/4"x9". (fragment). "Mail Art Heroes: Gerald X.
Jupitter-Larsen," by Vittore Baroni (Italy). Part of the series, "Pro Posta." Fragment of the
magazine including the article and publishing information.

Metro Riquet. Franoise Duvivier, Editor. Paris, France. 1989.
No. 6 (January 1989). Offset and Rubber Stamp. 8 1/2"x8 1/4". 45 pages. "I wish the
zine to be a connection between foreign and alternative artists, small and underground
press, too." Interviews with Vincent O'Brien (USA), Ivan Sladek (Czechoslovakia), Mike
Shannon (USA), and Stefan Szczelkun (England). "Hiroshima Shadow Project 1988," by
Ruggero Maggi (Italy). Music reviews. Publication reviews. Mail Art exhibition, publication
and project opportunities. "Au Subjet de L'Art Postal Aujourd'hui," by Ph. Bill.
No. 7 ([1989]). Offset. 9 1/2"x8 1/4". (66 pages). "'M Riquet' is always interested in
alternative expression from around the world, open to audio and visual art, out of the
ordinary." Interview with performance artist Shaun Caton (England), and editor of "ND,"
Daniel Plunkett (USA). Performance art by Jos VdBroucke (Belgium). Publication reviews.
Audio reviews. Mail Art exhibition opportunities.

Mexico Inista. Luz Bermejo, Editor. Grafe Koine, Madrid, Spain. 1998.
(February 1998). Photocopy. 8 1/2"x4 1/4". 15 pages. Visual Poetry by Mexican artist
Hector Barajas.

Minds Adrift. "Slats" (aka Al) Ackerman, Editor. (San Antonio, Texas). (September
1986).
Vol. 21, No. 9 ([February 1986]). Photocopy. 8 1/2"x5 1/2". (4 pages). "The Weekly
Letter-Zine of the Robert Vesco Brigade." Fictitious volume and number. Text and
illustrations by the editor. Contributions by John M. Bennett (USA), David Zack (Mexico),
Monty Cantsin (Canada), et al.

Miniboek 861: Miniboletin de Mail Art y Poesia Visual. Taller del Sol, Editor.
Tarragona, Spain. (1997).
([June 1997]). Photocopy. 11 3/4"x4 1/4". (20 pages). Reproductions of selected Mail Art
received by the Spanish Mail Art collective, Taller del Sol, as well as works by the
collectives' members. Contributors include Henning Mittendorf (Germany), Vittore Baroni
(Italy), Clemente Padin (Uruguay), Pere Sousa (Spain), Pedro Juan Gutierrez (Cuba), John
Held, Jr. (USA), Bruno Pollacci (Italy). Special insert in homage to Edgardo-Antonio Vigo
(Argentina), including an essay by Clemente Padin, "Edgardo Antonio Vigo: Vocacion
(opcion) de Libertad Creando la Libertad."
([September 1997]). Photocopy. 11 3/4"x4 1/4". (18 pages). Reproductions of selected
Mail Art received by the Spanish Mail Art collective, Taller del Sol, as well as works by the
collectives' members. Contributors include Jilly Jargon (England), Giovanni Strada (Italy),
Sassu Antonio (Italy), Yolanda Perez Herrera (Spain), Carlos Reglero Campos (Spain), Guy
Bleus (Belgium), Antonio Gomez (Spain), Abelardo Mena (Cuba). Clemente Padin
(Uruguay), Diane Bertrand (Canada), Ibirico (Spain), Pere Sousa (Spain), John Held, Jr.
(USA), et al.
([November 27, 1997]). Photocopy. 11 3/4"x4 1/4". (18 pages). Reproductions of
selected Mail Art received by the Spanish Mail Art collective, Taller del Sol, as well as works
by the collectives' members. Contributors include Pere Sousa (Spain), Emilio Morandi
(Italy), Ruggero Maggi (Italy), Antoni Mir (Spain), Guy Bleus (Belgium), Keith Bates
(England), Clemente Padin (Uruguay), John Held, Jr. (USA), et al.
([1997]). Photocopy. 11 3/4"x4 1/4". (20 pages). Reproductions of selected Mail Art
received by the Spanish Mail Art collective, Taller del Sol, as well as works by the
collectives' members. Contributors include Klaus Groh (Germany), Guy Bleus (Belgium),
Carolyn Substitute (USA), Pere Sousa (Spain), Crackerjack Kid (USA), Giovanni Strada
(Italy), Carlos Reglero Campos (Spain), Clemente Padin (Uruguay), Ruggero Maggi (Italy),
Crackerjack Kid (USA), Ibirico (Spain), John Held, Jr. (USA), et al.

Minifictions. Luke McGuff, Editor. Makeupaname Press, Minneapolis, Minnesota.
1984.
No. 3 (1984). Photocopy. 5 1/2"x4 1/4". (8 pages). Lit-zine. "Ridin the Five," by the
editor.
No. 4 (1984). Photocopy. 5 1/2"x4 1/4". (8 pages). "This is the fourth in the Minifictions
Series. It is a collection of five sci-fi novelettes."
No. 5 (1984). Photocopy. 5 1/2"x4 1/4". (8 pages). Short fiction by Gerry Reith (USA)
and A. J. Wright (USA). "We are open for submissions of short prose works. Send SASE.
Document life outside the mainstream. We are interested in addresses for prisoners and
international mail artists."

Miracle Whip. David Cammack, Editor. Portland, Oregon. 2000.
No. 1 (September 2000). Photocopy. 11"x8 1/2". (21 pages). "Xerox, Art, Experiment."
Work by Portland artists, including Mia Spiral and the editor. List of web sites with Mail Art
contacts.

Mirror Images. Arte Ala Carte, Editor. (Avon, Connecticut). 1991.
No. 1 (Summer 1991). Photocopy. 8 1/2"x5 1/2". 36 pages. "'Mirror Images Mail Art
Project' was completed in the summer of 1991. Entries from over 130 Mail Artists were
documented in volumes one through four. Many thanks to you for making Volume One
possible." Contributions by 35 artists including Gza Perneczky (Germany), Luce Fierens
(Belgium), Lavona Sherarts (USA), Malok (USA), A. 1. Waste Paper Company Ltd.
(England), O. Jason (England), Gerard Barbot (USA), Vittore Baroni (Italy), Ashley Parker
Owens (USA), Michel Pollard (China), Honoria (USA), et al.

Mixed Media. Ferdinand Kriwet, Editor. Dusseldorg, Germany. 1969.
No. 0 (March 1969). Newsprint. 18 3/4"x13 ". (12 pages). Visual poetry and performance
art.

Moj Swiat. Zygfryd Klaus, Editor. Poznan, Poland. 1988.
No. 11-12 (1988). Newsprint (Color). 11 3/4"x8 1/4". 39 pages. Special Mail Art issue of
this Polish youth magazine. Guest edited by Piotr Rogalski (Poland). Most of the texts are
in Polish, but the color graphics mark this publication for special attention. Texts
contributed by Piotr Rogalski, Pawel Petasz (Poland), Zbigniew Podurgiel (Poland),
Krzysxtof Skiba (Poland), Joki Klaffki (Germany), Janusz Byszewski (Poland), Guy Bleus
(Belgium),Tomasz Schulz (Poland), Dobrica Kamperelic (Yugoslavia), Lancillotto Bellini
(Italy), Ruggero Maggi (Italy), Terrapin Syndicate (France), et al. Graphics by Harley
Francis (USA), Jos VdBroucke (Belgium), Cavellini (Italy), Alndrzeju Dudek-Drer
(Poland), Rea Nikonova (Russia), Fernand Barbot (USA), Vittorio Baccelli (Italy), Henryk
Bzdock (Poland), Henning Mittendorf (Germany), Vittore Baroni (Italy), Arturo Fallico
(USA), et al. Participant list for the exhibition, "International Mail Art Action Happy New
Year 1989."

Mollocca. Luke McGuff, Editor. Minneapolis, Minnesota. (1981).
No. 7 ([1981]). Mimeograph and Mixed Media. (12 pages). "Special International
Edition." Contributions by Gerald Jupitter-Larsen (Canada), Cheryl Cline, et al.

Monthly: An Irregular Periodical, The. Ginny Lloyd, Editor. Lloyd Productions, San
No. 1 (July 1980). Photocopy. 11"x8 1/2". (4 Pages). "...is a rag devoted to Fe-mail Art.
Fe-mail Art has been increasing, yet, we have been few in public numbers and infrequently
connected with each other. This woman's rag is an attempt to bridge the gap and to reach
out to more women who are thinking about creating Fe-mail Art." Cover by Anna Banana
(Canada). contributions by Nancy Frank (USA), Carioca (USA), P. E. Nations (USA), et al.
(Announcement for the magazine.)
Vol. 1, No. 2 (1980). Photocopy 11"x8 1/2". (4 pages). "A magazine devoted exclusively
to documenting Fe-mail Art activities. Each issue represents a specific theme the artists
have interpreted within a wide spectrum of styles." (Announcement for the magazine.)
Vol. 2, No. 1 (1981). Photocopy and Mixed Media. 11"x8 1/2". 30 pages. "This issue of
THE MONTHLY concerns self portraits, one of the ways women have historically
communicated who they are and how they view the world." Interview with Judy Hoffberg
(USA), "International Mail Art Politics: Part 1," by the editor. (Hoffberg: My co-curator one
time buzzed in my ear that the 'mailbox was a museum.' Joan Hugo was the originator of
that term, and I used the phrase consistently in several talks I gave about the show as well
as later about artists' books in general.) "Fe-Mail Art," by Bill Gaglione (USA), Contributions
by Gail Allen (USA), Anna Banana (Canada), Carioca (USA), Irene Dogmatic (USA), Sue
Fishbein (USA), Nancy Frank (USA), Leavenworth Jackson (USA), Yayoi Mizushima (Japan),
Polly Esther Nation (USA), Angelika Schmidt (Germany), Carol Stetser (USA), Patricia
Tavenner (USA), et al.
Vol. 3, No. 1 (August 1987). Computer Print and Rubber Stamps. 11"x8 1/2". 3 pages.
"This issue of The Monthly started out as a letter to Anna Banana in response to her latest
issue of the "Banana Rag." however, the letter grew since I realized that not only had I not
written to Anna for a long while, but I had neglected many of you. In fact, I have not
corresponded with anyone for such a long time. Hopefully this will bring about a thaw. I
have been busy with allot of family, teaching, and personal commitments." Sections
include, "Why doesn't Mail Art and Money Mix?," "Mail Art and Chaste Belts Don't Mix," and
"Who Appointed Spiegelman?"

Monthly Journal. Bugpost, Editor. PMTTTD Corporation, Seattle, Washington.
1991.
Vol. 1, No. 3 (September 1991). Photocopy. 11"x8 1/2". 22 pages. "Letters to the
Bugmaster General." Listings of artistamps in the manner of a philatelic catalog. "The
Celebration of the Fourth Anniversary of Kite Post." Mark Rose (USA) contributes, "Mayumi
Handa Visits the Kingdom Of Aldabra."
Vol. 1, No 4 (October 1991). Photocopy and Mimeograph. 11"x8 1/2". 27 pages. "The
new Improved Letter to the Bugmaster General," includes correspondence from buZ blurr
(USA, Crackerjack Kid (USA) and Jas. Felter (Canada). New listings of artistamp issues in
philatelic format.

Moonhead News 79. Al Ackerman, Editor. (San Antonio, Texas). 1988.
(May 4 thru 10, 1988). Photocopy. 8 1/2"x5 1/2". (4 pages). "Moonhead Dazar" on the
cover. "Mister Gnat and the Wobber," by Moonhead Leonard, Scribe (AKA Al Ackerman).
"Moonostomy," by Moonhead Bennett, Poet (AKA John M. Bennett) (USA).
(May 4 thru 10, 1988). Photocopy. 8 1/2"x5 1/2". (4 pages). Cover by Moonhead
Mumbles." Moon Head Sherman, Historian (AKA Al Ackerman) contributes "Raisins from
Hell." Other contributions by "Moonhead Haddock" (AKA Bill Haddock) (USA) and
"Moonhead 'Jake' Berry, Poet" (USA).

Mouth: Revista Aperiodica di Poesia e Poesia Visiva, The. Alberto Rizzi, Editor.
Mail Art Archive, Adria, Italy. 1992.

No. 8 (December 1991/January 1992). Photocopy. 8 1/4"x5 3/4". 61 pages.
Contributions by Bruno Capatti (Italy), Ashley Parker Owens (USA), Giovanni Strada
(Italy), Antonio Gomez (Spain), Ruggero Maggi (Italy), Hilda Paz (Argentina), et al.
Participants list for the exhibition, "Italian Report," organized by Ruggero Maggi and Shozo
Shimamoto (Japan) for the Tokyo Metropolitan Museum (June 1992).
No. 9 (February/August 1992). Photocopy. 8 1/4"x5 3/4". 67 pages. Contributions by
K. Nyman (Sweden), Silvia Barsi (Italy), Alessandro Ceccotto (Italy), Lucien Suel (France),
Jrgen Olbrich (Germany), Giovanni Strada (Italy), Paul Hartel (Canada), Guillermo Deisler
(Germany), et al. Notice for "Mail Art: An Annotated bibliography," by John Held, Jr. (USA).
"'Piu' Vero di Natura," by Pierre Restany (Italy) and Ruggero Maggi (Italy). Reports on
Italian "Networker Congresses," by Ruggero Maggi. "Poesia Visiva-Poesia Postale," by Luigi
Spennati (Italy).

MSRRT Newsletter. Chris Dodge and Jan DeSirey, Editor. Minnesota Library
Association Social Responsibilities Round Table, Minnesota, Minnesota. 1991-
1999.
Vol. 4, No. 1 (February 1991). Photocopy. 11"x8 1/2". 16 pages. "MSRRT Newsletter's
alternative news, opinions and resource listings are sent ten times a year to members of
the Minnesota Library Association Social Responsibilities Round Table as well as to a
number of other persons and exchange publications. Readers and publishers are invited to
send review copes of periodicals, books, and other materials..." Review of "Umbrella"
magazine, edited by Judith Hoffberg (USA)..
Vol. 4, No. 6 (August 1991). Photocopy. 11"x8 1/2". 16 pages.
Vol. 4, No. 7 (September 1991). Photocopy. 11"x8 1/2". 16 pages.
Vol. 4, No. 9 (November 1991). Photocopy. 11"x8 1/2". 16 pages. Review of "Lies in the
Sand: An International Anti-War Art Show,...a mail art project and exhibition organized by
the Iowa Chapter of the Aggressive School of Cultural Workers."
Vol. 10, No. 10 (December 1991). Photocopy. 11"x8 1/2". 16 pages.
Vol. 5, No. 1 (February 1992). Photocopy. 11"x8 1/2". 16 pages. Review of "Artistamp
News," edited by Anna Banana (Canada).
Vol. 5, No. 2 (March 1992). Photocopy. 11"x8 1/2". 16 pages. Notice for the Mail Art
exhibition, "Stop U. S. Blockade of Cuba/Stop U. S. Intervention," organized by Clemente
Padin (Uruguay), with a brief biography of the curator.
Vol. 5, No. 3 (April 1992). Photocopy. 11"x8 1/2". 16 pages. Review of "Real
Correspondence," edited by Vittore Baroni (Italy).
Vol. 5, No. 5 (June/July 1992). Photocopy. 11"x8 1/2". 16 pages. Notices for "Factsheet
Five," and the "Zine Exchange Network."

Vol. 5, No. 6 (August 1992). Photocopy. 11"x8 1/2". 18 pages. Notice of "Dreamtime
Corroboree," organized by Liz Was (USA) and Miekal And (USA). Review of "Global Mail,"
by Ashley Parker Owens (USA). Review of the book, "Cassette Mythos," by Robin James
(USA).
Vol. 5, No. 8 (October 1992). Photocopy. 11"x8 1/2". 16 pages.

Vol. 6, No. 1 (February 1993). Photocopy. 11"x8 1/2". 16 pages. Review of "Flyposter
Frenzy: Posters from the Anticopyright Network," a book by Matthew Fuller (England).
Vol. 6, No. 2 (March 1993). Photocopy. 11"x8 1/2". 16 pages. Review of "Herd," edited
by Jennifer Huebert. Notice of "Factsheet Five" editor change.
Vol. 6, No. 3 (April 1993). Photocopy. 11"x8 1/2". 16 pages. Review of the periodical,
"CVS Bulletin," edited by Lloyd Dunn (USA).
Vol. 6, No. 4 (May 1993). Photocopy. 11"x8 1/2". 16 pages. "Mail Art Call," discusses the
activities of Peter Kstemann (Germany) and Angela Phler (Germany). "Dreamtime
Village" events organized by Liz Was (USA) and Miekal And (USA).
Vol. 6, No. 5 (June/July 1993). Photocopy. 11"x8 1/2". 16 pages. Notice for the zine
review periodical, "Zines!," edited by Christoper B. Martin (USA).
Vol. 6, No. 7 (September 1993). Photocopy. 11"x8 1/2". 16 pages. Review of "Duplex
Planet Illustrated," a comic based on editor David Greenbergers' (USA) "Duplex Planet,"
magazine. Notice for the "International Zine Show," at Subspace, Iowa City, Iowa, curated
by Stephen Perkins (USA).
Vol. 6, No. 8 (October 1993). Photocopy. 11"x8 1/2". 16 pages. Review of "Bibliozine,"
edited by John Held, Jr. (USA). Publications by Luke McGuff (USA).
Vol. 6, No. 9 (November 1993). Photocopy. 11"x8 1/2". 16 pages. Notice for the Mail
Art exhibition, "Her Story," in Redford, Texas.
Vol. 7, No. 1 (February 1994). Photocopy. 11"x8 1/2". 16 pages. Review of the
periodical, "Kettle of Fisk," edited by afungusboy (USA).
Vol. 7, No. 2 (March 1994). Photocopy. 11"x8 1/2". 16 pages.
Vol. 7, No. 3 (April 1994). Photocopy. 11"x8 1/2". 16 pages. Selection of products from
Mark Pawson (England).
Vol. 7, No. 4 (May 1994). Photocopy. 11"x8 1/2". 16 pages. Notice for the "Underground
Press Conference," Chicago, Illinois, August 13-14, 1994.
Vol. 7, No. 5 (June/July 1994). Photocopy. 11"x8 1/2". 16 pages. Review of "Art Com's,
"1994 Media distribution Catalog."
Vol. 7, No. 7 (September 1994). Photocopy. 11"x8 1/2". 16 pages. "The Importance of
Zines." Review of a special issue of "New Observation" magazine on "Copy Culture," guest
edited by Stephen Perkins (USA) and Lloyd Dunn (USA). Review of "Ljubav/Love," edited
by Andrej Tisma (Yugoslavia).
Vol. 7, No. 9 (November 1994). Photocopy. 11"x8 1/2". 16 pages. "Tom Cassidy (aka
Musicmaster) will present a show-and-tell history of mail art's 'Eternal Network' and
information about 'creating your own circle of nontraditional 'pen pals.'"
Vol. 7, No. 8 (October 1994). Photocopy. 11"x8 1/2". 16 pages. Review of "Stretch
Marks," by editor Roz Stendahl (AKA Gumiglot) (USA).
Vol. 8, No. 1 (February 1995). Computer Print. 11"x8 1/2". 12 pages. Review of "The
Girl-illa Art 'Zine," edited by Marian Parces (USA).
Vol. 8, No. 2 (March 1995). Computer Print. 11"x8 1/2". 12 pages. Notice for the
"Underground Press Conference '95," including panelists John Held, Jr. (USA), and
"Factsheet Five" editor Seth Friedman. Letter to the editor by Luke McGuff (USA). Notice
for the publications of Banco de Ideas Z (Cuba). Comics by maximum Traffic (USA).
Vol. 8, No. 3/4 (April/May 1995). Computer Print. 11"x8 1/2". 12 pages. Notice of the
Mail Art exhibition, "Jose Marti," organized by Clemente Padin (Uruguay). Review of "Cuban
Travel Diary," by John Held, Jr. (USA).
Vol. 8, No. 5 (June/July 1995). Computer Print. 11"x8 1/2". 12 pages. "A Big Pile of
Zines." Review of the book, "Eternal Network: A Mail Art Anthology," by Chuck Welch
(USA). "Joyfully hurdling national borders, drawing people together worldwide on a
personal basis, demolishing preconceptions of what it means to b an artist, mail art is a
model of cultural democracy in action." Notice for EMMA (Electronic Museum of Mail Art), a
website created by Chuck Welch.
Vol. 8, No. 6 (August 1995). Computer Print. 11"x8 1/2". 12 pages. Notice for "Technical
Tips for Zine makers: An Informational Pamphlet from Global Mail," by Ashley Parker
Owens (USA).
Vol. 8, No. 7 (September 1995). Computer Print. 11"x8 1/2". 12 pages. Notice of an
address change for "Herd," edited by Jennifer Heubert (USA).
Vol. 8, No. 8/9 (October/November 1995). Computer Print. 11"x8 1/2". 12 pages.
"How Many Zines are There?" Address change for "Global Mail" edited by Ashley Parker
Owens (USA). Ragged Edge Press catalog, edited by The Sticker Dude (USA).
Vol. 9, No. 2/3 (March/April 1996). Computer Print. 11"x8 1/2". 12 pages. Notice for
the Exit Art, New York, New York, exhibition, "Counterculture: Alternative press from the
Underground to the Internet." Address change for "Bibliozine," edited by John Held, Jr.
(USA).
Vol. 9, No. 1 (February 1996). Computer Print. 11"x8 1/2". 12 pages. Review of "Score"
edited by Crag Hill (USA).
Vol. 9, No. 6 (July/August 1996). Computer Print. 11"x8 1/2". 12 pages. "Zine Scene,"
event at the Walker Art Center, Minneapolis, Minnesota.
Vol. 9, No. 7/8 (September/October 1996). Computer Print. 11"x8 1/2". 12 pages.
Review of the book, "Zines! Volume 1," edited by V. Vale (USA).
Vol. 9, No. 9/10 (November/December 1996). Computer Print. 11"x8 1/2". 12 pages.
Editor change for "Global Mail," previously edited by Ashley Parker Owens (USA), currently
produced by Michael Dittman (USA).
Vol. 10, No. 1 (January/February 1997). Computer Print. 11"x8 1/2". 12 pages.
Update of the whereabouts of former "Factsheet Five" editor Mike Gunderloy (USA). Review
of "Zine World," edited by Doug Holland (USA).
Vol. 10, No. 3 (May/June 1997). Computer Print. 11"x8 1/2". 12 pages. Review of the
book, "Being On Line: Net Subjectivity," edited by Alan Sondheim (USA), with a
contribution by Honoria (USA).
Vol. 10, No. 4 (July/August 1997). Computer Print. 11"x8 1/2". 12 pages. "The
Summer of Zine Books." Review of the book, "Make A Zine," by Bill Brent (USA). Review of
"McJob" edited by Julie Peeslee (USA).
Vol. 10, No. 6 (November/December 1997). Computer Print. 11"x8 1/2". 12 pages.
Vol. 11, No. 1 (January/February 1998). Computer Print. 11"x8 1/2". 12 pages. "Zine
News." Review of the periodical, "The PhotoStatic Retrofuturist," edited by Lloyd
Dunn(USA).
Vol. 11, No. 4 (July/August 1998). Computer Print. 11"x8 1/2". 12 pages. "Zine News."
Vol. 12, No. 2 (Summer 1999). Computer Print. 11"x8 1/2". 12 pages. Issue number 98.
Review of "Truth be Known," by Maximum Traffic (USA). Review of the periodical
"Numero," edited by Wilfred Nold (Germany).

Mumbles in Love. Edited by J(ohn). E(berly). Mumbles Pubs., Wichita, Kansas.
(1989).
([1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Contributors include Michael Voodoo
(USA) and the editor. Back cover by Tuli Kupferberg (USA).

Multiplication. Gnther Ruch, Editor. Outpress, Geneva, Switzerland. 1992.
(1992). Mixed Media. 8 1/4"x8 1/4". Unpaged. Assembling magazine. "A small press
production in a limited edition about 10 European artists. Every participant has 2000 (or 2
x2 00) exemplairs contributed. All participants have worked over years as editors of small
artists books (and/ or documntations about that). Their aims and works are individually
different, what held them together is that every participant knows the work of other
contributors through the mail-art channel." Contributors include Fernando Aguiar
(Portugal), Ben Allen (North Ireland), Guy Bleus (Belgium), Robin Crozier (England),
Guillermo Deisler (Germany), Ko De Jonge (Holland), Jrgen Olbrich (Germany), Jose
Oliveira (Portugal), Geza Perneczky (Germany), and the editor. Brief bibliographic
information on each contributor. Edition 189/200.

My Secret Life in the Mail. Cheryl Cline, Editor. Concord, California. (1981)-1984.
([1981]). Mimeograph and Rubber Stamps. 11"x8 1/2". (10 pages). "MY SECRET LIFE IN
THE MAIL is an answer to the question: Get anything good in the mail lately? It is available
for trades and correspondence--letters, postcards, mailable objects. Send no money/ MY
SECRET LIFE IN THE MAIL will be an ongoing project; contributions are welcome: artwork,
reviews, letter, descriptions of your own activities, news and random information." Review
of "Umbrella," Mollocca," "The Monthly," etc. "Public Service Announcement," by the editor
on chain letters. Listing of correspondents want lists, including requests by Giovanni
Fontana (Italy), Birger Jesch (East Germany), Gerald Jupitter-Larsen (Canada), Kenn
Speiser (USA), et al. Review of rubber stamp catalogs.
No. 4 ([1982]). Mimeograph and Rubber Stamps. 11"x8 1/2". (12 pages). "Notes,
Corrections & Misc." includes information on "Me" magazine and Dr. Al Ackerman (USA).
Editorial. "When I did the first MSLITM, I was not 'plugged into' the mail art network. I
knew a little bit about it: I'd read THE RUBBER STAMP ALBUM and had been ordering
stamps; I'd sent a fan letter to Leavenworth Jackson and sought out all her book; I'd
gotten ahold of issues of VILE, UMBRELLA and BIKINI GIRL MAGAZINE. I was actually a
little nervous about sending MSLITM to mail artists. It seemed rather presumptuous to
send out a reviewzine since there was already UMBRELLA (which covered more things than
I could ever hope to). But send it out I did." Reviews of "Laughing Postman," "Duplex
Planet," "Madam X's Gazet," Luna Bisonete Productions (John M. Bennett),"Stampola," etc.
Rubber stamp companies. "Mail Art Shows."
No. 5 ([1982]). Mimeograph and Rubber Stamps. 11"x8 1/2". (12 pages). Letters from
John M. Bennett (USA), Al Ackerman (USA), Candi Strecker (USA), et al. Reviews of
"Posthype," 'Duplex Planet," Stampola," "ME," etc. Books by Musicmaster (USA) and Opal
Louis Nations (USA). "Rubber Stamps & Etc." lists "Stamp Art Magazine," edited by Bill
Gaglione. Notice for "Bambu" magazine, edited by Ubaldo Giocomucci (Italy).
No. 7 (1983). Mimeograph and Rubber Stamps. 11"x8 1/2". (12 pages). Letters by Alex
Igloo (USA), Michael Leigh (England), Lon Spiegelman (USA), et al. Notice for "Interdada
1984." Reviews of "Nattovning," "Posthype," "ND," "Mambo Press Update," "BILE," etc.
Rubber Stamp company catalog reviews.
No. 8 (July 1984). Photocopy and Rubber Stamps. 11"x8 1/2". (8 pages). Editorial
comments of change of printing method. "Announcements" lists Mail Art exhibition
opportunities and a notice for "Inter Dada 84 Festival. "Publication reviews of "4-U-2-Post"
magazine, and "Correspondence Art," by Crane and Stofflet. Special section on
"Contributory Magazines," including "Level," "Stamp Art Magazine," 'Bambu," and "Original
Art Magazine." Postcards by Ken Brown (USA).

Mystery Hearsay International. Mike Honeycutt, Editor. Memphis, Tennessee.
1988.
(Winter 1988). Photocopy. 5 1/2"x4 1/4". (20 pages). Zine from the "cassette
underground," which includes information on the audio art activities of John Hudak (USA),
Hal McGee (USA), David Prescott (USA), Gerald Jupitter-Larsen (Canada), Minoy (USA), et
al.
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.
National Stampagraphic - NYCS
National Stampagraphic. Melody Hope Stein, Editor. Taylor'd Graphics, North
Valley Stream, New York. 1983-1997.

Vol. 1, No. 2 (January 1983). Offset. 10 3/4"x8 1/4". 23 pages. "We want to tell
people about rubber stamp art, which we think will become a new art form in the
80's." Review of an exhibition at the University of California at Santa Cruz,
"Masters of the Rubber Stamp," which "contained over forty works of rubber
stamp art, done by five artists from the West Coast and Hawaii." Included in the
exhibition was Leavenworth Jackson (USA).
Vol. 1, No 3 (April 1983). Offset. 10 3/4"x8 1/4". 23 pages. "From the Stamp Pad"
features news of the rubber stamp world, including notice of the Dallas Public Library
exhibition, "Their Indelible Mark: Rubber Stamps and Libraries," curated by Jonathan
(John) Held (Jr.) (USA). "The fascinating idea behind this show is that whereas stamps are
generally used to give us a preselected message, in this case stamps are used as research
to find out information about the institution using the stamps." Article by Jonathan Held
(aka John Held, Jr.), "Their Indelible Mark: Rubber Stamps and Libraries." Notice for
"Stamp Art Magazine," edited by Bill Gaglione (USA).
Vol. 1, No. 4 (July 1983). Offset. 10 3/4"x8 1/4". 23 pages. "With this issue, 'National
Stampagraphic' opens its pages to the wide world of worldwide mail art and mail art
events. Mail art is one of the art forms which grew out of Dada in the 20's and Intermedia
Arts in the 50's...Some of the people in contemporary mail art who we consulted to bring
you this issue are: Ray Johnson, mail artist; Jean Brown, archivist; Heather Taylor, artist
and patron; Dick Higgins, rubber stamp and mail artist; Carlo Pittore, mail artist and
publisher of 'ME' magazine; Bill Gaglione, Dadaland, stampographer, publisher and mail
artist; Jonathan Held, curator of the rubber stamp exhibit in the Dallas Library and friend of
Fluxus artists; J. P. Jacobs of 'HYPE,' New York mail artist; and E. M. Plunkett, mail artist.
We plan to bring 'National Stampagraphic' readers information on mail art events. We
encourage anyone with information of mail art to share it with us so we can be a source of
information about this art movement, which has members in the thousands all over the
globe." The section, "From the Stamp Pad," features information on Bill Gaglione (USA),
Leavenworth Jackson (USA), and Carlo Pittore (USA). "Reflections on Mail Art," by Melody
Hope Stein. Notice for, "National Stampagraphic's First Mail Art Exhibition." Melody Hope
Stein contributes, "A First Look at Fluxus." The founding of, "The Great Mail Art Supply," by
Heather Taylor (USA) and Carlo Pittore (USA). "Heather explained that she wants to help
mail artists get exposure to museums and American and international collectors." "Carlo
Pittore: A One-Man Intermedia Event," by Franklinstein. "Rubber Stamps: Past, Present &
Future (An Historical Perspective of Correspondence Art)," by E. M. Plunkett (USA). "Mail
Art Events" lists exhibition, project and publication opportunities.
Vol. 2, No. 1 (October 1983). Offset. 10 3/4"x8 1/4". 31 pages. "Barton Lidice Benes:
An American Stamp Artist," by Franklinstein. "Mail Art Events," features information on
exhibition, publication and projects, including "Mail Art About Mail Art," organized by John
Held, Jr. (USA), for Richland College, Dallas, Texas.
Vol. 2, No. 2 (January 1984). Offset. 10 3/4"x8 1/4". 23 pages. Review of the "Mail Etc.,
Art" catalog issued jointly by the University of Colorado, The Tyler School of Art, and
Florida State University." Special "Dialogue" section features "Mail Artists on Mail Art."
included are articles by Robert C. Morgan, "Stamp Art is not (Necessarily) Mail Art," and
Chuck Welch on "Injury by Jury." Kihm Winship (USA) corresponds and submits an article
found in the "Chicago Tribune." Article on Printed Matter bookstore, New York, New York.
Vol. 2, No. 3 (April 1984). Offset. 10 3/4"x8 1/4". 31 pages. "International Mail Art
Exhibit at Franklin Furnace in New York," by Franklinstein. "Interview with Matthew Hogan,
Curator/Archivist for Franklin Furnace," by Franklinstein. "Mail Art Events." Artists Talk on
Art Mail Art Series discussed by Franklinstein in "The Global network." Melody Hope Stein
contributes, "Return to Ray Johnson." Letter to the editor by Cracker Jack Kid (USA), and
the article, "It ain't (Necessarily) So, Mr. Morgan: A Mail Art Rebuttal."
Vol. 2, No. 4 (July 1984). Offset. 10 3/4"x8 1/4". 31 pages. "Mail Art Dialogue" by
Franklinstein, is "a response to the recent 'mail art' exhibition held at the Franklin Furnace
in Soho, New York City, and ensuing panel discussions held at the 22 Wooster Street
Gallery this spring." "Franklinstein's Guide to Being in on the Rules for Joining the
International Rubber Stamp and Mail Art Network and/or Displaying Mail, Postal or
Correspondence Art." Jape Iros (aka Epistolary Stud Farm) (USA) contributes 16 points in
the text "A Cosmic Haha to the Franklin Furnace Brouhaha." "Mail Art Listings."
Vol. 3, No. 1 (October 1984). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Events."
Review by Franklinstein of the book, "Correspondence Art: Source Book for the Network of
International Post Art Activity," co-edited by Michael Crane and Mary Stofflet. "The
Handsome Johnson Mail Art Grant Token." "From the Stamp Pad," highlights the special
"Posthype" issue on the Franklin Furnace Mail Art controversy, edited by John P. Jacobs
(USA).
Vol. 3, No. 2 (January 1985). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Listings."
"Stampart #5: A Non-Review," by Melody Hope Stein. "This is not a magazine in the usual
sense-it is a collective piece of art which could be considered an 'artist book.'"
Vol. 3, No. 3 (April 1985). Offset. 10 3/4"x8 1/4". 39 pages. "From the Stamp Pad"
remarks on Bill Gaglione (USA), who designed the back cove. "The rubber stamp museum
is a privately owned archive of rubber stamp art, maintained by William Gaglione of
Abracadada rubber stamp company...William's archive has attracted the notice of artists
worldwide, who participate in the mailart network or use stamps in the production of their
artwork." Melody Hope Stein contributes an article on found stamps, "Finders Keepers."
"Artists today use stamps they find either as they find them or somewhat altered...mail
artist Steve Random, in addition to carving his own stamps, has a tremendous collection of
unaltered finds." Franklinstein contributes, "Pagework, Bookwork, and Artist's Book,"
commenting on the activity of New York MOMA Library Director, Clive Phillpot. "Mail Art
Events."
Vol. 3, No. 4 (July 1985). Offset. 10 3/4"x8 1/4". 39 pages. "(What is) Mail Art
(Anyway)," by John Held, Jr. (USA). "How to Put on Your Own Mail Art Show," by Peggy
Calvert (USA). "Mail Art Events" contains a notice for "Mail Art Shows, 1970-1985," curated
by John Held, Jr. "The Museum Project: Mail Art for Kids at the Dallas Museum of Art," by
John Held, Jr. "First Adventures in Mail Art," by Melody Hope Stein.
Vol. 4, No. 1 (October 1985). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Events."
Vol. 4, No. 2 (January 1986). Offset. 10 3/4"x8 1/4". 39 pages. Review of "The Rubber
Fanzine," edited by Rudi Rubberoid (USA). "How Much Do You Love Your Garbage Can: A
High School-Sponsored Mail-Art Event," by Starr Poppinga, includes a participant list for
"The Garbage Can Show." "Mail Art Events."
Vol. 5, No. 3 (April 1986). Offset. 10 3/4"x8 1/4". 39 pages. "ABRACAXerox: Does 'Copy
Quick' Mean copy Art," by Melody Hope Stein, mentions the photocopy art of Paul
Zalevansky (USA) and Louise Neaderland (USA). "A Word on Stamping Xeroxes: Electric
Rubber, That Is," by Robert C. Morgan (USA). "Julie Hagan Bloch: Master Carver," by
Franklinstein. "Mail Art Events." Results from "Wild and Bizarre Correspondence Art
Exhibition." "Everything You Wanted to Know About Networking: Another Article in the Mail
Art Series," by Franklinstein.
Vol. 7, No. 1 (Fall 1988). Offset. 11"x8 1/2". 38 pages. "Mail Art Events." Chuck Welch
(USA) contributes, "Adrift."
Vol. 7, No. 2 (Winter 1989). Offset. 11"x8 1/2". 38 pages. "Mail Art Events."
Vol. 7, No. 4 (Summer 1989). Offset. 11"x8 1/2". 39 pages. "From the Stamp Pad,"
notes a trip to Belgium by John Held, Jr. (USA). "Mail Art Glasnost," by Chuck Welsh (USA).
"Is Fluxus Dead," by Melody Hope Stein. "Mail Art Events." "Where Rubber Stamps and Mail
Art connect: Excerpts from 'A World Bibliography of Mail Art,'" by John Held, Jr. (USA).
"since 1987, I have been working on collecting writings for a bibliography of mail art. in
addition to going to the library and using conventional research techniques, I have gone
directly to mail artists and asked them for information on either writings they have
produced or in which they have been mentioned. two hundred artists from thirty countries
contributed information."
Vol. 8, No. 4 (Summer 1990). Offset. 11"x8 1/2". 39 pages. "From the Stamp Pad,"
mentions Mark Bloch's "The Last Word: Art Strike, Word Strike, Plagiarism and Originality,"
which will give the reader "an adult perspective on many things relating to alternative non-
gallery, non-monetary art movement concerns. (Be advised that at times there is some
strong language)." Mail Art exhibition, publication and project listings in "Mail Art Events."
Vol. 9, No. 1 (Fall 1990). Offset. 11"x8 1/2". 39 pages. "Mail Art Events" lists exhibition,
publication and project opportunities.
Vol. 9, No. 4 (Summer 1991). Offset. 11"x8 1/2". 39 pages. "The First Rubber Stamp
Frenzy and Mail Art Show." "Mail Art Events."
Vol. 9, No. 3 (Spring 1991). Offset. 11"x8 1/2". 39 pages. "Recycle Your Mail," by
Melody Hope Stein. "Mail artist Ed Plunkett has set up his own redistribution system. For
many years, he gas gathered unwanted mail, combined it with other papers, and given it
away as an artwork. I was delighted to receive what Ed calls the 'Surrealist Digest' from
'Hypnogogic City.'" "Mail Art Events."
Vol. 10, No. 2 (Winter 1992). Offset. 11"x8 1/2". 43 pages. "Mail Art Events."
Vol. 10, No. 4 (Summer 1992). Offset. 11"x8 1/2". 43 pages. "The Year of the
Networker Congress," by John Held, Jr. (USA). "Why should this discussion of networker
congresses be on interest to the rubber enthusiast? Because it should be remembered that
rubber stamp usage is just one part of an Eternal Network as envisioned by Fluxus artists
George Brecht and the late Robert Filliou in the sixties. ...If you enjoy the comradery (sic)
of your fellow rubber stamp artists, think how much your pleasure can be expanded by
learning about other artist-driven networks." "Mail Art Events."
Vol. 11, No 2 (Winter 1993). Offset. 11"x8 1/2". 43 pages. "National Stampagraphic
Goes to a Networker Congress," by Franklinsten, in which the writer attends a meeting of
Mail Artists at the Museum of Modern Art, New York, New York, and meets Peter
Kstermann (Germany) and Angela Phler (Germany) during their "Personal Delivery"
project. Others present included Clive Phillpot (USA), The Barbot Family (Claudine, Fernand
and Gerard) (USA), John Evans (USA), Matty Jankowski (USA), Delford Brown (USA),
Buster Cleveland(USA), et al. "Angela set up the mail sign announcing: 'Official Netmail
Postal Station-Pick Up/Delivery'. One by one people came and collected their mail. Each
piece of mail was entered into the log, signed for and delivered. In some cases, there was
mail to be delivered to people in Europe on Peter and Angela's return trip."
Vol. 12, No. 1 (Fall 1993). Offset. 11"x8 1/2". 50 pages. "Mail Art Events," lists
exhibition, publication and project opportunities.
Vol. 12, No. 2 (Winter 1994). Offset. 11"x8 1/2". 47 pages. "From the Stamp Pad"
features a notice on the upcoming book by Chuck Welch (USA), "Eternal Network: A Mail
Art Anthology," accompanied by a photograph of Welch (aka Crackerjack Kid) at his
perforator. "Do-It-Yourself Postage Stamps," by John Held, Jr. (USA), includes artistamps
by buZ blurr (USA), Julie Hagan Bloch (USA), E. F. Higgins (USA), Henning Mittendorf
(Germany), Pawel Petasz (Poland), and Donald Evans (USA). "Mail Art Events and
Exchanges." "What's An Electronic Bulletin Board Anyway?," by Franklinstein, mentions Mail
Art postings on Prodigy by Arto Posto (USA).
Vol. 12, No. 3 (Spring 1994). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and
Exchanges."
Vol. 12, No. 4 (Summer 1994). Offset. 11"x8 1/2". 51 pages. "Mailfestas and
Marathons: Crosscurrents in Contemporary Mail Art," by John Held, Jr. (USA), contrasts a
"Mail Art Marathon" event in Dallas, Texas, with the "Quebec Mail Art Congress," both of
which were attended by the author. "Mail art had spawned cooperative projects across
cultural boundaries; the zine revolution; set the pattern for electronic communication;
encouraged meetings beyond the postal encounter; helped to distribute artistic, social, and
political information across borders; stimulated cross-cultural performances; created video
and audio projects; and helped examine the aesthetics of communication across
international borders...And there lay the weakness of the Mail Art Marathon. Devoid of
discussion, or ancillary activities, I feel the event took on all the conceptual punch of a
quilting bee." "Mail Art Events and Exchanges."
Vol. 13, No. 1 (Fall 1994). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and
Exchanges."
Vol. 13, No. 2 (Winter 1995). Offset. 11"x8 1/2". 51 pages. "Mail Art Call Takes on
Spousal Abuse," by Franklinstein, discusses a Mail Art show by Arto Posto (USA). "Mail Art
Events and Exchanges."
Vol. 13, No. 3 (Spring 1995). Offset. 11"x8 1/2". 51 pages. "From the Stamp Pad,"
discusses the death of Ray Johnson. "The loss of Ray Johnson, the father of mail art,
makes us reflect on the creative roots of rubberstamping. For many of our readers,
learning about Ray's contributions will be new; for many of us he is a Kind of hero, a
pioneer." "CorresponDance: The Reason Behind the Ray Johnson Tribute." "This tribute to
mail art and its founder Ray Johnson, is our way of saying thanks to the man who created
an art that is enjoyed by people all over the world, people who want to express their ideas
in an art form that is wide in its acceptance of media and style." "Bunny Dead: the
Mysterious Life and Death of Ray Johnson and the Rise of the New York Correspondance
School of Art," by John Held, Jr. (USA). "For some there were clues. One of Johnson's
recent mailing read, "Bunny Dead. The New York Correspondence School Bunny was
Murdered Today. 12.30.94." Tributes on Ray Johnson's life and work by Valery Oisteanu
(USA), Bern Porter (USA), Carlo Pittore (USA), John Evans (USA), Buster Cleveland (USA),
Picasso Gaglione (USA), Tim Mancusi (USA), Arto Posto (USA), Gerard Barbot (USA), and
Chuck Welch (USA).
Vol. 13, No. 4 (Summer 1995). Offset. 11"x8 1/2". 51 pages. "A Portrait of the Woman
of the Year 2000: Meet UhOh Posto," by Franklinstein, in which the California artist gives
her definition of Mail Art. "I think there are many core elements that constitute mail art.
For myself, it is the guilt free exchange of artistic expression between a network of creative
people...It can challenge our aesthetic senses. It pushes emotional buttons and has the
potential to challenge our personal philosophies. It is a tangible footprint of the creative
process."
Vol. 14, No. 1 (Fall 1995). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and
Exchanges."
Vol. 14, No. 2 (Winter 1996). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and
Exchanges."
Vol. 14, No. 3 (Spring 1996). Offset. 11"x8 1/2". 51 pages. "Alternative Artfest '96," by
Sali Dali (USA). "Mail Art Events and Exchanges."
Vol. 15, No. 1 (Fall 1996). Offset. 11"x8 1/2". 51 pages. "National Stampagraphic's 15
Anniversary Contest," features rubber stamped envelopes from readers of the magazine.
Vol. 15, No. 3 (Spring 1997). Offset. 11"x8 1/2". 51 pages. "Tim Mancusi: Portrait of a
Carver," by Melody Hope Stein, features carved eraser portraits of Ray Johnson (USA), The
Fake Picabia Bros. (USA), Seth Mason (USA), M. B. Corbett (USA), Mick Mather (USA), et
al. "Tim Mancusi's Tips for Carving Portraits." "Mail Art Events and Exchanges."

ND (New Dachau). Daniel M. Plunkett, Editor. Austin, Texas. 1982-1995.
No. 1 (March 1982). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (16 pages). "Here
begins the first of a series. A series of statements and newsletters to inform and to bring to
view various thought...'ND' will primarily focus in on events relating to New Dachau and the
rest of Texas. But also relating to the exchange of music/tapes/films, and whatever...But to
expose and convey the location and time is simple enough. Yet never able to clearly bring
across the actual thought process, the ritualistic, tribal, feeling. Perhaps by this
fragmentation process some patterns fall together." Contact list of artists from Holland,
France, Canada and Italy. Date stamped "Mar. 1982" on the cover. New Dachau is the
appellation given to the editor's hometown of Arlington, Texas.
No. 2 (1983). Photocopy. 8 1/2"x7". 22 pages. Mail Art from Hungarian Artists Robert
Swierkiewicz and Andres Lengyel. Performance Art by Guy Bleus (Belgium). Contributions
by John M. Bennett (USA), Rob Van Winjgaarden (Holland), et al. Publication reviews. "We
are interested in exchange/contact."
No. 3 (June/July 1984). Photocopy. 8 1/2"x7". 33 pages. "Maps: A Mail Art Show
International," organized by Tom Pack (USA). "Mail Art/Debate-Inquest," by Ruggero Maggi
(Italy). Notices of projects by Ryosuke Cohen (Japan), John held, Jr. (USA), Xerox Sutra
Editions (USA). "Audio Goes Video," by Peter Meyer (Sweden). Contributions by Peggy L.
Calvet (USA), Michael VooDoo (USA), Henry Fox (USA), Jacques Massa (France), Paulo
Bruscky (Brazil), Pier Van Dijk (Holland), Anna Banana (Canada), E. F. Higgins, et al. "An
Open Letter to Dr. Ronny Cohen," by Carlo Pittore (USA). Reprint of a statement by Lon
Spiegelman (USA) and Mario Lara (USA) on "non-rules" and "considerations" in Mail Art.
"Information" lists notices of publications and exhibitions. (Two letters from the editor
enclosed).
No. 4 (January 1985). Photocopy. 8 1/2"x7". 33 pages. Mail Art exhibition
announcements. "Who Needs Mail Art?" by Misery Research Center (USA). Interview with
Gnter Brus (Austria). "A Short History of Amazon," by Ruggero Maggi (Italy). "The Joke
Project of International Mail Music and Art," by Seiei Jack Nakahara (Japan). "New Music
America," by Liz Was (USA). Contribution by Arturo G. Fallico (USA). Publication reviews.
No. 5 (1985). Photocopy. 8 1/2"x7". 25 pages. "Enclosed is material we have been sent,
worked on, and now combined. Do draw thoughts around stones with thread and only then
realize those possibilities. The event process and information is up to you to use or
whisper. Use your own constant change of intent and reason, the reality depending on
concentration. More to follow." Notices for Mail Art exhibitions and projects. "A Historic
Mail-Art/Night Exercise-Meeting, in New York 31 March 1985." Interview with Andre Stitt
(North Ireland). "Photo-Performances" by Pat Larter (Australia). "Information" lists
publications of interest.
No. 6 (1986). Photocopy. 8 1/2"x7". 31 pages. Contributions by Nenad Bogdanovic
(Yugoslavia), Ryosuke Cohen (Japan), Johan Van Geluwe (Belgium), Vittore Baroni (Italy),
Ruggero Maggi (Italy), Luc Fierens (Belgium), et al. "Open Letter," by Graf Haufen
(Germany). "Mail Art Shows" contains an editorial, and a reprint of the Spiegelman/Lara
"consideration" statement. "there is the need for mail-Art shows. At the least, they are a
vehicle for networking various bodies together. As long as mail-art shows continue to
sprout up and mail out their lists, then the most visible part of mail-art will continue to live,
be thought about, and of course, be argued about." Activities of the Canadian
Correspondence Art Gallery, Calgary, Canada, under the direction of Chuck Stake
(Canada). :Reviews" lists audio work. "Information" lists publications, exhibition
opportunities and events.
No. 8 (1987). Offset. 8 1/2"x7". 41 pages. Inside cover by Lon Spiegelman (USA). Back
cover by Ivan Sladek (Czechoslovakia). "Spiegelmisim." Contributions by Serse Luigetti
(Italy), Shozo Shimamoto (Japan), Andrzej Georgiew Plocka (Poland), Dogfish (USA), The
Avant Garde Museum of Temporary Art (aka Miekel And and Liz Was) (USA), et al. "Mail Art
Congress," profiles the events surrounding the "Southwest USA Decentralized Worldwide
Mail Art Congress," organized by John Held, Jr. at the Dallas Public Library. "Open Letter,"
by Gnther Ruch (Switzerland). "Andre Stitt/Kurt Kren Texas Tour." "Information" lists
publications.
No. 9 (1987). Offset. 8 1/2"x7". 39 pages. "Comment" by the editor. Interview with Lon
Spiegelman (USA). "Tara Babel," by Andre Stitt (North Ireland), profiles the North Ireland
Mail and Performance Artist. Contributions by Clemente Padin (Uruguay), Janet Janet (aka
Stephen Perkins) (USA), et al. Interview with Andrej Tisma (Yugoslavia). Interview with
Ivan Sladek (Czechoslovakia). Interview with Shozo Shimamoto conducted by the editor
and john Held, Jr. (USA). Exhibition opportunities. "Reviews" lists audio works.
"Information" lists Mail Art exhibitions, publications and projects.
No. 10 (1988). Offset. 8 1/2"x7". 44 pages. "Contact-Exchange-Document. A dialog that
continues where trust can be exchanged and an honest effort realized through constant
cause. A circuit of reason and sanity which peers back through the glass and laughs."
Interview with Ruggero Maggi (Italy). Interview with John Held, Jr. (USA). "Modern Realism
History" lists events (1982-1987) at the Dallas, Texas, gallery, curated by John Held, Jr.
Interview with Shaun Caton (England). Mail Art exhibition opportunities. Publication
reviews.
No. 11 (1991). Video Cassette. 8"x4 3/4". Includes Photocopy Booklet. 7 1/4"x4 1/2". (4
pages). "A compilation of 30 individual works from mailartists, audio artists, film and video
artists, performance artists and others." Contributors include Byron Black (Indonesia),
Andre Stitt (Northern Ireland), buZ blurr (USA), Hapunkt fix (Germany), James Chefchis
(USA), John Held, Jr. (USA), Lloyd Dunn (USA), Ruggero Maggi (Italy), Luc Fierens (USA),
Lon Spiegelman (USA), Malok (USA)...Stan Brakhage (USA), et al.
No. 12 (1989). Offset. 8 1/2"x7". 45 pages. "Mail Art Shows." "Hiroshima Shadow
Project," by Ruggero Maggi (Italy). "Publications." "Dr. Mail," by Musicmaster (USA).
No. 13 (1990). Offset. 8 1/2"x7". 43 pages. Honoria (USA) joins the "Mailart Department"
of the magazine. Interview with Franoise Duvivier (France), editor of "Metro Riquet"
magazine. Interview with The Haters, a noise band headed by Gerald X. Jupitter-Larsen
(USA). "Mail Art Projects," compiled by Honoria. Interview with Jan De Boever (Belgium),
director of De Media, Eeklo, Belgium. Interview with Dobrica Kamperelic (Yugoslavia).
"Audio Reviews." "Publications."
No. 14 (1991). Offset. 8 1/2"x7". 43 pages. Interview with Carolee Schneemann (USA).
"Art as Telepathy, Meeting and Spirituality," by Andrej Tisma (Yugoslavia). Interview with
Scott MacLeod (USA). "International Mail Art Symposium in the USSR," by John Held, Jr.
(USA). Interview with Ilmar Kruusamae (Estonia, USSR), conducted by John Held, Jr.
Interview with Lloyd Dunn (USA). "Mail Art Projects," compiled by Honoria (USA).
Statement by Andrej Tisma. Interview with Byron Black (Indonesia), in which he mentions
introducing Ryosuke Cohen (Japan) and Shozo Shimamoto (Japan) to Mail Art, while he
was in Japan teaching English. Publication and audio reviews.
No. 15 (1991). Offset. 8 1/2"x7". 47 pages. Statements on Mail Art by Guy Bleus
(Belgium) and Lon Spiegelman (USA). "Mail Art Projects." Interview with Al Ackerman
(USA) by John Held, Jr. (USA). Contribution by Keith De Mondonca (England), Clemente
Padin (Uruguay). "The Ideological Character of Network," by Clemente Padin. Audio
reviews. Publications reviews.
No. 16 (June 1992). Offset. 8 1/2"x7". 62 pages. "Hater Tour Diary" by Gerald Jupitter-
Larsen (USA). "Mail Art Shows," a listing of exhibition opportunities. "Crossing the Cactus
Curtain: Politics and Isolation Test the Commitment of Latin American Artists," by John
Held, Jr. (USA), mentions the Mail Art activities of Edgardo-Antonio Vigo (Argentina),
Graciela G. Marx (Argentina), Clemente Padin (Uruguay), and Hans Braumller (Chile).
Interview with the Crackerjack Kid (USA). "Andrzej Dudek-Drer," by Adam Sobota,
discusses the Mail Art activities of the Polish artist. "Art That networks," by Chuck Welch
(USA). Publication and audio reviews.
No. 17 (1993). Offset. 9"x7 1/2". 72 pages. Photo-documentation performance, "Who Are
You? And Who We Are?!," by Dobrica and Rora Kamperelic (Yugoslavia). "Mail Art
Projects," compiled by Honoria (USA), Interview with Serge Segay (Russia). Interview with
Rod Summers (Holland). "Deblockade of Creativity," by Andrej Tisma (Yugoslavia).
"Networkers and Blockades," by Chuck Welch (USA). Interview with Angela and Peter
Kstermann (Germany), by Dobricia Kamperelic (Yugoslavia). publication reviews.
No. 18 (1994). Offset. 9 1/2"x7 1/2". 72 pages. Interview with James Cobb (aka Six
Fingers Nunzio) (USA). Mail art exhibition, publication, and project listings compiled by
Honoria (USA). "Who knows what mail art is? Only the mail artists know. Can you know
what mail art is? Send something to any of these mail artists and what you get in return
will be a facet of the priceless mysterious jewel of mail art." "The Mail Art-Internet Link,"
by Chuck Welch (USA). "Picasso of the Underground," by John held, jr. (USA), profiles
Picasso Gaglione (USA). "Networkers, Blockades and Misunderstandings," by Andrej Tisma
(Yugoslavia). Audio, publication and catalog reviews.
No. 19 (1995). Offset. 10"x7 3/4". 72 pages. Interview with Alan Kaprow," by John Held,
Jr. (USA). Ashley Parker Owens (USA) interviewed by Michael Corbett (USA). "Mail Art
Projects," lists exhibition, project and publication opportunities. "Mexico Mailart: an
Interview with Gerardo Yepiz and Luis Ariza," by dg (aka Diana Garcia, editor of "Bad News
Bingo") (USA). "Audio Reviews." "Book Reviews." 'Publications."

Nebuleux Gazine. Zona (aka Bernard Banville), Editor. Greenfield, Massachusetts.
1984.
No. 2. (1983). Photocopy, Ink and Rubber Stamps. 4"x2 1/2". (30 pages). "Although it is
hoped that the Gazine will be of value and interest to the art student, it was conceived
primarily for the general public. With this in mind, 'Nebuleux' attempts to present
nebatronomic theory (with historical footnotes) as clearly and concisely as possible.
Considering the elusive nature of the subject, this is no easy task...Here then is
'Nebusleux,' the zine that never was.

Neo, The. Monty Cantsin (aka Istvan Kantor), Editor. Montreal, Canada. 1979.
No. 1 ([1979]). Photocopy. 11"x8 1/2". (12 pages). Neoist publication by Hungarian
Istvan Kantor (aka Monty Cantsin). "...a 5 year paper, 1979-1984..." Contributions by G. E.
Marx Vigo (Argentina), Johan Van Geluwe (Belgium), Anna Banana (Canada), David Zack
(USA), Pawel Petasz (Poland), Gabor Toth (Hungary), Al Ackerman (USA), Lomholdt
Formular Press (Denmark), et al.
No. 2 ([1979]). Photocopy. 11"x8 1/2". (12 pages). "The Neo is the local &
extraterrestrial paper of the Neoists." Contributions by Klaus Groh (Germany), Anna
Banana (Canada), Pamela Rome (USA), Al Ackerman, Medvigy Gabor (Hungary), et al.
"Neoists Eat Mail Art."
No. 3 (1979). Photocopy. 11"x8 1/2". (12 pages). Contributions by Lon Spiegelman
(USA), Pawel Petasz (Poland), John M. Bennett, et al. "He then went over to the golden
cooking pot and started to make the 'WORLD PHANTOM SOUP for ETERNAL IMMORTALITY
or TOTAL SUICIDE', using ingredients sent by international artists from the USA, Canada,
Holland, Jugoslavia, Germany, Australia..."

Neo-Nooze. Oz (aka David Zack), Editor. Immortality Center, Tepoztlan, Mexico.
1984.
(April 20, 1984). Photocopy. 13 1/2"x8 1/2". 12 pages. "I'm a little at a loss to write on
this OOZE, because the photos are so pretty also there's a pile of scraps to mosaic with.
However, it makes sense to mix mail with the images of Tepoztlan because what comes in
the mail here is as much HERE as what goes on here at the Immortality Centre..." Listing
of "Correspondence Novels." Contributions by Cavellini (Italy) and Volker Hamann
(Germany). "The two collages were sent by Volker Haman, German Correspondent who has
organized a project in Tokokoe, Ghana, Africa, that has mail artists also working on a U. N.
water project."
(May 10, 1984). 11"x8 1/2". (6 pages). "My mail today is really interesting. This often
happens. The mail as a whole is just very interesting. So I'm listening to Rod Summers'
tape of birds and going to go through the mail piece by piece, and consider its network
relations. Then I can use these pages and collage them a little so they look like art, or
rather actually to put images into play with the words, as you might electronically. I used
little pictures before, in Lomholt's Danish book, ART AND ARTISTS, on Cavellini, Robin
Crozier, Ulisses Carrion, Davi de Thompson, Horacio Zabala and me."
(June 21, 1984). Photocopy and Rubber Stamp. 11"x 8 1/2". 9 pages. An open letter to
recent correspondents of the editor. "Leavenworth. Hm how ya doin? Where yuh been? Ah,
I bet I've used "Sheesh" a hundred fifty times now, each one part of the hm CN*ah 5 here,
LEAVENWORTH JACKSON ILLUSTRATOR. Hm well you see I got that cute little photo stamp
of you and Held Jr. in front of the giant Cavellini stamp, really appreciate this sort of art.
McGuff is out of words, or I think getting onto walls with spray paint. Mad fool! My highest
compliment, or right up there anyhow." Personal letter to Luke McGuff (USA) on last page.

Neo-Psychedelic Man. Maximum Traffic, Editor. Butler, Pennsylvania. (1992.)
No. 1 ([1992]). Photocopy. 5 1/2"x4 1/4". (16 pages). More from the editor of "Maximum
Traffic."

Net-Informer: Monthly Networking Newsletter. Andrea Ovcinnicoff, Editor.
Genova, Italy. 1993-1996.
No. 1 (July 1993). Photocopy. 16 1/2"x11 3/4". (2 pages). Continuation of the editor's
previous publication, "Arte Arte." Exhibition, publication and project opportunities.
Publication reviews. "Events." Edition of 85.
No. 12 (June 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and
project opportunities. Publication reviews. "Events" listings include "Free Dogs in the
Galaxy" congress in Florence, Italy, organized by Gianni Broi (Italy); and a program
organized in Quebc, Canada, by Jean-Claude Gagnon (Canada).
No. 14 (August 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication
and project opportunities. Publication reviews. Other sections over events, messages, and
documentation.
No. 15 (September 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition,
publication and project opportunities. Publication reviews. "Messages" section mentions
Peter and Angela Netmail (Germany) in Indonesia. Reproduction of "Faux Post" exhibition
invitation with stamps by A1 Waste Paper Company Ltd., (England).
No. 69 (April 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Special section on Ray
Johnson (USA), includes tributes by Franco Santini (Italy), Gianni Broi (Italy), Honoria
(USA). Mail Art exhibition, publication and project opportunities. Publication reviews.
Events. Messages.
No. 71 (June 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and
project opportunities. Publication reviews. "Networker Telenetlink Year 1995" proposal by
Chuck Welch (USA). Events include notice of the exhibition "Banco de Ideas Z: Artists
Publications from Cuba," at Modern Realism Gallery, Dallas, Texas.
No. 72 (1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project
opportunities. Publication reviews. "Evoluzione del Telenetlink Project," by Chuck Welch
(USA). Events section notes a recent trip of Clemente Padin (Uruguay) to Chile to meet
with Hans Braumller.
No. 75 (October 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication
and project opportunities. Publication reviews. Notice of the activities of The Stamp Art
Gallery, San Francisco, in "Events" section.
No. 76 (November 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication
and project opportunities. Publication reviews. Special mention of "Global Mail," with
reproduction of recent cover.
No. 79 (February 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). News of the recent
death and life of Guillermo Deisler (1940-1995) nomad Mail Artist and Visual Poet, who had
lived in Chile, Bulgaria and East Germany. Exhibition, publication and project opportunities.
Publication reviews. "Net Informer: San Francisco Confidential, Part One," by John Held, Jr.
(USA). Events. Messages.
No. 80 (March 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). "Net Informer: San
Francisco Confidential, Part Two," by John Held, Jr. (USA). Exhibition, publication and
project opportunities. Publication reviews. "La Rivoluzione della Comunicazione," by Andrea
Bonanno (Italy).
No. 81 (April 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and
project opportunities. Publication reviews. "Net Informer: San Francisco Confidential, Part
Three," by John Held, Jr. (USA). Events. Documentation.
No. 83 (June 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). "Mailartists Surfing the
Net." Gianni Broi (Italy) contributes, "Peter Pan ci Bacchetta Tutti." Exhibition, publication
and project opportunities. Publication reviews. "Net Informer: San Francisco Confidential,
conclusion," by John Held, Jr. (USA).
(July 29, 1996). Photocopy. 11 3/4"x8 1/4". (one page). "Dear Friend, this is my open
letter to communicate that I have recently decided to interrupt till indefinite times all my
activities concerning Mail Art and networking./ This decision comes after something like
eight years of active participation inside the International Mail Art Network, in which -since
August '89- I also made 84 consequential issues of my monthly networking newsletter 'Net
Informer'. This newsletter has now to be considered definitely finished./ I want to clarify
that my decision to leave mail Art is not to be seen as a polemic or caused by disillusions
or lost expectations of any kind. I have simply decided to dedicate a larger attention to
other activities of my interest, and to start some other news./ I think my activity in Mail Art
has been one of the most interesting, stimulating, precious and important in my all life. I
must thank all of you for this...Parts of my mail art archive will be donated to other
international mail art archives in the world."

Net Word News. David (Cole), Editor. (Brooklyn, New York). 1992.
No. 1 (Fall Equinox 1992). Photocopy. 11"x8 1/2". (5 pages). Letters to "P.F. of L.A."
(Penis Fudsworth, aka Lon Spiegelman), and P. L. W. (aka H. B.) of B.N.Y. (Peter Lamborn
Wilson, aka Hakim Bey [Brooklyn, New York]). "Crossing Borders...a mailable response,"
by the editor. Signed "david" in Cole's distinctive signature.

Netshaker. Crackerjack Kid (aka Chuck Welch), Editor. Hanover, New Hampshire.
1992-1994.
Vol. 1, No. 1 (March 1992). Photocopy. 8 1/2"x5 1/2". 32 pages. "Welcome to the first
issue of 'Netshaker,' a netzine that includes shakes, rattles, rants, raves, and whatever else
jams my modem and mail box. Assume that this zine format will vary according to whims,
moods, collaborative obsessions, and interest at the time. content is determined by who I
collaborate, correspond, or cavort with in the ethereal open network. In 1992 'Netshaker'
will include themes relating to the Decentralized World-Wide Networker Congress." This
issue devoted to the "NC Networker Databank Congress." "The NC Networker Databank
Congress will function as a repository for any NC92 congress documentation created from
August 1, 1991 to December 31, 1992. Participation is open to all who choose to write a
networker statement or organize an NC92 congress. Documentation of all forms is
encouraged and may include invitations, proposals, statements, audio/video cassettes,
computer discs, photographs, graphics, zines, etc. all information will be made available
through the Alternative Traditions in the contemporary Art Archive at the University of
Iowa, Iowa City, Iowa." Listing of 245 items prepared in connection with the 1992
Networker Congresses, a year long Mail Art event. Graphics by the editor, Vittore Baroni
(Italy), David Jarvis (England), David Cole (USA), Peter W. Kaufmann (Switzerland), Fa Ga
Ga Ga (USA), Lon Spiegelman (USA), and John Held, Jr. (USA). An important document of
network activity during the Networker Congress year.
Vol. 1, No. 2 (August 1992). Photocopy. 8 1/2"x5 1/2". (18 pages-numbered 33-50). "In
1992 'Netshaker will include themes relating to the Decentralized World-Wide Networker
Congress." In this issue, reports of the Metanet Congress (AVA Gallery, Lebanon, New
Hampshire, September 23, 1992), and, "A Netshaker Seance with Joseph Beuys," March
11, 1992. "Peter Kstermann and Angela Phler are German Mail Art Networkers who have
been traveling around the world hand-delivering mail art in person and in performance.
They will arrive in White River Jct,. Vermont by train on September 22 and stay with
Crackerjack Kid at his home in Hanover, New Hampshire until September 24th." Listing of
"Networker Congress: Books, magazine, Audio and Video material." Listing of "Planned
Open Sessions-key contacts."
Vol. 2, No. 1 (March 1993). Photocopy. 8 1/4"x6 3/4". (36 pages-numbered 51-86).
"Introducing Mail Art: Karen Elliot Interviews Crackerjack Kid and Honoria." report on the
"Networker Databank", in which the editor formed "an open repository for over 2,000
networker congress artifacts including correspondence, rubberstamps, artistamps, stickers,
networker statements, computer disks, audio and video cassettes, photographs, drawings,
magazines, artists' books, and 3-D objects." Andrej Tisma contributes the essay, "In War
and Under Blockade," including information of Yugoslavian Mail Art Congresses. The editor
responds with, "Networkers and Blockades." "Mail Art Shows and Projects." Concluding
essay by the editor, "Meta-Network Report: A General Summation of NC92."
Vol. 2, No 1: Postscript (March 1993). Photocopy. 11"x8 1/2". (10 pages-numbered
87-92). "Readers may recall that 'Netshaker' (Vol. 2, No. 1) presented, 'In War And Under
Blockade,' by Serbian networker Andrej Tisma. Crackerjack Kid's response to this essay
appeared in the same issue. Here is the entire text of the Sremski Karlovci Congress in this
supplemental issue of 'Netshaker' accompanied by Serbian networker Andrej Tisma's and
C. J. Kid's rebuttals."
Vol. 2, No. 2 (September 1993). Photocopy. 8 1/2"x7". (28 pages-numbered 87-112).
"This issue of 'Netshaker' includes a special feature devoted to current network dialogue,
mail art gender and myths." The editor contributes, "Mail Art Gender and other (sic)
Myths." Report on the activities of "Rev." Paul Summers (USA), at "Netshaker Harmonic
Divergence." Proposal for "Networker Telenetlink 1995."
Vol. 3, No. 1 (May 1994). Offset. 11"x8 1/2". (16 pages). Special issue devoted to the
exhibition, "Artists' Stamps: An International Mail Art Exhibit," at the AVA Gallery,
Lebanon, New Hampshire, April 22-May 21, 1994. "Artists' Stamps: An Introduction," by
the editor. "Mail Art Magazine Listings." Listing of participants contributing to the "Artists'
Stamps International Mail Art Exhibition." Artistamp sheet by the editor, featuring portraits
of Mail Artists. "An Artists' Stamp Portrait of Mail Art, by Chuck Welch, exhibition curator."
Illustrated artistamps by Ashley Parker Owens (USA), Rosz Craig (Australia), James Warren
Felter (Canada), Anna Banana (Canada), Nonlocal Variable (USA), M. Vani Stirnemann
(Switzerland), Anna Boschi (Italy), Michel Hosszu (France), Keith Bates (England), Alice
Borealis (USA), Pere Souse (Spain), Rea Nikonova (Russia), Sandor Gogolyak (Yugoslavia),
et al.

Netshaker Online: Mail Art Cyberspace Ezine. Chuck Welch (aka Crackerjack Kid),
Editor. Hanover, New Hampshire. 1994-1995.
Vol. 1, No. 1 (January 1, 1994). Computer Print. 11"x8 1/2". (6 pages). "Created as an
off-shoot of Welch's 'Netshaker Magazine' this free mail art electronic zine (e-zine) is
intended to inform and interconnect the worlds of international mail art and internet's on-
line community of artists." "Networker Telenetlink Year 1995: A Network Proposal," by the
editor.
Vol. 1, No. 2 (February 1, 1994). Computer Print. 11"x8 1/2". (6 pages). "Electronic
Mail-Art," by Ruud Janssen (Holland), and a response by the editor. "Networker Telenetlink
1995."
Vol. 1, No. 3 (August 16, 1994). Computer Print. 11"x8 1/2". (10 pages). "This issue of
'Netshaker On-Line' is devoted to Reid Wood's proposal for a Networker Telenetlink '95 Fax
project and to Honoria's report of the Free Dog Club held May 6-8 in Italy."
Vol. 2, No 2 (July 7, 1995). Computer Print. 11"x8 1/2". (13 pages). With handwritten
notes by the editor responding to the challenge that the publication is not "the first mail art
cyberspace electronic magazine." Includes "Networking in Latin America," by Clemente
Padin (Uruguay); "The Electronic Museum of Mail Art (EMMA); "'Cyberstamps'" Invitation.
"Mail Art's 1st World Wide Web Mail Art Show; 'MailArtEmailArt;'" "Cyberstamps: A
Neologism;" and "The networker Telenetlink 1995."
Vol. 2, No. 3 (October 30, 1995). Computer Print. 11"x8 1/2". (6 pages). "Eternal
Network Banned!" Reviews of the editors book, "Eternal Network: A Mail Art Anthology."
Proposal for "Networker Telenetlink."

Network News. Earthly Delights, Editor. Cornwall, England. (1995).
No. 8 ([Spring 1995]). Photocopy. 8 1/4"x5 3/4". (24 pages). "The Binary Tribe Issue."
"Nigel Ayers of Nocturnal Emissions Interviewed by Vittore Baroni for 'Rockerilla Magazine,'
1994. Translated from the Original Italian." Publication reviews.

Network Times. W. J. Zack and Shauna M. O'Donnell, Editor. Network Enterprises,
Westfield, New Jersey. 1984.
No. 2 (Summer 1984). Photocopy. 11"x 8 1/2". 17 pages. "Reading List" includes
"Photostatic" magazine. Notice for "the Dada Festival in San Francisco, September 2-9."

Networker Congress Statements. Aggressive School of Cultural Workers, Iowa
Chapter (Stephen Perkins and Lloyd Dunn), Editors. The Drawing Legion, Iowa
City, Iowa. (1991).
(December 1991). Photocopy. 8 1/2"x5 1/2". (16 pages). "Where two or more artists-
networkers meet during the course of 1992, there a Congress will take place." "This
booklet is comprised of networking statements received by the Aggressive School of
cultural Workers, Iowa Chapter (ASCW-IA) generated in response to the Decentralized
World-Wide Networker congress 1992. Intended to open up debate and to provide a vehicle
for congress discussions, these edited statements should not be viewed as a
comprehensive overview of networking in the 90s, rather as a glimpse of the different
approaches and philosophies that networkers hold at this time." Edited Statements by
Gianni Broi (Italy), Giuseppe Iannicelli (Italy), Crackerjack Kid (USA), Anna Couey (USA),
Robert Morgan (USA), Eric Finlay (England), David Cole (USA), John Held, Jr. (USA),
Warren Burt (Australia), Ever Art (Holland), Eliot Cantsin (USA), Reed Altemus (USA),
Stephen Perkins (USA), Gerard Barbot (USA), Lillian Ward (England), Harry Polkinhorn
(USA), Mit Mitropoulis (Greece), Peter Kstermann (Germany), Mark Corroto (USA),
Piermario Ciani (Italy), Dobrica Kamperelic (Yugoslavia), Csar Figueiredo (Portugal), Keith
Bates (England), Carlo Pittore (USA), Guy Bleus (Belgium), Bruno Chiarlone (Italy), Vittore
Baroni (Italy), Daniel Daligand (France), Ruggiero Maggi (Italy), Luc Fierens (Belgium),
Andrej Tisma (Yugoslavia), Graciela Marx (Argentian), Keith De Mendonca (England), Carl
Loeffler (USA), Hans Braumller (Chile), et al. Enclosed in a list of "Decentralized
Networker Congresses 1992" organized by date, organizer, theme and address.

Networking. Crackerjack Kid (aka Chuck Welch), Editor. Brookline,
Massachusetts. 1985.
Vol. 1, No. 1 (Spring 1985). Photocopy. 11"x8 1/2". (8 pages).
Documentation of a "New York Naval Casting" party, under the auspices of the editors'
"Umbilical Dominion," held in New York City, March 2, 1985, attended by American Mail
Artists Buster Cleveland, Faith Heisler, Jim Quinlin, J. P. Jacob, Carlo Pittore, Marilyn
Rosenberg, David Cole, Valery Gerlovin, Zona, John Evans, Citizen Kafka, E. F. Higgins,
Mark Bloch and Steve Random. Letters from C. Steven Short (USA), Gene Laughter (USA),
Anna Banana (Canada), Mark Bloch (USA) and Al Ackerman (USA). "Flags for World Peace:
Update." Also included, "It Ain't (Necessarily) So, Mr. Morgan: A Mail Art Rebuttal," by
Chuck Welch. Signed by the editor.

Netzine. Vittore Baroni, Chuck Welch, and Volker Hamann, Editors. Viareggio,
Italy. (1989).
No. 1 ([1989]). Photocopy. 17"x11". (20 pages). An attempt to establish "an
international magazine devoted to networking theories. The three editors, starting from
their consolidated experience in the field of Mail Art, gathered a series of texts from
contacts living in different continents, to provide a cross section of the topics and problems
inherent in correspondence art today...The first issue of 'Netzine' was collected and edited
by three networkers living in different countries, through exchanges and discussions carried
out in the mail...The editorship of 'Netzine' is not fixed, but was casually agreed upon for
practical purposes. Future editorships should include any number of interested networkers,
while the three undersigned editors remain free to drop in and out of the project." signed
by Anthroat (aka Volker Hamann,West Germany), Vittore Baroni (Italy) and Cracker Jack
Kid (USA). Texts by Vittore Baroni (Italy), Volker Hamann (West Germany), Graciela Marx
(Argentina), Gza Perneczky (West Germany). Ryosuke Cohen (Japan), Stewart Home
(England), Paul Summers (USA), Clemente Padin (Uruguay), John Bernd (USA), Graf
Haufen (West Germany), Robin Crozier (England), Carlo Pittore (USA), Andrej Tisma
(Yugoslavia), Mark Bloch (USA), Joachim Frank (USA), Al Ackerman (USA), Peter Sevcik
(Czechoslovakia), Gerald Jupitter-Larsen (Canada), Serge Segay (USSR), Michael Leigh and
Hazel Jones (England), Ayah Okwabi (Ghana), Gunther Ruch (Switzerland), Peter Horobin
(Scotland), David Jarvis (England), Chuck Welch (USA), Mike Duquette (Canada), et al.
Contains important texts on Mail Art Networking written expressly for this issue. (Advance
Copy).
No. 1 (July-September 1989). Photocopy. 8 1/4"x5 3/4". (48 pages). "A Collaborative
Net-Working Tool for Discovering Ethereal Open Networks." Copy distributed by Vittore
Baroni (Italy) in specially designed envelope. Cover by Crackerjack Kid (USA), Contains the
same texts as the above item. Near the Edge Editions, alternatively listed as "Arte
Postale!," No. 60.

New Bulletin. Alessandro Ceccotto, Editor. Mail Art Archive, Adria, Italy. 1991-
1993.
No. 11 ([1991]). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of "Shave and
Brains," Mail Art exhibition, curated by the editor and Gherardo Boccato (Italy), held at the
Sala Grotte del Boldini, Ferrara, Italy, February 1-13, 1991. Notice for the upcoming
"Apartheid Project," curated by the Ceccotto and Boccato.
No. 13 (1991). Photocopy. 8 1/4"x5 3/4". (8 pages). Reproduction of invitations from
various exhibitions and projects organized by Reiu Tr (Estonia), Alain Dumont (France),
Raphael Nadolny (Poland), Baudhuin Simon (Belgium), et al.
No. 22 ([1992]). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". (12 pages). Text by Silvia
Barsi (Italy). List of Italian Mail Art Congresses, including ones in Milan, Pisa, Vada,
Pontenossa, and Alessandria. Exhibition opportunities. Documentation of a Networker
Congress by Emilio Morandi (Italy) and Giovanni Strada (Italy).
No. 23 ([1992]). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". (14 pages). Mail Art
exhibition, publication and project opportunities. "Networker Congress," by Emilio Morandi
(Italy). List of "Fixed Sessions" for the 1992 Decentralized World-Wide Networker
Congress.
No. 28 ([1992]). Photocopy. 8 1/4"x5 3/4". (28 pages). Contributions by Jean-Franois
Robic (France), Pinky (Italy), Ruggero Maggi (Italy), Malok (USA), Antonio Gomez (Spain),
Ruud Janssen (Holland), Honoria (USA), Giovanni Strada (Italy), John Held, Jr. (USA) and
Andrej Tisma (Yugoslavia), et al. Mail Art exhibition, project and publication opportunities.
No. 29 (1993). Photocopy. 8 1/4"x5 3/4". (40 pages). Contributions by Ruggero Maggi
(Italy), Rod summers (Holland), Antonio Gomez (Spain), Michael Lumb (England), Ruud
Janssen (Holland), Rea Nikonova (Russia), Rora and Dobrica Kamperelic (Yugoslavia), Boris
Radivojkov (Yugoslavia), Clemente Padin (Uruguay), Pinky (Italy), Raimondo Del Prete
(Italy), John Held, Jr. (USA), et al. Mail Art exhibition, project and publication
opportunities. Edition 65/70.
No. 31 ([1993]). Photocopy. 8 1/4"x5 3/4". (44 pages). Contributions by Ruggero Maggi
(Italy), Jean-Franois Robic (France), Michael Leigh (England), Friedrich Winnes
(Germany), Emilio Morandi (Italy), Predrag Petrovic (Yugoslavia), Dobrica Kamperelic
(Yugoslavia), Rod Summers (Holland), et al. Reprint of "The Postman Always Looks Twice,"
("London Times Saturday Review, November 21, 1992), regarding a lecture by John Held,
Jr. (USA) at the V&A Museum. Reprint of "Wisconsin Life Trip: And and Was in Dreamtime
Village," by C. Carr (Village Voice"). "Reprint of Bibliozine #8," edited by John Held, Jr.
Press release for "Subjective Artpool," an exhibition from the Artpool Archive (Hungary) in
Marseilles, France. Mail Art exhibition, publication and project opportunities.
No. 32 (April 1993). Photocopy. 8 1/4"x5 3/4". (42 pages). Contributions by Ruud
Janssen (Holland), Malok (USA), Ruggero Maggi (Italy), Antonio Gomez (Spain), Rod
Summers (Holland), Giovanni Strada (Italy), John Held, Jr. (USA), Clemente Padin
(Uruguay), Reiu Tr (Estonia), Andras Voith (Hungary), et al. Mail Art Congress
documentation by Silvia Barsi (Italy) and Lancillotto Bellini (Italy) concerning congresses in
Florence and Verona. "Art is Stamps," by Guy Bleus (Belgium). Mail Art exhibition, project
and publication opportunities.

New Lazarus Review. Eugene Miller, Editor. Hudson, New York. 1980.
No. 3/4 (1980). Offset. 8 3/4"x5 3/4". 135 pages. Richard Kostelanetz (USA) and
George Quasha (USA), contributing editors. "The Something Else Press, Part Two," by Dick
Higgins (USA). Contributions by Paul Zelevansky (USA) and John Held, Jr. (USA).

New Observations. Stephen Perkins and Lloyd Dunn, Guest Editors. New York,
New York. 1994.
No. 101 (May/June 1994). Offset. 10 3/4"x8 1/4". "Introduction: Copy Culture:
Barbarians in the Copy Shop," by Lloyd Dunn (USA) and Stephen Perkins (USA). "New
distribution networks and new venues began to emerge to display and disseminate the
products of these bands of xerografists, posterists, college artists, zinesters and other
assorted image tricksters. Their work began to appear on the walls across urban America,
in xerox zines stacked up in alternative bookstores and record stores, on record and
cassette covers and a thousand other places where this tide of copy culture infiltrated the
old cultural order...the articles that follow illustrate how this new technology was able to
provide an economical means by which cultural refuseniks could transmit information
nationally and internationally and, more importantly, play a vital role in fostering and
linking together the many diverse communities that make up an oppositional culture."
Frank Moore, "Cultural Subversion." Laurence Roberts, "The Queer Zine Scene." Stephen
Perkins, "He Who Rode a Tiger: Chester Carlson (1906-1968)." Mark Frauenfelder, "Cheap
Memes: Zines, Metazines, and Virtual Press." Mark Palmer, Plagiarism: The Truth in
Doubling." Lloyd Dunn, "Report from the Festival of Plagiarism: Glasgow, Scotland, August
4-1, 1989." Reed Altemus, "Bibliography." Contributions by Al Ackerman (USA), Vittore
Baroni (Italy), et al.

Newark Press. Mark Wambling, Editor. Adelphi, Maryland. 1983-1985.
Vol. 2, No. 1 (1983). Photocopy. 11"x8 1/2". (10 pages). "It has only been one year
since I started publishing NEWARK PRESS/ In that time, I have built up a network of
correspondence with mail artists, poets, other self-publishing artists, as well as others who
don't fit into any specific category...When I am asked to define NEWARK PRESS, I usually
say that it is an alternative space for artists and their use of language. The white-ness of
the pages represent a sort of wallspace for the contributing artists to exhibit their printed
work as well as any type of advertising. it allows the individual artist to communicate with
the total network of artists NEWARK PRESS represents." Catalog for the "Unemployment
Mail Art Exhibit: Postmark 83," shown at Frostburg State College, Frostburg, Maryland,
September 18-24, 1983. List of contributors. Mail Art exhibition opportunities.
Contributions by Epistolary Stud Farm (USA), Mark Bloch (USA), Leavenworth Jackson
(USA), et al.
Vol. 2, No. 2 (Fall 1983). Photocopy. 8 1/2"x 5 1/2". (12 pages). Contributions by Al
Ackerman (USA), Zona (USA), Epistolary Stud Farm (USA), David Greenberger (USA), et
al.
Vol. 2, No. 3 (Winter 1984). 14"x8 1/2". 10 pages. Correspondence from Gene Laughter
(USA). Contributions by Carlo Pittore (USA), Crackerjack Kid (USA), Larry Smith (USA), Al
Ackerman (USA), Dogfish (USA), John M. Bennett (USA). Mick Mather (USA), Steve
Random (USA), et al. "Artists' Books," by the editor. Mail Art exhibition and publishing
opportunities.
Vol. 2, No. 4 (Almost Spring 1984). 11"x8 1/2". 12 pages. "NEWARK PRESS was started
so that artists could communicate with each other in an open, visual form, which relates to
mail Art, but we also print art news and info that most art media doesn't print. We do this
so that our readers will be exposed to new and different material." Contributions by K.S.
Ernst (USA), Larry Smith (USA), Steve Random (USA), Al Ackerman (USA), Crackerjack Kid
(USA), et al. "On Mail Art," by Jape Iros (aka Epistolary Stud Farm) (USA). "Mail
Art/Debate-Inquest," by Ruggero Maggi (Italy). mail Art exhibition, project and publication
opportunities.
Vol. 2, No 5 3/4 (April/May 1984). Photocopy and Rubber Stamps. 11"x8 1/2". (18
pages). "Special Stamp Issue." Editorial. List of 33 contributors including Al Ackerman
(USA), Guy Bleus (Belgium), buZ blurr (USA), G. A. Cavellini (Italy), David Cole (USA),
Ryosuke Cohen (Japan), H. R. Fricker (Switzerland), Klaus Groh (Germany), John Held, Jr.
(USA), E. F. Higgins (USA), Leavenworth Jackson (USA), Ruggero Maggi (Italy), Manuel
Marin (Mexico), Rockola (USA), Chuck Welch (USA), et al. "Postfolk Artistamps: folk Artists
of the Philatelic and mail Art Worlds," by Chuck Welch (USA). Stampsheet by Chuck Welch
(aka Crackerjack Kid). List of rubberstamp companies and rubberstamp magazines.
Vol. 2, No. 6 (Summer 1984). 11"x8 1/2". (12 pages). "Our cover designer, Gene
Laughter, has been busy this summer with his new Apple Macintosh computer. He uses it
to control a mailing list of approx. 3,500 names, as we; as a few newsletter and most of
all-MailArt." Mail Art exhibition, project and publishing opportunities. "ManifestoShnN
Archives: An Archive Founded for the Purpose of Storing and Disseminating Contemporary
Artists' Manifestores and Technical Statements," by Larry D. Smith (USA). "Cavellini's
Contribution," by Dave Oz (aka David Zack) (USA). Contributions by buZ blurr (USA),
David Cole (USA) Al Ackerman (USA), et al. "Photo-documentation of the "European
Cavellini Festival," organized by Guy Bleus (Belgium).
Vol. 3, No. 1 (Autumn 1984). Photocopy. 8 1/2"x5 1/2". 23 pages. Cover by Arturo G.
Fallico (USA). "Report on Interdada 84," by John Held, Jr. (USA). Contributions by al
Ackerman (USA), John M. Bennett (USA), Leavenworth Jackson (USA), Gene Laughter
(USA), Ruggero Maggi (Italy), Ryosuke Cohen (Japan). et al. Mail Art Exhibition, project
and publication opportunities. Publication reviews.
Vol. 3, No. 2 (Winter 1985). Photocopy and Rubber Stamp. 14"x8 1/2". 14 pages. "Art
Robotics issue." Gene Laughter, guest editor. "The seems to be fear lurking in the hearts of
many artists. Fear of artificial intelligence and fear of artificial creativity. a robot is another
tool. just as the computer is a natural extension of a pen and pencil. having played around
with the new apple Macintosh for the past year, I wanted to see what the reactions of mail
artists are to the words 'art robot.' This issue of Newark Press reflects these reaction."
Cover by Ray Johnson (USA). Contributions by David Cole (USA) and Serse Luigetti (Italy),
David Greenberger (USA), John M. Bennett (USA), The Gerlovans (USA). Carlo Pittore
(USA), Al Ackerman (UA), Fruit Basket Upset (USA), Arturo Fallico (USA), John Held, Jr.
(USA), Private World (USA), Anne Sharp (USA), Mark Bloch (USA), Eric Findlay (England),
et al.
Vol. 3, No. 3 (Spring 1985). Photocopy. 8 1/2"x5 1/2". (20 pages). Catalog for the
"Newark Exhibition," a Mail Art exhibition in Frostburg, Maryland. Contributors list. A
"Special Report," on the editors' Mail Art Tourism, with a stamp from H. R. Fricker
(Switzerland) reading, "Dear mark Wamling, tourism is the expression of all the artistic
activities and situations which develop when one artist is on the way to another and on the
spot where they meet each other." The editor travels to New York city and meets with
Carlo Pittore (USA), Steve Random (USA), Buster Cleveland (USA), Mark Bloch (USA), John
P. Jacob (USA), et al. Listing of Mail Art publications. Mail Art exhibition and publication
opportunities.

Newsletter. Guido Vermeulen, Editor. Brussels, Belgium. 1996-1998.
(May, 1996). Photocopy. 11 3/4"x8 1/4". (one page). A listing of six Mail Art exhibition
and project opportunities.
(August 1996). Photocopy. 11 3/4"x8 1/4". (one page). A listing of four Mail Art project
opportunities and a letter from Jos Vandenbroucke (Belgium), conveying a fragment of
correspondence with Svjetlana Mimica (Croatia). "I know a university Prof. in pension who
comes to the market after the noon to take leafs of salad from the floor! He can't buy food!
That man has been my Prof.. on the university. So please, let it know to others how's life
here!"
(September 1998). Photocopy. 11 3/4"x8 1/4". (2 pages). Mail Art exhibition and project
opportunities. "Social Art," by Annina Van Sebrouck (Belgium) and Luc Fierens (Belgium).
Since years Luc and Annina are defending with a generous obstinacy that mail art is social
art. I could add in a provocative mood that all art is social OR IS NOT!"
(November 1998). Photocopy. 11 3/4"x8 1/4". (10 pages). Editorial on Social Art. Listing
of Mail Art project opportunities. In a section of "Solidarity with persecuted mail Art in
Chile," the editor writes, "last year Clemente Padin of Uruguay proposed a very stimulating
project to the net on 'Liberty, diversity and pluralism" in art. This project got the support of
the academy of Fine Arts and the museum of Modern art (sic) in Chile who organized also
the exhibition of the project in the University of Santiago. The project was backed by the
whole of the mail art network (see enclosed list of participants) and by many refugees
abroad...As a result of this controversial mail art show Humbeto Nilo, the director of the
academy of the university, and 2 of his colleagues in the museum have been sacked by the
authorities. Strangely enough this happens on a moment that the regime is asking
clemency for the former dictator and butcher Pinochet in the name of 'national
reconciliation.'" List of participants in the Chilean Mail Art exhibition, "Libertad Diversidad
Pluralismo." List of correspondents who sent the editor mail in September 1998.
(May [1999]). Photocopy. 11 3/4"x8 1/4". 11 pages. "Introduction" by the Editor. "Is true
that there is a large mail art community in Serbia and that many ties exist between
networkers all over the globe. I refuse to make a separation or division. not only the people
in Kosovo need our solidarity, also those in Serbia, Montenegro and all other countries in
the region. People who are applauding the bombings of Yugoslavian cities make me sick!
They would talk rather differently if the towns where they lived were the target of airstrikes
on a daily base. This lack of perspective is amazing to me. So I back the anti war
movement in mail art and in the streets of many countries. Listing of Mail Art project
opportunities. Contributors to the editor's "Snake" project.

Newsletter about the Mail-Interview Project with updated information (sic).
Ruud Janssen, Editor. TAM Archive, Tilburg, Holland. 1997.
TAM-Publications 970166 (March 1987). Photocopy. 11 3/4"x8 1/4". 8 pages. "This
newsletter I send out to participants in the MAIL-INTERVIEW project together with
questions or other documents. Also it is meant for people who are interested in the project
and want to know what it is all about." Details and publishing history of the project.
Overview of a trip to the San Francisco Bay Area (for an exhibition at The Stamp Art
Gallery) and the artists he met, who participate in the project including Mike Dyar (USA),
Anna Banana (Canada), Robert Rocola (USA), Picasso Gaglione (USA), Patricia Tavenner
(USA), Tim Mancusi (USA), Judith A. Hoffberg (USA) and Ashley Parker Owens (USA).

Newsletter for Participants and Other People Interested in the Mail-Interview
Project. Ruud Janssen, Editor. TAM Publications, Tilburg, Holland. 1995-1997.
TAM-950077 (June 1995). Photocopy. 11 3/4"x8 1/4". (2 pages). "This newsletter is
send (sic) out to participants in the MAIL-INTERVIEW project together with questions or
other documents. Also it is meant for people who are interested in the project and want to
know what it is all about...These newsletter are always updated with the most current data
and therefore might look like previous issues." Four interviews published to date: Michael
Leigh (England), Klaus Groh (Germany), Arto Posto (USA), Michael Lumb (England).
TAM-950090 (October 1995). Photocopy. 8 1/4"x5 3/4". (2 pages). "The MAIL-
INTERVIEW project started in 1994 where I decided that I wanted to do some research
about what the other mail-artists think it is all about. Because some mail-artists publish
themselves a lot and others don't I took the initiative myself to start with interviewing
people." "For the statistics some information: I invited 52 mail-artists so far and 39 reacted
positively to the project. So far 9 interviews are finished."
TAM-950102 (December 1995). Photocopy. 11 3/4"x8 1/4". (3 pages). "Because the
communication-forms used in mail-art are not only the traditional envelope, I decided to
experiment also during this )long-time) project with several different forms. Some
examples: The mail-interview with Klaus Groh was for a large part done by FAX. The mail-
interview with Michael Leigh (A1) was mostly done by the traditional mail. The interview
with Arto Posto was almost completely done by E-mail on the Internet (although we also
exchanged the printed version besides that). The interview with Michael Lumb was mostly
done by exchanging the diskette." Sixteen mail-interview published to date.
TAM-960106 (January 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "For the statistics
some information: I invited 60 mail-artists so far and 47 reacted positively to the project.
So far 18 interviews are finished and 14 interviews are published."
TAM-960106 (January 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. Variant copy of the
above. "So far 17 interviews are finished and 13 interviews are published."
TAM-960113 (February 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. "Sometimes I get
letters like 'I want all the interviews'. My response to such a request in mostly sending the
order form with the latest details. Some interview-booklets aren't available anymore, so
you can only order the complete text-print of the interview. Only for subscribers to future
issues (or issues that are about to come out) I make the extended version. The other
(text)booklets are made to send out into the network (sometimes randomly or to mail-
friends of the interviewed person). So if you want all the interviews; the collection grows
quickly, and you have to realize that this project is a costly one." "So far 20 interviews are
finished and 15 interviews are published."
TAM-960118 (March 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. "I invited 61 mail-
artists so far and 49 reacted positively to the project. Till today 21 interviews are finished
and 16 interviews are published."
TAM-960118 (March 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. Variant copy of the
above. "I invited 61 mail-artists so far and 50 reacted positively to the project. Till today
21 interviews are finished and 17 interviews are published."
TAM-960122 (April 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "In short, the mail-
interview project is a series of mail art projects. Every interview is a single project and
results in an interview booklet produced by TAM. The interviewed person gets two booklets
for free, and also a booklet remains in the TAM-Archive." "I invited 64 mail-artists so far
and 51 reacted positively to the project. Till today 23 interviews are finished and 17
interviews are published."
TAM-960127 (May 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "In October 1995 I started
also with distributing the interviews via internet (first one was Dick Higgins's interview).
The interview-text is transformed into an ASCII-file and send via e-mail to interested
persons." "I invited 66 mail-artists so far and 52 reacted positively to the project. Till today
23 interviews are finished and 20 interviews are published."
TAM-960141 (July 1996). Photocopy. 8 1/4"x5 3/4". 5 pages. "I invited 68 mail-artists
so far and 54 reacted positively to the project. Till today 28 interviews are finished and 23
interviews are published...Some interviews have been postponed due to time problems
some mail artist sometimes have." Envelope by Jenny Soup (USA) on back cover.
TAM-960141 (July 1996). Photocopy. 11 3/4"x8 1/4". 6 pages. Variant of above with
personal note from the editor.
TAM-960146 (August 1996). Photocopy. 8 1/4"x5 3/4". 6 pages. "I invited 70 mail-
artists so far and 55 reacted positively to the project. till today 29 interviews are finished
and 23 interviews are published." "The new HOMEPAGE from TAM I.U.O.M.A that got
launched on June 11th 1996. it is still in the process of building, but eventually I hope to
guide the online-people from there to the places where the interview can be read in WWW-
format (as hypertext). The first 15 mail-interviews are on-line thanks to the help of Jas. W.
Felter in Canada and soon all of them are there."
TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. "I invited 72 mail-
and 27 interviews are published." Envelopes by Andrej Tisma (Yugoslavia) reproduced on
back cover.
TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. Variant of above.
Envelopes from Gnther Ruch (Switzerland) on back cover.
TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. Variant of above with
envelope by Rudi Rubberoid reproduced on the inside back cover.
TAM-970158 (January 1997). Photocopy. 8 1/4"x5 3/4". 8 pages. Titled, "The Latest
Newsletter About the Mail-Interview Project with Updated Information About This Long-
Time Project." "I invited 73 mail-artists so far and 59 reacted positively to the project. Till
today 32 interviews are finished and 28 interviews are published.
TAM-970166 (February 1997). Photocopy. 11 3/4"x8 1/4". 8 pages. "I invited 73 mail-
and 28 interviews are published." "...the complete set of interview are besides in the TAM-
Archives (Nederlands) also available at the HeMi-Archive (Germany), Modern Realism
Archive (USA), Administration Centre (Belgium), Spillkammeret (Denmark), Artpool
(Hungary), EON Archives (Italy) and the JCM-the museum library (Canada).

925. TT.O., Editor. Melbourne, Australia. (1981).
No. 10 ([1981]). Newsprint. 8 1/4"x5 1/4". (72 pages). Contributions by Australian Mail
Artists Jas. H. Duke and Tane. Editorial comments on a censorship issue concerning Jas. H.
Duke and a radio station.
No. 11 (June [1981]). Newsprint. 8 1/4"x5 1/4". (56 pages). Poetry magazine, featuring
works by contributors listed by occupation. Includes the participation of Jas. H. Duke
(Australia), Mail Artist and "Res. + Tech. Officer."

No Exit. Mike Amato, Editor. South Bend, Indiana. 1999.
Vol. 6, No. 1 (1999). Offset. 8 1/2"x5 1/2". 30 pages. "All of the art and poetry in this
issue of "No Exit" was created by Gregory Fiorini." Includes a page of "Stamped Mailart."

Nomo the Zine. Rudi Rubberoid, Editor. Bellingham, Washington. 1991-1995.
(June 1991). Photocopy. 8 1/2"x5 1/2". (15 pages). "Premier Issue" of this Mail Art zine,
with a focus on rubber stamp art. Cover by Arto Posto (USA). Contributions by A. 1 Waste
Paper Co. Ltd. (England), Al Ackerman (USA), Larry Angelo (USA), "Oncle" George (USA),
Musicmaster (USA), Rea Nikonova (USSR), Any Salyer (USA), et al. "Nomo Speaks."
(August 1991). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (pages 18-31). Front cover
by Any Salyer (USA). A. 1 Waste paper Co. Ltd. (England), Arturo Fallico (USA), Ruggero
Maggi (Italy), Rea Nikonova (USSR), Michel Pollard (People's Republic of China), Mark Rose
(USA), Carol Stetser (USA), Lon Spiegelman (USA), et al. Letters by "Oncle George" (USA),
Musicmaster (USA), et al.
(October 1991). Photocopy. 8 1/2"x5 1/2". (pages 34-47). Cover by Arto Posto (USA).
Contributions by Art Naphro (England), Lavona Sherarts (USA), Haddock (USA), Fran
Rukovsky (USA), mark Rose, USA), Jessica Amanda Salmonson (aka Pag-hat the Rat-girl)
(USA), Al Akerman (USA), et al. "Nomo Speaks." Letters to the Editor.
(November 1991). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (pages 50-64).
Contributions by A.1 Waste paper Co. Ltd. (England), Al Ackerman (USA), Julie Bloch
(USA), John Held, Jr. (USA), Bradley Lastname (USA), Musicmaster (USA), Michel Pollard
(People's Republic of China), Joe Schwind (USA), E. Z. Smith (USA), et al.
(January 1992). Photocopy. 8 1/2"x5 1/2". (pages 66-95). Contributions by Al Ackerman
(USA), Guido Bondioli (USA), John Held, Jr. (USA), Arturo Fallico (USA), Lotte Rosenkikde
Jensen (Denmark), Musicmaster (USA), Farm Pulp (USA), Shmuel (USA), et al.
(April 1992). Photocopy. 8 1/2"x5 1/2". (pages 98-111). Contributions by Larry Angelo
(USA), Henning Mittendorf (West Germany), Arto Posto (USA), Dr. Sureart (USA), et al.
(October 1992). Photocopy. 8 1/2"x5 1/2". (pages 114-127). Contributions by A. 1 Waste
paper Co. Ltd. (England), Al Ackerman (USA), Eric Farnsworth (USA), Henning Mittendorf
(West Germany), Art Naphro (England), Joe Schwind (USA), Allen Salyer (USA),
Musicmaster (USA), et al.
(February 1993). Photocopy. 8 1/2"x5 1/2". (pages 130-143). Contributions by Julie
Bloch (USA), Ex-Posto-Facto (USA), O. Jason (England), Ruggero Maggi (Italy), Henning
Mittendorf (West Germany), Art Nahpro (England), Micel Pollard (Indonesia), Sikkameret
(Denmark), et al.
(April 1993). Photocopy. 8 1/2"x5 1/2". (pages 146-159). Contributions by A. 1 Waste
Paper Co. Ltd. (England), Al Ackerman (USA), Ruud Jansen (Holland), Henning Mittendorf
(West Germany), Musicmaster (USA), Art Naphro (England), Joe Schwind (USA), et al.
(June 1993). Photocopy. 8 1/2"x5 1/2". (pages 161-174). Contributions by Julie Hagan
Bloch (USA), Peter Brandt (Germany), Arturo G. Fallico (USA), Ruud Janssen (USA), Michel
Pollard (Indonesia), Arto Posto (USA), Fran Rutkovsky (USA), et al.
(October 1993). Photocopy. 8 1/2"x5 1/2". (pages 177-190). Contributions by A. 1 Waste
Paper Co. Ltd. (England), Arturo G. Fallico (USA), Oncle George (USA), Ruggero Maggi
(Italy), Art Nahpro (England), Pag-hat the Rat-girl (USA), Musicmaster (USA), et al.
February 1994). Photocopy. 8 1/2"x5 1/2". (pages 193-206). Cover by Al Ackerman
(USA). Contributions by Peter Brandt (Germany), Ruud Janssen (Holland), Henning
Mittendorf (Germany), A. 1 Waste Paper Co. Ltd. (England), Solar-Z (aka Barbara Solarz)
(USA), et al.
(May 1994). Photocopy. 8 1/2"x5 1/2". (pages 209-222). Contributions by Lancillotto
Bellini (Italy), Julie Hagan Bloch (USA), Peter Brandt (Germany), Stampmeister Kevin
(USA), Musicmaster (USA), Pag-hat the Rat-girl (USA), Gerardo Yepiz (Mexico,
Spilkammeret (Denmark), et al.
(August 1994). Photocopy. 8 1/2"x5 1/2". (16 pages ). "This is the first time I have put
out an issue of "Nomo-the-Zine" dedicated entirely to one artist; every illustration in this
issue was done by Fearless Freep (with the exception of the small book cover illo for "The
Blaster Al Ackerman Omnibus'), some fifteen illustrations in all." "Publications Worthy of
Note," including "The Blaster Al Ackerman Omnibus," and "The Vamp Stamp News."
(November 1994). Photocopy. 8 1/2"x5 1/2". (pages 240-253). Contributions by Keiichi
Nakamura (Japan), Alice Borealis (USA), Haddock (USA), Musicmaster (USA), Simonson
(USA), E. Z. Smith (USA), Kristin Thorrud (Sweden), et al.
(February 1995). Photocopy. 8 1/2"x5 1/2". (pages 256-269). Contributions by A.1
Waste Paper Co. Ltd. (USA), Afungusboy (USA), al Ackerman (USA), Michel Pollard (USA),
Shmuel (USA), E. Z. Smith (USA), Gerardo Yepiz (Mexico), et al. "Zines of Worth."
(May 1995). Photocopy, Rubber Stamp and Mixed Media. 8 1/2"x5 1/2". (pages 272-297).
Contributions by A. 1 Waste paper Co. Ltd. (England), Musicmaster (USA), Fran Rutkovsky
(USA), Art Nahpro (England), Ruud Janssen (Holland), E. Z. Smith (USA), Ivan Preissler
(Czech Republic), Citizen X (Canada), Adda Dada (USA), Fucci (USA), Crackerjack Kid
(USA), et al.

Nostril. John E. (aka John Eberly), Editor. Wichita, Kansas. (1989).
([March 1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Cover by Al Ackerman (aka Harry
Bates) (USA). Contributions by F. C. Jerkoffsky (aka Fran Cutrell Rutkovsky) (USA), Art
Maggots (USA), Tuli Kupferberg (USA), et al.

NOVA. Charles J. Chickadel, Editor. Trinity Press, San Francisco, California. 1979.
No. 1 (1979). Offset. 11"x8 1/2". 4 pages. "What is Self-Publishing?," by the editor.
Examples of the editor's self-published works, including the Mail Art magazine, "Quoz?,"
published from 1973-1975. Covers of all 12 issues reproduced.

Novoid. Colin Hinz, Editor. ASFi Headquarters, Ontario, Canada. 1989-1991.
(December 1989). Hektograph. 11"x8 1/2". 39 pages. "Novoid is a little magazine. Some
readers would call it a lit-rag. Some would call it an art-mag...None of these descriptions
are accurate. consider it to be a combination of a personal journal, propaganda rag and
networking tool." Article on "Art Strike, 1990-1993," elicits statements from Miekal And
(USA), Michael Helsem (USA), Ruggero Maggi (Italy), Malok (USA), Jrgen Olbrich
(Germany), and the editor, et al. Letters from Luke McGuff (USA), Bob Grumman (USA), et
al. Other contributions by Serse Luigetti (Italy), Serge Segay (USSR), and Dale Speirs
(Canada), et al. "Pre-Art Strike Issue."
No. 8 (April 1991). Mimeograph. 11"x8 1/2". 33 pages. "The Art Strike Issue." Texts by
Al Ackerman (USA), "Freedom, Resistance, Rebellion and Art Strike," by Blaster Al
Ackerman (USA) and Luke McGuff, "Survival Research Laboratories, Seattle, 23 June
1990." Letters by Rudi Rubberoid (USA), Al Ackerman (USA), John Marriott (Canada), Lloyd
Dunn (USA), et al.

Novy Zivot/New Life. Vitazoslav Hronec, Editor. Novi Sad, Yugoslavia. 1989.
Vol. 41, No. 12 (December 1989). Offset. 8"x5 1/2". 79 pages. "In this issue the journal
"Novy Zivot" attempts to give new meaning to its name./ The phrase new life (novy zivot)
today has a completely different meaning than it had forty years ago, when this magazine
began publication./ Today we are irrevocably integrated into a global civilization which
above all owes its universal character to improved means of transmitting information. In
such a situation, the above-mentioned phrase can no longer have only this single,
ideological dimension it should presumably reflect dimensions of civilization and
culture...For this reason, we asked more than one hundred alternative artists from around
the world to contribute, through their own works, to a better definition of this new world,
this new life we are living at the close of the twentieth century." Andrej Tisma (Yugoslavia),
Toward the New Art." Additional texts by Richard Kostelanetz (USA), Fernando Aguiar
(Portugal), Andrzej Dudek-Drer (Poland), Balint Szombathy (Yugoslavia), Gza Perneczky
(Germany), et al. Contributions by Jiri Valoch (Czechoslovakia), Guillermo Deisler (East
Germany), Pawel Petasz (Poland), Paulo Bruscky (Brazil), Vittore Baroni (Italy), Rea
Nikonova (USSR), Guy Bleus (Belgium), William Gaglione (USA), et al.

nu-art. (Rick Soloway, Editor). A Markin Art Club Publication, (San Francisco,
California). (1976).
No. 1 ([1976]). Qwick-Print. 5 1/2"x4 1/4". 20 pages. A Bay Area Dada publication.
Contributions by Carlo Giovanni Cicatelli (aka Charles Chickadel) (USA), Tim Mancusi
(USA), Dadaland (aka William Gaglione) (USA), Monte Cazazza (USA), Anna Banana (USA),
et al.

Numero. Wilfred Nold, Editor. Frankfurt, West Germany. 1997-1999.
No. 1 (1997). Offset. 8 1/4"x5 3/4". 47 pages. "The most important reason for me to be
doing this at all is my enthusiasm for MailArt. It opens up many opportunities and enables
me to get in touch with more people than with any other medium. MailArt is a stimulating,
communicative event where I can give most of my skills free rein. it is also one of the few
real adventures left open to us nowadays: I am constantly surprised by what I find, and at
the start of the journey I never know what is waiting for me at the end." Theo Breuer
(Germany), "To Know Mail Art is to do Mail Art." Ruud Janssen (Holland), "The
Communication-Forms in Networking." Henning Mittendorf (Germany), "Mail-Art: My
Dream of Freedom and Love." Theo Breuer, "ABC-News #1." Guy Bleus (Belgium), "The
Administration Centre." Mail Art exhibition, project and publication opportunities.
No. 2 (1997). Offset. 8 1/4"x5 3/4". 48 pages. "Some Aspects of Meta-Networking," by
Henning Mittendorf (Germany). "Notes Toward a History of Artistamps," by John Held, Jr.
(USA). "ABC-News #2," by Theo Breuer (Germany). "Mail Your Tomatoes! Mail Art Versus
Electronic Art," by Frank K. Jensen (Denmark). "Some Thoughts About Mail Art-How Do I
Experience Mail Art Nowaday?," by Ruud Janssen (USA), "Mail Art Painting of documenta
Art Mile," by Peter and Angela Netmail (Germany). "Mail Art Projekte im Museum fr Post
und Kommunikation in Berlin-Schneberg," by Lutz Wohlrab (Germany).
No. 3 (1998). Offset. 8 1/4"x5 3/4". 47 pages. Wilfred Nold (Germany), "Mail Art Without
Mail Artists." Stephen Perkins (USA), "Artifacts of the Eternal Network, Part 1." Theo Breuer
(Germany), "Assemblings." Ruud Janssen (Holland), " Some Thoughts About Mail Art."
Georgine Margareta Witta Kiessling Smith Jensen (Denmark), "Diary of a Danish
Housewife." "1998: A Year of Incongruous Meetings." Contributions by Pete Spence
(Australia), Ryosuke Cohen (Japan), Henning Mittendorf (Germany), K. Frank Jensen
(Denmark), et al. Mail Art exhibition, project and publication opportunities.
No. 4 (1998). Offset. 8 1/4"x5 3/4". 48 pages. Stephen Perkins (USA), "Artifacts of the
Eternal Network: Part II." Jos Vandenbroucke (Belgium), "A Letter about the Continuous
Death and Rebirth of the Mail Art Network." Guido Vermeulen (Belgium), "Notes on
Notebooks." Henning Mittendorf (Germany), "Knstlerstempel." Theo Breuer (Germany),
"My-Mail-Art-ABC-News." Guy Bleus (Belgium), "15 Copy-Art Evidences." Contributions by
Dadaland (USA), Dmitri Bulatov (Russia), Emilio Morandi (Italy), Georgine Margareta Witta
Kiessling Smith Jensen (Denmark), Giovanni Strada (Italy), Peter Netmail (Germany), et al.
Mail Art exhibition, project and publication opportunities.
No. 5 (1999). Offset. 8 1/4"x5 3/4". 48 pages. "Before Punk and Zines: Bay Area Dada,"
by John Held, Jr. (USA). Trends in Mail Art," by K. Frank Jensen (Denmark). "Artistamps,"
by Henning Mittendorf (Germany). "The Magic of Visual Poetry," by Theo Breuer
(Germany). "Mail Art: Just Looking at it-from the Outside," by Thomas Stemmer
(Germany). "Russian Folk Noism," by Dmitry Bulatov (Russia). "The Snake Project," by
Guido Vermeulen (Belgium). "Memories of Two Mail Art Postmen," by Peter and Angela
Netmail (aka Peter Kstermann and Angela Phler) (Germany). "letters to Guido
Vermeulen," by Joel S. Cohen (USA) and Michael Lumb (England). Contributions by David
Dellafiora (Australia), Eiichi Matsuhashi (Japan), Theo Breuer (Germany), Darco Vulic
(Switzerland), et al. Mail Art exhibition, project and publication opportunities.
No. 6 (1999). Offset. 8 1/4"x5 3/4". 64 pages. "Let us be Pioneers of the New
Millennium," by Henning Mittendorf (Germany). "Art is Communication and Communication
is Art," by Bernard Zilling (Germany). "Sorry, but NUMERO 6 will be the Last Issue, The
Money...!," by Michael Fox (Germany). "The Taller del Sol File-Museum," by Csar Reglero
Campos (Spain), "The Gentle Art of Rubber Stamps," by Michael Leigh (England). "1999:
The year of Fake Projects," by K. Frank Jensen (Denmark). "Response to John Held," by
Anna Banana (Canada). "How I Became a Mail Artist," by Francesca Maniaci (Canada). "The
Future of Mail Art, " by Peter and Angela Netmail (Germany). "Art and the Absence of
Clothes," by La Peintre Nato (France). Contributions by Boog (USA), Ruggero Maggi (Italy),
Lothar Trott (Switzerland), John M. Bennett (USA), Ryosuke Cohen (Japan), Dmitry Bulatov
(Russia), et al. Mail Art exhibition, project and publication opportunities.

NYCS (New York Correspondence School) Weekly Breeder. Tim Mancusi, Editor.
San Francisco , California. 1972-1992
Vol. 2, No. 10 (May 20, 1972). Qwik Print. 11"x8 1/2". (2 pages). Issue number one.
"Note to our Readers: With this issue of the "Weekly Breeder" we say goodbye to Stu Horn
who has published the "W.B." in New Jersey for the past few months. Stu is leaving for
Europe in Mid-May. This & future issues will be published by the Bay Area Dadaists
(B.A.D.)." Contributions by Ray Johnson (USA), Bill Griffith (USA), Richard C. (USA), John
Dowd (USA), and a.m. fine (USA).
Vol. 3, No. 2 (July 12, 1972). Qwik Print. 11"x8 1/2". (7 pages). Cut and paste collage.
Vol. 3, No. 3 (Christmas 1972). Qwik Print. 11"x8 1/2". (14 pages). "Ruby Reveals," ...
all the Bay Area Dada gossip, by Ruby Begonia (USA). Contributions by Tim Mancusi (USA),
John Dowd (USA), Ray Johnson (USA), Monte Cazazza (USA), John Dowd (USA), et al.
Vol. 3, No. 5 (May 20, 1953). Qwik Print. 11"x8 1/2". (15 pages). "Special 'Smoke Hash'
Issue." Cut and paste collage, drawing heavily from newspapers.
Vol. 3, No. 6 (Fall 1993). Qwik Print. 11"x8 1/2". 34 pages. Contributions by Bill Griffith
(USA), Arthur Cravan (aka Charles Chickadel) (USA), Steve Caravello (USA), Opal nations
(USA), Jeff Berner (USA), David Mayor (England), John Dowd (USA), Anna Banana (USA),
Brian Buczak (USA), Monte Cazazza (USA), Stu Horn (USA), Ray Johnson and Albert Fine
(USA), Fletcher Copp (USA), Daddaland (USA), et al.
Vol. 3, No. 7 (Autumn 1974). Qwik Print. 11"x8 1/2". 17 pages. "Most of the
correspondence rookies who have been reading the Breeder for a year or two probably
don't realize that Mr. Friedman (director of Fluxus West and international conceptualist)
was the founder of the NYCS Weekly Breeder almost 3 years ago. Or that Stu Horn of the
Northwest Mounted Valise was editor for three months before asking the Bay Area
Daddaists to take over in May of 1972./ Yes, the Weekly Breeder has gone through many
changes in those years and I must admit this current issue has nothing to do visually or
editorially with what Ken Friedman's Breeders were about, or Stu Horn's. But I believe that
Volume three represents the realization of the modern dadazine and was influential in
inspiring the current 'zine scene' (to quote Marcel)." Contributions by Anna Banana (USA),
Daddaland (USA), and the editor.
Vol. 3, No. 1-7 (1972-1981). Qwik Print. 11"x8 1/2". (100 pages). "THE WEEKLY
BREEDER was originally published in 1971 by Ken Friedman as a xeroxed edition of images
and information pertaining to Mail Art, and/or Fluxus West, etc./ In 1972 Ken asked Stu
Horn to edit the Breeder and Stu's Breeder, naturally showed his Northwest Mounted Valise
influence. The Breeder at this point was making use more and more of collage./ Later that
year, before Stu left for Europe, he asked myself to edit the Weekly Breeder which I did
(along with Bill Gaglione) until Fall 1974 when The Very Last Weekly Breeder was
published. Volume III consists of seven issues including Vol. IV, No. 1. It was during this
period that The Weekly Breeder served as a model for the numerous other 'dadazines' that
soon blossomed around the country, purveying a style of images as uniquely Bay Area as
FILE was Canadian./ At least 2 issues of the Breeder were published in the late seventies
by Buster Cleveland and Steve Caravello (of Mendodada fame). Steve also edited Vol. IV,
No. 1, the Re-election issue./ In looking over these pages one should keep in mind that
they predate today's 'punk' graphics by almost 10 years. and that collage, itself owes its
existence to the early dadaists, who in the 1920's broke through the formal design and
composition standards of their day."
Vol. 4, No. 1 (July 20, 1972). Qwik Print. 11"x8 1/2". (2 pages). Issue number four,
edited by Steve Caravello. Cut and paste collage by the editor.
Vol. 4, No. 1 (n.d.). Photocopy. 11"x8 1/2". (4 pages). "Volume IV brings back Breeder
Friedman, the beloved Bruder of the other Breeders, to a new epicene glory as returned
founder-editor of the magazine that FLASHART has nominated as the most interesting art
magazine being published today."
Vol. 1, No. 1 (January 5, 1968). Color and Black & White Photocopy. 8 1/2"x5 1/2". (28
pages). Published in 1978, by Grover Keaton (aka Buster Cleveland) (USA). Assistant
editors include Dadaland (aka Bill Gaglione (USA). Contributions by Jerry Dreva (USA),
Cavellini (Italy), Ray Johnson (USA), John Evans (USA), E. F. Higgins (USA), Tim Mancusi
(USA), Anna Banana (Canada), Pauline Smith (England), Vanzetti (aka Steve Caravello)
(USA), Genesis P-Orridge (England), Peter Frank (USA), et al.
Vol. 5, No. 1 (May 20, 1992). Color and Black & White Photocopy. 11"x8 1/2". 37 pages.
"A Brief History of the NYCS Weekly Breeder: (and a Mini-Editorial)," by Tim Mancusi. "Last
January, after almost a decade of non-collaboration, my brother (Leodada Vinci) and I
decided to visit William Gaglione and his wife, Darlene Domel, at their rubberstamp
shop/gallery down in San Francisco. After reminiscing old times over dinner, I asked Bill if
he wanted to put out a 20th anniversary issue this May. The commemorative issue you
now hold in you hands is a result of that enthusiasm. Even though we've all gotten older
and some of us have kids, I wanted this issue to help contrast the move conservative
doldrums the past 12 years have brought about. The Weekly Breeder, Tao more than ever,
should always be cutting-edge regardless of who edits it." Contributions by American
artists Rick Soloway, Jeff Berner, Buster Cleveland, Stephen Caravello, Steve Hitchcock,
Crackerjack Kid, Lon Spiegelman, John Evans, John Held, Jr., Nancy Frank, Judith Hoffberg,
Bill Griffith, Darlene Domel, William Gaglione, Indian Ralph, Leodadda Vinci, Ray Johnson,
William Burroughs, et al.
O - Oxidized Look
O. Ghislain Belmans, Johan Sanctorum, Jan Struelens, Editors. Hoeilaart, Belgium.
1984.
No. 8 (Summer 1984). Photocopy. 7 3/4"x7 3/4". 122 pages. Includes an interview with
Guy Bleus (Belgium, "Mail-Art is the Dream of All Travelling."

O Dos: Revista de Arte Correo. N. N. Arganarz, Editor. Montevideo, Uruguay. 1984.
Vol. 1, No. 1 (1984). Offset. 8 1/4"x6 3/4". 21 pages. "Primer Manifiesto Internacional de
Arte Correa," by C. D. O. (Italy). "Arte Correo," by the editor. "El Arte postal y el Gran
Monstruo," by Ulises Carrin (Holland). "Elogio Del Arte Correo," by Daniel Daligand
(France). All texts translated into Spanish by the editor. Additional contributions by Jorge
Orta (Argentina), A. De Araujo (Brazil), Paulo Bruscky (Brazil), Clemente Padin (Uruguay),
Aaron Flores (Mexico), Cesar Espinosa (Mexico), E. B. Higgins III (USA), Karl Kempton
(USA), Crackerjack Kid (USA), Carlo Pittore (USA), Carol Stetser (USA), Henning
Mittendorf (Germany), Hans Nevidal (Austria), Guillermo Deisler (Bulgaria), Vittore Baroni
(Italy), Shoji Yoshizawa (Japan), et al.

O!!Zone. Harry Burrus, Editor. Houston, Texas. 1994-2001.
No. 13 (1994). Photocopy. 8 1/2"x5 1/2". 56 pages. "A pamphlet of words, line, and
images." Contributions by Bob Grummen (USA), Crag Hill (USA), Michael Basinski (USA), et
al.
No. 14 (1995). Photocopy. 8 1/2"x5 1/2". 52 pages. Contributions by Guy r. Beining
(USA), Crag Hill (USA), Jim Leftwich (USA), Spencer Shelby (USA), Hartmut Andryczuk
(Germany), Joel Lipmanm (USA), et al.
No. 15 (Summer 1995). Photocopy. 8 1/2"x5 1/2". 80 pages. Contributions by John M.
Bennett (USA), Jim Leftwich (USA), Michael Basinski (USA), Joel Lipman (USA), et al.
No. 16 (n.d.). Photocopy. 8 1/2"x5 1/2". 60 pages. Contributions by Clemente Padin
(Uruguay), Spencer Selby (USA), Larry Tomoyasu (USA), Giancarlo Pavanello (Italy), et al.
(1996). Photocopy. 11"x8 1/2". (190 pages). Visual Poetry with contributions by 83 artists
from 20 countries including Guido Vermuelen (Belgium), Avelino De Araujo (Brazil), Paulo
Bruscky (Brazil), Antonio Prez-Cares (Chile), padre J. Gutierrez (Cuba), Julien Blaine
(France), Jean-Franois Robic (France), Hartmut Andryczuk (Germany), Theo Breuer
(Germany), Klaus peter Dencker (Germany), Klaus Groh (Germany), Ruud Janssen
(Holland), Vittore Baroni (Italy), Ruggero Maggi (Italy), Alberto Rizzi (Italy), Giovanni
Strada (Italy), Keiichi Nakamura (Japan), Fernado Aguiar (Portugal), Rea Nikonova
(Russia), Pedro Bericat (Spain), Pere Sousa (Spain), Marcel Stssi (Switzerland), Karl
Young (USA), Joel Lipman (USA), Karl Kempton (USA), Clemente Padin (Uruguay), et al.
(1997). Photocopy. 11"x8 1/2". 75 pages. Visual poetry by 57 artists from 16 countries
including Reed Altemus (USA), Demitry Babenko (Russia), Vittore Baroni (Italy), Theo
Breuer (Germany), Geoffrey Cook (USA), Jean Claude Gagnon (Canada), Antonio Gomez
(Spain), Ibirico (Spain), Ruggero Maggi (Italy), Willi Melnikov (Russia), Keiichi Nakamura
(Japan), Jrgen Olbrich (Germany), Clemente Padin (Uruguay), Alberto Rizzi (Italy), Serge
Segay (Russia), Giovanni Strada (Italy), Annina Van Sebroeck (Belgium), Guido Vermuelen
(Belgium), et al.
(1998). Photocopy. 11"x8 1/2". 135 pages. Visual Poetry with contributions by Fernando
Aguiar (Portugal), Dmitry Babenko (Russia), Guy Beining (USA), Paulo Bruscky (Brazil),
Antonio Prez Cares (Chile), Klaus Groh (Germany), Pedro Gutierrez (Cuba), John Held, Jr.
(USA), Ibirico (Spain), Willi Melnikov (Russia), Rea Nikonova (Russia), Clemente Padin
(Uruguay), Stephen Perkins (USA), Carlo Pittore (USA), Alberto Rizzi (Italy), Serge Segay
(Russia), Bruno Sourdin (France), Guido Vermuelen (Belgium), et al.
(1999-2000). Photocopy. 11"x8 1/2". 100 pages. Visual poetry with contributions by
Avelino Araugo (Brazil), Vittore Baroni (Italy), Pedro Bericat (Spain), Diane Bertrand
(Canada), Boek/Cesar Reglero (Spain), Boog (USA), Theo Breuer (Germany), Hans
Braumller (Germany), Dimitry Bulatov (Russia), Joe Cohen (USA), Klaus peter Dencker
(Germany), J. C. Gagnon (Canada), Klaus Groh (Germany), Crag Hill (USA), Ruud Janssen
(Holland), Karl Kempton (USA), Ilmar Kruusame (Estonia), Jim Leftwich (USA), Joel
Lipman (USA), Ruggero Maggi (Italy), Henning Mittendorf (Germany), Keiichi Nakamura
(Japan), Rea Nikonova (Russia), Clemente Padin (Uruguay), Carlo Pittore (USA), Ivan
Preissler (Czech Republic), Serge Segay (Russia), Spencer Selby (USA), Pere Sousa
(Spain), Carol Stetser (USA), Giovanni Strada (Italy), Guido Vermuelen (Belgium), et al.
(2001). Color & Black and White Photocopy. 11"x8 1/2". 57 pages. Visual Poetry with
contributions by Fernando Aguiar (Portugal), Reed Altemus (USA), Hartmut Andryczuk
(Germany), Avelino Araujo (Brazil), Roy Arenella (USA), Dmitry Babenkio (Russia), Vittore
Baroni (Italy), Julie Hagan Bloch (USA), Boog (USA), Dmitry Bulatov (Russia), H. R. Fricker
(Switzerland), Klaus Groh (Germany), John Held, Jr. (USA), Richard Kostelanetz (USA),
Henning Mittendorf (Germany), Keiichi Nakamura (Japan), Rea Nikonova (Germany),
Clemente Padin (Uruguay), Hilda Paz (Argentina), Gnther Ruch (Switzerland), Bruno
Sourdin (France), Carol Stetser (USA), Giovanni Strada (Italy), John Upton (Scotland),
Guido Vermeulen (Belgium), et al.

Occasional, Tuesday-Art News. George Jeffus, Editor. Tuesday Art Press, San
Diego, California. 1988-1989.
No. 10 (March 8, 1988). Mixed Media. 4 1/2"x6 1/4". Postcard. From the series, "Mail Art
Against AIDS." Theme: hands.
No. 11 (March 22, 1988). Mixed Media. 4"x6". Postcard. From the series, "Mail Art
Against AIDS." Theme: passion.
(April 22, 1988). Mixed Media. 4"x6". Postcard. From the series, "Mail Art Against AIDS."
Theme: Rain Dance II.
(May 14, 1988). Mixed Media. 4"x6". Postcard. From the series, "Mail Art Against AIDS."
"Several mail art shows are being held within the next few months that are deserving of
everyone's support..."
(November 8, 1988). Photocopy and Mixed Media. 8 1/2"x5 1/2". (4 pages). Contribution
by John Held, Jr. (USA).
New Series No. 2 (November 23, 1988). Photocopy and Mixed Media. 8 1/2"x5 1/2". (4
pages). "Well here goes. I am sending you four pages today. I will try to send at least tow
but hopefully more. Please don't worry about them being out of order, its part of my plan.
On the front of each mailing will be a number this one is 2, that is how you will know that
you are getting everything, if you miss a number please let me know right away."
Contribution by Artpolice (USA), et al.
New Series No. 3 ([December 18, 1988]). Photocopy and Mixed Media. 8 1/2"x5 1/2".
(8 pages). Contributions by John M. Bennett (USA), John Atkins (Canada), Ammunition
(USA), et al.
New Series No. 4 (April 24, 1989). Photocopy and Mixed Media. 8 1/2"x5 1/2". (10
pages). Contributions by Mike Duquette (Canada), Radio Free Dada (USA), Nenad
Bogdavovic (Yugoslavia), Carroll Brooks (USA), et al.
(August 25, 1989). Photocopy. 11"x8 1/2". (2 pages). "Mail Art? Money?," by the editor.
"Publishers/mail-artists need to distinguish between the activity of mail-art and the activity
of publishing. The two an co-exist without being the same. Let me give an example.
Recently I published a little book which I mailed to mail-artists. I excluded any indication of
a price for the book. My intent being to participate as a mail-artist with other mail-artists.
They had not expected or requested either the book or the participation. The freedom to in
return participate was their choice, and the manner in which they chose to participate was
their choice. having no expectations on either my part or theirs let the value remain on the
activity."

Ocean Front. Gerald Jupitter-Larsen, Editor. C. C. Publications Society, Vancouver,
Canada 1979-1980.
Vol. 2, No. 1 (December 1979-January 1980). Photocopy. 8 1/2"x5 1/2". (4 pages).
"NOTE: The writers of this issue of O. F. have censored their own work, for, they said, they
didn't like it?"
Vol. 2, No. 2 (March-May 1980). Photocopy. 8 1/2"x5 1/2". (4 pages). Destroyed music
by The Haters. Contribution by Vittore Baroni (Italy).
No. 7 (June 1980). Photocopy. 8 1/2"x5 1/2". (4 pages). Cut and paste fiction by The
Haddock (USA).

oFF;oFF. Edgardo-Antonio Vigo, Editor. La Plata, Argentina. 1987.
No. 1&2 (1987). Mixed Media. 10 1/2"x7 1/4". Unpaged. "Las Obras de Edgardo-Antonio
Vigo: Transgresion, Irregularidad, Incertidumbre," by Horace Zabala (Argentina). Contains
envelopes, collages, photography, and artistamps by the editor. Also contains contributor
lists for numbers 1 and 2, although these works (with the exception of the text by Zabala
and a rubber stamp impression by Harley [USA]), are not enclosed. (Presentation copy
given to John Held, Jr., while visiting the editor).

Offerta Speciale. Carla Bertola, Editor. Torinio, Italy. 1995.
Vol. 8, No. 15 (May 1995). Offset. 9 1/4"x6 1/4". 56 pages. Visual Poetry with
contributions by Guillermo Deisler (Germany), Pedro Juan Gutirrez (Cuba), Spenser Selby
(USA), Giovanni Strada (Italy), Avelin De Avaujo (Brazil), Rea Nikonova (Russia), Michele
Perfetti (Italy), Hartmut Andryczuk (Germany), et al.

Okrazoidical. Bern Porter and John A. Pyros, Editors. Dramatika, Tarpon Springs,
Florida. 1995-1996.
Vol. 27, No. 3 (Issue 37) (Summer 1995). Photocopy. 11"x8 1/2". (36 pages). "Porter
and I met, as it were, through the post, and more specifically while networking as mail
artists. That led to my sending him materials which I thought and he graciously agreed as
worthy of some archival care. That, in the course of our further correspondence, led to
Porter's suggestion we collaborate on a publishing venture; and that, of course, being this
before you...The material is published by DRAMATOKA, a small-press magazine which
commenced its existence in 1968." Signed edition 4/30.
Vol. 28. Issue 38 (Summer 1996). Photocopy. 11"x8 1/2". (42 pages). Texts and Visual
Poetry by the editors. Edition 36/36.

Open Forum. Lianos, Editor. Athens, Greece. 1997.
No. 13 (1997). Photocopy. 8 1/4"x5 3/4". 48 pages. Sexual freedom magazine from
Greece with Mail Art contributions by Fernando Aquiar (Portugal), and Melnikov-Starquist
(Russia). "Mainstream Avant-Garde?," by Frank Moore (USA).

Open Netmag: International Network Culture. Jo Klaffki, Editor. Edition Kunst-
Bahnhausen Academy, Minden, Germany. 1992.
No. 1 (August 1991). Photocopy. 7 3/4"x5 1/2". (8 pages). "This open netmag is only
one of the multiple zines reflecting the global network activities. No question why &
wherefore but when final(l)y the mail-art-move will collapse into its own mirrorship, that
our ONgoing nosy-ness we want to reflect. ON's feeding up the eternal hungry brain cell
culture with a strange mixed shake of its own spirituelle sperm..." Opening of Mahamat-
Hall, the editor's archive of Mail Art with "more than 25,000 works from nearly 450
networkers." "Networker-Congress" statement in German. "Networker Databank
Congress," and "Netshaker Harmonic Divergence" announcements by Crackerjack Kid
(USA). "Mental Check About Congress," insert intended to "add-and-pass."
No. 2 (1992). Photocopy and Mixed Media. 8 1/4"x5 3/4". 96 pages. "ON-No. 2 just is on
the move spreading out the first summary of congress-fever-transpirations. Floods of
streaming water dropped in as given results concerning the long expected symptoms of an
epidemical outbreak. This even before the incubation period got'n officially character. Well,
a sickness into network certainly is more powerful than elsewhere." An early report of
documentation resulting from the Decentralized World-Wide Networker Congress 1992. List
of "planned open sessions." Results of the editors' Congress Banknote project. with
contributions by Antonio Gomez (Spain), Clemente Padin (Uruguay), Jasques Massa
(France), Ruud Janssen (Holland), Henning Mittendorf (Germany), et al. "Excerpts from the
Goforth Journal: Stamp Francisco Networking Congress, Networking Fresco, and the Birth
of the Fake Picabia Bros.," by John Held, Jr. Mail Art exhibition, project and publication
opportunities. "Congress Banknotes" enclosed.

Open World. Dobrica Kamperelic, Editor. Beograd, Yugoslavia. 1985-2001.
No. 1 ([1985]). Photocopy. 8 1/4"x5 3/4". (8 pages). "New "Projects/Magazines/Shows."
Mail Art exhibition in Ghana announced.
No. 2 ([1985]). Photocopy. 8 1/4"x5 3/4". (8 pages). Mail Art exhibition, project and
publication opportunities. Notices for AU (Japan), Edgardo-Antonio Vigo (Argentina),
Charles Franois (Belgium), Harry Fox (USA), Bob Kirkman (USA), Ruud Janssen (Holland),
et al. Text by Ryosuke Cohen (Japan).
No. 3 ([1985]). Photocopy. 8 1/4"x5 3/4". (12 pages). Mail Art exhibition, project, and
publication opportunities. Notices for Andrej Tisma's (Yugoslavia) "Private Life" exhibition,
Lon Spiegelman (USA), Pat Larter (Australia), Crackerjack Navel Academy, etc.
publication opportunities. Notices for request for "artists pseudonyms," Neoism, Keith Bates
(England), Ruggero Maggi's "Shadow Project," Joki Mail Art (Germany) "International
Artists' Postage Stamps Exhibition," etc.
publication opportunities. Notices for "The International Shadow Project," Peter Meyer
(Sweden) in New York City, Crackerjack Kid's (USA) "Flags for World Peace Project,"
Yugoslavia Mail Art meeting in Novi Sad for an exhibition curated by Andrej Tisma
(Yugoslavia), etc.
publication opportunities. Notices for Fred Truck's (USA) "Biennial Report of the
Performance Bank," Nikola Sindik (Yugoslavia), etc. "OPEN WORLD is underground, but
really open!!! So, make a copy of this bulletin for you mail-art friend(s)!"
publication opportunities. Notices for "The Last (Lost) (Late) Mail Art Show," at Galaleria
Della Occhio, New York City; "Signal Art," by Miroljub Todorovic (Yugoslavia); Shozo
Shimamoto (Japan); "Networking Currents," by Crackerjack Kid, H. R. Fricker (Switzerland)
in California, etc.
No. 8 ([1985]). Photocopy. 8 1/4"x5 3/4". (12 pages). "New Projects/ Multi-Media
Shows/ Magazines/ Messages." Participant list for editor's "Ars as Idea" project, Andrej
Tisma (Yugoslavia) in New York City, reprinted newspaper article by Michel Champendal
(France), Metallic Avau (Belgium), letter by Crackerjack Kid (USA), etc.
publication opportunities. Notice of activities by Clemente Padin (Uruguay), Guy Bleus
(Belgium), Andrej Tisma (Yugoslavia), Pascal Lenoir (France), et al.
publication opportunities. Notices of Shozo Shimamoto (Japan) in Yugoslavia with the
editor, proposal for a "World Decentralisation Mail -Art Congress," etc.
publication opportunities. Notices for the "Decentralized Worldwide Congress," Monty
Cantsin (Canada) Neoist performance, "Karenni Stamps Project," by Jean-Marc Rastorfer
(Switzerland), David Jarvis (England), "Artists Strike," etc.
publication opportunities. Notices for "Wellcomet Mr. Halley" project by Gilberto Prado
(Brazil), Canadian Correspondence Art Gallery, Bern Porter (USA), Nenad Bogdanovic
(Yugoslavia), etc.
publication opportunities. Notices for Networking Space (Japan), "The Second International
Portfolio of Artists' Photography," Modern Realism Gallery (Dallas, Texas), performance by
Emilio Morandi (Italy), Ruggero Maggi (Italy) and Shozo Shimamoto (Japan), "Night
Exercises" project by Peter Meyer (Sweden), etc.
publication opportunities. Notices for a Mail Art project by Fran Cutrell Rutkovsky (USA), "El
Djarida" magazine, J. P. Jacobs (USA) in Yugoslavia, Arno Arts (Holland), etc.
No. 15 ([1986]). Photocopy. 8 1/4"x5 3/4". (12 pages). "This is our last O. W. issue till
September 1986., but maybe last forever!" Mail Art exhibition, project, and publication
opportunities. Notices for "Brain Cell" by Ryosuke Cohen (Japan), J. P. Jacobs (USA) in
Yugoslavia Hungary, H. R. Fricker (Switzerland), etc.
publication opportunities. Notices for Andrej Tisma's (Yugoslavia) "Private Life" project; the
death of Slavko Matkovic (Yugoslavia); H. R. Fricker (Switzerland) in Yugoslavia;
"International Mail-Art Symposium" at Canadian Correspondence Art Gallery, Calgary,
Canada, etc.
publication opportunities. Notices for "Mail Art Congress London;" opening of "Private Life,"
Mail Art exhibition in Novi Sad, Yugoslavia; Ruth and Robert Rehfield (East Germany);
Chuck Stake (Canada) in Yugoslavia,
publication opportunities. Notices for "Decentralized Worldwide Mail-Art Congress;" Kowa
Kato (Japan); Detlef Kappis (East Germany); "Post Arte" magazine in Mexico; etc.
publication opportunities. Notices for a performance by Kim Il Jung (West Germany), Daniel
Daligand (France), Josif Kirly (Romania), Fran Cutrell Rutkovsky (USA), Sarajevo street
performance, etc.
publication opportunities. Notices for activities by Blint Szombathy (Yugoslavia), Cavellini
(Italy) and Shozo Shimamoto (Japan), Csar Espinosa (Mexico). Jenny De Groot (Holland),
Minoy (USA), et al.
publication opportunities. Notices for Ecart Performance Group (Switzerland), Henning
Mittendorf (West Germany), Mail Art Congress in East Berlin, Andrej Tisma (Yugoslavia)
meets Peter Meyer in Sweden.
publication opportunities. Notices for activities by Shozo Shimamoto (Japan) in Paris, Emilio
Morandi (Italy), Neoists in Berlin, Klaus Groh (West Germany), etc.
publication opportunities. Notices for activities by Gnther Ruch (Switzerland), Andrej
Tisma (Yugoslavia), Ruud Janssen (Holland), Jo Klaffki (West Germany), Shozo Shimamoto
(Japan), et al.
publication opportunities. Notices for activities by Al Ackerman (USA), Acosta Bentes
(Uruguay), Belgian Mail Artists in Hasselt, Jenny De Groot (Holland)), Gerard Barbot (USA)
and Giovanni Strada (Italy), et al.
publication opportunities. List of participants in the editor's "Ars as Idea," project. Notices
of activities by Jo De Jonge (Holland), Charles Franois (Belgium), E. A. Vigo (Argentina),
Stephen Perkins (USA), Joseph Beuys (West Germany), Arno Arts (Holland), Mogen Otto
Nielsen (Denmark), Guillermo Deisler (East Germany), et al.
publication opportunities. Documentation for the editor's appearance at Arte Studio in
Ponte Nossa, Italy, hosted by Emilio Morandi. Gerard Barbot (USA) in Germany with
Ruggero Maggi (Italy) and Joki Mail Art (Germany). Andrej Tisma (Yugoslavia) in New York
City with Crackerjack Kid (USA), David Cole (USA), Mark Bloch (USA), et al.
publication opportunities. Notices of the editor's forthcoming trip to Minden, West
Germany. Activities by Hildegard Weiss and Hannes Clerico (West Germany),
Tomasz Schulz (Poland), Cavellini (Italy), Shozo Shimamoto (Japan), Istvan Kantor
(Canada), Jenny De Groot (Holland), David Cole (USA), et al.
publication opportunities. Photo documentation of the editor in Minden, West Germany.
Interview of the editor with Gnther Ruch (Switzerland). Emilio Morandi (Italy) in Beograd.
Andrej Tisma (Yugoslavia) in New York City. Shozo Shimamoto (Japan), Ryosuke Cohen
(Japan), Peter Kstermann (West Germany), Ann Schoen (West Germany), the Barbot
Family (USA), mark Bloch (USA), et al, in New York City.
No. 29 (1988). Photocopy. 8 1/4"x5 3/4". (12 pages). Mail Art exhibition, project, and
publication opportunities. Proposal for a Mail-Art Island. Art event in Beograd with Kum
Nam Baik (South Korea) and Gaetano Colonna (Italy). Activities by Andrej Tisma
(Yugoslavia), Andrzej Dudek-Drer (Poland), Chuck Stake (Canada), et al.
publication opportunities. Notices for activities by Klaus Groh (West Germany), Sofia
Martinou (Greece), Jaroslav Supek (Yugoslavia), Katalin Ladik (Yugoslavia), et al.
publication opportunities. Notices for activities by Andrej Tisma (Yugoslavia), Anna Banana
(Canada), Fernando Aguiar (Portugal), Monty Cantsin (Canada), et al.
publication opportunities. Notices for activities by Rea Nikonova (USSR) and Serge Segay
(USSR), Kjell Nyman (Sweden), Fumiko Tatamatsu (Japan), Cavellini (Italy), Thierry Tillier
(Belgium), et al.
publication opportunities. Notices for activities by Fernando Aguiar (Portugal), Byron Black
(Thailand), Nikola Sindik (Yugoslavia), Daniel Plunkett (USA), Rimma Gerlovin (USA),
Tatomir Toroman (Yugoslavia), Carol Schneck (USA), et al.
publication opportunities. Notices for activities by Eamonn Robbins (Ireland), Ryosuke
Cohen (Japan), Seiei Nishimura (Japan), Csar Espinosa (Mexico), Charles Gatewood
(USA), Siglinde Kallenbach (West Germany), et al. Performance by the editor in Beograd
with Tatomir Toroman (Yugoslavia), Jaroslav Supek (Yugoslavia), et al.
publication opportunities. Notices for activities by Franoise Duvivier (France), Klaus Groh
(West Germany), Miroljub Todorovic (Yugoslavia), John Held, Jr. (USA), Bob Kirkman
(USA), Rea Nikonova and Serge Segay (USSR), et al.
publication opportunities. "Crisis go on: last prices for PTT service grow up 80%..and we
are very upset; probably must limit our m. a. network very much...and the FUTURE of
MAIL-ART here is just BIG QUESTION in the FUTURE." Mail-Art forum in Pula, Yugoslavia.
publication opportunities. Notices for activities by Carol Stetser (USA), Jean-Nol Laszlo
(France), Ruggero Maggi (Italy), John Held, Jr. (USA), Shozo Shimamoto (Japan), A1
Waste Paper Company Ltd. (England), Ben Vautier (France), et al.
publication opportunities. "Japanese Shadow Project," with Ruggero Maggi (Italy), John
Held, Jr. (USA), Daniel Daligand (France), Gerard Barbot (USA), Shozo Shimamoto
(Japan), Ryosuke Cohen (Japan), et al. Activities by Jo Klaffki (West Germany), Ben Allen
(North Ireland), Kum Nam Baik (South Korea), Barry Edgar Pilcher (England), et al.
publication opportunities. Notices for activities by Richard Kostelanetz (USA), Lotte R.
Hansen (Denmark), Rea Nikonova (USSR), Pawel Petasz (Poland), John Held, Jr. (USA), et
al. "OPEN WORLD wait for the fresh news/artworks (black and white, please)etc. from
you...Wait it too: next 40th issue will be in spring 1989. SPECIAL ISSUE!!"
No. 40(1989). Photocopy. 8 1/4"x5 3/4". (12 pages). "This is 40th issue of our OPEN
WORLD! We start in the spring 1985, and now, after 4 years small celebration..."Mail Art
exhibition, project, and publication opportunities. Notices for activities by Ruggero Maggi
(Italy), Jaroslav Supek (Yugoslavia), Andrej Tisma (Yugoslavia), Nenad Bogdanovic
publication opportunities. Notices for activities by Jean-Pierre Naud (France), Alef Theatre
(Yugoslavia), John Held, Jr. (USA), Seiko Miyzaki (Japan), Hazel Jones (England), et al.
No. 42 (1989). Photocopy. 8 1/4"x5 3/4". (12 pages). "As you can see, we continue with
OPEN WORLD...But will be next issue?...We doubt it. With inflation more of 600%!...and
many rest problems-it's impossible." Mail Art exhibition, project, and publication
opportunities. Notices for activities by Antonio Gomez (Spain), Harry Fox (USA), E. A. Vigo
(Argentina), Rea Nikonova (USSR), Ken Friedman (USA), Emilio Morandi (Italy), Jo Klaffki
(West Germany), Clemente Padin (Uruguay), et al.
publication opportunities. Notices for activities by Mark Pawson (England), Lancillotto Bellini
(Italy), Daniel Daligand (France), Guy Bleus (Belgium), David Jarvis (England), et al.
No. 44 (1989). Photocopy. 8 1/4"x5 3/4". (12 pages). "At last we realized our project
EGO/Erotic Games are Open! The exhibition with more of 500 participants from 36
countries was at Club Dagit, Banja Luka City, 5-11 September 1989." Reproduced
contributions for the exhibition by participants Seiei Jack Nakahara (Japan), Radio Free
Dada (USA), David Jarvis (England), John Held, Jr. (USA), Kowa Kato (Japan), et al.
Contributor list.
No. 45 (1989). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dear friends, networkers, this
issue of OPEN WORLD is dedicated to multi-media-art program named RED HOUSE of ART
and organized by AFLEF THEATRE group..." Mail Art exhibition, project, and publication
opportunities.
No. 46 (1989). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dear friends/networkers, this
issue of OPEN WORLD is dedicated to last meetings, here in Beograd, with John Held, Jr. +
his wife Paula Barber (USA) and Mirei + Jose Van Der Broucke (Belgium), our dear guests,
who made lecture, shows, performances at NOVI KLUB...many thanks them for visits, for
friendship and we would like meet them again!" Mail Art exhibition, project, and publication
opportunities. Mail Artists at "Europe Against the Current" festival in Amsterdam, Holland,
included Pedro Bericat (Portugal), Gza Perneczky (West Germany), Gyrgy Galantai
(Hungary), Andrej Tisma (Yugoslavia), Jan De Bover (Belgium), et al.

No. 47 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "It isn't last issue of OPEN WORLD,
but about next one we must find new solutions...with phantastic/abnormal inflation and
may rest trouble we don't need special ART-STRIKE (1990-1993) action-we are in the
strike many years ago!" Mail Art exhibition, project, and publication opportunities. Notices
for activities by Daniel Plunkett (USA), Jos Vanderbroucke (Belgium), Jose Oliveira
(Portugal), John Held, Jr. (USA), Shozo Shimamoto (Japan), Vittore Baroni (Italy), et al.
No. 48 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "After visit of our dear friends from
TEXAS Paula Barber + John Held, Jr. in October 1989, our next guest from Texas was
DANIEL PLUNKETT, publisher of magazine ND, performer, mail-artist etc." Mail Art
exhibition, project, and publication opportunities. Art Strike, 1990-1993. Notice of activities
by Jo Klaffki (West Germany), Ryosuke Cohen (Japan), Jose Vanderbroucke (Belgium),
Jenny De Groot (Holland), Stewart Home (England), et al.
No. 49 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dear friends/networkers-this is
MOMENT FOR THE TRUTH! Are you still in the NETWORK? If you are then-you are also in
ART-STRIKE on special kind!...And before 'serious " culture dies-give a chance to
alternative-art! Stop out from glowing stupy art-business and show virtue of stepping alter-
way to untold spirit life and art for everyone." Mail Art exhibition, project, and publication
opportunities. "Statement Regarding the Art Strike 1990-1993." by Andrej Tisma
(Yugoslavia). Notice of activities by Jo Klaffki (West Germany), Mike Duquette (Canada),
Peter Kstermann (West Germany), Ruggero Maggi (Italy), Ken Friedman, Jean-Jacques
Lebel (France), Shozo Shimamoto (Japan), et al.
No. 50 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "At last, here is OPEN WORLD no.
50! And...next one/next series-who knows?...But we hope should be better in some better
times..." Mail Art exhibition, project, and publication opportunities. Notice of activities by
Andrzej Dudek-Drer (Poland), Ruth and Marvin Sackner (USA), Seiei Nakamura (Japan),
Andrej Tisma (Yugoslavia), et al.
No. 51 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "Well, dear friends in NETWORK
hare we are again with you! We try to find new solutions about OPEN WORLD in actual
chaos here...and continue with alter-art activity. But, last time, we've more and more
problems about job and money than before, so SORRY for any delay in correspondence-
life." Mail Art exhibition, project, and publication opportunities. Notice of activities by Le
Peintre Nato (France), Henning Mittendorf (Germany), Paulo Bruscky (Brazil), Guy Bleus
(Belgium), Jose Oliveira (Portugal), et al. "Net-Run 1990."
No. 52 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). Notice for "Worldwide
Decentralized Networker-Congress 1992." Mail Art exhibition, project, and publication
opportunities. Notice of activities by Birger Jesch (East Germany), Tatamotsu Watanabe
(Japan), Rea Nikonova (USSR), Bruno Chiarlone (Italy), Bob Kirkman (USA), Mark Pawson
(England), et al. "This issue of OPEN WORLD is dedicated to our feed-back card project
"Feel Me (or: express yourself!)...You can see contributions of 40 m.a. friends, but this
ongoing project, so who knows when it will be finish?"
publication opportunities. Notice of activities by Ed Varney (Canada), Scott McLeod (USA),
Ruud Janssen (Holland), Barry Edgar Pilcher (England), Harry Fox (England), et al. Notices
on "Art Strike," "Net Run," and "The International Mail Art Symposium in the U.S.S.R."
publication opportunities. Notice of activities by Ruud Janssen (Holland), Ryosuke Cohen
(Japan), Lloyd Dunn (USA), Shozo Shimamoto (Japan), Gza Perneczky (Germany), Reed
Altemus (USA), Vittore Baroni (Italy), Johan Van Geluwe (Belgium), M. A. Longbottom
(England), et al.
No. 55 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). "We still waiting for concrete
information about future NETWORKER-CONGRESS and hope Peter Kaufmann and H. R.
Fricker will prepare concrete plan for it." Mail Art exhibition, project, and publication
opportunities. Notice of activities by Ruggero Maggi (Italy), Jose Vanderbroucke (Belgium),
Ray Johnson (USA), Serse Luigetti (Italy), Mayumi Handa (Japan), Jo Klaffki (West
Germany), et al. "Would you like united Yugoslavia? We hope so...And, if you'd like it,
please, lets know or send appeal (just this message) to our parliament! At this moment
relations between Yugoslav peoples are very bad and some would like to be separate. But,
it's dangerous for rest (for us too)."
No. 56 (1990). Photocopy. 8 1/4"x5 3/4". (12 pages). Death of Cavellini (Italy). Mail Art
exhibition, project, and publication opportunities. Notice of activities by Andrej Tisma
(Yugoslavia), Gianni Broi (Italy), Andrea Ovicinnicoff (Italy), Ben Vautier (France), Mimi
Holmes (USA), Clemente Padin (Uruguay), John held, Jr. (USA), et al. "YES, save our
HOME-save the eARTh!...But also save YUGOSLAVIA! Ecological, economical, political YU
problems are big."
publication opportunities. Notice of activities by Giovanni Strada (Italy), Ken Friedman
(USA), John Held, Jr. (USA), John Marriott (Canada), Carroll Brooks (USA), Rea Nikonova
(USSR), Andrej Tisma (Yugoslavia), et al. "Well, here is OPEN WORLD n. 57, last one in
this hard 1990...We hope NO last one forever?...Of course, it depends of many things here:
if civil war don't happen soon, if we'll have enough money, if something or someone don't
stop our activity or make us dependence of political opinions... We just hope!"
publication opportunities. Notice of activities by Swami Nirmalananda (India), FaGaGaGa
(USA), Shozo Shimamoto (Japan), Gnther Ruch (Switzerland), Mayumi Handa (Japan), A-
1 Waste paper Company Ltd. (England), Tulio Restrepo (Columbia), et al.
No. 59 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "Yes, the war became in Persian
gulf, but also here (in some versions), and our appeals didn't have feed-back
communication. Here's new OPEN WORLD and new appeal- STOP THE WAR
everywhere!...Save YUGOSLAVIA! Think about the FUTURE." " Mail Art exhibition, project,
and publication opportunities. Notice of activities by Andrej Tisma (Yugoslavia), Andrzej
Dudek-Drer (Poland), Pascal Lenoir (France), Emilio Morandi (Italy), et al.
No. 60 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "The war in gulf stop and we hope
all over the world could be better next time...the situation here is till hard, so once again
our appeal: SAVE UNITED YUGOSLAVIA!! NEW ART COMMUNICATION STRATEGY could be
just in UNITED EUROPE, UNITED YUGOSLAVIA, UNITED WORLD." Mail Art exhibition,
project, and publication opportunities. Notice of activities by H. R. Fricker (Switzerland),
Anna Banana (Canada), Le Peintre Nato (France), Gerard Barbot (USA), Steve Random
(USA), Hans Braumller (Chile). Homages to the late G. A. Cavellini (Italy).
No. 61 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "No, civil war don't became in
Yugoslavia, besides some local accidents last time and some violent people...Wes till try to
save UNITED YUGOSLAVIA and you can help us with appeals to your
governments...Political/economical/national crisis isvery deep and hard, so we need
INTERNATIONAL UNDERSTANDING! HELP!" Mail Art exhibition, project, and publication
opportunities. Notice of activities by Lon Spiegelman (USA), Gyrgy and Julia Galntai
(Hungary), Mogens Otto Nielsen (Denmark). Kum Nam Baik (South Korea), Jonas
Nekrasius (USSR), Giovanni Strada (Italy), Peter W. Kaufmann (Switzerland), Vittore
Baroni (Italy), Jo Klaffki (West Germany), et al. Notice of the editors' book, "Art As
Communication".
No. 62 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "We live in some kind of CHAOS
and believe how civil car don't became, but about UNITED YU-we doubt it." Mail Art
exhibition, project, and publication opportunities. Notice of activities by Mayumi Handa
(Japan), Bob Kirkman (USA), Barry Edgar Pilcher (England), Jan De Boever (Belgium),
Svjetlana Mimica (Yugoslavia), Jenny De Groot, FaGaGaGa (USA), et al.
publication opportunities. Notice of activities by Johan Van Geluwe (Belgium), FaGaGaGa
(USA), Lon Spiegelman (USA), Shozo Shimamoto (Japan), H. R. Fricker (Switzerland),
Jean-Nol Laszlo (France), et al. "Slovania and Croatia should be separated very soon...In
this case probably very bad reactions in our Serbian people."
No. 64 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dark clouds circulate up of our
country, black birds doing bad job, Yugoslavia do not exist as before...and we're afraid
about the future, although the fact that we haven't (total) civil war, just accidents in
Croatia." Mail Art exhibition, project, and publication opportunities. Notice of activities by
Gianni Broi (Italy), John Held, Jr. (USA), Peter W. Kaufmann (Switzerland), Svjetlana
Mimica (Yugoslavia), Bob Kirkman (USA), Jaroslav Supek (Yugoslavia), Peter Kstermann
and Angela Phler (West Germany), Keith Bates (England), et al.
No. 65 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dear mail-art friends/networkers-
here's the WAR!...Real war with many died people, many destroyed homes, many tragic
individual and collective destinies/fates, thousands and thousands people left their homes
and coming here as refugees...Unfortunately, we haven't communication with Croatian m.
a. friends (if they stay our friends?), we haven't PTT and rest kind of normal
communications." Mail Art exhibition, project, and publication opportunities. Notice of
activities by Peter Kstermann (West Germany), Ruggero Maggi (Italy), Shozo Shimamoto
(Japan), Lon Spiegelman (USA), Jo Klaffki (West Germany), Mayumi Handa (Japan), John
Held, Jr. (USA), Ruud Janssen (Holland), et al. Networker Congress information.
No. 66 (1991). Photocopy. 8 1/4"x5 3/4". (12 pages). "We really tired of the bad news,
dramatic events, we need PEACE very much...but now new big problem: ISOLATION!
Economical/ political/ cultural...isolation of YU and our Serbian people." Mail Art exhibition,
project, and publication opportunities. Notice of activities by FaGaGaGa (USA), Ruud
Janssen (Holland), Swami Nirmalananda (India), Stephen Perkins (USA), Michael Fox (West
Germany), Gza Perneczky (West Germany), Jos Vanderbroucke (Belgium), et al. Poem
by Svjetlana Mimica (Yugoslavia), "The Hidden Face of War."
No. 67 (1992). Photocopy. 8 1/4"x5 3/4". (12 pages). "Dear mail-art friends/networkers-
we wish to all of you VERY HAPPY NETWORKER YEAR 1992. PEACE and LOVE!!! We hope
the war will STOP here and YUGOSLAVIA will stay OPEN and FREE. Mail Art exhibition,
project, and publication opportunities. Notice of activities by Andrej Tisma (Yugoslavia),
Peter Kstermann (West Germany), Daniel Plunkett (USA), John Held, Jr. (USA), Hazel
Jones and Michael Leigh (England), Luc Fierens (Belgium), Ruud Janssen (Holland), Bruno
Capatti (Italy), Csar Figueiredo (Portugal), et al.
No. 68 (1992). Photocopy. 8 1/4"x5 3/4". (12 pages). "YES, the war stop now (we hope
forever), but new big problem is extremely hard economical situation: some economists
say-till the end of 1992. Inflation should be 12,000-15,000%!!! CATASTROPHE!" Mail Art
exhibition, project, and publication opportunities. Notice of activities by Andrej Tisma
(Yugoslavia), Peter W. Kaufmann (Switzerland), Ruggero Maggi (Italy), Birger Jesch (East
Germany), Mark Bloch (USA), Luc Fierens (Belgium), Peter Kstermann and Angela Phler
(West Germany), et al. "Decentralized Worldwide Networker Congress 1992" information.
publication opportunities. Notice of activities by Bruno Chiarlone (Italy), Ruud Janssen
(Holland), Sofia Martinou (Greece), Andrej Tisma (Yugoslavia), Rod Summers (Holland),
Fernando Aguiar (Portugal), Ruggero Maggi (Italy), Crackerjack Kid (USA), Mirojlub
Todorovic (Yugoslavia), Jo Klaffki (West Germany), Pewal Petasz (Poland), et al. Networker
congress activities.
publication opportunities. Notice of activities by Vittore Baroni (Italy), Le Peintre Nato
(France), Peter Kstermann and Angela Phler (West Germany), Reid Wood (USA), Pascal
Lenoir (France), Peter W. Kaufmann (Switzerland), Crackerjack Kid (USA), Steve Random
(USA), et al. Manifesto resulting from the "Networker Congress in Baranja 1992," with
statements from Yugoslavian participants.
No. 71 (1992). Photocopy. 8 1/4"x5 3/4". (12 pages). "Networker Congress in Beograd
City" with Yugoslavian Mail Artists Jaroslav Supek, Aleksandar Jovanovic, Nenad
Bogdanovic, the editor, et al. Networker Congress in Dallas, Texas, organized by John Held,
Jr. (USA). "Networking Under Embargo," by Andrej Tisma (Yugoslavia). Mail Art exhibition,
project, and publication opportunities. Notice of activities by Marcel Stssi (Switzerland),
Fernando Aguiar (Portugal), De Decker Geert (Belgium), Pawel Petasz (Poland), Luc Fierens
(Belgium), et al. "We've made communications with Dragan Krizic from Sarajevo (ex mag.
Neue Urfor) and our opinion is how all three ethnic groups are guilty for this bloody/horror
war there..."
No. 72 (1992). Photocopy. 8 1/4"x5 3/4". (12 pages). "Besides thousand troubles
everyday, inflation of 21,000% (can you believe it!?), actual war in Bosna, economical
collapse, total blockade, NO-perspective for far future, collective paranoia, no essential
needs for normal life...-here's OPEN WO(R)LD no 72. So, we never closed to the world-the
world closed to YU." "Anti-Embargo Congress in Sremski Karlovci." Manifesto, "Deblockade
of Creativity," signed by nine Yugoslavian Networkers. News of other Networker
Congresses in California, Belgium, Italy, etc. Mail Art exhibition, project, and publication
opportunities. Notice of activities by Luc Fierens (Belgium), Jo Klaffki (Germany), Bruno
Capetti (Italy), Vittore Baroni (Italy), Ryosuke Cohen (Japan), et al.
No. 73 (1992). Photocopy. 8 1/4"x5 3/4". (12 pages). Dear friends/networkers, as you
know, 1992 was extreme hard year with war in Bosnia, total blockade of YU, million rest
troubles...In any case, we stay open and OPEN WORLD still exists..." visit by Peter
Kstermann and Angela Phler (Germany). Networker Congress at Villorba, Italy. Mail Art
exhibition, project, and publication opportunities. Notice of activities by Stephen Perkins
(USA), Rea Nikonova and Serge Segay (Russia), Dawn Redwood (England), Ruud Janssen
(Holland), Geert De Decker (Belguim), Clemente Padin, et al.
No. 74 (1993). Photocopy. 8 1/4"x5 3/4". (12 pages). "We are still alive and OPEN
WORLD is here! Please, COPY IT and CIRCULATE." "Networking Message from
Angela+Peter." Mail Art exhibition, project, and publication opportunities. Notice of
activities by Clemente Padin (Uruguay), Charles Franoise (Belguim), Sophia Martinou
(Greece), Aleksandar Jovanovic (Yugoslavia), Andrej Tisma (Yugoslavia), John Held, Jr.
(USA), Monty Cantsin (Canada), et al. "Try to understand how m. a. network is not only
free zone for artistic games! Write to us about it."
No. 75 (1993). Photocopy. 8 1/4"x5 3/4". (12 pages). "And we stay (inside/inner life)
OPEN WORLD, but UN, democratic Europe and rest treat us as PRISONERS!" Mail Art
exhibition, project, and publication opportunities. "Dreamtime Networker Congress-USA
'92." Notice of activities by Peter Kstermann (Germany), Ever Arts (Holland), FaGaGaGa
(USA), Nenad Bogdanovic (Yugoslavia), Shozo Shimamoto (Japan), et al.
No. 76 (1993). Photocopy. 8 1/4"x5 3/4". (12 pages). "And here's OPEN WOR(L)D no. 76
(No "Open World"!...it sounds ironic-John Held says)-in extreme hard situation when our
existence/life is in big danger..." Mail Art exhibition, project, and publication opportunities.
"Prevent Civilization Gangrene," by Andre Tisma (Yugoslavia). Notice of activities by Byron
Black (Indonesia), Aleksandar Jovanovic (Yugoslavia), John Held, Jr. (USA), Ruggero Maggi
(Italy), Klaus Rupp (Germany), Keith Bates (England), buZ blurr (USA), et al.
No. 77 (1993). Photocopy. 8 1/4"x5 3/4". (16 pages). Yugoslavian art activities, including
the program for the exhibition, "Open World-Open Mind," organized by the editor. Listing of
contributors to the exhibition. Mail Art exhibition, project, and publication opportunities.
Notice of activities by FaGaGaGa (USA) , Luce Fierens (Belgium), Mayumi Handa (Japan),
Gza Perneczsky (Germany), Ruggero Maggi (Italy), Mike Dyar (USA), et al.
No. 78 (1994). Photocopy. 8 1/4"x5 3/4". (12 pages). "Our life is a kind of slavery life,
we're still in strict blockade but we are out of war..." Contributor list for the exhibition
"Flying Up," at the Museum of contemporary Art, Beograd. Mail Art exhibition, project, and
publication opportunities. Notice of activities by Stephen Perkins (USA), Jaroslav Supek
(Yugoslavia), Ryosuke Cohen (Japan), John Held, jr. (USA), Andrej Tisma (Yugoslavia),
Peter Kstermann (Germany), Nenad Bogdanovic (Yugoslavia), Clemente Padin (Uruguay),
Sandor Gogoljak (Yugoslavia), et al.
No. 79 (1994). Photocopy. 8 1/4"x5 3/4". (12 pages). "...we produce & distribute with
help of our m.a. friends (Ruggero Maggi, Willie Marlow, Klaus Rupp, Emilio Morandi, Magda
Lagerwer, Montse Fornos...). "Anti-Embargo Performance," by Aleksandar Jovanovic
(Yugoslavia) and Sandor Gogoljak (Yugoslavia) in Novi Sad. Reprint of "Bibliozine" #20,
featuring "Open World" magazine. Mail Art exhibition, project, and publication
opportunities. Notice of activities by Jose Vandenbroucke (Belgium), Mogens Otto Nielsen
(Denmark), Michael Leigh (England), Peter Kstermann (Germany), Fulgos Silvi (Italy),
Ruud Janssen (Holland), et al.
No. 80 (1994). Photocopy. 8 1/4"x5 3/4". (16 pages). "In Yugoslavia coming better
times, hyperinflation stop and we wish and hope deblockade will coming soon too." Anti-
embargo activities by Yugoslavian networkers, including Jaroslav Supek, Sandor Gogoljak,
Nenad Bodganovic, Andrej Tisma, Miroljub Todorovic, the editor, et al. Mail Art exhibition,
project, and publication opportunities. Notice of activities by Lloyd Dunn (USA), Sumiko
Miuzaki (Japan), Stephen Perkins (USA), Pere Sousa (Spain), Tulio Restrepo (Columbia),
Michael Lumb (England), et al.

No. 81 (1994). Photocopy. 8 1/4"x5 3/4". (16 pages)."Indian-German Art Workshop," by
Peter Kstermann (Germany) and Byron Black (Indonesia). Yugoslavian "Anti-Embargo"
performances. Mail Art exhibition, project and publication opportunities. Notice of activities
by Shozo Shimamoto (Japan), Abelardo Mena (Cuba), Aleksandar Jovanovic (Yugoslavia),
Rod Summers (Holland), Clemente Padin (Uruguay), Emilio Morandi (Italy), John Held, Jr.
(USA), et al.
No. 82 (1994). Photocopy. 8 1/4"x5 3/4". (16 pages). "Besides the fact that UN
suspended cultural embargo to YU we feel it de facto...But, special person (our favorite
networker!), an hero in intern. network is John Held, Jr., our very dear guest here last days
of October 1994...He's first foreign networker who visited us after Angela+Peter
Netmail/Kstermann 1992." Mail Art exhibition, project and publication opportunities.
Notice of activities by Emilio Morandi (Italy), Michael Leigh (England), Michael Lumb
(England), Andre Tisma (Yugoslavia), Teresinka Pereira (USA),
Keiichi Nakamura (Japan), et al.
No. 83 (January 1995). Photocopy. 8 1/4"x5 3/4". (16 pages). "...ten years of OPEN
WORLD (1st issue was been published 1985)." Death of Yugoslavian Mail Artist Slavko
Matkovic. Anti-Embargo performance activities of John Held, Jr. with Yugoslavian
networkers in Beograd. Mail Art exhibition, project and publication opportunities. Notice of
activities by Juhani Takalo-Eskola (Finland), Ubaldo Giacommucci (Italy), M. B. Corbett
(USA), Anna Boschi (Italy), Svjetlana Mimica (Croatia), et al.
No. 84 (1995). Photocopy. 8 1/4"x5 3/4". (16 pages). Mail Art exhibition, project and
publication opportunities. Homages to Ray Johnson (USA). Notice of activities by Klaus
Rupp (Germany), Filimir (Yugoslavia), Jas. Felter (Canada), Peter Kstermann (Germany),
Ruggero Maggi (Italy), Darko Vulic (France), Shozo Shimamoto (Japan), et al.
No. 85 (1995). Photocopy. 8 1/4"x5 3/4". (16 pages). "YU Mail Art Exhibition" at Museum
of Modern Art, Beograd. Belgian Mail Artists gather at Guy Bleus' artistamp exhibition. Mail
Art exhibition, project and publication opportunities. Notice of activities by Picasso Gaglione
(USA), Ruud Janssen (Holland), Ryosuke Cohen (Japan), Crackerjack Kid (USA), Keith
Bates (England), et al.
No. 86 (1995). Photocopy. 8 1/4"x5 3/4". (16 pages). "We've been in big dilemma: STOP
with OPEN WORLD, after 10 years of activity and 85 issues, or CONTINUE? WHY?...Firstly,
we don't feel (and open your eyes, please!) free and open people as before...and loose a
part of our cosmopolit feelings in the finish of wartime into former Yugoslavia. After NATO
air-forces attacks vs. Serbs...ON another hand, some ours networking friends, real friends
(John Held Jr., Jos VD Broucke, Ruud Janssen...) would like new OPEN WORLD
issues...So, YES, we continue our OW activity as 'OPEN WOR(l)D'!'L'=liberty is loose as
long as sanctions vs YU will stay." Open letter from Andre Tisma (Yugoslavia) to Jos Van
Den Broucke (Belgium). Mail Art exhibition, project and publication opportunities. Notice of
activities by Nenad Bogdanovic (Yugoslavia), Ruud Janssen (Holland), Anna Boschi (Italy),
Swami Nirmalamanda (India), Ashley Parker Owens (USA), Klaus Rupp (Germany),
Miroljub Todorovic (Yugoslavia), et al.
No. 87 (1996). Photocopy. 8 1/4"x5 3/4". (16 pages). Announcement of a new project by
the editor, "Visions of New Era=New Art=Open World." Mail Art exhibition, project and
publication opportunities. Notice of activities by Miroljub Todorovic (Yugoslavia), Keiichi
Nakamura (Japan), Birger Jesch (Germany), Darko Vulic (Switzerland), Artpool (Hungary),
Crackerjack Kid (USA), Dragan Nesic (Yugoslavia), et al.
No. 88 (April 1996). Photocopy. 8 1/4"x5 3/4". (16 pages). "Yugoslavian Networkers"
exhibition at Stamp Art Gallery, San Francisco. Visual Poetry Festival in Mexico. "In
Memoriam Guillermo Deisler," by Clemente Padin (Uruguay). Mail Art exhibition, project
and publication opportunities. Notice of activities by Ruud Janssen (Holland), Luc Fierens
(Belgium), Gerard Barbot (USA), Edgardo-Antonio Vigo (Argentina), Scott McLeod (USA),
Rea Nikonova (Russia), et al.
No. 89 (June 1996). Photocopy. 8 1/4"x5 3/4". (16 pages). Notice of activities by
Yugoslavian networkers. Participant list for "The First International Festival of Experimental
Poetry and Expanded Art Media," Beograd. First Pacific Rim Artistamp Congress," San
Francisco, California. "Mail Art as Means of Survival Under Communism," by Peter
Kstermann (Germany). Mail Art exhibition, project and publication opportunities. Notice
of activities by Andrej Tisma (Yugoslavia), H. R. Fricker (Switzerland), Clemente Padin
(Uruguay), Jos Vanderbroucke (Belgium), Serge Segay (Russia).
No. 90 (1996). Photocopy. 8 1/4"x5 3/4". (16 pages). "We're still in hard
economical+social situations! Besides the fact that UN sanctions vs. YU suspended (but
we're still out of UN and many intern. organizations)." Mail Art exhibition, project and
publication opportunities. Notice of activities by Klaus Rupp (Germany), Diane Bertrand
(Canada), Rea Nikonova and Serge Segay (Russia), Darko Vulic (Switzerland), Saho
Tanaka (Japan), et al.
No. 91 (1996). Photocopy. 8 1/4"x5 3/4". (16 pages). "Fluxfest 96" in San Francisco,
California. Visual Poetry Festival in Mexico with Dick Higgins (USA), Clemente Padin
(Uruguay), Emilio Morandi (Italy), Giovanni Strada (Italy), Edgardo-Antonio Vigo
(Argentina), Klaus Groh (Germany), et al. Death of Pat Larter (Australia). Mail Artists Mail
Art exhibition, project and publication opportunities. Notice of activities by Pawel Petasz
(Poland), Simon Baudhin (Belgium), H. R. Fricker (Switzerland), Dmitry Bulatov (Russia),
Anna Boschi (Italy), Emilio Morandi (Italy), Artpool (Hungary), et al.
No. 92 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). "...in this issue of OW you can see
why our idea of OPEN WORLD still exist and what we expect from the networkers all over
the world..." Mail Art exhibition, project and publication opportunities. Notice of activities
by Shozo Shimamoto (Japan) and Le Peintre Nato (France), Guy Bleus (Belgium),
Tartarugo (Spain), Peter Kstermann (Germany), Hans Braumller (Chile), Ruud Janssen
(Holland), Gik Juri (Russia), Darko Vulic (Switzerland), Shigeru Tamaru (Japan), Miroljub
Todorovic (Yugoslavia), Stephen Perkins (USA), et al.
No. 93 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). "Dobrica Kamperelic: Open World,"
exhibition at the Stamp At Gallery, San Francisco, California. Mail Art exhibition, project
and publication opportunities. Notice of activities by Le Peintre Nato (France), Emilio
Morandi (Italy), Kees Francke (Holland), Tartarugo (Spain), Nenad Bogdanovic
(Yugoslavia), Michael Fox (Germany), Dmitry Bulatov (Russia), Filimir (Yugoslavia), et al.
No. 94 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). Mail Art exhibition, project and
publication opportunities. Notice of activities by Ruggero Maggi (Italy), Nastic Zoran
(Yugoslavia), Andrej Ksrbinek (Slovenia), Jo Klaffki (Germany), Barry Edgar Pilcher
(Ireland), Franco Santini (Italy) and Raimondo Del Prete (Italy), Shozo Shimamoto
(Japan), Henning Mittendorf (Germany), Fernando Aguiar (Portugal), Pete Spense
(Australia), Francis Fan Mail (Luxembourg), et al.
No. 95 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). "Art-life here is really dynamic and
interesting, many new interesting artists make phantastic projects and art-actions, so
come here and enjoy it! We are ready for cooperative art-projects and actions..." Death of
Jo Klaffki (aka Joki mail Art) (Germany). Mail Art exhibition, project and publication
opportunities. Notice of activities by Pere Sousa (Spain), Keiichi Nakamura (Japan),
Clemente Padin (Uruguay), Marina Abramovic (Holland), Wilfred Nolde (Germany), Shozo
No. 96 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). "Besides many troubles here, art-
life is really attractive and that's reason for your visit and cooperative art-actions with us,
isn't it?" Death of Mail Artist Marcel Stssi (Switzerland). "Perfo-Media Festival," organized
by Emilio Morandi (Italy). Meeting of Belgian Mail Artists. Mail Art exhibition, project and
publication opportunities. Notice of activities by Jos Vanenbroucke (Belgium), Shozo
Shimamoto (Japan), Darko Vulic (Switzerland), Peter Kstermann (Germany), Clemente
Padin (Uruguay), Seiko Miyzaki (Japan), et al.
No. 97 (1997). Photocopy. 8 1/4"x5 3/4". (16 pages). "Here's last issue of OPEN WORLD
in 1997...Yes, better times must became next year, optimism never fall away in our mind
besides permanent crisis here, had economical+social situation." Vittore Baroni (Italy)
coordinates "Incongruous Meetings 1998." Publication of "Arte Postale," by Vittore Baroni.
Mail Art exhibition, project and publication opportunities. Notice of activities by Zlatko
Krstevski (Macedonia), Kam Nam Baik (South Korea), Ruud Janssen (Holland), Luc Fierens
and Annina Van Sebroeck (Belgium), Reika Yamamoto (Japan), Chuck Stake (Canada),
Clemente Padin (Uruguay), Pascal Lenoir (France), Peter Kstermann (Germany).
No. 98 (1998). Photocopy. 8 1/4"x5 3/4". (16 pages). "Hm. we hadn't the slightest idea
that so much people/networkers show interests for our "Open World' all over the
world...So, lets celebrate 'Open World' no. 100 at NUBS Gallery TOGETHER this summer."
Death of Edgardo-Antonio Vigo (Argentina). Mail Art exhibition, project and publication
opportunities. Notice of activities by Harry Burras (USA), Wilfred Nold (Germany), Pete
Spense (Australia), Dawn Redwood (England), Csar Espinosa (Mexico), Pawel Petasz
(Poland), John Held, Jr. (USA), Joe Decie (England), La Toanvinh (Canada), Artpool
(Hungary), Luc Fierens (Belgium), et al.
No. 99 (1998). Photocopy. 8 1/4"x5 3/4". (16 pages). "Probably you got news about
problems in Kosovo, extreme southern-part of Serbia?...And we must say how we're, once
again, disappointed with UN and intern. factors who help Albanians and close the eyes with
Serbian problems. WHY!?" Reprint of review of "Open World" from Factsheet Five." Mail Art
exhibition, project and publication opportunities. Notice of activities by Ruud Janssen
(Holland), Barry Edgar Pilcher (Ireland), Manfred Vani Stirnemann (Switzerland), Dmitry
Bulatov (Russia), Claudia Ptz (Germany), Magda Lagerwerf (Holland), Lois Klassen
(Canada), Michael Lumb (England), John Held, Jr. (USA), Eugenio Miccini (Italy), Henning
Mittendorf (Germany), et al.
No. 100 (1998). Photocopy. 8 1/4"x5 3/4". (16 pages). "Dear friends/networkers all over
the world. YES, here's 'OPEN WORLD' no. 100! Seth Friedman told the truth: "Nothing
stops 'OPEN WORLD'-not war, UN imposed cultural embargo, editors' personal health or
financial depravation'...Also actual situation here, problems with Kosovo (world mass-
media-mad-machine always made wrong infor, turn upside dawn (sic) the truth), ignorance
by UN, intern. organizations, but some networkers too.../ So, our project 'OPEN WORLD-
VISIONS OF NEW ERA' is dedicated to problems of Global World (Unus Mundus) and visions
of New Era with immensely fat layer of superstitions and taboos, with all attributes that
make it what is or just with indications of all that could create it: World without boundaries,
human gene...the end of history...trans-national institutions and multinational
corporations, global transport, informatic society, World communication system, the Great
Unification of Cosmic Powers, bioengineering, fractals and holograms, techo-fetishism+
digital revolution, ecological balance + greenhouse effects, multiculturalism and open
(international) art cooperation etc. etc." Contributor list for the exhibition "Open World-
Visions of New Era," at Galerija NUBS, Beograd. "Incongruous Meetings 1998." Mail Art
exhibition, project and publication opportunities. Notice of activities by Miroljub Todorovic
(Yugoslavia), Renata and Giovanni Strada (Italy), Georg Lipinsky (Germany), Pete Spence
(Australia), Clemente Padin (Uruguay), Antonio Miro (Spain), Michael Dittman (USA), Luc
Fierens (Belgium), et al.
No. 101 (1998). Photocopy. 8 1/4"x5 3/4". (16 pages). "Dear friends/networkers all over
the world, this is NOT, as you expect, OPEN WORLD no. 101-it is OPEN WORD no. 1!!! So,
we closed our OPEN WORLD, maybe FOREVER!!! WHY??? Many reasons...but MOST
IMPORTANT is because next days we expect (we, SERBS, sky-people, always
victims...under Turkey 500 years!...then Austro-Ungarian (empire), Germans...now NEW
WORLD ORDER-what kind of farce with NEW WORLD ORDER. (UN today, USA, NATO, etc.)
strong (strongest!) attack by NATO air-forces (someone says-430 airplanes, F-16,
Tornados etc., than tomahawks-rockets...etc. V.S. Yugoslavia!!!...In any case, don't forget
us, OPEN WORLD, our ideas and actions..." "In Memoriam Joki," by Peter Kstermann
(Germany). Mail Art exhibition, project and publication opportunities. Notice of activities by
John Held, Jr. (USA) and Bill Gaglione (USA), Monty Cantsin (Canada), Dmitry Bulatov
(Russia), Dragean Nestic (Yugoslavia), Crackerjack Kid (USA), Clemente Padin (Uruguay),
Lothar Trott (Switzerland), Anne Boschi (Italy), Tartarugo (Spain), Giovanni Strada (Italy),
Hans Braumller (Germany), Merlin (Germany), Luc Fierens (Belgium), et al.
No. 102 (1998). Photocopy. 8 1/4"x5 3/4". (16 pages). "We wish to all of you Merry
Christmas and very happy 1999.!!! Le fin du Siecle is just near, we still dreaming an real
OPEN WORLD, world without borders, but also world without poorless, sufferings, sorrow,
humility, false promises...but the world with any progress, wholeness, wisdom, goodness,
happiness!! OK? Is it only utopia or reality soon???" Visit of Giovanni and Renata Strada
(Italy) and Emilio Morandi (Italy), for Incongruous Meeting. Mail Art exhibition, project and
publication opportunities. Notice of activities by Guy Bleus (Belgium), Annina Van Sebrouck
and Luc Fierens (Belgium), Vittore Baroni, Jos Vandenbroucke (Belgium), Dmitry Bulatov
(Russia), Tartarugo (Spain), Christian Allee (France), Wilfred Nold (Germany), Grace
Wahnich (Argentina), et al.
No. 103 (1999). Photocopy. 8 1/4"x5 3/4". (16 pages). "So, all our ideals, feelings about
international friendship and art-cooperation, global ideas etc. nowadays are in the darkness
of so-called interests of NEW WORLD ORDER with 'leaders in the shadow'...SORRY...we
hope that you understand us in very special situation here because many worst things
could happen in next weeks...Your support WELCOME JUST NOW!" Mail Art exhibition,
project and publication opportunities. Notice of activities by Darko Vulic (Switzerland),
Erifili Dimitriadow (Greece), Carsten Schmidt Olsen (Denmark), Lancillotto Bellini (Italy),
Gogolyak Sandor (Yugoslavia), Peter and Angela Netmail (Germany), Anna Banana
(Canada), Anna Boschi (Italy), et al.
New Series No. 3 (2000). Photocopy. 8 1/4"x5 3/4". (20 pages). Titled, "Obscure Open?
World," "Yugoslavia still are under the sanctions of UN and Europe Unia-after horrible
bombing by NATO air-forces 79 days-also occupation of Kosovo, oldest part of Serbia...So
how we can be OPEN WORLD besides our cosmopolitanism, internacialism, hospitality, etc.
etc.. Let us know!" "The future of Mail Art 2000: Vision-Utopia-Desires-Perspective," by
Angela and Peter Netmail (Germany). Mail Art exhibition, project and publication
opportunities. Notice of activities by Andrej Tisma (Yugoslavia), Clemente Padin (Uruguay),
Luc Fierens (Belgium), Stephen Perkins (USA), Alan Turner (England), Emilio Morandi
(Italy), Joe Decie (England), et al.
New Series No. 4 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled," Offer Open
World." "Here's OOW no. 4 and you are almost bound that this issue is really
amazing+exciting! We wouldn't just turn upside down your opinions about war and artistic
actions, peaceful activity, buy you'll read on following pages of OW 4 some important
aspects about it, our sense of responsibility for the future of World in New Millenium, our
experiences during wartime here and around, but also start of our dispute/debate with
Steve Perkins...He's old, good friend, he has , of course, his own opinions about situation
here and what's happened...so it is OK, but...but he lives so far from here, he hasn't real
INFO, he couldn't feel the same because he hasn't be under our skin during bombing etc.
etc." Open letter to Stephen Perkins (USA) by the editor. Mail Art exhibition, project and
publication opportunities. Notice of activities by Barry Edgar Pilcher (Ireland), Peter
Kstermann (Germany), Merlin (Germany), Giovanni and Renata Strada (Italy), Pascal
Lenoir (France), et al.
New Series No. 6 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "Overt Open
World." "After 103 issues of 'Open World' and new series of OOW (5 issues), we continue
our art-communication with this latest issue of OOW." Deaths of David Cole (USA) and
Harry Fox (England). Mail Art exhibition, project and publication opportunities. Notice of
activities by De Decker Geert (Belgium), Clemente Padin (Uruguay), Alan Turner (England),
Ginger Mason (Switzerland), Teresinka Pereira (USA), Marilyn Dammann (USA), Tartarugo
(Spain), et al.
New Series No. 7 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "Owwn Open
World." editor mentions his upcoming trip to Minden, Germany, and the troubles to obtain
a visa. Mail Art exhibition, project and publication opportunities. Notice of activities by
Christa Behmenburg (Germany), Antonio Sassu (Italy), Bill Gaglione (USA), Ruud Janssen
(Holland), Milja Rantanen (Finland), Loco (Japan), Guido Vermeulen (Belgium), Clemente
Padin (Uruguay), Pascal Lenoir (France), et al.
New Series No. 8 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "OP!?TI MYSTIC
Open World." "Well Filimir and me/Dob. we get German VISA, at last, and will coming to
MINDEN (M. A. Mekka) 8th September to contribute into great Angela+Peter Netmail
project 2000...during our stay there, in Minden, we'll try to explain all friends/networkers
real situation here...and what's really happened last ten years until destruction of former
YU." Mail Art exhibition, project and publication opportunities. Notice of activities by
Giovanni and Renata Strada (Italy), Peter Kstermann (Germany), John Held, Jr. (USA),
Keith Bates (England), Csar Reglero (Spain), Antonio Sassu (Italy), et al.
New Series No. 9 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled "Offhand Open
World." Dear friends/networkers ALL OVER THE WORLD, here's ours (yours too!) O O W
no. 9 with very fresh news, but firstly the news about extraordinary TIME of CHANGE
multimedia-art festival in well-known, MINDEN-M.A. MEKKA (Germany) realized 6-12
September 2000...We've been just happy to meet our old m.a. friends: Angela+Peter
NETMAIL, Renata+Giovanni StraDADA, John Held Jr., Annina+Luc Fierens, Dr. Klaus Groh,
Pawel Petasz, Dawn Redwood, Gert De Decker, Angela+Henning Mittendorf..." Photo
documentation of Minden Festival. Mail Art exhibition, project and publication opportunities.
Notice of activities by Loco (Japan), Dimitry Bulatov (Russia), et al.
New Series No. 11 (2000). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "On Site Open
World Magazine." "Besides the fact that our flats are cold in winter time, that our
economical+social situation is very hard , besides many actual troubles...we are not
pes(s)imists we didn't take no notice to all aspects of our reality, we never stop dreamin'
and wishin' about better times, nice travels = new meeting with friends all over the
world...It turned out to be solution for existence in terrible time pass 10 years, in stuffy,
sad, fully crazy situation after destruction of former Yugoslavia, silly strokes by our ex
leaders and misunderstanding from World Unity. But, no one can back those years to us!
It's loose forever. Never mind, enjoy O O W no.11 with very fresh news, invitations for
many new projects, reports from art-events, meetings etc. etc. All the best! Welcome to
Democratic Yugoslavia!" Text from "Time of Change" address in Minden, Germany, by
Henning Mittendorf (Germany). Mail Art exhibition, project and publication opportunities.
Notice of activities by David Dellafiora (Australia), Peter Kstermann (Germany), Gianni
Simone (Japan), Patricia Collins (England), Michael Fox (Germany), De Decker Geert
(Belgium), et al.
New Series No. 12 (2001). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "Oddly Open
World." "Last news, JUST this moment on our TV-3 Serbian policemen killed by Albanian
terrorists today, 18th February... and they start offensive v.s. Serbs, spring offensive!
please, open your eyes! Lets us STOP terrorists in our country!!" Mail Art exhibition, project
and publication opportunities. Notice of activities by Tulio Restrepo (Columbia), Bill
Gaglione (USA), Lother Trott (Switzerland), Nikola Sindik (Yugoslavia), Clemente Padin
(Uruguay), Anna Boschi (Italy), Emilio Morandi (Italy), Dragonfly Dream (USA), Ruggero
Maggi (Italy), John Held, Jr. (USA), Vittore Baroni (Italy), et al.
New Series No. 13 (2001). Photocopy. 8 1/4"x5 3/4". (18 pages). Titled, "Oops Open
World Magazine." "Mr. Milosevic, our ex-president is arrested..." Announcement of special
issue of "Kairan" magazine on the Balkans. Mail Art exhibition, project and publication
opportunities. Notice of activities by Giovanni Strada (Italy), Barry Edgar Pilcher (Ireland),
Keith Bates (England), Loco (Japan), Henning Mittendorf (Germany), et al.
New Series No. 14 (2001). Photocopy. 8 1/4"x5 3/4". (16 pages). Titled, "Oracle? Open
World Magazine." "The situation here after Milosevic's sending consignment to Hague is
very exciting, many protests, many glowing feelings...But, our social and economical
situation is of the worst sort in Europe. Besides democratic changes and promises of so-
called World Unity about help noting special happened..." Mail Art exhibition, project and
publication opportunities. Notice of activities by John Held, Jr. (USA), Vittore Baroni (Italy),
Henning Mittendorf (Germany), Reed Altemus (USA), Ryosuke Cohen (Japan), Gianni
Simone (Japan), Clemente Padin (Uruguay), Peter Kstermann (Germany), Filimir
(Yugoslavia), David Alvey (USA), Simon Baudhuin (Belgium), Darko Vulic (Switzerland),
Anna Boschi (Italy), Antonio Sassu (Italy), et al.

Opuntia. Dale Speirs, Editor. Calgary, Canada. 1995-2001.
No. 23 (February 1995). Photocopy. 8 1/2"x5 1/2". 16 pages. "This is the 50th issue of
OPUNTIA since #1 rolled off the photocopier in March 1991> Officially this zine is still an
irregular (that way I can't be held to blame if an issue is late) but unofficially I've been
getting enough material to come out monthly. OPUNTIA is mostly living up to the ideals I
had in mind when I began it: to document Canadian fanhistory, who write about
economics, politics, and anything else I want to preach, and as a means of positive
expression, to get me out of a negative outlook on life and doing something constructive
instead."
No. 24.1 (July 1995). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," includes a
review of "Global Mail." "Zine Beginnings," by the editor.
No. 25 (September 1995). Photocopy. 8 1/2"x5 1/2". 16 pages. "Mail Viruses," by the
editor, discusses chain letters.
No. 26 (October 1995). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 26.1 (November 1995). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
including reviews of "Global Mail," "Drift," and "Lime Green News." "But Is It Art?" reviews
"Eternal network: A Mail Art Anthology," by Chuck Welch (USA). "I've been too busy in
zinedom to become involved in mail art, but have always kept the thought in the back of
my mind that some day I'll start cranking out the decorated envelopes and weird stuffers.
Part of my interest comes from my philatelic side, as mail art is much more artistic than
those boring cachets the average philatelist produces. Mail art is intended to bypass the art
gallery system, where art is a commodity, in favour of exchanging art the way zines are
traded..."
No. 26.5 (Saturnalia 1995). Photocopy. 8 1/2"x5 1/2". 12 pages. Per-zine issue.
No. 27.1 (February 1996). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," include
reviews of "Drift," "Bibliozine," and "Global Mail." "Zines as Psychotherapy." Letter from
Chuck Welch (USA) in regard to a review of "Eternal Network: A Mail Art Anthology." "I
think mail art as snail mail will calcify before the end of this decade. The future of mail art
is e-mail art. many artists hate the idea because e-mail isn't as tactile. They miss the point
entirely; mail art is...about art as communication. Mail art is about process as concept and
content. When it stops being that, it will be commodified."
No. 28.1A (May 1996). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," including
reviews of Lime Green News," "Bibliozine," and "Netshaker."
No. 28.1B (July 1996). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," including
reviews of "Global Mail," "Bibliozine," "Lime Green News," and ""The Luther Blissett
Project." "U 2 Can Detourne Things," by the editor. Correspondence from Chuck Welch
(USA). "I think some purists in the mail art fossils net might give you real shit about
judging mail art zines."
No. 28.5 (August 1996). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 29 (October 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Round Robins: A
Preliminary History," by the editor. "A round robin (RR) is a circulating packet of letters of
zines, each participant adding their contribution as it comes round and removing the
previous one." Letter by John Held, Jr. (USA).
No. 29.1 (November 1996). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes reviews of Bibliozine," "Global Mail," and "Rubberstampmadness." Review of the
book, "Zines! Vol. 1," by V. Vale.
No. 29.2 (December 1996). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 8 pages.
"Subject Index to Opuntia #1 to #29.1," compiled by the editor.
No. 29.5 (January 1987). Photocopy. 8 1/2"x5 1/2". 8 pages. Notice of correspondence
with Andrea Ovcinnicoff (Italy).
No. 31 (Early March 1997). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 31.1 (Ides of March 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
including reviews of "Bibliozine," "RE:ACTION," "Lime Green News," and "London
Psychogeographical Association Newsletter." "Stewart Home Considered as a Trekkie," by
the editor.
No. 32 (Late March 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "Hektographs and Damp
Leafs: Cutting-Edge Technology," by the editor.
No. 33 (May 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. Includes a "Underground
Chain," as an enclosure.
No. 33.1 (June 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," includes
reviews of "London Psychogeographical Association Newsletter," Factsheet Five," and
"Brain Cell."
No. 33.5 (July 1997). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 34 (August 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "The origin of Rubber
Stamps," by the editor. "A Brief History of Rubber Stamp Art," by John Held, Jr. (USA).
No. 34.1 (September 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes reviews of "Global Mail," Tabloid Trash," and "Collection Art Terre."
No. 34.5 (October 1997). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 35 (November 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. Letters refer to John
Held, Jr.'s article on rubber stamp art.
No. 35.1 (December 1997). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes reviews of "Lime Green News," "Proud Cray," and "RE:ACTION." Review of books
on zines. Commentaries on "Brain Cell," and "Artist Trading Cards."
No. 35.5 (January 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. History of Canadian
postal strikes.
No. 36 (February 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "More About Hetographs,"
by the editor.
No. 37 (March 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "Public Letter Writers," by the
editor.
No. 37.1 (April 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings" includes
reviews of "Bibliozine," "Historians Anonymous," and "Assembling zines," by Stephen
Perkins (USA). "Zine Zines," comments of review zines such as "Factsheet Five," and
"Global Mail."
No. 38 (June 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "The Urban Legend of a Million
Stamps," by the editor.
No. 38.2 (May 1998). Photocopy. 8 1/2"x5 1/2". 8 pages. "Up until now, the few x.2
issues of this zine have been for indexes of OPUNTIA. I have begun to compile indexes of
other zines in my collection, and this issue is the first in that effort."
No. 39 (July 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "For some time now I've been
working on what is shaping up to be a book-length manuscript on invisible postal history,
things like public letter writers, round robins, and chain letters. This issue has an extract
from the latter subject, and in future issues I'll have accounts of the dying child postcard
chain, prayer letters, and other aspects of the chain letter..."
No. 39.5 (August 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine issue.
No. 40 (September 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "Modern Chain Letters,"
by the editor.
No. 40.1 (October 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," includes
reviews of "Bibliozine," "Lime Green News," "Subspace International Zine Show," and
"Artistamp News."
No. 40.2 (Early November 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Cumulative
Subject index to OPUNTIA #1 to #40.1," compiled by the editor.
No. 40.5 (Late November 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. Results of "The
Worldwide Party," a project advocated by the editor.
No. 41 (December 1998). Photocopy. 8 1/2"x5 1/2". 16 pages. "I've been flattered by
several requests in the last few months for back issues of OPUNTIA. Alas, I cannot offer
any, as I only print enough for the current mailing list, usually 100 copies." "Fragments for
a History of APAS," by the editor.
No. 41.1A (January 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," includes
reviews of "Brain Cell," "Bibliozine," and RE:ACTION."
No. 41.1B (February 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes reviews of "Brain Cell," "Numero," and "London Psychogeographical Association
Newsletter."
No. 41.1C (March 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings." Enclosed
letter requesting article on Mail Art.
No. 41.1D (April 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," incudes a
review of "The E-Mail Interview with Guy Bleus."
No. 41.5 (May 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine issue.
No. 42 (June 1999). Photocopy. 8 1/2"x5 1/2". 16 pages.
No. 42.1 (July 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings" includes
reviews of "Numero," "Bibliozine," "RE:ACTION," and "Global Mail."
No. 42.5 (Stampede 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 43.1A (Late August 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes a review of "Popular Reality."
No. 43.1B (September 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listing,"
includes a review of "Anna's Banana Bulletin." Review of the book, "L'Arte Del
Timbro/Rubber Stamp Art," by John Held, Jr. (USA). "The field is still growing today and
splintering, such as SF and philately did. at one time SFers all read the same books and
magazines; now they are hopelessly fragmented into hundreds of sub-fandoms. philatelists
used to all be worldwide issue collectors, now most of them don't even collect all their own
country. Rubber stamping went from Dada to young moms into scrapbooking and greeting
cards, with no knowledge of what went on before. RUBBERSTAMPMADNESS is now full
colour, a thick, matronly magazine packed with ads./But Held is more concerned with the
mail art end of it. After his introductory history sets the stage, he then discusses quite a
number of mail artists, using them to illustrate the trends in rubber stamping in the avant
garde. Samples of their works are abundant throughout the book. Certainly an excellent
overview of the field..."
No. 43.5 (October 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 44 (November 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. Discussion of Science
Fiction fandom.
No. 44.1 (December 1999). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes a review of "Kreuz-Akttionen."
No. 44.1B (January 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings," includes
reviews of "Historians Anonymous," "Numero," and "Popular Reality." "Mail Art Listings"
includes project and publication opportunities. Book reviews of "The Assault on Culture"
and "The Festival of plagiarism," by Stewart Home (England). Review of "Smile Classified,"
by Simon Ford (England). "Mail Art-Brain Cell-Fractal," by Ryosuke Cohen (Japan).
No. 44.1C (February 2000). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 16 pages.
No. 44.1D (March 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings" includes
reviews of "Mani Art," "Popular Reality," and "Artistamp News." "Mail Art Listings" includes
project and publication opportunities.
No. 45.1 (June 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Letters to the editor
comment on Mail Art. "Zine Listings," includes a review of "Shouting at the Postman." "Mail
Art Listings," include project and publication opportunities. "Statistics-Zines Received,"
includes number of zines collected by Robert Lichtman (1987-1998) and the editor (1998-
1999). "The lament that zinedom is dying and the papernet ain't what it used to be doesn't
seem justified." The editor received a total of 364 zines in 1999.
No. 45.5 (July 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 46 (Early August 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. "The History of Art
Trading Cards: A Collaborative Cultural performance," by M. Vanci Stirnemann
(Switzerland). "artist Trading Card information," by Don Mabie a.k.a. Chuck Stake
(Canada).
No. 46.1 (Late August 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings,"
includes reviews of "Kreuz Aktionen 2000," and "Popular Reality." "Mail Art Listings" include
exhibition, project and publication opportunities.
No. 46.5A (September 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 46.5B (Late October 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 46.5C (November 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Letters on "The
Worldwide Party." Artist trading card by Chuck Stake (Canada).
No. 46.5D (December 2000). Photocopy. 8 1/2"x5 1/2". 16 pages. Noted
correspondence from Picasso Gaglione (USA) and Diane Bertrand (Canada). Per-zine.
No. 47 (January 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. "Fun With Parcels," by the
editor.
No. 47.1A (February 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. "Mail Art Listings"
include exhibition, project and publication opportunities. "Canada post Regulations: Non-
mailable matter Regulations Relating to Philately and Mail Art," by the editor. "Zine
Listings," includes a review of "Anna Banana's Bulletin."
No. 47.1B (March 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. "This issue of OPUNTIA is
the 124th issue published and the 10th anniversary of the premiere issue in March
1991...How do I keep up the frequency? Firstly, I don't have a television set..." "Zine
Listings," includes reviews of "Popular Reality," and "The Ratty's Gazette." "Mail Art
Listings," include exhibition, project and publication opportunities.
No. 47.5 (April 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. Letters to the editor by
Dianne Bertrand (Canada) and Ken Miller (USA).
No. 48 (May 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. "The Mails Versus Animals," by
the editor.
No. 48.1A (June 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. Letter to the editor by Anna
Banana (Canada). "Mail Art Listings" include exhibition, project and publication
opportunities. "Zine Listings" include a review of "Kreuz-Aktionen 2001."
No. 48.1B (July 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. "Zine Listings" include
reviews of "Anna Banana Bulletin," and "Fake Emperor"(a collaboration by John Held, Jr.
(USA) and Keiichi Nakamura (Japan). "Mail Art Listings" include exhibition, project and
publication opportunities. Review of "Jean Baudrillard and the Psychogeography of
Nudism," by Stewart Home (England}.
No. 48.5A (August 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. Per-zine.
No. 50 (December 2001). Photocopy. 8 1/2"x5 1/2". 16 pages. Correspondence received
from Pascal Lenoir (France), John Held, Jr. (USA), Anna banana (Canada). "Postal
Problems: Cranks and Circulars," by the editor. "Shadowland and Rubberwork," by Don
Mabie (aka Chuck Stake, Canada). "I have been employing rubber stamps in the
production of artworks for some twenty years. I originally became aware of the medium
through my involvement with correspondence/mail art. My commitment to both
correspondence/mail art and rubber stamps (as a medium or process of production) came
through their direct philosophical associations with the Dada and Fluxus movements..."
"Great Moments in the History of Mail Art: 1926." "Mail Art Fiction," lists relevant works in
books (Nick Bantock's "Griffin and Sabine" series), and artistamps (Donald Evans, "The
Stamp Art of Michael Thompson and Michael Hernandez de Luna").

Or. Uncle Don Milliken, Editor. Orworks, Sunderland, Massachusetts. 1977-1984.
Little Book #1 (1977). Photocopy. 4 1/4"x3 1/2". (14 pages). "This is Not a Fluxus
Book." With pages "Not Done By" George Brecht (USA), John Cage (USA), Jean DuPuy
(USA), Robert Filliou (France), Dick Higgins (USA), Allan Kaprow (USA), Jackson Mac Low
(USA), George Maciunas (USA), Yoko Ono (USA), Nam June Paik (USA), BenVautier
(France), and Wolf Vostell (Germany). Published in Shelburne Falls, Massachusetts.
No. 13 ([1978]). Photocopy. 5 1/2"x4 1/4". (32 pages). "OR is an Int'l Urinal of
Postalot...OR accepts stuff. On occasion, it get published. No guarantee. No returns. More
action/Less thought." Contributions by Unhandeijara Lisboa (Brazil). Tony Bradley
(England), Michael Mollett (USA), Rolf Staeck (East Germany), Angelika Schmidt (West
Germany), Fletcher Copp (USA), Frank Ferguson (USA), Steven Durland (USA), Ron
Gasowski (USA), Klaus Groh (West Germany), Steve Hitchcock (USA), Mr. Cuttlefish (USA),
Tom Packlick (aka Pack) (USA), Boyd Rice (USA), Al Souza (USA), Mel Tearle (USA), Irene
Dogmatic (USA), Robin Crozier (England), Leonhard Frank Duch (Brazil), et al.
No. 15 (n.d.). Photocopy and Rubber Stamp. 4 1/4"x3 1/2". 14 pages. "Daze of Rage:
aphORisms & platORtudes."
No. 17 ([1979]). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (16 pages). "OR is a
magazine for artists. If you're not an artist (nasty thing), you should report yourself
immediately...all correspondence artists being letter-bums, here is more OR cast on the
waters." Contributions by Cavellini (Italy), Anna Banana (USA) and Bill Gaglione (USA),
Angelika Schmidt (West Germany), Toshinori Saito (Japan), Buster Cleveland (USA), Lon
Spiegelman (USA), John Held, Jr. (USA), Dr. Klaus Groh (West Germany), Michael Mollet
(USA), Paulo Bruscky (Brazil), et al.
No. 19 (1979). Photocopy and Rubber Stamp. 4 1/4"x2 3/4". (16 pages). "A Hit from the
Past (portrait of the artist as a young dupe)." On becoming an artist the ORworks way:
"Artists were strange. They dressed funny. They drank too much and did dope. They didn't
have to clean their rooms and they got to be around a lot of naked women."
No. 20 (n.d.). Photocopy and Rubber Stamp. 5 1/2"x4 1/4". (16 pages). "Question(s) of
the Month." "Directed by Michael Mollett. Produced by Uncle Don Milliken." Match the Mail
Artist to the question asked. Who's who of mail Art as answers, including Edgardo-Antonio
Vigo (Argentina), Ulises Carrion (Holland), Ray Johnson (US), Vittore Baroni (Italy), et al.
No. 21 (1979). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (12 pages). Dada poetry
accompanied by photo proofs of the editor in a tutu.
Nos. 22, 23, 24 ([1979]). Photocopy, rubber Stamps and Mixed Media. (12 pages).
"Inside: The Dinner Party-Also Mail Art." Contributions by Ulises Carrion (Holland), David B.
Greenberger (USA), E. F. Higgins (USA), Angelika Schmidt (West Germany), Miroljub
No. 25 ([1980]). Photocopy and Mixed Media. 8 1/2"x5 1/2". (16 pages). "Column filler
items from The New York Times, November 11, 1979, in the order in which they
appeared."
No. 26 ([1980]). Photocopy, Rubber Stamps, Artistamps, and Mixed Media. 8 1/2"x5
1/2". (12 pages). Contributions by E. F. Higgins III (USA), Brendan de Vallance (USA),
Steven Durland(USA), Irene Dogmatic (USA), Robin Crozier (England), Gabor Tth
(Hungary), James Haining (USA), et al.
No. 28 ([1980]). Photocopy and Rubber Stamps. 4 1/4"x3 1/4". (16 pages).
Contributions by Shozo Shimamoto (Japan), Frank Ferguson (USA), Trinity Press (aka
Charles Chickadel) (USA), Tom Hosier (USA), Steven Durland (USA), et al.
No. 30 ([1980]). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (12 pages).
Handwritten "diary" accompanied by illustrations taken from Dunlop souvenir postcards.
No. 32 ([1980]). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (16 pages).
"The Happy Valley School of Bookmaking presents POR TRAITS OF THE ARTIST, Lectures &
Slides." Satire on the artist book. "This piece went to the Modern. It can be seen on
permanent display, in the Very Important Young Bookkworkers Collection. People wonder
how I get such fantastic results. It's because I allow the work to flow through me. I don't
try to force things. Zen, y'know. & besides, I'm good. Things click for me that other
bookers can't do."
No. 33 ([1981]). Photocopy. 8 1/2"x7". (4 pages). "There are several ways to peruse this
edition. None of them are particularly important. OR remains a gift, to you, from me. The
reasons remain unclear. The United States Postal Service continues to do an exemplary
job. The rest of us do the best we can, considering the circumstances. Keep in touch,
Buckos." Contribution by Bill Whorral (USA).
No. 34 (n.d.). Photocopy and Rubber Stamp. 4 1/4"x3 1/2". (16 pages). Handwritten text
with splotches by the editor.
No. 35 (n.d.). Photocopy and Rubber Stamps. 4 1/4"3 1/2". (16 pages). "Good News."
Includes "George Brett: 'Simple Pleasures.'" Model Dadazine.
No. 37 ([1981]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (12 pages). "Art Pie and
Cold Cuts." "HILTON KRAMER SAYS THE AVANT-GARDE ARTIST HAS LOST THE POWER TO
SHOCK!!!!! Do you think this is avant-garde? Do you think this is art? do you think? Wanna
fuck?" contributions by John M. and C. Mehrl Bennett (USA), Gabor Tth (Hungary),
Michael Mollett (USA), Lon Spiegleman (USA), et al.
No. 39 ([1981]). Photocopy, Rubber Stamps and mixed Media. 8 1/2"x5 1/2". (10
pages). "I'm doin' the same damned thing & it don't amount to much. Oh, well. Keep
smiling. Show your teeth. Some new. Some repeats. Same old merde. You know I love
you. Just don't press your luck." Contributions by Bill Whorrall (USA), Gabor Tth
(Hungary), Michael Mollett (USA), et al.
No. 46 ([1982]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 12 pages). Contributions
by Leonhard Frank Duch (Brazil), Frank Ferguson (USA), Richard Olson (USA), Michael
Mollett (USA), Al Ackerman (USA), Nancy Frank (USA), et al. Dedicated to Hanns Sohm
(West Germany).
No. 82 (March 1984). Photocopy. 8 1/2"x5 1/2". (12 pages). "This is the final installment
of three obvious variations on a theme. form is content & visa versa. Shape up, Bunkie.
Structurally yours, Uncle Don." Contributions by Musicmaster (USA), Robin Crozier
(England), Lon Spiegelman (USA), Leonhard Frank Duch (Brazil), et al.
No. 87 (n.d.). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 10 pages. Parody of
photocopy publications. "You come up with the artsy-artsy and I'll show you one or two
ways to wrap it. If you ain't really into the idea of building you own limited edition booklet,
with readily available inexpensive materials, contact you local printer. a short run for an
offset merchant is about 250 copies, with expenses you're talking no less than a couple of
hundred dollars. maybe much more. If you got the money, they got the time. the longer
the run, the cheaper the individual copy. personally, I'd rather xerography. it's instant
gratification, give or take a few instances...It keeps me off the streets. it's a meaningless
activity with no rationale other than the fact that I like. When I don't like it. I go for
walks..." Contribution by Gabor Tth (Hungary).
No. 88 (n.d.). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (12 pages). Illustrations by
Musicmaster (USA). "Tell him uncle Don sent you. But don't tell him how far."
No. 90 (n.d.). Photocopy and Mixed Media. 8 1/2"x5 1/2". 10 pages. "Chance Song: The
Theater of Memory." A conceptual publication.
No. 91 (n.d). Photocopy, Rubber Stamp and Mixed Media. 8 1/2"x5 1/2". (12 pages).
"Mothers Only Competition: Serving the Midwest Since 1963." Illustration and photo-
collage.
No. 92 (n.d). Photocopy. 8 1/2"x5 1/2". 9 pages. Contributions by Archiv Hanns Sohm
(West Germany), Al Neil (Canada), Robert Cumming (USA), Thomas Strittmatter (West
Germany), Peter Grohmann (West Germany), et al. "This edition of OR was made possible
by a gift from Ruth & Marvin Sackner."
No. 95 (n.d.). Handwritten Text and Rubber Stamps. 6 1/2"x5". (12 pages). "Dead
Pandas." Edition 43/60.

Origin Project: Portfolio de Arte Postal-Mail Art. Hans Braumller, Editor.
Santiago, Chile. 1991-1992.
(1991). Mixed Media. 9 3/4"x6 3/4". (sealed). Assembling magazine on the theme "500
Years of Genocide & Colonialism."
(October 1992). Mixed Media. 9"x5". (62 pages). Assembling magazine. Contributions by
62 artists from 14 countries. Contributors include Carlos Montes de Oca (Chile), Ruggero
Maggi (Italy), Giovanni Strada (Italy), Gullermo Deisler (Germany), John Held, Jr. (USA),
Stephen Perkins (USA), Hilda Paz (Argentina), Shigeru Tamaru (Japan), Marcel Stssi
(Switzerland), Warren Burt (Australia), Clemente Padin (Uruguay), Kum Nam Baik (South
Korea), et al. "This portfolio is part of DNC (Decentralized Networker Congress) 92."

Other Times: An Alternative Mail Art Format, The. Phyllis Cairns, Editor. Pembroke
Press, Westport and Newtown, Connecticut. 1986-1987.

Vol. 1, No. 1 ([1986]). Photocopy. 17"x11". (2 pages). Collage. "Mail Artist Suffocates
Under Massive Pile of Unanswered Correspondence."
Vol. 1, No. 2 ([1986]). Photocopy. 17"x11". (2 pages). Collage with text from U. S.
Census Bureau.
Vol. 1, No. 3 ([1987]). Photocopy. 17"x11". (2 pages). Published in Newtown,
Connecticut. "Our new residence (actually over 160 years old) was once a tavern and the
tow's post office..." Photocopy collage. "P.S. A few of you caught and responded to some of
Last Times misinformation. (The numbers were off on a couple of statistics.) One of you
was so depressed by the mailing that you never wanted to hear from me again. That's OK,
you're still on the mailing list..."
Vol. 2, No. 1 (July/August 1987). Photocopy and Mixed Media. 17"x11". (8 pages).
"'The Other Times' is offered to members of The International Society of Copier Artists as
the newsletter part of membership." Project and publication opportunities. Contributions by
Ryosuke Cohen (Japan), Minoy (USA), Tyler James Hoare (USA). et al.
Vol. 2, No. 2 (September/October 1987). Photocopy. 17"x11". (8 pages).
Contributions by Gerard Barbot (USA), Sarah Jackson (Canada), David Jarvis (England), E.
Acosta Bentos (Uruguay), et al. Mail Art exhibition, project and publications opportunities.
Reviews.
Vol. 2, No. 3 (November/December 1987). Photocopy. 17"x11". (8 pages). Letters
from Gerard Barbot (USA) and Sarah Jackson (Canada). Reviews of publications by Jas.
Duke (Australia) and John M. Bennett (USA). Mail Art exhibition, project and publication
opportunities.

Our International Stamps/Cancelled Seals/Nuestro Libro Internacional de
Estampillas y Matasellos. Edgardo-Antonio Vigo, Editor. La Plata, Argentina. 1983.
No. 10 (1983). Offset, Artistamps and Rubber Stamps. 9"x7". (28 pages). Assembling
magazine. contributions by Vittore Baroni (Italy), Julien Blaine (France), Gullermo Deisler
(Bulgaria), Gyrgy and Julia Galantai (Hungary), E. F. Higgins III (USA), Chuck Welch
(USA), Leavenworth Jackson (USA), Ruggero Maggi (USA), Ed Varney (USA), Pawel Petasz
(USA), Robert Swierkiewicz (Hungary), et al. Special section on "DOC(K)S magazine,
edited by Julien Blaine (France).

Overview TAM-Publications. Ruud Janssen, Editor. TAM (Traveling Art Mail)
Publications, Tilburg, Holland. 1995.
(1995). Computer Print. 11 3/4"x8 1/4". 10 pages. List of publications by the editor from
1993 through 1995. These include, "Statements About Mail Art," "Evolution in/by Mail Art,"
Words-List Mail Art," "TAM-Bulletin," etc.

Ovum. Clemente Padin, Editor. Montevideo, Uruguay. 1972.
No. 10 (1972). Offset. 8 1/2"x5 3/4". (4 pages). Catalog for "Exposicion Exhaustiva de la
Nueva Poesia," held at Galeria U, Montevideo, Uruguay, February 7 through March 5, 1972.
Listing of contributors from 29 countries.

Oxidized Look, The. Daniele Ciullini, Editor. Firenze, Italy. 1981.
No. 11 (June 1981). Photocopy. 11 3/4"x8 1/4". 18 pages. "Oxidized selfportrait??
Dedicated number to Diana Arbus." Contributions by Ruggero Maggi (Italy), Pawel Petasz
(Poland), Edgardo-Antonio Vigo (Argentina), Leavenworth Jackson (USA), Arturo G. Fallico
(USA), Albrecht d. (West Germany), Thierry Tillier (Belgium), Paulo Bruscky (Brazil), Robin
Crozier (England), Jrgen Olbrich (West Germany), John Evans (USA), Leonhard Frank
Duch (Brazil), Vittore Baroni (Italy), et al.
No. 12 (September 1981). Photocopy. 11 3/4"x8 1/4". 18 pages. "Quarterly magazine
published by D. Ciullini about music fun and art by mail." Contributions by Robert
Swierkievicz (Hungary), Artfoot (USA), Gabor Toth (Hungary), Piermario Ciani (Italy),
Giovanni Fontana (Italy), Ubaldo Giacomucci (Italy), Guillermo Deisler (Bulgaria), Barbara
Rosenthal (USA), Robin Crozier (England), Daniel Daligand (France). Listing of "Fanzines"
and "Music by Mail."
P.O. Box - Pyramid Magazine
P. O. Box. Per Sousa, Editor. Merz Mail, Barcelona, Spain. 1995-1999.
No. 12 (September 1995). Photocopy. 8 1/4"x5 3/4". 20 pages. Cover, "Zines de Mail
Art," by Birger Jesch (Germany). Special issue on "art postcards." Introduction highlights
historical postcard works by Duchamp, Arp, Schwitters and Vautier. Bibliography of
literature of the art postcard taken from "Mail Art: An Annotated Bibliography," by John
Held, jr. (USA). "Zines de Mail Art y P. O. Box introduces and then lists "Relacin de
Publicaciones del Mail Art del Archivo de Merz Mail," enumerating 63 publications in four
categories (zines, assembling magazines, visual poetry, artistic-periodicals).
No. 12 1/2 (September 1995). Photocopy. 8 1/4"x5 3/4". 16 pages. Special issue on
the Electronic Museum of Mail Art (EMMA), directed by Crackerjack Kid (USA). "The
Electronic Museum of Mail Art is a first concentrated effort to create a emailart home page
totally devoted to the exploration of mailart and snailmail art and where these two
communication forms intersect." "The EMMA Email Directory," lists mail Artists involved in
electronic communication. Reproduction of "Netshaker Online: Mail Art Cyberspace Ezine,"
issue two. Cyperstamps.
No. 13 (October 1995). Photocopy. 8 1/4"x5 3/4". 20 pages. Dedicated to the memory
of the late Ray Johnson (USA). "List of Experimental Poetry/Art Magazines," by Spencer
Shelby (USA). "The Last Number of Piedra Lunar," by Corp (Spain). Mail Art exhibition,
project and publication opportunities. "I Mostra International de Mail Art a Montcada I
Reixac 1995. "Contributions by Keith Bates (England), Crackerjack Kid (USA), Ray Johnson
(USA), et al. List of contributors to the exhibition, A Tribute to Ray Johnson," organized by
Matteo Cagnola, Busto Arsizi, Italy.
No. 14 (November 1995). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages.
Special issue dedicated to the late mail Artist Guillermo Deisler (1940-1995), an
outstanding visual poet, editor of "UNI/vers (;)," and active Mail Artist from Chile, Bulgaria
and East Germany. Contributions by John M. Bennett (USA), Csar Figueiredo (Portugal),
Alberto Alonso Biote (Cuba), et al. "El Network en Lationoamerica," by Clemente Padin
(Uruguay). Mail Art exhibition, project and publication opportunities. "Mail Art Szene DDR,
1975-1990." Notice of the book, "Eternal Network," by Chuck Welch, including, "An
Opening Letter," by Jean Brown (USA). "Mail Art y la Radio." Ruud Janssen's (Holland)
"Mail-Art Interview," project.
No. 15 (December 1995). Photocopy. 8 1/4"x5 3/4". 24 pages. Editorial, including an
overview of Mail Art activity in Spain during the previous year, and notice of the deaths of
Guillermo Deissler (Chile, Bulgaria, Germany) and Ray Johnson (USA). The Mail Art
publication, "69 Analgesic Books," by Csar Figueiredo (Portugal). Visual poetry in Mexico.
Bibliography of articles in "P. O. Box," numbers 1-14. Reprint of a newspaper article on the
art and life of Guillermo Deisler (Chile). "Futurismo postal," by Vittorio Baccelli (Italy). Mail
Art exhibition, project and publication opportunities. Contributions by John Held, Jr. (USA),
Lothar Trott (Switzerland), Ray Johnson (USA), et al.
No. 16 (January 1996). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages.
Editorial. "Sociologia del mail-Art," by Guy Bleus (Belgium). "Una Introduccion Sobre Arte E
Intercambio," by Guy Bleus (Belgium). Reprint of "Bibliozine" #42, (The Blue Stamp of
Yves Klein), edited by John Held, jr. (USA). "Welcome to Jas Cyperspace." Contributions by
Vittore Baroni (Italy), Fernando Aguiar (Portugal), Pedro Juan Gutierrez (Cuba), Joaquin
Gmez (Spain), Lothar Trott (Switzerland), et al.
No. 16 1/2" (January 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Special issue noting
the first anniversary of the death of Ray Johnson (USA). reprint of selected correspondence
from Ray Johnson to the editor. Contributions by Gerard Barbot (USA) and Keith Bates
(England). Bibliography of biographical information on Ray Johnson. "Ray Johnson (1927-
1995)," by Mark Bloch (USA). Information on multiple-use personality Luther Blissett.
No. 17 (February 1996). Photocopy and Mixed Media. 8 1/4"x5 3/4". 24 pages. "Un
Informe Admisistrativo Sobre el Arte Postal," by Guy Bleus (Belgium). Mail Art Publications.
Mail art exhibition, project and publication opportunities. Insert: "Retrospectiva de Edgardo
A. Vigo," at the Museo Municipal "Juan B. Castagnino." "Appunti Postali," by Vittorio
Baccelli (Italy). Contributions by Ibirico (Spain), C. W. Poste (USA), Ruggero Maggi (Italy),
Creative Thing (USA), et al.
No. 18 (March/April 1996). Photocopy. 8 1/4"x5 3/4". 32 pages. Cover by Vittore
Baroni (Italy). "V Bienal Internacional de Poesia Visual/Experimental 'Guillermo Deisler.'"
Publications received. Interview with the musical group, "Le Forbici di Manit," conducted
by Vittore Baroni with Luther Blissett. Reprint of "Bibliozine" No. 43 (Robert Watts: The
Complete Postage Stamp Sheets (1961-1988), edited by John held, Jr. (USA). "Notas en
Torno a la Poesia," by Rosana Popelka (Spain). The Stamp Art Gallery, San Francisco,
California. Contributions by Bill Gaglione (USA), Spencer Shelby (USA), Michel Hossz
(France), Paulo Bruscky (Brazil), Clemente Padin, et al. Mail Art exhibition, project and
No. 19 (April/May 1996). Photocopy and Artistamps.. 8 1/4"x5 3/4". 32 pages.
"Exposicin Internacional de Mail Art en Habana." "Le Democracia Absoluta," by Pedro Juan
Gutirrez (Cuba). "Exposicion de Sellos De Artista: Del Archivo de Merz Mail en Barcelona."
Article of artistamps, "Pequeo es Bello," by Vittore Baroni (Italy). Publications received.
"De Te Fabula Narratur: 'Luther Blissett' es un Nobre Multiplo." "In Memoriam: Guillermo
Deisler," by Clemente Padin (Uruguay). "Convocatoria de Mail-Art: Matriz Grupal," by
Montse Forns (Spain). Mail Art exhibition, project and publication opportunities.
Contributions by Gerard Barbot (USA), Giulana Milone (Italy), Cesar Figueiredo (Portugal),
Arky of Toast (USA), J. Seafree (Spain), et al.
No. 20 (May/June 1996). Photocopy. 8 1/4"x5 3/4". 32 pages. "Criterios para Una
Poesia Virtual," by Ladislao Pablo Gyri (Argentina). "III Encuentro de Editores
Independientes 1996." Publications received. Mail Art exhibition, project and publication
opportunities. "The EMMA Emailart Directory." Fragment of "Bibliozine," No. 46.
Contributions by Guillermo Deisler (Chile), Vittore Baroni (Italy), Jos Anta (Spain), et al.
No. 21 (July 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Publications received. Mail Art
exhibition, project and publication opportunities. Luther Blissett. Meeting of Independent
Mail Art Editors, including Spanish Mail Artists Antonio Gomez, Antonio Orihuela, Jesus Luis
Navarro, Ibirico and the editor. "CD-ROM Information/The Artistamp Collection," by Guy
Bleus (Belgium). "Dead Mail-Artists," by Ruud Janssen (Holland).
No. 21 1/2 (July 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. "Networker Telenetlink,"
by Crackerjack Kid (USA), Publications received. Luther Blissett. Mail Art exhibition, project
and publication opportunities. Contributions by Igor Brtelech (Yugoslavia), Pedro Juan
Gutierrez (Cuba), Antonio Orihuela (Switzerland), Gerard Barbot (USA), Rene Montes
(Mexico), Nenad Bogdanovic (Yugoslavia), et al.
No. 22 (August/September 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Editorial:
2000-2001 Artstike." Publications received. "List of Experimental Poetry/Art Magazines, by
Spencer Shelby (USA). Mail Art exhibition, project and publication opportunities. Index of
articles in "P. O. Box" nos. 1-21. "Congreso Mediterrneo," by Ruggero Maggi (Italy). List
of Mail Art and Visual Poetry magazines in the Archive Merz Mail (94 magazine listed).
Contributions by Theo Breuer (Germany), Eberhard Janke (Germany), Kazunori Murakai
(Japan), Ren Montes (Mexico). Jean Franois Robic (France), et al.
No. 23 (September/October 1996). Photocopy and Mixed Media. 8 1/4"x5 3/4". 24
pages. "Del Lenguage Visual al Libro-Objecto," by Antonio Gmez. "2000-2001 Heulga de
Arte," by Luther Blissett, karen eliot and Monty Cantsin. Mail Art exhibition, project and
publication opportunities. Inserted reprint of "Ephemera," No. 4 (1978), edited by Ulises
Carrin (Holland). "Clemente Padin/Aga-Rossi Mail Art/Inismo," by Antonio Orihulea
(Spain). "Manual Practico para Organizar una Exposicion de Mail Art." by the editor.
Contributions by Jacinto Garcia (Spain), Jean-Franois Robic (France), Luis Navarro
(Spain), et al.
No. 24 (October/November 1996). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". 28
pages. "Vigencia de la Huelga de Arte," by Clemente Padin (Uruguay). Art Strike, 1990-
1993. Publications received. Reprint of "Bibliozine," no. 51 (Two Spanish Mail Art Zines).
"La Obra de Arte en la Epoca de su Reproductibilidad Electronica," by Luis Navarro (Spain).
Mail Art exhibition, project and publication opportunities. Contributions by Pedro Juan
Gutierrez (Cuba), Harry Burras (USA), J. Seafree (Spain), et al. Insert by Lothar Trott
(Switzerland).
No. 25 (December 1996/January 1997). Photocopy and Rubber Stamp. 8 1/4"x5 3/4".
36 pages. Editorial. Publications received. Mail Art exhibition, project and publication
opportunities. "Bibliozine Checklist (#1-51), by John Held, Jr. (USA). "Sobra la Huelga de
Arte," by Stewart Home (England). "Paisaje de Bolsillio: Reflexiones Entorno de la Carta
Postal en la Obra de Perejaume," by Gabriel Martin Roig (Spain). "Poemes Visuales," by
Hugo Pontes (Brazil). "Poema Visual-Experimentalismo la Transitividad de V(l)er," by Hugo
Pontes. "Contra el Tiemp del Silencio," by Antonio Orihuela (Spain). "Una Alternativa a la
Huelga de Arte," by Roxana Popelka (Spain). "Enter networld: en el Principio Era el Mail
Art," by Vittore Baroni (Italy). Special 18 page insert documenting a visual poetry
exhibition organized by the editor. The 34 contributors include Edgardo Antonio Vigo
(Argentina), J. M. Callega (Spain), Yolanda Perez (Spain), Ibirico (Spain), John Held, jr.
(USA), Tartarugo (Spain), Csar Reglero (Spain), et al.
No. 26 (January/February 1997). Photocopy. 8 1/4"x5 3/4". (24 pages). "Es Tiempo de
Asesinos," by Karen Eliot. Indes of articles in "P.O. Box" numbers 1-25. "Woman-Made:
considerations sobre el papel del Arte postal en la Bsqueda de la Identidad Femenina Ante
las Estructuras de Poden de la Sociedad Postmoderna," by Gabriel Martin Roig (Spain).
Listing of Mail Art and Visual Poetry publications in the Merz Mail Archives. Publications
received. Contributions by John m. Bennett (USA), Harry Burras (USA), Ever Arts
(Holland), et al.
No. 26 1/2 (February 1997). Photocopy. 11 3/4"x8 1/4". (4 pages). Two articles by
Stewart Home (England), "Derribar La Cultura Formal," and "Karen Eliot." Publications
received. "Fotocopiando el Arte," by Gabriel Martin Roig (Spain). "El Sentido de la 'Huelga
de Arte.'" by Clemente Padin (Uruguay). Contributions by Mario Gemin and Marital Canterel
(Argentina), Drian Ribas Marinho (Brazil), Sonia Landy Sheridan (USA), et al.
No. 27 (March/April 1997). Photocopy, rubber Stamps and Mixed Media. 8 1/4"x5 3/4".
36 pages. Mixed media front cover by Csar Figueiredo (Portugal). "Performance; la
Esencia de los Sentidos," by Fernando Aguiar. "Sobra la Huelga de Arte 1990-1993," an
interview with Karen Eliot by Scott MacLeod (USA) in 1989. Extracts from "Neoism,
Plagiarism & Praxis," by Stewart Home (England). "Ray Johnson: Un Zapatista en
Greenwich," by Luther Blissett. Interview with Stewart Home. Publications received.
No. 28 (April/May 1997). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages. Cover
by John Held, Jr. (USA). "De Moticos al Arte Correo: Cinco Dcades de Red Postal," by John
Held, Jr. "Okupacin Global," by Karen Eliot. "Xerografia: Un Recurso del Arte postal," by
Hugo Pontes (Brazil). "Mail Retrospectiva e Indagaciones," by Drian Ribas Marinho
(Brazil). Mail Art exhibition, project and publication opportunities. Publications received.
Contributions by Yolanda Perez Herreras (Spain), Cesar Figueiredo (Portugal), Ray Johnson
(USA), et al.
No. 29 (May/June 1997). Photocopy. 8 1/4"x5 3/4". 28 pages. "La Red de Arte Postal en
los Ochenta," by John Held, Jr. (USA). "Alguna Otra Propuesta Alternativa," by Edgardo-
Antonio Vigo (Argentina). "Dificultades Metodolgicas en el Examen de la Poesia
Experimental," by Clemente Padin (Uruguay). Publications received.
No. 30 (July/September 1997). Photocopy. 8 1/4"x5 3/4". 36 pages. "La Red de Arte
Postal en los Noventa," by John Held, Jr. (USA). "Artes Teleticas: Nuevos Anzuelos para la
Libertad, Nuevas Tcnicas de Clausura para la Reflexin," by Antonio Orihuela (Spain).
Spanish Mail Artists meet in Barcelona, June 20 and 21, 1997. "La Huelga de Arte: Lineas
de Apoya a la Posicin de Clemente Padin Publicada en P. O. Box," by Hans Braumller
(Germany). Mail Art exhibition, project and publication opportunities. "El mail Art," by Jos
Luis Campal Fernndez (Spain). Publications received.
No. 31 (October 1997). Photocopy. 8 1/4"x5 3/4". 36 pages. "El Operador Visual en la
Poesia Experimntal," by Clemente Padin (Uruguay). "Fogozazos," by Luis Navarro (Spain).
Mail Art exhibition, project and publication opportunities. Publications received. "The Mail
Art Interview Project." "List of Experimental Poetry/Art Magazines," by Spencer Selby
(USA). contributions by Antonio Mir (Spain), Tartarugo (Spain), J. M. Calleja (Spain). et
al.
No. 32 (Solsticio de Invierno 1997-1998). Photocopy. 8 1/4"x5 3/4". 28 pages. Special
issue on Argentinean Mail Artist Edgardo-Antonio Vigo (1928-1997). "Un Arte a Realizar,"
by Edgardo-Antonio Vigo. Edgardo Antonio Vigo," by Clemente Padin (Uruguay). "Acuse de
Recibo," by G. E. Marx Vigo (aka E. A. Vigo and Graciela G. Marx) (Argentina). "El Circuito
Marginal: La Vivicacin del Verdadero Arte," by Ricardo Alvarez Martin (Argentina).
Edgardo Vigo: La Zona Visual de la Poesia Argentina." "Incongruous Meetings 1998."
Publications received. Mail Art exhibition, project and publication opportunities.
No. 33 (Spring 1998). Photocopy. 8 1/4"x5 3/4". 44 pages. "Manifiesto No Mas Obras
Maestras," by Karen Eliot. "FAX Art," by Guy Bleus (Belgium). "Incongruous Meeting" in
Barcelona. "Artisellos," by Jas.. W. Felter (Canada). "Estampaciones en Flux (Introduccin
a la Exposicin de Sellos de Caucho de Fluxus en la Garleria de Arte The Stamp)," by John
Held, Jr. (USA). "Huelga de Arte: Barcelona, Madrid 2000-2001," by Yolanda Prez
Herreras (Spain). "P. O. Box on line." Publications received. Mail Art exhibition, project and
publication opportunities. Contributions by Ibirico (Spain), Fernando Aguiar (Portugal),
Clemente Padin (Uruguay).
No. 34 (Equinocio de Otoo 1998). Photocopy. 8 1/4"x5 3/4". 40 pages. "De DADA a
DIY: Breve Historia de la Cultura Alternativa," by John Held, Jr. (USA). "No panic: PIPS-
Dada Comic," by Dieter Vollmer (Germany). "Las Huelgas de Arte," by Luis Navarro
(Spain). Interview with Clemente Padin (Uruguay), conducted by Ruud Janssen (Holland)
for "The Mail Art Interview Project.". Publications received. contributions by Gza Perneczky
(Germany), John M. Bennett (USA), et al.
No. 36 (Solsticio de Invierno 1998-1999). Photocopy and Mixed Media. 8 1/4"x5 3/4".
24 pages. Editorial explaining reasons (Art Strike 2000-2001) for discontinuing publication.
"Sobra la Desmaterializacion Artistica," by Xavier Moreno (Spain). "Dick Higgins (1938-
1998)." Publications received. Interview with the editor about Merz Mail. Index of articles in
"P. O. Box," (nos. 1-35) including reproduction of covers.

Panmag: International Magazine. Mark Bloch, Editor. Postal Art Network, New
York, New York. 1983-1992.

No. 1 (September 1983). Photocopy. 14"x8 1/2". (2 pages). "This issue of PANMAG is
primarily aimed at getting out into THE NETWORK a clear picture of what THE LAST MAIL
ART SHOW is about...People in the NETWORK are talking about how MAIL ART is dead. The
good old days are over they say. Well The LMAS is the funeral, if you will. I way LET'S
MOVE INTO PHASE TWO. Phase one sprouted almost spontaneously out of Ray Johnson's
pineal gland. since then, the collective sludge of the 60's. 70's, and 80's has spawned more
and more MAIL ART until we now lie engulfed in our own filing systems. The NETWORK
evolving into some new form: SHOULD WE TRY TO MAKE MONEY/ GO UNDERGROUND/
END WAR/ Well, I invite all MAIL ARTISTS past, present & future, to air their feeling on this
subject via THE LAST MAIL ART SHOW." History of events leading to the appearance of this
"first" issue of the magazine.
No. 2 (December 1983). Photocopy. 11"x8 1/2". (one page). More on "The last Mail Art
Show." "Join with me, comrades, send your ideas once and for all to the Last mail Art
Show...It is not the end of Mail Art. It is not even the end of mail art shows. N-Stead, it is a
new BEGINNING (big N-ing) for us all, a chance to appraise where we've gone and chart
our course for the future."
No. 4 (January 1984). Photocopy. 8 1/2"x5 1/2". (16 pages). List of those present (with
addresses) of a Mail Art meeting on the occasion of a Bern Porter (USA) exhibition at La
Galleria dell'Occhio, directed by Carlo Pittore (USA). The editor reports on the evening,
followed by another view by Jim Quinlan (USA). "Panifesto # 7333." Reproduction of the
cover of "Panmag" number 3, "a calendar countdown to The End that I distributed at the
meeting." "Excerpts From a Rough Draft on Mail Art for the Franklin Furnace mail Art
Show." "Panarchy." "The Last Word." "1st printing 50 copies Jan 84/2nd printing 100
copies Mar 84."
No. 6 ([1984]). Photocopy. 8 1/2"x5 1/2". (8 pages). "Hope you enjoy this issue of
Panmag-published for the final Artists Talk on Art pan-el discussion." "An Open Letter from
Ray Johnson." List of those "who expressed indignation at the way the International mail
Art Exhibition at Franklin Furnace was handled." "The Secret Message by Tibor Papp," an
"open letter" by the Australian Mail Artist. "Phantastische Gebete Revisitied," an "open
letter to everybody in the network," by the editor and H. R. Fricker (Switzerland).
No. 8 (July 1984). Photocopy and Rubber Stamps. 11"x8 1/2". (4 pages). "Welcome to
Panmag number 8, the Ketchup Issue, in which I catch up with all the mail I received (sic)
while I was vacationing in Ohio...I am becoming increasingly disillusioned with the
traditional gallery system. I think the alternative is to work together with other members of
this NETWORK to create projects and publications that undermine the outmoded ways of
the status quo. mail art really is the key, I think, to a new paradigm in art and
communications."
No. 9 (1984). Photocopy. 11"x8 1/2". (6 pages). Account of a visit by Sonja Van Der Burg
(Holland) to the editor in New York City, highlighted by a film program at Darinka, a club
on the Lower East Side, with films by Van Der Burg, Tomasz Sikorski (Poland), the editor,
and Tibor Papp (Australia).
No. 10 (September 1984). Photocopy. 11"x8 1/2". (8 pages). Contents page from Crane
and Stofflets', "Correspondence Art: Source Book for the International Network of Postal
Art Activity," with notes in the editor's hand. Reflections on Dada Art. Contribution by Ray
Johnson (USA).
No. 11 (December 1984). Photocopy. 8 1/2"x5 1/2". (8 pages). "A Letter to Guy Bleus
About Commonpress 56." "Many of the observations that I will describe here are simply
thoughts I had while reading CP56. almost free association or stream of consciousness,
although not always. I agree with your statement that 'MAIL ART DESERVES AN ECHO." I
am echoing your significant article on mail art." Reprint of "Solidarte Informa," by Ruggero
Maggi (Italy).
No. 12 (March 1985). Photocopy. 8 1/2"x5 1/2". (8 pages). "Net Work city (T) our ism
Issue." "Network visitors from all over the place invaded our unfair city during January,
February and march, and more threaten to continue the trend...SOMEBODY has to
document to visits from around the network, so I volunteer. I think it is important that so
many Network artists are traveling, meeting each other, and collaborating." List of visitors
includes Henryk Gajewsky (Holland), Arno Arts (Holland), Crackerjack Kid (USA), Kathy
Ernst (USA), Faith Heisler (USA), Bern Porter (USA), Steve Random (USA), Mark Wamaling
(USA), et al.
No. 13 (April 1985). Photocopy and Rubber Stamp. 11"x8 1/2". (10 pages). In response
to a question by Ruggero Maggi (Italy), about the results of the editor's "Postcard show,"
the editor responds by putting together a catalog of the five-year old project. "It's good of
you to get on the backs of any 'mail artist' who does not come through with their
catalogue, myself included. I hope that anyone who has not delivered on their promise is
as well-intentioned as I am and I hope that all these intentions will eventually become
reality." contributions by A. De Aarujo (Brazil), Ko De Jonge (Holland), Henryk Gajewski
(Poland), Blint Szombathy (Yugoslavia), Guy Bleus (Belgium), Albrecht d. (Germany),
Paulo Bruscky (Brazil), et al.
No. 15 ([1985]). Photocopy and Magnifying Glass. 11"x8 1/2". (12 pages). Alternatively
titled "C NILE," a take-off on the "SMILE" magazines of the Neoists. "Introduction" by the
editor notes the strange twists of fates that lead him from Marcel Duchamp, Raymond
Roussel, Arthur Craven, and David Zack, to Monty Pansin (aka Monty Cantsin). "You will
find rare archival material from Zack, Snow White Jung, Arthur Berkhoff, Stewart Home,
David Cole, Al Ackermancy, Peter Below and other too humorous to mention. I hope these
documents and this concise essay will shed some light on just WHO this Monty Pansin is, as
well as answer the question WHAT THE FUCK IS NEOISM."
No. 16 (December [1985]). Photocopy. 14"x8 1/2". (6 pages). "Mail Mall" diagrams a
shopping mall with stores indicated by an array of international and historical Mail Artists.
Contributions by Steve Random (USA), Crackerjack Kid (USA), Cavellini (Italy), et al.
No. 17 ([April 1987]). Photocopy. 11"x8 1/2". (14 pages). The David Zack (Mexico)
issue, centering around a visit by Zack to New York City in December 1986. Photo-
documentation with Crackerjack Kid (USA), Ben Zona Banville (USA), Judith Conway, et al.
"Congress" at David Cole's (USA) home in Brooklyn with buZ blurr (USA), E. F. Higgins III
(USA), Claudine Barbot (USA), et al. Correspondence and "Correspondence Novels" from
David Zack.
No. 18 ([May 1987]). Photocopy. 14"x8 1/2". (2 pages). Special issue to commemorate
the visit of Andrej Tisma (Yugoslavia) to New York City. "Decentralized Mail Art Postal Art
Correspond Dance School New York Style Congress." Contribution by Ray Johnson (USA).
Dinner seating plan by Dadaland Gaglione (USA).
No. 19 (1987). Photocopy. 7"x4 1/4". (12 pages). "The Stanton School," "Japanese Mail
Artists," "Illustrated History of Gutai," and "Manifesto," by the editor. "Gutai" by Shozo
Shimamoto.
No. 20 (n.d.). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (16 pages). "Reprinted from
the original readymade Fluxpan object." Modified issue of "Fluxione Fanzine," rubber
stamped "PANMAG 20 ISSN 0738-4777."
No. 21 (November 14, 1987). Photocopy. 11"x8 1/2". (10 pages). Musings on Duchamp,
with notice of a performance "for Marcel Duchamp," by the editor, November 14, 1987.
Hand drawn text and graphics mimicking Duchamp's notes for the "Green Box."
No. 22 (1988). Photocopy. 11"x8 1/2". (20 pages). About Rodenski, an unknown art
personality whom the editor has inserted into the canon of art history. "Rodensk's mail art
career was brief but important. Rodensky's earliest correspondence dates back to 1964
with BuZ Blurr of Surrealville, Arkansas. R's involvement with mail ended only recently
(circa 1985). His last known art of "networking" was sending tea leaves to Steve Random
of Greenfield, Massachusetts. after that, both of them disappeared."
No. 27 (August 5, 1989). Photocopy. 11"x7 3/4". (4 pages). "Plagiarism Special." Issue
done while the editor was attending "The Festival of Plagiarism," Transmission Gallery,
Glasgow, Scotland. Alternatively titled, "Smile" magazine (see "Smile," various editors).
No. 28 (August-February 1990). Photocopy. 8 1/2"x5 1/2". 30 pages. "The Last Word:
Art Strike, Word Strike, Plagiarism and Originality." Account of the editor's involvement in
"The Festival of Plagiarism," Transmission Gallery, Glasgow, Scotland, August 4-11, 1989,
attended by Stewart Home (England), Lloyd Dunn (USA), Mark Pawson (England), Florian
Cramer (Germany), et al.
No. 29 (July 1990). Photocopy. 8 1/2"x5 1/2". (36 pages). "Network Mutation," by the
editor and Emilio Morandi (Italy). "Elephant Drawing of the network by Emilio Morandi.
Mutations performed by Mark Bloch on the Canon NP9030 Laser Copier."
No. 37 ([December 1992]). Photocopy. 11"x8 1/2". (10 pages). "This panmag is a book
about a fictitious trip I took to Cleveland, Ohio, my home town, in cognito....as Mark
Pawson... Fake Mark Bloch meets Fa Ga Ga Ga (USA) and John M. Bennett (USA).

Paper. Serse Luigetti, Editor. Perugia, Italy. (1981-1985).
([1981]). Photocopy. 13"x8 1/2". 11 pages. "Collage City." Contributions to the editors'
exhibition at Biblioteca Comunal di Ferro di Cavallo, Perugia, Italy. Contributions by
Jaroslav Supek (Yugoslavia), Rod Summers (Holland), Scott Helmes (USA), Gyrgy
Galantai (Hungary), Pawel Petasz (Poland), et al.
No. 3 ([1985]). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (11 pages). The editor
sends out artistamp sheets, which collaborators "add to and return." Documentation of the
results. Contributors include Arthur Berkoff (Holland), Carla Bertola (Italy), Nenad
Bogdanovic (Yugoslavia), Mr. Bop (USA), Kowa Kato (Japan), Birger Jesch (East Germany),
Mark Pawson (England), Carol Stetser (USA), et al.
No. 4 ([1985]). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (11 pages). The editor
sends out artistamp sheets, which collaborators "add to and return." Documentation of the
results. Contributors include Arno Arts (Holland), Cracker Jack Kid (USA) David Cole (USA),
Guillermo Deisler (Bulgaria), Musicmaster (USA), Lon Spiegelman (USA), Ruth Wolf-
Rehfield (East Germany), Carol Stetser (USA), Lois Way (USA), et al.
(n.d.). Photocopy. 11 3/4"x8 1/4". (11 pages). Artistamp sheets by the editor.

Paper Work. Gregory Zbitnew, Editor. Vancouver, Canada. 1989.
No. 2 (October 1989). Photocopy and Mixed Media. 8 1/2"x5 1/2". 38 pages. Assembling
magazine. Twenty-two contributors including Shmuel (USA), Rocola (USA), Jos VdBroucke
(Belgium), Manwoman (Canada), Mr. Luce (aka Luce Fierens, Belgium), Franco Santini
(Italy), Bern Porter (USA), Ruggero Maggi (Italy), Teruyuki Tsubouchi (Japan), Gerard
Barbot (USA), Mike Duquette (Canada), et al. Edition 9/50.

Parallel-International Creative Magazine. Luc Fierens, Editor. Hombeek, Belgium).
1986-1988.
No. 2-4 (1986-1987). Photocopy. 8 1/4"x5 3/4". (44 pages). Theme: Hommage a...
Participation by 300 artists from 32 countries. "Hommages are engaging because you can
re-use some aspects//thoughts/statements of a past and combine AGAIN. Fluxism,
mailism, Neoism, Tourism, Spiegelism, Inbetweenism, Postfluxism, are all part of my
heARTmemory..." Reproduced contributions by Lutz Wohlrab (East Germany), Charles
Franoise (Belgium), Michael Bidner (Canada), David B. Greenberger (USA), Tomasz Schulz
(Poland), Guillermo Deisler (East Germany), Jan Wilson Kaufman (USA), Carole Sivin
(USA), Hilda Paz (Argentina), Darlene Altschul (USA), et al.
No. 6 (1988). Photocopy. 8 1/4"x5 3/4". 21 pages. Theme: Homage to Fluxus.
Participation by 409 artists from 35 countries. "I can only print a small selection of the
work. More will be printed in the postfluxpostbooklets..." Reproduced contributions by
Gnther Ruch (Switzerland), Robert Rehfield (East Germany), Albrecht/d (West Germany),
Serge Segay (USSR), Shozo Shimamoto (Japan), Gerard Barbot (USA), Vittore Baroni
(Italy), et al. Definition of Fluxus from "Correspondence Art," by Crane and Stofflet.
Biographical information on the editor.

Parallelogramme. Tanya Mars, Editor. Association of National Non-Profit Artists'
Centres, Toronto, Canada. 1985.
Vol. 10, No. 5 (Summer 1985). Newsprint. 10 3/4"x8 1/4". 111 pages. Listing of
alternative spaces in Canada includes the Off Centre Centre, Calgary, directed by Mail
Artists Don Mabie (aka Chuck Stake) (Canada) and Sandra Tivy (Canada). Includes notice
of a traveling Mail Art exhibition, "When I was a Cowboy," which was shown at Modern
Realism Gallery, Dallas, Texas. Contribution by Sandra Tivy, et al.

Parking Lot Reporter. (Al Ackerman, Editor). (San Antonio, Texas.) (1988).
Vol. 79, No. 7 (sic) ([September 1988]). Photocopy. 11"x8 1/2". (one page). One of
the most infamous TLPs (Tacky Little Pamphlets) produced by the infamous Al Ackerman
(USA). It was meant to be placed under the windshield wipers of cars in parking lots.
"Glans T. Sherman, sideshow marvel, who escaped from captivity over seven years ago
and has been living in this parking lot ever since. Glans confided recently that his favorite
pastime is playing a game he calls 'Hiding'... Illustration by the editor.

Participacion. Clemente Padin, Editor. Montevideo, Uruguay. 1984-1985.
No. 1 (June 1984). Offset. 11"x8 1/4". 4 pages. Contributor list for the exhibition "Mailart
aus Latinamerika," organized by the editor at the Galeri DAAD, West Berlin, West
Germany, May 26-June 30 (1984). Listing of 86 contributing artists from Mexico,
Argentina, Brazil, El Salvador, Colombia, Panama, Chile, Venezuela, Dominican Republic,
Ecuador and Uruguay. Contributions by Guillermo Deisler (Bulgaria), Luis (Brazil), et al.
No. 2 (July 1984). Offset. 10 1/2"x8 1/2". (4 pages). Reprint of an interview with the
editor, "Con Clemente Padin: Arte-Correo: Multiplicacin de Lenguajes," appearing in
"Jacques" (June 29, 1984). Mail Art exhibition, project and publication opportunities.
No. 4 (September 1984). Offset. 10 3/4"x8 1/4". (4 pages). Manifesto, "Acta
Fundacion," signed by nine Mail Artsists from Uruguay and Argentina (Graciela Gutirrez
Marx, Vernica Orta, Jorge Orta, Claudia del Ro, Susana Lombardo, Nicteroi Argaaraz,
Mamablanca, Marina Rthberg, Clemente Padin), August 31, 1984, at the "1st Seminario
de Arte Contempornneo y Exposicin Internacional de Arte Correo," Rosario, Argentina.
Reprints of several newspaper articles on the event, including "Arte-Correo: Alternativa
Desafiante," which appeared in "El Pais" (September 10, 1984). mail Art exhibition, project
No. 5 (October 1984). Offset. 11 1/4"x8 3/4". (4 pages, numbered 17-19). Reprinted
newspaper articles, including several from Mexico concerning the mail Art exhibition, "1984
en 1984: que Futuro Buscamos?," organized by Colectivo-3 (Mexico). mail Art exhibition,
No. 6 (December 1984). Offset. 11"x8 1/2". (4 pages, numbered 21-23). Telegram from
La Asociacion Latinomamericana y del Caribe to the Chilean Minister of the Interior
requesting the release of Andres Diaz Poblete (Chile). Reprinted newspaper article. "Accion
Postal," by Colectivo 3 (Mexico). mail Art exhibition, project and publication opportunities.
No. 7 (February 1985). Offset. 11"x8 3/4". (4 pages, numbered 25-27). Statement made
in behalf of "La Asociacion Latinomerican y del Caribe de Artistas Correo," by Uruguayan
Mail Artists N. N. Argaaraz, Jorge Caraballo, Antonio Ladra and Clemente Padin. Notice of
a book published by Jorge Caraballo (Uruguay) and Clemente Padin (Uruguay) on their
incarceration and subsequent release from prison (after a campaign to secure their release
by international Mail Artists) in June 1973. mail Art exhibition, project and publication
opportunities.
No. 8 (April 1985). Offset. 11 1/2x8 3/4". (4 pages-numbered 29-31). "Amrica Latina;
Una Nueva Etapa en el Desarrollo del Arte Correo," by N. N. Argaaraz (Uruguay). "Arte-
Correo: Nuevos Procesos de Significacin Artistica," by Csar Espinosa (Mexico). "Noticias
de la AUAC." Mail Art exhibition, project and publication opportunities. contribution by
Henning Mittendorf (West Germany).
No. 9 (October 1985). Photocopy. 14"x8 1/2". (2 pages). "Boletin de la Asociacion
Uruguaya de Artistas Correo." Mail Art exhibition in the USSR (Moscow). organized by
Acociacion Uruguaya de Artistas Correo, with contributions by 180 artists from 33
countries. List of participants in the exhibition. Mail Art exhibition, project and publication
opportunities.

Pas de Chance Index. Pas de Chance, Editor. Toronto, Canada. 1995.
(Summer 1995). Photocopy and Mixed Media. 4 1/4"x2 3/4". (36 pages). "Herewith
renamed is THE PAS DE CHANCE INDEX; a list of PDC books, other people's books, mail art
projects, and mini articles like: how-it-was done...look at an online version of this
catalogue on the web..."

Pelo+Pelo-. Emilio Morandi, Editor. Artestudio, Ponte Nossa, Italy. 1985-1986.
No. 11 (1985). Photocopy. 11 3/4"x8 1/4". (36 pages). Contributions by 30 artists from
13 countries on the theme of "hair." Contributions by Steve Random (USA), Guy Bleus
(Belgium), Birger Jesch (East Germany), Jacques Massa (France), Rod Summers (Holland),
Dobrica Kamperelic (Yugoslavia), Luc Fierens (Belgium), Ruud Janssen (Holland), Alex
Igloo (USA), Leif Eriksson (Sweden), Vittore Baroni (Italy), Acosta Bentos (Uruguay), et al.
No. 12 (1986). Photocopy. 11 3/4"x8 1/4". (36 pages). Contributions by 31 artists from 8
countries on the theme of "hair." Contributions by Ruggero Maggi (Italy), Piermario Ciani
(Italy), Graf Haufen (west Germany), Joachim Stange (East Germany), Robert Rehfield
(East Germany), Birger Jesch (East Germany), Salvatore De Rosa (Italy),Carlo Pittore
(USA), Helena Almeida (Portugal), et al.

Peltex. Dominique Leblanc and Zaza, Editors. Strasbourg, France. 1987.
No. 7 (Autumn 1987). Photocopy and Mixed Media. 8 1/4"x5 3/4". 73 pages. "Mail Art,"
by Didier Moulinier (France). "Organisation du Mail-Art (Mail Art Economy)," by Guy Bleus.
"1984+1," by Jacques Massa (France). " "Mail Art World Wide Congress," by Llys Dana
(France). "Au Sujet de L'Art Postal Aujourd'hui (About Todays mail Art)," by Ph. Bill
(France). Interview with Ruggero Maggi (Italy). "After Tourism Comes Spiegelmisim" by
Lon Spiegelman (USA). Interview with Ryosuke Cohen (Japan) and Shozo Shimamoto
(Japan). "Congrs Dcentralis de Turin, 7 Mai 1986." "Conclusive Statement of the Italian
Decentralized Mail Art Congress." Self-portraits by 40 Mail Artists. "Mani Art, Vous
Connaissez." by Pascal Lenoir (France). List of 46 active Mail Art magazines from 14
countries. "Quelques Observations a Propos du Mail Art (Something About Mail Art)," by
Lancillotto Bellini (Italy). Mail Art exhibition, project and publication opportunities.
Contributions by Luc Fierens (Belgium), Ryosuke Cohen (Japan), NYCS Nyack Campus
(USA), Ruggero Maggi (Italy), Ph. Bill (France), Lon Spiegelman (USA), Gerard Barbot
(USA), Dominique Leblanc France), et al. Edition 89/150.

Pent-Up Observations. Mike Furry and Avi Naftel, Editors. Pent-Up Press
Production, Tucson, Arizona. 1989-1990.
Vol. 1, No. 3 (July/September 1989). Photocopy. 11"x8 1/2". 30 pages. Published by
the editor while incarcerated in Arizona State Prison. Funds mailed to Boog Highberger
(USA). "Postal Fall-Out," lists alternative press sources. "Brain Cell," by Ryosuke Cohen
(Japan).
Vol. 2, No. 1 (January-April 1990). Photocopy. 11"x8 1/2". 24 pages. Cover by
Musicmaster (USA). "Postal Fall-Out," lists alternative press sources including "Factsheet
Five" and "Duplex Planet."

Perpetual Motion. Matty Jankowski, Editor. Circle Arts, Brooklyn, New York. 1985.
No. 22 (1985). Photocopy. 8 1/2"x5 1/2". 14 pages. Contributors include Ryosuke Cohen
(Japan), B. J. Tisa (USA), Robert Rehfield (East Germany), Mr. Bop (USA), H. R. Fricker
(Switzerland), et al.
No. 23 ([1985]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 17 pages. Cover by Ken
Brown (USA). "The Thrill of Working with Odours," by Guy Bleus (Belgium). Mail Art
manifesto by Lon Spiegelman (USA) and Mario Lara (USA). Contributions by Gene Laughter
(USA), Robert Rehfield (East Germany), Joki Mail Art (aka Jo Klaffki) (West Germany),
Lancillotto Bellini (Italy), Graf Haufen (East Germany), Charles Franoise (Belgium), et al.

Phosphorusflourish. (John Rininger), Editor. Champagne, Illinois. 1987.
No. 19 (1987). Photocopy. 8 1/2"x5 1/2". 25 pages. Contributions by M. I. Blue (US),
Ruggero Maggi (Italy), Phillipe Bill (France), Brad Goins (USA), et al. Recommended Mail
Art zines include "Foist," "Mallife," "Popular Reality," "Photostatic," "ND," and "Level," etc.
No. 21 (Fall 1987). Photocopy. 14"x4 1/2". (42 pages). Contributions by Mike Miskowski
(USA), Steve Perkins (USA), Phillipe Bill (France), Jake Berry (USA), John Eberly (USA),
Ruggero Maggi (Italy), Carol Schneck (USA), Alessandro Aiello (Italy), et al.

PhotoStatic Magazine. Lloyd Dunn, Editor. Iowa City, Iowa. 1984-1993.
"'PhotoStatic Magazine' is a bimonthly not-for-profit periodical of xerographic art and
related commentary. It is a collaborative editorial endeavor seeking to collect, compose
and present xerox artwork in (a) way that only xerography makes possible. There is no
sense in putting work of this type in a gallery; therefore 'PhotoStatic' seeks to create the
most appropriate context possible for the viewing of this work...'Photostatic' has
subscribers, contributors, and correspondents on five continents."
No. 1.7 (October 1984). Photocopy. 8 1/2"x7". (28 pages). "This issue contains
previously released, but currently unavailable material. It also has unreleased material."
"'PhotoSTATIC' is a periodical (hopefully appearing every other month) devoted to the
xerographic process as creative endeavor...The editor is Lloyd Dunn. Warren Ong helped,
but just a little. Thanks to Andrew Steele for the name of this magazine." Contributions by
Chester F. Carlson (USA), Miekal And (USA), and the editor.
No 2.10 (April 1985). Photocopy. 8 1/2"x7". (28 pages). "Dyslexic Anniversary
Revisited." "This issue con(t)ains old & new material from about the same period and exists
in the spirit of its own time." Contributions by Ray Johnson (USA), Warren Ong (USA),
Miekal And (USA), Liz Was (USA), Ralph Johnson (USA), Joel Lipman (USA), the editor, et
al.
No. 3.14 (November 1985). Photocopy. 8 1/2"x7". (28 pages). "This is yet another in
the series of 'photoSTATIC' reissue. It comes nearly two years after it originally appeared
in December 1983. It is issue #3.14 because of the idea of circle which is what the reissue
impulse is all about. I.e., doing it all over again for a new reason; putting the same thing
out with a new context for a new audience." Contributions by Paul Nef (USA), Miekal And
(USA), Dan Welch (USA), Warren Ong (USA), Crag Hill (USA), the editor, et al.
No. 15 (December 1985). Photocopy. 8 1/2"x7". (28 pages). "'photoSTATIC' is a
nonprofit sort-of -monthly visual and increasingly visible journal which devotes itself to the
electrostatic image and how it is used by artists and other folks today." Contributions by
Carol Stetser (USA), Robin Crozier (England), Edgar Allen Bushmiller (USA), et al.
No. 16 (January 1986). Photocopy. 8 1/2"x7". (32 pages). "Welcome to photoSTATIC
#16, 'The persistence of the Persistence of vision,' the third issue in the Metatheme of
Persistence. 'PhotoSTATIC has received so many submission on the theme of vision that
were of such a high caliber that this issue was need(ed) to print all of them." contributions
by mark Wamaling (USA), Steven Perkins (USA), Sue Fishbein (USA). Al Ackerman (USA),
the editor, et al. "Casual Survey: Fanzines," by John Pyros (aka Epistolary Stud Farm)
(USA). Mail Art exhibition opportunity. "Mail Review: photoSTATIC's editor review his
recent mail..."
No 17 (April 1986). Photocopy and Mixed Media. 8 1/2"x7". (32 pages). "The editorial
policy is this: photoSTATIC will accept for publication any artwork or writing which is
xerographically produced and reproducible, and especially those artworks/writings which
are xerographic in nature, that is, use the peculiarities of the process as an integral part of
the form and/or content of the work...'photoSTATIC's first issue came out in August 1983,
and the fact that it is still going is due in large part to fact that here are people (such as,
perhaps, yourself) who are willing to support the project by either taking out subscriptions
or sending in the work, or both. The first 40 copies of this issue have an original stampwork
by Jacqueline de Parjure affixed here." Contributions by Dazar (USA), the editor, et al.
"Mail Review."
No. 18 (May 1986). Photocopy. 8 1/2"x7". (pages 516-546). Contributions by Dazar
(USA), Gerard Barbot (USA), Sue Fishbein (USA), Minoy (USA), Serse Luigetti (USA),
Jrgen Oblbrich (West Germany), Jorge Caraballo (USA), the editor, et al. "Mail Review:
photoSTATIC's editor review recent mail."
No. 19 (July 1986). Photocopy. 8 1/2"x7". (pages 548-574). "This issue of PhotoSTATIC
has a specific referent in mind, and this is Walter Benjamin's 1935 article 'The Work of Art
in the Age of Mechanical Reproduction.' although the article deals most specifically with
motion pictures, it seems apparent that it could easily be extended to deal with (the title
implies this) machine-based arts generally, such as xerography, photography, video, and
computer-related imaging systems." The text of "The Work of Art in the Age of Mechanical
Reproduction and the Ontology of the Xerographic Image," by the editor, runs throughout
the periodical. "Mail Review."
No. 19 1/2 (August 1986). Photocopy. 8 1/2"x7". (pages 576-602). "This issue, entitled
'1913', is intended to reflect upon the heritage of experimentation that has been acquired
by the postmodern artist, as symbolized by the Armory Show, which was held in new York
in that year. An interesting paradox is the Tradition of the New that weighs upon all of us
when we do our work. To a certain extent, this would indicate that our sense of the New is
illusory. Perhaps Duchamp was correct in proclaiming the death f art and refusing to do it
anymore. And perhaps not." contributions by Musicmaster (USA), Richard Bruno (France),
Serse Liugetti (Italy), Luc Fierens (Belgium), Crag Hill (USA), Ruggero Maggi (Italy),
Fernand Barbot (USA), Hazel Jones (England), Arturo G. Fallico (USA), Joel Lipman (USA),
John Pyros (USA), Patrick T. (USA), et al. "Mail Review." Supplement #19 1/2a inserted for
additional contributions by Art Nahpro (England), Thomas Hibbard (USA), and Bern Porter
(USA).
No. 19-1 (July 1986). Photocopy. 8 1/2"x7". (16 pages). "originally appeared in pS#14
'The Persistence of Vision' October 1985. This revised version from July 1986." Contribution
by Warren Ong (USA).
No. 20 (October 1986). Photocopy. 8 1/2"x7". (pages 605-641). "The idea for an issue
devoted to the loose term 'Experimental Texts' was actually one of the first themes every
(sic) suggested for a future issue of PhotoStatic. I don't remember who suggested it, only
that I first heard it soon after pS#1, "Some Possibilities.' Since image/text manipulations
form a hard core of xerograhic possibility, I knew it was a good idea for a theme. The first
'Experimental Texts' issue was #10, and was my favorite issue of a long time. This is
therefore the second 'Experimental Texts' issue." Contributors include Crag Hill (USA),
Carol Stetser (USA), Miekal And (USA), Caryl Burtner (USA), Mike Miskowski (USA), Steve
Perkins (USA), Elizabeth Was (USA), Ruggero Maggi (Italy), Drake Scott (USA), et al. "Mail
Review."
No. 20-5&6 (November 1986). Photocopy. 8 1/2"x7". (36 pages). "This is the latest in a
series of reissues of PhotoStatic, and represents a first for me in that it is a combined
reissue of #5 'Degeneration' and #6 'What Now? Issue,' both of which came out in the
Summer of 1984. There is considerable admixing of artist's works on the pages, but I feel
they have been well identified. to my mind, there is a new unity of work to be found in
these reissues, a kind of similarity which I hadn't noticed at the time, that this new
arrangement helps to divulge. I feel it is part of my editorial responsibility within the
'network' to continually bring the work that has been entrusted with me to view.
PhotoStatic is more tha(n) just an archive or a publication. it is a process-oriented
polydimensional world-diegetic and teleological art/reality interface..." Contributions by
Warren Ong (USA), Miekal And (USA), Crag Hill (USA), Guy R. Beining (USA), the editor, et
al.
No. 21 (December 1986). Photocopy. 8 1/2"x7". (pages 644-673). "The Dan Rather
Issue...What, you might ask, is 'The Dan Rather Issue' about? It was originally intended to
be an examination of the role of the tv anchor personality (as star in the Hollywood sense)
and its effect on the information s/he is giving us. An important thing pointed out over and
over in the works presented here is a concern for what is presented, how it is seen as truth
(when it is all too often a very incomplete picture) and the amount of serious consideration
the viewer does for him/er self as a result of the conclusive way in which this actually
inconclusive information is presented." Contributors include A. 1. Waste Paper Co.
(England), Crag Hill (USA), Harry Polkinhorn (USA), Piotr Szyhalski (Poland), Miekal And
(USA), Steve Perkins (USA), Chris Winkler (USA), Uta-Maria Krapf (USA), et al. "Mail
Review."
No. 21-1 (December 1986). Photocopy. 7 1/2"x6". (32 pages). "The Talking Cure," by
Steve Harp (USA). "Steve Harp is a filmmaker and xerox artist who lives in Chicago. His
work has appeared in 'PhotoStatic Magazine' #s 5, 6, 7, 9, 10, 11, 12, 13, 14, 16, 19, and
21."
No. 22 (February 1987). Photocopy. 8 1/2"x7". (pages 676-709). "The Anxiety Issue:
DisEase Disease...This issue reflects the type of work I have been getting from artists of
their own accord, not in response to a call for submissions for another theme. I have been
collecting these pieces here for over a year." Contributions by Musicmaster (USA), A. 1.
Waste Paper Co. (England), Serse Luigetti (Italy), the editor, et al. Mail Art exhibition
project and publication opportunities. "Mail Review."
No. 22-1 (1987). Photocopy. 8 1/2"x5 1/2". (22 pages). "Atollments," by Guy R Beining
(USA). "Notes," by Harry Polkinhorn (USA).
No. 23 (April 1987). Photocopy. 8 1/2"x7". (pages 712-745). "Disinformation."
Contributions by Harry Polkinhorn (USA), Malok (USA), Clemente Padin (Uruguay), Miekal
And (USA), John R(ininger) (USA), Piotr Szyhalski (Poland), Serse Luigetti (Italy), Mike
Miskowski (USA), the editor, et al. Mail Art exhibition, project and publication opportunities.
"Mail Review."
No. 23-1 (February 1987). Photocopy. 2 1/2"x2". (32 pages). "Of the Word," by John
Heck (USA), a revised edition of an earlier work, based on photocopy manipulation of the
New Testament
No. 23-7&8 (May 1987). Photocopy. 8 1/2"x7". (38 pages). "This is not a regular issue
of 'PhotoStatic Magazine.' Rather, it is a loving re-hash of old material under a new cover.
In the spirit of Retrofuturism, it is named after Sir Henry Fox Talbot's 1844-1846 serially
issued book of photographic prints (the first ever) of the same name." "The Pencil of
Nature ReIssue No. 7&8/23." Contributions by Crag Hill (USA), Tommy Mew (USA), Minoy
(USA), Miekal And (USA), Ryosuke Cohen (Japan), et al. "ReIssue of 'Sprockets' #7 and
'Portraits and Selfportraits' #8."
No. 24 (June 1987). Photocopy. 8 1/2"x7". (pages 748-781). "Urbanality" is more of a
title than a theme. It is a kind of collaged word intended to suggest some of the more
prevalent themes present in the work I've been getting. Much of it deals with urban
culture, because that is the mainstream of America, and probably the world." Contributions
by Epistolary Stud Farm (USA), Steven Perkins (USA), Mouche Ecrase (France), John
Rininger (USA), Serse Luigetti (Italy), et al. Mail Art publication opportunities. "Mail
Review."
No. 24-2 ([1987]). Photocopy. 7"x5 1/4". (24 pages). Graphics by Linda Bourassa, with a
text adapted from R. D. Laing's "Knots."
No. 25/26 (August 1987). Photocopy (Perfect Bound). 8 1/2"x7". (pages 785-883).
Networking Issue. "The network doesn't exist but then you know that. Instead, there are
uncountable networks, each overlapping and each with one person at the center. That's the
strength of networking: it's both completely individualialist and irremediably social. Each
person creates a network based on his or her needs, blended from the support and
participation of others doing the same thing. It's communication and exchange but not for
personal gain... Perforated postcards made from participating artists work. Contributors
include Ruggero Maggi (Italy), Jorge Caraballo (Uruguay), Clemente Padin (Uruguay),
Serse Luigetti (Italy), A-1 Waste Paper Co. (England), Arturo G. Fallico (USA), Carol
Stetser (USA), John R(ininger) (USA), Ph. Bill (France), Patrick T. (USA), Daniel Plunkett
(USA), et al. "Mail Review." Classic Mail Art/Networking zine.
No. 27 (November 1987). Photocopy. 8 1/2"x7". (pages 886-923). "In recognition of the
centenary of the birth of/Marcel Duchamp/who thought it up." Contributions by John Held,
Jr. (USA), John E. (USA), John R(ininger) (USA), F. John Herbert (USA), John Heck (USA),
Janet Janet (USA), Barry Edgar Pilcher (Wales), Serse Luigetti (Italy), Ivan Sldek
(Czechoslovakia), et al. "Report from Madison," by the editor. "Mail Review."
No. 9.27 ([December] 1987). Photocopy. 8 1/2"x7"). (40 pages). "This is not a regular
issue of 'PhotoStatic magazine.' Rather, it is a kind of loving reVision of old xerographic
artwork appearing under a slightly new cove. It is the most recent installment in the
'PhotoStatic' ReIssue series, or 'PhotoStatic's attempt to create a living archive of the
nearly 1.000 pages of xerographic artwork it has printed over the last four years. One
might look up it as a kind of 'Encyclopeadia Xerographica,' appearing in chronological,
rather than alphabetical, installments. What you now hold in your hands is a reIssue of
'PhotoStatic Nos. 9 and 9 1/2, or the 'Tele/Video Issue' and 'The Issue Within the Issue,'
originally released in January, 1985. This new form is called 9.27 in reference to both issue
no. 9 and issue no. 27, after the latter of which it appears chronologically." Contributions
by Guy R Reining (USA), Minoy (USA), Mark Pawson (England), Ruggero Maggi (Italy),
Mark Bloch (USA), Miekal And and Liz Was (USA), et al.
No. 28 (January 1988). Photocopy. 8 1/2"x7". (pages 927-962). "You may have noticed
something a little different about this issue of 'PhotoStatic' magazine. that's right, there's
another magazine tagging along with it. At the bottom of each and every page, you will
find a page of the Tape-beatles' new magazine, 'Retrofuturism.' As far as we know, this is
the first time in the history of magazines this has ever happened. This may be the case
with the next few issues of 'PhotoStatic' and 'Retrofutrism.' That is, at least until
Retrofuturism can find a place of it own...This current issue of 'PhotoStatic' is entitled "Test
Patterns for the Human Mind. The artists who contributed work have, as always, had a
significant role in defining what this issue is about." contributions by Piotr Szyhalski
(Poland), A.1. Waste Paper Co. (England), Dazar (USA), Steve Perkins (USA), Chris Winkler
(USA), et al. "Mail Review." Manifesto and "intentions" of Anonymous International.
"Retrofuturism" ends with "THE AVANT-GARDE COLLAPSES HERE."
No. 28-1 (April 1988). Photocopy. 8"x6". (28 pages). "10,000 Dreams," by Bob Gregory
(USA).
No. 28-2 (1988). Photocopy. %"x3 1/2". (24 pages). "Cave Paintings," by Chris Winkler.
No. 29 (March 1988). Photocopy. 8 1/2"x7". (pages 996-1003). "Well, there have been
rather mixed reactions to the Tape-beatles' gradual takeover of 'PhotoStatic' editorial
duties and this is good. If a change goes uncontested after all, you can be very sure
nothing significant has really changed. Some saw the addition of a strip of information at
the bottom of the page as a distraction, indeed a subtraction from the qualities of the work
carried above. Although Ll. Dunn has in the past referred to PhotoStatic as a 'gallery' of
xerographic work, it no longer seems to him that using a magazine as a gallery is a very
good use of the magazine medium." Contributions by John Rininger (USA), Antonio Ladra
(Uruguay), Jorge Caraballo (Uruguay), Chris Winkler (USA), John Eberly (USA), Pete
Spense (Australia), Ivan Sldek (Czechoslovakia), et al. "Mail Review." Accompanied by the
second issue of "Retrofuturism."
No. 29-1 (March 1988). Photocopy. 5 1/2"x4 1/4". (16 pages). "The Personality Painter's
Apprentice," by Jesse Lee Kercheval (USA).
No. 30 (May 1988). Photocopy. 8 1/2"x7". (pages 1006-1043). "This issue of
'PhotoStatic/Retrofuturism' represents a different approach to xerox art than has been
attempted on these pages before. The Call for Submissions for this, the 'Unfinished
Symphonies' issue asked specifically for unfinished work. The editorial intent was to
assemble fragments of ideas or incomplete notions or concepts and put them together to
form a collective whole, where the bids are hard to extract from the whole." Contributions
by Arturo G. Fallico (USA), Steve Perkins (USA), Mark Rose (USA), Philippe Bill (France),
Musicmaster (USA), Ivan Sldek (Czechoslovakia), John Held, Jr. (USA), et al. "Mail
Review." Includes, "Retrofuturism," No. 3.
No. 31 (July 1988). Photocopy and Rubber Stamp. 8 1/2"x7". (pages 1070-1107). The
"Plagiarism" Issue. "Is Plagiarism Necessary," by the editor. "Plagiarism," by Harry
Polkinhorn (USA). "Work is Your God," by Mark Rose (USA). Contributions by Alessandro
Aiello (Italy), John E. Mumbles(USA), Musicmaster, et al. Reviews. Listings of publications.
Letters to the editor. Mail Art exhibition, project and publication opportunities. Includes,
"Retrofuturism," No. 4. "Meet Retrofuturism," by the editor.
No. 32 (September 1988). Photocopy. 8 1/2"x7". (pages 1111-1154). "Existentialism
and the Illusion of Choice," issue. Contributions by Alessandro Aiello (Italy), Jrgen Olbrich
(Germany), Musicmaster (USA), Guy R. Beining (USA), et al. "Why," by Mark Rose (USA),
discusses the reasons for entering and continuing mail Art. "Mail Review."
"Announcements," lists Mail Art exhibition, project and publication opportunities. Includes,
"Retrofuturism," No. 5. "'PhotoStatic' intends to continue for the foreseeable future doing
what it has been doing, which is to provide creators of culture in farflung parts of five
continents with a place to make their views known...with no requirement made of them
that they be well-known, or well-exhibited, or well-discussed in the 'proper circles.'"
No. 33 (November 1988). Photocopy and Mixed Media. 8 1/2"x7". (pages 1158-1203).
"Cultural Property," issue. Contributions by John R(ininger) (USA), Jack Moskovitz (USA),
Piotr Szyhalski (Poland), Ph. Bill (France), Serse Luigetti (Italy), Bob Grumman (USA),
Thom Metzger (USA), Miekal And (USA), et al. "Readers Comments." "Mail review."
"Announcements," lists Mail Art exhibition, project and publication opportunities.
No. 34 (February 1989). Photocopy. 8 1/2"x7". (pages 1206-1251). The "Detourned,"
issue. "Art Strike, 1990-1993." "We call for all artists in the U. S. to put down their tools
and cease to make, distribute, sell, exhibit or discuss their work from Jan. 1, 1990 to Jan.
1, 1993. We call for all galleries, museums, agencies, alternative spaces, periodicals,
theaters, art schools etc., to cease all operations for the same period." Contributions by
Janet Janet (USA), Serse Luigetti (Italy), Musicmaster (USA), Brad Goins (USA), et al.
"Letters to the Editor." "Print Reviews." "Audo Reviews." mail Art exhibition, project and
publication opportunities. "Kopy Kultur," a proposal for a source book on "xerography," put
forth by the editor and Steve Perkins (USA). Includes, "Retrofuturism," No. 7.
No. 34-2 (March 1989). Photocopy and Mixed Media. (50 pages). "'Wakest Aims? Kind
Law & Zeal!' is a composite assembling of styles of visual information. This book is a
collaboration between Liz Was & Miekal And (Madison, WI) & Michael Helsem (Dallas, TX).
the history of its construction is a systematic puzzle. Spanning some 3 years since its
beginning, they have deliberately contrasted the hand-drawn with the computer-generated,
the cave painting with the graffiti..."
No. 35 (April 1989). Photocopy. 8 1/2"x7". (pages 1254-1303). "Repetition Breeds,"
issue. "Traces, Imprints and Vestiges," by Christian Rigal (France). "Awake at a Noise
Above," by Miekal And (USA). Contributions by John Eberly (USA), Chris Winkler (USA),
Clemente Padin (Uruguay), Arturo G. Fallico (USA), Malok (USA), Luke McGuff (USA),
Ruggero Maggi (Italy), et al. Print reviews and listing. Letters to the editor. Includes
"Retrofuturism," No. 8. "Art Strike: Karen Eliot Interviewed by Scott MacLeod (1989)."
No. 35-1 ([May 1989]). Photocopy. 8 1/2"x5 1/2". (20 pages). "Works of art are like
questions or problems put by their inventor to the public at large." Crossed out text with
selected phrases left intact. Uncredited, but probably by John Stickney (USA).
No. 35-2 (May 1989). Photocopy. 8 1/2"x5 1/2". (52 pages). "Brief Eternities," by Tom
Hibbard (USA).
No. 36 (June 1989). Photocopy. 8 1/2"x7". (pages 1306-1355). "Expand the Network"
issue. "Letters to the Editor." "Vizlature: A Column on Verbo-Visual Art," by Bob Grumman
(USA). "Alternoise," by Miekal And (USA) Contributions by Pandora's mailbox (USA), Mark
Pawson (England), Crag Hill (USA), John Rininger (USA), Luke McGuff (USA), Paul
Weinmann (USA), et al. Print reviews and listings. Mail Art exhibition, project and
publication opportunities. Includes, "Retrofuturism," No. 9.
No. 37 (August 1989). Photocopy and Mixed Media. 8 1/2"x7". (pages 1358-1407).
"Letters to the Editor." Contributions by Al Ackerman (USA), Jos Vanden Broucke
(Belgium), Xeroxial Endarchy (USA), Stewart Home (England), Joel Lipman (USA), Serse
Luigetti (Italy), A-1 Waste paper Co. (England), et al. "Polynoise," by Miekal And (USA).
"Art Strike 1990-1993," by Stewart Home (England). "Popular Culture is the Walrus of the
Avant-Garde," by John Heck (USA). "Neoism 101." "Print Reviews." "Audio Reviews." mail
Art exhibition, project and publication opportunities.
No. 38 (October 1989). Photocopy. 8 1/2"x7". (pages 1410-1455). "Letters to the
Editor," including "Origins of Neoism Illuminated," by Al Ackerman (USA). "PhotoStatic on
Art Strike (1990-1993), by the editor. "'PhotoStatic Magazine' (which includes 'PhonoStatic
Cassettes') will participate in the three-year Art Strike, which has been publicized and
discussed in these pages and elsewhere. To that end, the next issue of 'PhotoStatic,' No.
39, will be the last to appear for three years. However, I am eager to continue my
correspondence activity, believing it to be a good way to carry on the discussion on a
critical, and interpersonal level." "The Festival of Plagiarism, Glasgow, Scotland, August 4-
11, 1989," by the editor. Contributions by Elizabeth Was (USA), mark Pawson (England),
Philippe Bill (France), et al. "Print Reviews." Includes, "Retrofuturism," No. 11.
No. 39 (December 1989). Photocopy. 8 1/2"x7". (pages 1463-1494). Contributions by
Serse Luigetti (Italy), Joe Schwind (USA), Dominique LeBlanc (France), Malok (USA), Jean-
Franoise Robic (France), Pandora's Mailbox (USA), Philippe Bill (France), et al. Mail Art
exhibition, project and publication opportunities. Front and back covers by Mark Pawson
(England).
No. 39 (December 1989). Photocopy. 8 1/2"x7". (pages 1463-1494). Variant cover of
the above.
No. 40 (December 1989). Photocopy. 8 1/2"x7". (pages 1497-1528). "An Apology from
the Editor of PhotoStatic Magazine." "When I announced my intention of joining the Art
Strike during the years of 1990-1993, it was my honest wish to communicate my interest
in doing something more in the cultural sphere than simply put out a 'little magazine.' This
was not an effort on my part to devalue the contribution that small publications make;
indeed I stand more committed than ever to that vision. Make no mistake: I still intend,
through 'PhotoStatic,' to participate in this (in)action; this writing is simply an attempt to
clarify my position on the Art Strike and 'PhotoStatic's' participation in it." "Letters to the
Editor." "On Difficulty in Verbal visual Art," by harry Polkinhorn (USA). "Rotational
Situationism: 'Levi-Strauss' Style," by Al Ackerman (USA). "The Theory of the Second
Publicity and Its Relation with the Elite Art and the Anti-Publicity," by Gza Perneczky
(Germany). "Reviews." "Art Strike 1990-1993 Information." mail Art exhibition, project and
publication opportunities. "In 1993, the editor of 'PhotoStatic' intends to resume its
bimonthly schedule of publishing graphic art work and critical texts taylored for the
reprographic page. To that end, we will continue to accept submissions to be considered for
inclusion in #41...'Retrofuturism' will separate from PhotoStatic, beginning with #12. Since
it is edited by the Tape-beatles, who are not participating in the Art Strike, it will continue
as a sporadic during the years of the strike...The editor remains philosophically committed
to the idea of the small scale, non-commercial press in not only disseminating, but also
stimulating dialog between parties which might otherwise remain insular and local. To that
end, the activity must continue. It is the specialization of 'art' that must be rejected..."
No. 41 (January 1993). Photocopy. 8 1/2"x5 1/2". (pages 1792-1813). "Editorial," by
Lloyd Dunn. "'PhotoStatic magazine' has been gone for three years. It has remained
invisible and silent during the years 1991-1993 in support of the 'Art Strike' (1990-1993).
Called for in 1987 by the 'Praxis group,' the Art Strike sought to call into question the role
of the artist in the current predicament that is contemporary culture...I am not going to
sum up what the Art Strike's 'successes' and 'failures' are; these issues have been too
thoroughly covered in the newsletter 'YAWN,' which replaced 'PhotoStatic' during its
hiatus." "Report from the International Zine Show, Iowa City, September 1992," by
Stephen Perkins (USA). "Print Reviews." "Audio Cassette reviews." Contributions by Jean-
Franoise Robic (France) and Serse Luigetti (Italy).

Photostatic Retrofuturist, The. Lloyd Dunn, Editor. Iowa City, Iowa. 1997.
No. 48 (October 1997). Photocopy. 8 1/2"x7". (pages 2174-2235). "It used to be that,
due to our efforts, a little magazine called 'PhotoStatic' used to come out every other
month, much like the hypnotist's swinging pocket watch (with minor
variations.)...'PhotoStatic' became more than just an elaborate reason to get out of bed in
the morning, and some of the richness it gave to our life we attempted to reflect back into
it by making unpredictably complex structures of pseudo-organization. 'Retrofuturism'
began as a sub-zine in 'PhotoStatic,' a narrow strip along the bottom of every page
devoted to this other publication. Eventually, 'PhotoStatic' was laid to rest and
'Retrofuturism' took over...Which brings us to why this, the first issue of the title 'The
Photstatic Retrofuturist,' is issue number 48. There were 41 issues of 'PhotoStatic,' and six
stand-alone issues of Retrofuturism, which makes 47 issues, all of which the current title
can hold up as its ancestral claim...We have also adopted continuous pagination from the
beginning, which is why this issue begins with the page numbered 2173." Reprint from
"RE:ACTION," no. 5, "The First Congress of the New Lettrist International." "Stewart Home:
Exposed at Last." "Generea." "Of all the items appearing in either of our earlier titles
'PhotoStatic' or 'Retrofuturism,' the one most commented upon and appreciated by our
readers has been our reviews section. Therefor, in deference to our past output, we have
decided to continue publishing it in a slightly adjusted form. We call it 'Generea.'" "List of
Experimental Poetry/Art Magazines," by Spencer Selby (USA). Review copy, submitted to
"Factsheet Five," with attached review form filled out by the editor.

PhrenQuellonium: A Quarterly Arts Review. Steve Frenkel, Editor. Roswell,
Georgia. 1990-1991.
Vol. 1, No. 1 (April 1990). Computer Print. 11"x8 1/2". (2 pages). "Mac Publication for
Luddites Launched Today." "You say I've been out of the loop for the past few months. and
you are right. I did my last mail artwork for "Art/Life' in November. Reviews. Rubber stamp
designs by the editor for Stampa Barbara.
Vol. 1, No 2 (June 1990). Computer Print, Rubber Stamps and Mixed Media. 11"x8 1/2".
4 pages. "Eraser Carving News." Reviews. "My abandonment (temporary or permanent) of
the mail art avocation has left many of my friends with a void I used to regularly send out
all this visual stuff..."
Vol. 1, No. 3 (October 1990). Computer Print and Rubber Stamps. 11"x8 1/2". 4 pages.
"My call for submissions from readers was met with resounding silence."
Vol. 1, No. 4 (December 1990). Computer Print and Rubber Stamp. 11"x8 1/2". (4
pages). "Larry Angelo of New York City sent in his reviews with a comment, '...it seems odd
to request only writings for a gang of, presumably, visual people!' You're right Larry,
readers are invited to send in visual material, keeping in mind that we are 'copying' from
(generally speaking) reduced photocopies." Contribution by Kay R. Sluterback (USA).
Vol. 2, No. 1 (April 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (4 pages).
"'PDQ' began as an outgrowth of my passion for correspondence. After writing close to two
thousand letters in five years, I was pretty burned out. Doing a newsletter seemed more
efficient." Contributions by Larry Angelo (USA), et al.
Vol. 2, No. 2 (July 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (4 pages).
Contributions by Leavenworth Jackson (USA), et al. Eraser carvings by the editor.
Vol. 2, No. 3 (Autumn 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (2 pages).
Report of a visit to Bookbeat bookstore in Oak Park, Michigan.

PIPS: Zeitshrift fr UnZeitgist & UnKomMerz. Claudia Ptz, Editor. Pops-Dada-
Corporation, Bonn (West Germany). 1992-1995.
"...is an artist magazine with original-contributions. There are mail-art-works of 40-50
artists and authors in each issue, signed and numbered in all possible technics. The
magazine is a forum for exchange and communication for all networkers, mail-artists and
(visual poetry-)authors. It tries to open contacts and collaborates internationally with other
publications. please send 130 originals 21x29,7 cm, any media, visual & experimental
poetry international...Every participant receives 1 original-issue of PIPS (incl. all works)."
No. 1/92 (January/February/March/April 1992). Mixed Media. 13 1/2"x 10 1/4".
Unpaged. Assembling magazine. Theme: Herz & Merz. Contributions by 50 artists from 9
countries including Robin Crozier (England), Guillermo Deisler (East Germany), PLG
Frieslaender (West Germany), Briitta Heidimann (West Germany), Peter W. Kaufmann
(Switzerland), Ruth Knecht (West Germany), Ruggero Maggi (Italy), Carlos Montes de Oca
(Chile), Jrgen Olbrich (West Germany), Jose Oliveira (Portugal), Marcel Stssi
(Switzerland), Harald "Sack" Ziegler (Germany), et al. Edition 117/130.
No. 2/94 (May/June/July/August/September 1994). Mixed Media. 13"x9 3/4".
Unpaged. Assembling Magazine. Theme: Newspaper. Contributions by Hartmut Andryczuk
(Germany), Theo Breuer (Germany), Hans Braumller (Germany), Marcello Diotallevi
(Italy), Antonio Gomez (Spain), Carola V. D. Heyden (Holland), Litsa Kaschaw-Spathi
(Germany), Ruggero Maggi (Italy), Merz Mail (Spain), Jrgen Olbrich (Germany), Klaus
Rupp (Germany), Ashley Parker Owens (aka Soapbox Junction) (USA), Marcel Stssi
(Switzerland), Georgine Margareta Witta (Denmark), et al. Edition 130.
No. 3/94 (October/November/December 1994). 13"x9 3/4". Unpaged. Assembling
magazine. Theme: Souvenir. Contributions by 43 artists from 9 countries including Theo
Breuer (Germany), Patricia Collins (England), M, B. Corbett (USA), David Dellafiora
(England), Phan Kim Dien (France), Marcello Diotallevi (Italy), Franzobel (Austria), Marcel
Herms (Germany), Litsa Kaschau-Spathi (Germany), Carlos Montes de Oca (Chile), Marcel
Stssi (Switzerland), Lutz Wohlrab (Germany), et al. Edition 79/130.
No. 3/95 (September/October/November/December 1995). Mixed Media. 13"x10".
Unpaged. Assembling magazine. Theme: Buss- & Bettag - Box. Contributors include Anna
Banana (Canada, Keith Bates (England), Theo Breuer (Germany), Patricia Collins
(England), Robin Crozier (England), David Dellafiora (England), Antonio Gomez (Spain), K.
Frank Jensen (Denmark), Jrgen Olbrich (Germany), Leanda Ryan (England), Georgine
Margareta Witta (Denmark), et al. Includes ten-page booklet with listing of contributors
and short biographies of each. "Mail & Art News," includes Mail Art exhibition, project and
publication opportunities. "Editorial." "The cover object of this issue is remarkable: an
original Polish dancing music disc from the sixties..." Edition 68/130.

Place Stamp Here: A Literary Magazine on Postcards-Visual Poetry. K. S. Ernst,
Editor. Press Me Close, Farmingdale, New Jersey. 1982-1983.
No. 0 (1982). Offset. 6"x4". (6 postcards). Contributions by John M. Bennett (USA), Ernie
Ernst (USA), and K. S. Ernst (USA). Postcard by Bennett missing.
No. 1 (Spring 1983). Offset. 6"x4". (8 postcards). Contributions by C. Mehrl Bennett
(USA), David Cole (USA), Ernie Ernst (USA), Jerry Madson (USA), Derek Pell (USA), Bern
Porter (USA), and Marilyn R. Rosenberg (USA).
No. 2 (Fall 1983). Offset. 6"x4". (7 postcards). Contributions by John M. Bennett (USA),
K. S. Ernst (USA), Scott Helmes (USA), Jerry Madson (USA), Mick Mather (USA), Bern
Porter (USA), and Laurie Wechter (USA).

Planet Roc: An Alternative Arts Journal. Simone Bouyer and Stephanie Coleman,
Editors. Wholesome Roc Gallery, Museum & Cafe, Chicago, Illinois. 1990-1993.
Vol. 2, No. 5 (June 1990). Photocopy. 8 1/2"x7". 19 pages. Desktop published, the
"Monthly Newsletter of Wholesome Roc Gallery, Museum & Cafe," is the only instance of a
woman of color editing a Mail Art related periodical. The zine reflects the interests of their
experience, featuring a social and political awareness (and a cooking column) rarely
encountered in the field. This issue: "Art, Poetry and Music From Behind Prison Walls."
Vol. 2, No. 7 (July/August 1990). Photocopy. 8 1/2"x7". 19 pages. "The Freedom
Issue/The People of Color Issue." Notice for the Mail Art exhibition, "Sexism, Racism,
Classism," by Ashley Parker Owens (USA), editor of "Global Mail."
Vol. 2, No. 8 (September 1990). Photocopy. 8 1/2"x7". 19 pages. "The Industrial
Issue." Notice for the Mail Art exhibition, "Gay Mail Art," organized by the Minneapolis
based, GM Artists.
Vol. 2, No. 10 (December 1990). Photocopy. 8 1/2"x7". 19 pages. "The Kwanzaa
Exhibit."
Vol. 3, No. 2 (February/March 1991). Photocopy. 8 1/2"x7". 17 pages. "The Amazonic
Liberation Issue." Includes the graphic, "Mail Art for Peace," by Caudine Barbot (USA).
Vol. 3, No. 3 (May/June 1991). Photocopy. 8 1/2"x7". 19 pages. "What is Wholesome?"
issue. cover by Mike Duquette (Canada). Documentation of the "What is Wholesome:
International Mail Art Exhibit," at Planet Roc Cafe, Gallery and Museum, organized by the
editors. Reproduced contributions by Carroll Brooks (USA), Ruggero Maggi (Italy), Claudine
Barbot (USA), Clemente Padin (Uruguay), Chris Dodge and Jan DeSirey (USA), Fa Ga Ga
Ga (USA), A1 Waste Paper Co. (England), Ashley Parker Owens (USA), Marcel Stssi
(Switzerland), Marcello Diotallevi (Italy), John Held, Jr. (USA), Guillermo Deisler (East
Germany), Ryosuke Cohen (Japan), et al.
Vol. 3, No 4 (July/August 1991). Photocopy. 8 1/2"x7". 23 pages. Contributions by
Ruggero Maggi (Italy), Clemente Padin (Uruguay), and Claudine Barbot (USA). Notice for
the "Decentralized World-Wide Networker Congress 1992."
Vol. 3, No. 5 (September/October 1991). Photocopy. 8 1/2"x7". 23 pages. "The
Provoked issue!" Notice for "Acts of Rebellion," Mail Art project, organized by Ashley Parker
Owens (USA).
Vol. 4, No. 2 (March/April 1992). Photocopy. 8 1/2"x7". 23 pages. "The Spiritual
Issue." Contributions by Carroll Brooks (USA), Ruggero Maggi (Italy), et al. Mail Art
exhibitions and project opportunities in the "Journal," column, by editor Simone Bouyer.
Vol. 4, No. 3 (May/June 1992). Photocopy. 8 1/2"x7". 23 pages. "The Spring Thing
issue." Contributions by Jesse Edwards (USA), Larry Huber (USA), Claudine Barbot (USA),
et al. R. Seth Friedman's "(USA) "Food for Thought," zine mentioned in "Food."
Vol. 4, No 4 (July/August 1992). Photocopy. 8 1/2"x7". 23 pages. "The Logical Issue."
contributions by Ruggero Maggi (Italy), Larry Huber (USA), Ruggero Maggi (Italy), et al.
Notice for, "International Zine show, curated by Stephen Perkins (USA), and "Fe-Mail-Art,"
exhibition at the Stamp Art Gallery, San Francisco.
Vol. 4, No. 5 (September/October 1992). Photocopy. 8 1/2"x7". 23 pages. "The
Political Issue." Contribution by Ruggero Maggi (Italy). Mail Art exhibition opportunities.
Vol. 4, No. 6 (November/December 1992). Photocopy. 8 1/2"x7". 23 pages.
Documentation of the, "What is Unity?," Mail Art exhibition at Planet Roc, organized by the
editors. reproduced contributions by Jaqueline Wolven (USA), Claudine Barbot (USA),
David Dellaflora (England), Carlos Urbina (Spain), Fa Ga Ga Ga (USA), J. B. Dodd (USA),
Crackerjack Kid (USA), Jo-Anne Echevarria Myers (USA), Mike Dyar (USA), et al.
Vol. 4, No. 7 (January/February 1992). Photocopy. 8 1/2"x7". 23 pages. "Propaganda"
issue. Contributions by A1 Waste Paper Co. (England), Fa Ga Ga Ga (USA), et al. "Junk
mail," by Chris Dodge (USA) and Jan DeSirey (USA).
Vol. 5, No. 2 (March/April). Photocopy. 8 1/2"x7". 23 pages. "It's a Mail Thang," issue.
contributions by Clemente Padin (Uruguay), Malok (USA), Buttons (USA), John M. Bennett
(USA), et al. Mail Art news in "Journal."
Vol. 5, No. 3 ([July 1993]). Photocopy. 8 1/2"x7". 23 pages. "The International
Women's Rights Issue." Contributions by Popovic Predrag (Yugoslavia), Desirey-Dodge Post
(USA), et al.
Vol. 5, No. 4 ([September 1993]). Photocopy. 8 1/2"x7". 23 pages. "The Cooperative
Issue." Contributions by John Held, Jr. (USA), et al. "About Art and Nature," by Raphael
Nadolny (Poland).
Vol. 5, No. 5 ([November 1993]). Photocopy. 8 1/2"x7". 23 pages. "The Work Issue."
Contributions by Clemente Padin (Uruguay), Raphael Nadolny (Poland), et al.

PMTTD's Standard Catalogue Update. Dominique (Bugmaster General), Editor.
PMTTD Corporation, Seattle, Washington. 1993.
No. 7 (1993). Photocopy. 11"x8 1/2". (14 pages). "Formerly, 'Monthly Journal'."
Artistamp newsletter and catalog. "Folks have complained about he abrupt termination of
the 'Journal' esp. Mr. Rubberoid-'after the write up in Anna's Rag, how can you not.' Well, I
am. Just not on a rigorous schedule. I know, even when hastily scrawled my rag is the
BEST artist stamp journal in existence, I can't stay away from publishing (although I try),
its in my blood to spew." "Reception" notes artistamp news on Dogfish (USA), buZ blurr
(USA), Rick Banning (USA), "Artistamp New," Rudi Rubberoid (USA), John Held, Jr. (USA),
Carlo Pittore (USA), Fernand Barbot (USA), et al. Information on the editor's "Standard
Catalogue," the artistamp scene's answer to the philatelic world's, "Scott Catalogue."

Po. Michael Wolstat, Editor. Po Publications, Portland, Maine. 1992-1993.
No. 1 (n.d.). Photocopy. 5 1/2"x4 1/4". (24 pages). The "Internal/External" issue.
Photocopy art. Contributors include Amalgam X (USA), David Pearson (USA), Phil Spirito
(USA), Rebecca Lelaurain (USA), Joe Butler (USA), and the editor.
No. 2 (February 1992). Photocopy. 5 1/2"x4 1/4". (28 pages). The "Transmission"
issue. Contributions by Amalgam X (USA), Arte A La Carte (USA), Rce Freeman-Zachery
(USA), et al.
No. 3 (March 1992). Photocopy. 6"x4 1/2". (24 pages). The "Strike" issue. Formatted as
a matchbook. Contributions by Guy Capecelatro III (USA), Peter McCarthy (USA), the
editor, et al.
No. 4 (May 1992). Photocopy. 5 1/2"x4 1/4". (28 pages). The "Math" issue. Contributors
include Larry Angelo (USA), afungusboy (USA), David Hunter (USA), the editor, et al.
No. 5 (July 1992). Photocopy. 5 1/2"x4 1/4". 22 pages. The "Process/Product" issue.
Contributors include Reed Altemus (USA), Arto Posto (USA), the editor, et al. "Networking"
lists "Zines" and "Mail Artists."
No. 6 (August 1992). Photocopy. 5 1/2"x4 1/4". 24 pages. The "Absurd Theater" issue.
Contributors include Stampmeister Kevin (USA), Mono (USA), afungusboy (USA), et al.
"Networking" includes "Mail Artists," "Rubber Stamps," "Zines," and "Cassettes."
No. 8 (December 1992). Photocopy. 5 1/2"x4 1/4". 23 pages. "The Craft," issue.
contributors include Amanda Lewis (USA), Ishkabibbel (USA), Mono (USA), the editor, et
al. "Networking" includes names and addresses of Mail Artists and their specialties. (i.e., A-
1 Waste Paper Co.-Rubber Stamp Exchange and Zine Trade, Mail Art).
No. 9 (January 1993). Photocopy. 5 1/2"x4 1/4". (28 pages). Contributors include
Stampmeister Kevin (USA), Tensetenendoned (USA), Haddock (USA), Mono (USA), JK Post
(aka Jonas Kover) (USA), Larry Angelo (USA), et al. "Networking" includes names and
addresses of contributors.
No. 12 (May 1993). Photocopy. 5 1/2"x4 1/4". 24 pages. The "Birds and Bees," issue.
contributors include afungusboy (USA), Michel Pollard (Indonesia), State of Being (USA),
Musicmaster (USA), Schmuel (USA), Michael Leigh (England), Peter Brandt (Germany), et
al. "Networking" includes names and addresses of contributors.
No. 14 (Autumn 1993). Photocopy. 5 1/2"x4 1/4". (28 pages). "My Summer Vacation"
issue. "'Po' isn't usually like this. for the most part it is full of work from friends and
correspondents. Because I have been moving and on the road I have not been mailing
anything to anyone, and mail karma dictates that those who send no mail receive no mail.
It just seemed natural that this issue be about my collection of experiences on the road. I
hope that this won't discourage any potential contributors."

Poesia en Circulacion/Poetical Network. Csar Espinosa, Editor. Mexico City,
Mexico. 1983-1985.
No. 3 (April 1983). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages). "Uruguay."
Visual poetry by Uruguayan artist Clemente Padin.
No. 4 (April 1983). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages). "Portugal."
Visual poetry by Portuguese artist Abilio-Jos Santos.
No. 9 (Summer 1985). Photocopy. 8 1/2"x6 3/4". (8 pages). "Mexico." Visual poetry by
Mexican artists Leticia Ocharn, Csar Espinosa, and Ma. Eugenia Guerra.
No. 10 (Summer 1985). Photocopy. 8 1/2"x6 3/4". (8 pages). "Chile (Exilio)." Visual
poetry by exiled Chilean artist Guillermo Deisler (Bulgaria).Includes an essay by Deisler,
"Sobra la Poesia Visual en Sudamerica," and a brief biographical text on the late artists.

Poezine. Avelino de Araujo, Editor. Natal, Brazil. 1993.
Vol. 1, No. 2 (July 1993). Photocopy. 8 3/4"x6 1/4". (8 pages). Visual Poetry.
Contributors include J. M. Calleja (Spain), Karl Kempton (USA), Klaus-Peter Denker
(Germany), Clemente Padin (Utuguay), Franklin Capistrano (Brazil), Timm Ullrichs
(Germany), Nenad Bogdanovic (Yugoslavia), et al.

Popular Reality. David Crowbar/Susan Poe (aka Rev. Suzie Crowbar), Editor. Ann
Arbor, Michigan; Lansing, Michigan. 1986-2000.
No. 15 (October-November 1986). Newsprint. 17 3/4"x11 1/4". (28 pages).
Contributions by Joe Schwind (USA), Al Ackerman (USA), Pat Fish (USA), Jack Saunders
(USA), Church of the SubGenius (USA), et al. "Mailing There Way Into Anarchy." by Bob
Black (USA). Letters to the editor by Hakim Bey (USA), Eel Leonard (aka Al Ackerman)
(USA), et al.
(1994). Color and Black & White Photocopy. 8 1/2"x5 1/2". (24 pages). "The Big
Shmooze: Friday thru Monday August 5-8, 1994." Report of a meeting by "Popular Reality"
contributors and friends including Al Ackerman, John M. Bennett (USA), Simeon Stylites
(USA), Ashley Parker Owens (USA), Bob Grumman (USA), Roger Jackson (USA), Any
Salyer, Caleb Son of Crowbar (USA), et al.
Special Report ([1996]). Newsprint. 17"x11 1/2". (10 pages). "Big Bad Bob Black: A
Popular Reality Special Report," chronicles the misadventures of the author with Jim
Hogshire. "My Date With Jim Hogshire," by Bob Black (USA). "Don't have a life of your
own? Need to live vicariously through the soap-opera adventures of others? Have a deep
need for minor, unimportant attention? Think you're hot shit? Like Irreverend Crowbar, you
could vent your inconsequential fourth-hand opinions on this whole matter in a wonderful
follow-up supplement to this special report to be to be issued in a few weeks." Enclose, a
letter from Bob Black to the editor of "Global Mail."
Special Report Supplement ([1996]). Newsprint. 17"x11 1/2". 11 pages. More on the
controversy between Bob Black (USA) and Jim Hogshire (USA). Contributions by Adam
Palfrey (USA), Bob Black (USA), Al Ackerman (USA), Farm Pulp (USA), Jack Saunders
(USA), et al.
(1997). Photocopy. 11"x8 1/2". (16 pages). "Randy Tin-Ear Speaks-to Himself." A special
issue recounting the misunderstandings between the editor and Rev. Randy Tin-Ear, the
editor of "The Angry Thoreauan." Contributions by Al Ackerman (USA), John Held, Jr.
(USA), Malok (USA), John M. Bennett (USA), Bob Black (USA), et al.
Vol. 386, No. 8 ([1997]). Photocopy. 8 1/2"x5 1/2". 50 pages. "The Ultimate Sex
Magazine!" "2,976 Vienna Sausages," a short story by Al Ackerman (USA), illustrated in
comic book form by E. J. Barnes (USA). "PEZ: Pederasty Excitement Zone," by Hakim Bey
(USA). "My Date with Irrev. Suzie Crowbar," by bob Black (USA). "The jack Saunders
School of fiction Writing." "The Homo-Erotic Mail Art of Jim Hogshire." Rev. Randall Tin-Ear
vs. the editor, and visa-versa.
Vol. 436, No. 1 ([1998]). Newsprint. 17"x11 1/2". 12 pages. "Introductory Brag by Bob
Black." Contributions by Al Ackerman (USA), Jack Saunders (USA ), Musicmaster (USA),
Jake Berry (USA), et al.
Vol. 436, No. 2 ([1998]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Art
Maggots (USA), Malok (USA), Al Ackerman (USA), et al. Listing of other Popular Reality
publications.
Vol. 436, No. 3 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Al
Ackerman (USA), Jack Saunders (USA), John M. Bennett (USA), Jake Berry (USA), Bob
Black (USA), et al. "My Date with John Fliss and Bob Black," by Suzy Crowbar.
Ackerman (USA), Ralph Delagado (USA), et al.
Vol. 436, No. 5 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by al
Ackerman (USA), Snow White (Jung) (England), John M. Bennet (USA), Jake Berry (USA),
The Sticker Dude (USA), et al.
Vol. 436, No. 6 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Ralph
Delgado (USA), Jack Saunders (USA), Jake Berry (USA), John M. Bennett (USA), Malok
(USA), et al. "Bob black's Anarchy After Leftism: A Proloegomena to Any Surrealist Law,"
by Kirby Olson (USA). "Suzy Goes to the Dentist-or-What I Really Did the First Year After
My Sex-Change," by the editor.
Ackerman (USA), Jack Saunders (USA), Malok (USA), et al. "My Date with John M.
Bennett," by Suzy Crowbar. "Neoist Misalliance," by tENTTIVELY a cONVENIENCE
(USA).

Post/Arte. Csar Espinosa, Editor. Colectivo-3, Mexico City, Mexico. 1982-1984.
No. 1-A (January 1992). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus
insert). Reprint from an article reviewing the Mail Art Exhibition, "II Muestra Internacional
de Tarjetas Postales del CRAAG," organized by Aarn Flores (Mexico) and Blanca Noval
(Mexico). Contributions by Roxy Gordon (USA), Vittore Baroni (Italy), Daniele Ciullini
(Italy), Tth Arpd (Hungary), A. De Araujo (Brazil), Wulle Komsumkurst (Germany), et al.
Insert includes the essay, "Arte-Correo," by the editor.
No. 2-B (March 1982). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages).
Participant list for the exhibition, "REV-O-LUCION," a Mail Art show curated by Colectivo-3
(Mexico). Contributions by chuck Stake (Canada), Damaso Ogaz (Venezuela), Pierre-Alain
Hubert (France), E(mmett) Walsh (USA), A De Araujo (Brazil).
No. 3 (May 1982). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages).
Contributions by Scott Helms (USA), John P. Jacobs (USA), Piotr Rypson (Poland),
Salvatore De Rosa (Italy), Daniel Ciullini (Italy), Bengt Adlers (Sweden), et al. Mail Art
exhibition opportunities.
No. 4 (August 1982). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus
insert). Contributions by Aaron Flores (Mexico), Luis (Brazil), Gabor Toth (Hungary), A De
Arujo (Brazil), Damasco Ogaz (Venezuela), Robert Rehfield (East Germany), Lon
Spiegelman (USA), et al. Insert with texts by Louise Neaderland (USA) and Romano Peli
(Italy), "First International Mail-Art Manifesto."
No. 5 (October 1982). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus
insert). Contributions by Michael Groschopp (West Germany), Ray Johnson (USA), Ivo Antic
(Yugoslavia), Amy Hamouda (Canada), Albuquerque Mendes (Portugal), Louise Neaderland
(USA), Daniel Daligand (France), et al. Insert with Mail Art exhibition project and
No. 6 (December 1982). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x4 1/2". (6
pages, plus insert). Contributions by Pat and Dick Larter (Australia), Michele Perfetti
(Italy), Guy Bleus (Belgium), Mauricio Guerrero (Mexico), Giovanni Fontana (Italy), Filimir
(Yugoslavia), Lon Spiegelman (USA), Daniele Ciullini (Italy), et al. Insert with "M. A.
Messages: A Short Uncompleted Chronology," by Gnther Ruch (Switzerland), and
"International Mail Art Manifesto: 1962/1982: New York-Parma," by Romano Peli and
signed by 24 artists from 10 countries.
No. 7 (January 1983). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus
insert). Contributions by Pablo Del Barco (Spain), Aloys Ohlmann (West Germany), Jose De
Santiago (Mexico), Hans Nevidal (Austria), Dobrica Kamperelic (Yugoslavia), Ubaldo
Giacomucci (Italy), Salvatore De Rosa (Italy), Marisa Da Riz (Italy), et al. Insert include
No. 8 (March 1983). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages, plus
insert). Contributions by Ray Johnson (USA), Jas. Duke (Australia), Janice Peshke
(Canada), Guillermo Deisler (Bulgaria), Louise Neaderland (USA), Ruggero Maggi (Italy),
Birger Jesch (East Germany), Timo Malen (Finland), et al. Insert contains texts by
Guillermo Deisler (Germany), "Algunas Explicaciones Acerca Del 'Arte Por Correo,'" Dmaso
Ogaz (Venezuela), and Carol Pittore (USA), in response to the editor's project, "Mail Art/
Debate-Inquest."
No. 9 (July 1983). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus two
inserts). Contributions by M(ichael) Hyatt (USA), Joaquim Branco (Mexico), Arno Arts
(Holland), Dobrica Kamperelic (Yugoslavia), DJ at FOMT (Ireland), Albrecht/d (West
Germany), Clemente paid (Uruguay), et al. Inserts include responses to the editor's
request for texts on "Mail Art/Debate-Inquest," with contributions by Clemente Padin, "Arte
Correo: Un Pretexto Para la Unidad," Ruggero Maggi (Italy), and Antonio Ladra (Uruguay.
Second insert lists mail Art exhibition, project and publication opportunities.
No. 10-11 (December 1983). Photocopy. 8 1/2"x6 3/4". (8 pages, plus two inserts).
Special edition on Yugoslavia. Contributions by Yugoslavian Mail Artists Branco Cegec,
Katalin Ladik, Westeast, Vuk Gligorijevic, Balint Szombathy, Miroljub Todorovic, Slavko
Matkovic, Lela Mujkic, Andrej Tisma, Vlasta Delimar, et al. First insert lists chronological
avant-garde movements in Yugoslavia and a contribution by Dobrica Kamperelic
(Yugoslavia). Second insert contains a text by Miroljub Todorovic, "Artist's Postage
Stamps," and a listing of mail Art exhibition, project and publication activities.
No. 12 (May 1984). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages, plus insert).
Contributions by P. J. Rieiro (Brazil), Birger Jesch (East Germany), Michael Groschopp (East
Germany), Leonhard Frank Duch (Brazil), S. Gustav Hagglund (USA), Dobrica Kamperelic
(Yugoslavia), Barry Edgar Pilcher (Wales), et al. Insert lists Mail Art exhibition, project and
No. 13 (October 1984). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus
insert). Contributions by Stephen Ronan (USA), Volker Hamann (West Germany), N. N.
Argaaraz (Uruguay), harry Fox (USA), et al. "First Report" of the Mail Art exhibition,
"1984 in 1984: What's the Future We are Looking For?" by Colectivo 3 (Mexico). Insert
reproduces a newspaper ("La Hora") text from Montevideo, Uruguay, "Asociacin
Latinomericana y del Caribe de Artistas Correo."

PostHype: The Journal of Happy Young People Enterprises. John P. Jacobs, Editor.
HYPE, New York, New York. 1982-
Vol. 2, No. 1 ([1982]). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). Mail Art
periodical/artistamp sheet. "Cavellini in New York Commemorative Issue." Updates on Six
Fingers Nunzio (USA) and Al Ackerman (USA). Galleria Dell'Ochhio (New York City)
activities. Mail Art exhibition, project and publication opportunities. Eraser carving of the
editor with Al Ackerman. Perforated artistamp sheet of 12 stamps pictures Cavellini (Italy).
Vol. 2, No. 2 (1983). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). "Well, here
it is, 1983, and the first birthday issue of 'PostHype.' 1983: the year of the Big HYPE. The
Expanded Issue. the 20 stamp. All this in order to bring to you more information, more
gossip and finally, more art." Eraser carving of Carlo Pittore (USA) and the editor, by the
editor. Mail Art exhibition, project and publication opportunities. Perforated artistamp sheet
on front, features Carlo Pittore and the quote, "As artists, we enter into life as buffoons.
but when we step out of the ring we step out as champions," on each of the 12 stamps.
Vol. 2, No. 3 ([1983]). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). Editorial.
"Unfortunately, Mail Art has a problem. It wants to be considered important; one of the
High Arts. At the same time, however, it wants to be democratic, available to everyone
who has access to a postal service. As a result, the Postal Art Network is filled with a lot of
junky stuff that is probably every expressive of the feelings and tensions of the world
today, but, when you get right down to it, just doesn't pass as Art..." Eraser carving of
Buster Cleveland (USA) and the editor, by the editor. "HYPE Activities Update." Perforated
artistamp sheet on front features Buster Cleveland, with the words "HYPE NOT DADA" on
each of the 12 stamps.
Vol. 2, No. 4 ([1983]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (24 pages). "Here
is the latest Hype. It consists, for the most part, of responses to my editorial in the last
issue concerning the problem of quality and the ideal of democracy in mailart."
"International Mail Art," by Lon Spiegelman (USA). "Mailart: In Theory," by the editor.
"Injury by Bury: An International Postcard Art Action on the Theme of Artwork and Artists
Rejected," by Chuck Welch (USA). Contributions by Martina and Steffen Giersch (East
Germany), David Cole (USA), Crackerjack Kid (USA), B. J. Tisa (USA), Gerald Jupitter-
Larsen (Canada), Michael Leigh (England), Leavenworth Jackson (USA), Paul Zelevalansky
(USA), George Maciunas (USA), Carlo Pittore (USA), Al Ackerman (USA), et al. Mail Art
exhibition, project and publication opportunities. Edition 46/150.
Vol. 2, No. 5 (November 1983). Color and Black & White Photocopy and Rubber Stamps.
8 1/2"x5 1/2". (24 pages). "This issue of PostHype is the catalogue to my mail art project,
'The Catalogue of Ideas'. In total eighty five artists from twenty six nations participated in
the project." contributions by Guillermo Deisler (East Germany), Lon Spiegelman (USA),
Carlos Zerpa (Venezuela), John M. Bennett (USA), Michael Leigh (England), Ko De Jonge
(Holland), David Zack (Mexico), Richard Kostelanetz (USA), Leavenworth Jackson (USA),
Paulo Bruscky (Brazil), Kum Nam Baik (South Korea), Ruggero Maggi (Italy), Al Ackerman
(USA), et al.

Vol. 3, No. 1 (July 1984). Photocopy. 11"x8 1/2". 53 pages. "This issue contains a large
amount of material dealing with the Mail Art panels that took place here in New York late
last February, and with the Franklin Furnace exhibition, 'Mail Art, Then and Now', curated
by Dr. Ronnie Cohen. My intentions in waiting this long to publish the material are twofold.
First, I have desired to give the material an opportunity to cool down. Much has been
written of the Franklin Furnace Show, of Dr. Cohen and of the behavior of the panel which
removed her as moderator, all of it heated, some of it careless and distasteful. It is my
personal belief that what is revealed in this material goes far beyond the persistent
demands by mail artists of what mail art should and must be...My second reason for
waiting so long to publish this material is that I had hoped to present it as something of an
alternative to the Franklin Furnace exhibition catalogue. While that catalogue is certainly
lavish, and contains many of the 'great names' of mail art, it is, I think, hardly
representative of the state of mail art today." "Mail Art: A Bridge to the World," by Judith
A. Hoffberg (USA). "Open Letter," by Gza Perneczky (West Germany). ""Mail Art as an
Alternative?," by Gza Perneczky. "Mail Art or the Eternal Network?," by Vittore Baroni
(Italy), "Anna Banana Speaks! New York, 1984." "Artists Talk on Art: Mail Art Panel One,
"The Global Network,'" a transcription of a discussion between Robert Morgan (USA), Mark
Bloch (USA), Ed Higgins (USA), Carlo Pittore (USA), Steve Random (USA), Louise
Neaderland (USA), Ken Friedman (USA), Dr. Ronny Cohen (USA),Dick Higgins (USA),
Richard Kostelanetz (USA), H. R. Fricker (Switzerland), Paul Zelevansky (USA), Ed Plunkett
(USA), et al. "Artists Talk on Art: Mail Art Panel Two, 'The New Cultural Strategy,'" a
transcription of the discussion between Crackerjack Kid (USA), Dr. Ronnie Cohen (USA),
John Held, Jr. (USA), E. F. Higgins (USA), John P. Jacob (USA), Carlo Pittore (USA), Ken
Friedman (USA), Mark Bloch (USA), Paul Zelevansky (USA), David Cole (USA), John Evans
(USA), Marilyn Rosenberg (USA), Dislokate Klammer (USA), et al. "Mail Art Earstory," by
Vittore Baroni (Italy). Additional contributions by Ray Johnson (USA), David Zack (Mexico),
Robin Crozier (England), et al. Insert, "Letter," by the editor. Edition 187/300.

Post Kunst. Lothar Trott, Editor. Zrich, Switzerland. 1995-1996.
(October 1995). Color Photocopy. 8 1/4"x5 3/4". 25 pages. Color photocopy of
artistamps produced by the editor, collaged with magazine graphics.
([1996]). Photocopy with Rubber Stamps and Artistamps. 11 3/4"x8 1/4". (12 pages).
Artistamps by the editor. Contributions by John Held, Jr. (USA), and Dan Landrum (USA).

Poster: Official Publication of the Local Post Collectors Society, The. Joseph J.
Frasketi, Editor. Fort Myers, Florida. 1984-1985.
Vol. 12, No. 2 (March/April 1984). Photocopy, 11"x8 1/2". (pages numbered 9-18). A
philatelic newsletter focusing on "local posts," postage stamps designed by philatelists.
"Special Announcement," focuses on the activities of "LPCS Member Chuck Welch, well
known in international mail-art circles who creates local post 'Artistamps' using his own
handmade paper and exacting watercolor etchings to salute local events (some real, some
fabled)..."
Vol. 12, No. 4 (July/August 1984). Photocopy. 11"x8 1/2". (pages numbered 25-42).
Cover article, "Crackerjack Local Post," by Chuck Welch (USA) . "Crackerjack Local post
gets it's unusual title from my Mail Art pseudonym, Crackerjack Kid. Mail Art is the
exchange of artwork (i.e., decorated cards, letter, artistamps, etc.) by way of international
postal systems. this international 'art movement' involves creative people of varied
disciplines all of whom communicate through a 'free exchange' of art and ideas. There are
Mail Artists, like myself, who 'specialize' in creating unusual postage stamps. These artists,
for the most part, are not tried and true philatelists. Largely, they are artists who love to
mail unusual and imaginative images."
Vol. 13, No. 4 (July/August 1985). Photocopy. 11"x8 1/2". (pages numbered 33-40).
"Mail Art Artist Chuck Welch (also known as the Cracker Jack Kid) with a Post by that name
& many others, had requested designs of Peace Stamps from other Mail Art Artists which
were to be distributed at Peace Park in Hiroshima, Aug. 6 to commemorate those who lost
their lives in the atomic bombing of that city. Chuck is also extending this offer to all LPCS
members to design Peace Stamps & our efforts will be included in the video tape
'Remember Hiroshima: Stamps for Peace' documentation..."
Vol. 13, No. 5. (September/October 1985). Photocopy. 11"x8 1/2". (pages numbered
41-54). "Crackerjack Navel Academy." "Shown on this page & the following page are
examples of stampwork designs sent in by mail artists plus instructions for joining in the
fun of becoming an honorary subject of the Umbilical Dominion by sending in a cast of your
belly button!"

Postflux Fluxpoem. Reed Altemus, Editor. Cumberland Center, Maine. 2000.
No. 1 ([2000]). Photocopy. 8 1/2"x5 1/2". (one page). Cut-and-paste poetry. "Already
limits Beyond old..."
No. 2 ([2000]). Photocopy. 8 1/2"x5 1/2". (one page). Cut-and-paste poetry. "Scored
Tomatoes Paint Fresh Whether..."

Postfluxpostbooklet. Luc Fierens, Editor. Passion Creates Art Productions,
Hombeek and Mechelen, Belgium. 1987-2001.
No. 1 (July 1987). Photocopy. 5 3/4"x4 1/4". (14 pages). "Ice Cream Changes the World
of Heart." "foundfluxpoems from Mr. Luce." "REEdition 1991."
No. 2 (November 1987). Photocopy. 5 3/4"x4 1/4". (16 pages). "the world of my
heART." "foundfluxpoems from MR. LUCE." "REedition 1991."
No. 3 (March 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "superstriper."
"foundfluxpoems from MR. LUCE." Edition 70/100.
No. 3 (March 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "superstriper."
"foundfluxpoems from MR. LUCE." "REedition 1991."
No. 4 (June 1988). Photocopy. 5 3/4"x4 1/4". (20 pages). "Sehnsucht." "Old poems for
new people from Mr. Luce..." "REedtion 1991."
No. 4 (October 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "Talking to the Media."
"Special booklet designed for 28 Oct. '88-mail-art gathering in the MEDIA-Eeklo
(Belgium)." "Reedition 1991)." Contributions by Shozo Shimamoto (Japan), John Held, Jr.
(USA), Piotr Rogalski (Poland), Mark Bloch (USA), G. X. Jupitter-Larsen (Canada), et al.
No. 5 (May 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Augenblick." Edition 30/100.
No. 5 (May 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Augenblick." "REedition 1991."
No. 6 (November 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Armadillo." Photo
documentation of a trip to Texas, where the editor meets Princess Debbie (USA), John
Held, Jr. and Paula Barber (USA), Andy Hanson (USA), et al. "REeditioN 1991."
No. 7 (December 1989-January 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Original
idea by GORE/Add Ons by MR. LUCE." Collaboration by Gore (USA) and the editor. Edition
22/50.
No. 7 (December 1989-January 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Original
idea by GORE/Add Ons by MR. LUCE." Collaboration by Gore (USA) and the editor.
"REedition 1991."
No. 8 (February 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Do Not Speak?"
Collaboration by Pete Spence (Australia) and the editor. Edition 8/50.
No. 8 (February 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Do Not Speak?"
Collaboration by Pete Spence (Australia) and the editor. "REedition 1991."
No. 9 (March 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Mermaids Singing." Edition
97/100.
No. 9 (March 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Mermaids Singing." "Re-
edition 1991."
No. 10 (March 1990). Photocopy. 5 3/4"x4 1/4". (20 pages). "a HAT NUMBER."
Collaboration by Serge Segay (USSR) and the editor. "Original idea by Serge Segay-add
ons by Mr. Luce." Edition 98/200.
No. 10 (March 1990). Photocopy. 5 3/4"x4 1/4". (20 pages). "a HAT NUMBER."
Collaboration by Serge Segay (USSR) and the editor. "Original idea by Serge Segay-add
ons by Mr. Luce." "REEDITION 1992."
No. 11 (April 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le Libre Belgique."
Collaboration by Kristof D'Haeseleer (Belgium) and the editor. Edition 23/100.
No. 11 (April 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le Libre Belgique."
Collaboration by Kristof D'Haeseleer (Belgium) and the editor. "Re-edition 1991."
No. 12 (May-June-July 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Beats & Pieces."
Collaboration by FaGaGaGa (USA) and the editor. "REedtion 1991."
No. 13 (August 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Myth." Collaboration by
Tania (Belgium) and the editor. Edition 21/50.
No. 13 (August 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Myth." Collaboration by
Tania (Belgium) and the editor. "Re-edition 1991."
No. 14 ([August 1990]). Photocopy. 5 3/4"x4 1/4". 16 pages. "After Fluxus," by Ken
Friedman (Norway). "PostFluxPost Booklet Number 14 has been created by Ken Friedman
at the invitation of Mr. Luce. It is dedicated to George Brecht's proposition that 'Fluxus has
Fluxed'." "This booklet is printed in an edition of 100 copies signed and numbered by the
author." Edition 67/100.
No. 14 ([1990]). Photocopy. 5 3/4"x4 1/4". 15 pages. "After Fluxus," by Ken Friedman
(Norway). "PostFluxPost booklet Number 14 has been created by ken Friedman at the
invitation of Mr. Luce. it is dedicated to George Brecht's proposition that 'Fluxus has
Fluxed.' The first printing was an edition of 100 copies signed and numbered by the author.
The second printing is an open edition."
No. 15 (October 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "After Zaum."
Collaboration by Serge Segay (USSR), Robin Crozier (England) and the editor.
"Cooperation Segay & Crozier and Add ons by MR. LUCE." Edition 27/60. Insert includes a
history of the series to date.
No. 15 (October 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "After Zaum."
Collaboration by Serge Segay (USSR), Robin Crozier (England) and the editor.
"Cooperation Segay & Crozier and Add ons by MR. LUCE." "REeditiion 1991."
No. 16 (December 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Go With the Flow."
Collaboration by Princess Debbie Piepenburg (USA) and the editor. Edition 27/50.
No. 16 (December 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Go With the Flow."
Collaboration by Princess Debbie Piepenburg (USA) and the editor. "REEDITION 1992."
No. 17 (June 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Pig & Network."
Collaboration by Baudhuin Simon (Belgium) and the editor. Edition 46/50.
No. 17 (June 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Pig & Network."
Collaboration by Baudhuin Simon (Belgium) and the editor. "REEDITION 1992."
No. 18 (August 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Zaumoney." Collaboration
by Serge Segay (USSR) and the editor. "REEDITION 1992."
No. 19 (October-November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Belgian Pre-
Congressmeeting (October 5, 1991)." Collaboration by Kristof D. (Belgium), Jos VDBrouck
(Belgium), Ingrid Swinne, H. R. Fricker (Switzerland), Mark FaGaGaGa (USA) and the
editor. "Unlimited edition."
No. 20 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Jung." Collaboration
by Michael Northam (USA) and the editor. "Includes found and selected pieces from
Michael Northams' networkspirit with networkers in England and Belgium (Kristof D.,
Aninaa, Metallic Avau, Volker Hamann and Mr. Luce." "Unlimited edition."
No. 21 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Artstrike 1990-1993,"
"Includes material from various sources but Neoism, Plagiarism and ARTstrike have
influenced my state of FLUX." Texts by Chris Straetling (Belgium), Stewart Home
(England), Mark Pawson (England), Lightworks (USA) and Scott MacLeod (USA).
"Unlimited edition."
No. 22 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Congress Vukovaar."
Collaboration by Svjetlana Mimica (Croatia) and the editor. "Includes material by Svjetlana
Mimica and congress and anti-war and calls for Warstrike; congressstrike for Yugoslavia by
MR. LUCE. PEACE NOW!" "Unlimited edition."
No. 23 (December 1991/January 1992). Photocopy. 5 3/4"x4 1/4". 24 pages.
"FluxPoem" by Don Boyd (USA). "Unlimited edition."
No. 24 (August 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "The language of
Influence." collaboration by Rea Nikonova (USSR) an the editor. "Original idea by Rea/add-
ons by Mr. Luce."
No. 25 (September 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Boxes." collaboration
by Serge Segay (USSR) and the editor. "Original idea by Serge/add-ons by Mr. Luce."
No. 26 (October 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Rubberdream."
Collaboration by Mailstream (aka William S. Melstrom) (USA) and the editor. "Original idea
by William S. Melstrom, add-ons by Mr. Luce." "This booklet is dedicated to all femail
artists and especially to a far away princess and a divided Yugoslavian people. Fight in
spirit for an open World of heART!"
No. 27 (November 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Fight in Spirit
Together." Contributions by Dobrica Kamperelic (Yugoslavia), Andrej Tisma (Yugoslavia),
Svjetlana Mimica (Croatia), Bruno Chiarlone (Italy), Soc. Anonyme (Belgium), Jos
VDBroucke (Belgium), John Held, Jr. (USA), Michael Fox (Germany), and Rea Nikonova
(Russia). P.S.: this booklet is dedicated to the 1992 Decentralized World Wide Networker
Congresssession Brussels-21-22 Nov. 1992 and to the spi(rituals) for Y(O)U!!!!"
No. 28 (March-April 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "Worldmix."
Contributions by K. Takeishi (Japan), Yoshiaki Koyayashi (Japan), afungusboy (USA),
Nonlocal Variable (USA), Olena (Poland), Ruggero Maggi (Italy), Vincze Laszlo (Romania),
Mike Duquette (Canada), and Dobrica Kamperelic (Yugoslavia), with add-ons by the editor.
"P.S.: this booklet is dedicated to Merz and Kurt Schwitters. This mix was put together
from my Postfluxpostarchive (1990-1992)! My/our world is a mix but don't make it a
mess!"
No. 29 (May 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "for communication without
questionmark." Contributions by Andrej Tisma (Yugoslavia), Svjetlana Mimica (Croatia),
Angela and Peter Netmail (Germany), Scott Mac Leod (USA), Crackerjack Kid (USA), Olena
(Poland), "and souvenirs from" Jos Vanderbroucke (Belgium), Geert De Decker (Belgium),
Kristof D. (Belgium). "& thanks to the FACE (Fagagaga) (USA) for some texts I have here
reprinted!" Add-ons by the editor. "P. S.: this booklet is dedicated to all the people who are
still communicating and in search for peace in their spirits! Keep the faith!"
No. 30 (June 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "the smell of decay."
"Original idea by Guy Bleus...add-ons by Mr. Luce." "Unlimited Edition."
No. 31 (September 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "Journe du Timbre."
"Original material (Submitted January 1992) by David Cole...add-ons by Mr. Luce."
No. 32 (July-August 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "Electro-city." "Found
and received material by Ten 28 (Scotland), Hong-O-Bong, Lee Sang Jin (S. Korea), T.
Orimoto, Seji Shimoda (Japan), t Gusztv, Knya Rek (Romania), Annina Van Sebroeck
and Luce Fierens (Belgium). This is no report about the ANNArt5-Medium 3 trench art
festival but it wants to be a homage to the energy of t Gusztv and his friends."
No. 33 (September-October 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "love/hate."
Collaboration by Crackerjack Kid (USA) and the editor. Editorial offices moved to Mechelen,
Belgium.
No. 34 (October 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "human performance."
"Performance proposal by Luce Fierens-this is a possible performance for two people.
material: man-woman-black and white clothes-lipstick-doll two stone-/duration: 15
minutes with necessary interaction from audience/crowd."
No. 35 (June 1995). Photocopy. 5 3/4"x4 1/4". (16 pages). "schw(e)ing." Collaboration
by Jrgen Olbrich (Germany) and the editor.
No. 36 (July 1985). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le crateur ignore la
marine." Collaboration by Jean-Nol Laszlo (France) and the editor, with material sent by
Laszlo in 1991, and "add + paste(d)" by the editor in the year of publication.
No. 37 (August 1995). Photocopy. 5 3/4"x4 1/4". (16 pages). "Postnightly."
Collaboration by Jos VandenBroucke (Belgium) and the editor. "I dedicate this booklet to
Darko Vulic (a Bosnian artist-refugee who's currently living in Mr. AtomicChirac 'France)!"
No. 38 (January 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "Sometimes."
Collaboration by John Held, Jr. (USA), with material sent to the editor 1990-1991, who
then added-on to the work in the year of publication.
No. 39 (February 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "sztukasurf."
Collaboration by Sztuka Fabryka (aka De Decker Geert) (Belgium) and the editor.
"Distributed in the Eternal Network to mail-artists, networkers, museums and archives."
No. 40 (May 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "tigerpost." "Works (1995-
1996) by Annina Van Sebroeck (B) brought together in this booklet for the GYNAIKA
project (a project in Belgium to promote female artists with many exhibitions in 1996). This
booklet will be printed for our 'Postkunst-Mechelen' Mail-art exhibition in the Cult. Centre A.
Spinoy from 2-11 June '96 in Mechelen (Belgium). All Postfluxpostbooklets are send (sic) to
various mail-artarchives, museums and networkers."
No. 41 (June 1997). Photocopy. 5 3/4"x4 1/4". (16 pages). "No Name Sushi." Works "by
Patricia Tavenner, John Held, Jr., Annina Van Sebroeck and Luc Fierens and found pieces
during their visit to San Francisco, Oakland and Berkeley (June 1997) and during Luce
Fierens 'we fight on in spirit' exhibition in the Stamp Art Gallery, S.F.-U.S.A."
No. 42 (July 1997). Photocopy. 5 3/4"x4 1/4". (16 pages). "Folk Noism In(ter)vention."
Works "by Dmitry Bulatov (Kaliningrad-Russia)" with "add-on by Luc Fierens."
No. 43 (September 1998). Photocopy. 5 3/4"x4 1/4". (16 pages). "Papier glac."
Collaboration by Jacques Charlier (Belgium) and the editor. "Unlimited edition."
No. 44 (August 2000). Color Photocopy. 5 3/4"x4 1/4". (20 pages). "Ohio in September."
"Found collagematerial by Luc Fierens (B) August 2000/-add + paste by Annina Van
Sebroeck." Collaboration by the two Belgian Mail Artists. Signed Edition 27/27.
No. 45 (January 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "No more boundaries for
Art." Collaboration by Reed Altemus (USA) and the editor.
No. 46 (September 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "moodswings."
Collaboration by 3-Werf Xtof Bruneel (Belgium), Anina Van Sebroeck (Belgium) and the
editor.
No. 47 (March 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "song..." Collaboration by
Michael Basinski (USA) and the editor.

(Shouting at the) Postman. Ken Miller, Editor. ASKalice Art Net, Yardley and
Newtown, Pennsylvania. 1995-2001.
Periodical changes title each issue. Commonly known as "Shouting at the Postman," or
"The Postman."
No. 4 (Mid-March 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman."
Zine listings. "Last Word." "Mail Art is the only thing that matters to me now. I am addicted
to the possibilities of the net, and real interactions (non-mil-art) seem transitory and
artificial. I have always had difficulty interacting with strangers, but in the world of mail art
there are no strangers. It is a friendly world where you can communicate with hundreds of
people indirectly, where one is accepted simply for having an address." "Recipe Exchange
Update," lists advise from Miss Renate-Johanne-Carelse (Holland). "Participants" directory.
"These are addresses of people who contribute on a regular basis."
No. 5 (April [1995]). Photocopy and Mixed Media. 8 1/2"x5 1/2". (8 pages). "Pouting at
the Postman." "In Memory of Ray Johnson." "(Note: I had planned to write a piece about
Ray Johnson for this issue, but after attempting to find out more about him, I realized that
the obscurity that surrounded him was a deliberate attempt by him to shun publicity.
According to John Held, Jr., Ray was an enigma because he wished to be one. Most of the
materials in this zine were the result of correspondence I had with Ray in 1994. I am sorry
I never got to know him better, but then, few people really did.)" contributions by Ray
Johnson (USA). Reprint of "The New York Times" obituary for Johnson, Thursday, January
19, 1995. "Ten Ways to Tell if You're a mail Artist." "Participants."
No. 6 (May 1995). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". 4 pages. "Rally 'Round
the Postman." "Outline of the Netland Independence Project." "Where is 'Netland?'" "The
Netland Liberation Front."
No. 7 (June 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Cooking with the Postman."
Recipes contributed by Alice borealis (USA), Carlo Desir (Italy), M. B. Corbett (USA), the
editor, et al.
No. 8 (July 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Singing to the Postman." Music
reviews. "Strike Up the Banned: Albums removed from stores for copyright violations."
"Participants."
No. 9 (August 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Reading to the Postman."
Favorite books and zines reviewed. "Participants."
No. 10 (September 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Ticking like the
Postman." "My Life with the Kit Kat Cult." "Some Zines of Note," includes "Mail Interview
Project," edited by Ruud Janssen (Holland). "Mail Art Pen Pals," includes listing of 35
correspondents from USA, Japan, Yugoslavia, Holland, Italy, Spain, Argentina, Denmark,
Czech Republic and Mexico.
No. 11 (October 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman."
Zines reviews. "Postman back Issues." "Netland Holidays." "Mail Art Pen Pals."
No. 12 (November 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Fist Fucking the
Postman." "Warning. this is the offensive issue of Shouting at the Postman. If you are
easily offended, you should stop reading now. If you are easily offended and you didn't
stop reading, well, fuck you and your dog..." "Smallville Funny Farm," honors "Leonardo Da
Fitchi" from Sacramento, California. Zine reviews. "Current Network Participants," lists
contributors to the editor's Mail Art project. "The Shit List," names and addresses listed in
regularly featured, "Mail Art Pen Pals."
No. 13 (December 1995). Photocopy. 8 1/2"x5 1/2". 24 pages. "Year in the Life of
Shouting at the Postman." "I never intended to publish a zine. It started as a way to
publicize my projects and put out a list of people who send me stuff, but soon I found
myself writing articles and reviews, and liking it. All in all, I'd say it's been a rewarding
experience. The Postman has helped me meet lots of cool people, and has given me a
place to blow my spleen about things I like or hate, recipes, music, and zines, always more
zines. This issue has most of the good stuff from the last twelve, including a little new stuff
for you folks who have all the old ones (you know who you are)." Includes, "On the Theory
and Practice of Mail Art." "Mail Art Pen Pals."
No. 14 (February 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Ben Roby is the Postman."
"Chaotic Congress," reveals, "I didn't get to meet any of my fellow mail artists, but I still
felt that the event was a success. That's why I 'disorganized' it-so that I didn't have to be
present for other people to have fun." "High Water Congress 1996," relates a meeting with
Alice Borealis (USA). "Mail Art Pen Pals," lists 45 correspondents.
No. 15 (March 1996). Photocopy. 11"x8 1/2". (20 pages). "This is Not the Postman: A
special abstract issue." "Greetings and welcome to the abstract issue of 'Shouting at the
Postman.' What exactly is an abstract zine? Well all the material in here was selected
especially for your copy. the material comes from a variety of sources-catalogs, other
zines, World Wide Web sites, computer art, stamp sheets, junk mail, newspapers, etc.
Much of it will not make any sense at all, but that's the idea. It's also the only issue of
S@TP that has a staple in it. If you choose to remove the staple, this issue becomes just
another of my envelopes full of junk."
No. 15 (March 1996). Photocopy. 11"x8 1/2". (20 pages). "This is Not the Postman: A
special abstract issue." Variant of the above.
No. 16 (April 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman."
Illustrations by Anthony Stagg (USA). "Mail Art Pen Pals," lists 52 correspondents.
No. 17 (May 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Tanked Like the Postman."
Includes, "Mail Art Pen Pals."
No. 18 (June 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Bigger Than the Postman."
Includes, "The We Festival" and "Reader Survey." "Mail Art Pen Pals."
No. 19 (August 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Soggy Like the Postman."
"Yet Another Natural Disaster," recounts the editor surviving a flood." Zine reviews. "Mail
Art Pen Pals."
No. 20 (October 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Smiling Like the Postman."
"Swami Who?" "The first time you get a letter from a Swami, it kind of shakes you up a
little. I was pretty new to the mail art world when a package came from Vishwa Shanti
Nikethana, also known as Swami Nirmalananda. I was pretty impressed to get mail from
India, let alone a Swami...I would see his name in Ryosuke Cohen's brain cell from time to
time, but he didn't write me back. Then a few months ago, he started writing me again.
Several months ago I received a letter (next page) and the text of his last testament (page
4), which came as quite a shock to me. Why does a swami participate in mail art? He's just
communicating like we all are. he has found an idea medium for his words...His words of
wisdom have been a regular part of my mailings, and I am sad to learn of his imminent
passing." "Mail Art Pen Pals."
No. 21 (December 1996). Photocopy. 8 1/2"x5 1/2". 12 pages. "Sickly Like the
Postman." A trip to Oaxaca, Mexico. "Mail Art Pen Pals."
No. 22 (February 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Scowling at the Postman."
"Cult Figure of the Year, 1997." "Mail Art Contacts," lists 56 correspondents.
No. 23 (May 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Siamese Like the Postman."
"Interview with Ashley Parker Owens," profiles the editor of "Global Mail.'" "Mail Art Pen
Pals."
No. 24 (August 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Lusting Like the Postman."
"Yet Another Self-Indulgent Travel Diary Issue." The editor in Boston, Heidelberg, Prague,
Terezin, Berlin, Poland, Frankfurt, Mallorca, and Madrid. "Mail Art Contacts."
No. 25 (October 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Truth is Stranger Than the
Postman." "One Strange Month: This issue is the story of everything that has happened to
me in the last month. All of the material in this issue is true." "Mail Art Contacts."
No. 26 (November 1997). Photocopy. 8 1/2"x5 1/2". 12 pages. "Crazy Like the
Postman." Short story, "The Cola War," by the editor. "Mail Art Contacts."
No. 27 (February 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Fooling the Postman."
"Special Issue: Cult Figure of the Year, 1998." "Mail Art Contacts."
No. 25, 26, 27 (1998). Photocopy. 8 1/2"x5 1/2". 28 pages. "Shouting at the Postman."
"Special edition: three complete issues!" Past three issue in one volume. "Mail Art
Contacts."
No. 28 (April 1998). Photocopy. 8 1/2"x5 1/2". 8 pages. "(Chinese characters) the
Postman." "Special Chinese Language Edition!" Reviews of "zines and other publications."
"Mail Art Contacts."
No. 29 (July 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Married to the Postman." The
editor gets married. "Mail Art Contacts."
No. 30 (September 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Critical of the
Postman." "Special All-Review Issue." "Mail Art Contacts" lists 67 correspondents.
No. 31 (October 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Pictures of the Postman."
"Personal Demons: The Art of Barbara Cooper," reproduces paintings by the California Mail
Artist. "Mail Art Contacts."
Nos. 28, 29, 30, 31 (1998). Photocopy. 8 1/2"x5 1/2". 28 pages. "Shouting at the
Postman." Four complete issues. "Mail Art contacts."
No. 32 (December 1998). Photocopy. 8 1/2"x5 1/2". 8 pages. "Confessions of the
Postman." Short story, "Emergency Chicken," by the editor. "Mail Art Contacts."
No. 33 (February 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "The Face of the
Postman." "The Annual Cult Figure Issue." Contributions by Henk Van Ooijen (Holland),
Laura Poll (USA), Kurt Beaulieu (Canada), J. C. Synthetics (England), Pete Spence
(Australia), Bruno Gheerbrant (France), Martin Petersen (Denmark), et al. "Mail Art
Contacts."
No. 34 (April 1999). Photocopy. 8 1/2"x5 1/2". 8 pages. "The Weekly World Postman."
"Trains and Kismet: A Schmitzian Tale," in which the editor meets Mail Art Poet Mark
Sonnenfeld in Washington Sq. Park, New York, by happenstance.. "Mail Art Contacts."
Editorial offices moved to Newtown, Pennsylvania.
No. 35 (June 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Dancing With the Postman."
Music reviews. "Mail Art Contacts."
No. 36 (August 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Faking Out the Postman."
"Documentation for a Fake Project." "Mail art has a long and proud history of pranks,
games, false identities and humorous deception. Ray Johnson was the perennial merry
prankster, and his brilliant, dead-pan gags are the stuff of legend. A recent string of pranks
are slightly less funny, however, and those are the rash of fake projects which have
appeared recently. These seem to be more of an annoyance than anything else...The only
conclusion I could come to is that the prankster is making some kind of statement about
documentation for mail art projects. By creating these fake projects, he has guaranteed
that many people who send out art for projects will get nothing in return. I assume that he
is trying to teach people not to sit by the mail box waiting for documentation which may
never come, and the lesson in this: One should not make mail art for the reward of
documentation. One should make mail art for the reward of making art and sharing it with
others." Listing of "Recent Fake Projects." "Real Documentation for the Fake Project: What
Does Alice Look Like?," lists 19 participants from 13 countries. Contributions by Keiichi
Nakamura (Japan), Diane Bertrand (Canada), Barry Edgar Pilcher (Ireland), Antonio Sassu
(Italy), Geert De Decker (Belgium), Musicmaster (USA), Giovanni Strada (Italy), et al.
"Mail Art Contacts."
No. 37 (November 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Boxing with the
Postman." The editor chronicles his move to a new house. "Mail Art Contacts."
No. 38 (February 2000). Photocopy. 8 1/2"x5 1/2". 12 pages. "Leering at the Postman."
"Cult Figure of the Year, 2000." Contributions by Dragonfly Dream (USA), Dr. Surearts
(USA), et al. "Mail Art Contacts," lists 126 correspondents.
No. 39 (April 2000). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shivering Like the Postman."
The editor in Iceland. "Mail Art Contacts."
No. 40 (June 2000). Photocopy. 8 1/2"x5 1/2". 8 pages. "Wealthy Like the Postman."
Short story, "Collectible Corner," by the editor. "Mail Art Contacts."
No. 41 (August 2000). Photocopy. 8 1/2"x5 1/2". 12 pages. "Look Out for the Postman."
Review issue includes notices of "Opuntia," Lost and Found Times," etc. "Mail Art Contacts."
No. 43 (December 2000). Photocopy and Mixed Media. 8 1/2"x5 1/2". 12 pages.
"Punching Out the Postman." Travels to Budapest, Hungary, and a visit to Artpool, directed
by Gyrgy and Julia Galantai. "When I asked how they perforated the stamp sheets,
Gyrgy took us into the bathroom to see the antique perforation machine, which had been
a gift from Cavellini." Another stop in Prague, Czech Republic, and a meeting with Ivan
Preissler. "Mail Art Contacts."
No. 44 (February 2001). Photocopy. 8 1/2"x5 1/2". 12 pages. "Pecking Like the
Postman." "The Secret Life of Abraham Lincoln, Cult Figure of the Year, 2001." Contributors
include The Sticker dude (USA), David Alvey (USA), Dragonfly Dream (USA), Scott
Garinger (USA), Dr. Surearts (USA), Clemente Padin (Uruguay), Merlin (Germany), A1
Waste Paper Co. (England), Baudhuin Simon (Belgium), Jean Kusina (USA), B. Saved
(USA), Marilyn Damman (USA), Henk van Ooijen (Holland). et al. List of contributors. "Mail
Art Contacts."
No. 45 (April 2001). Photocopy. 8 1/2"x5 1/2". 12 pages. "Wallowing with the Postman."
Short story, "Weekend in Hell." by the editor. "Mail Art Contacts" lists 93
correspondents.

Preciosa Nativa, La. Hans Braumller, Editor. Santiago, Chile. 1988-91.
No. 3 (April 1988). Photocopy. 25 1/2"x13". (2 pages). "Peridical Biodegradable Para
Aplicar con Engurdo Donde Cada Artculo es Real y Autonomo." Text and graphics by the
editor.
No. 8 (1991). Offset. 66"x11". (one page). "Editorial." Contributions by Susan Uribe
(Chile), Guy Bleus (Belgium), Lancillotto Bellini (Italy), Carlos Montes de Oca (Chile),
Jrgen Olbrich (West Germany), Shigeru Tamaru (Japan), the editor, et al.
No. 9 (1991). Photocopy. 28"x10". (2 pages). Essay by the editor. Notice for the
Decentralized World-Wide Networker congress 1992. Contributions by Marcela Arredondo
(Chile), Hector Villaroel (Chile), Susana Uribe (Chile), Clemente Padin (Uruguay), State of
Being (USA), Chris Dodge (USA), Ruggero Maggi (Italy), Aloys Ohlmann (West Germany),
Gyrgy Galntai (Hungary). Edition 14/500.

Presents of Mind. Paul Thomas, Mary Lee Pattillo, and Jim Farmer, Editors. Dallas,
Texas. 1987.
No. 15 ([May 1987]). Photocopy. 11"x8 1/2". 19 pages. "Dada, Il ne mort pas; As you've
no doubt noticed from the cover, this is POM's special issue on DaDa, so be prepared for
something different. For those of you who are familiar with dAdA, you'll find all that you
expect within these pages: poems by Arp and Tzara, collages and manifestoes. If this is
your first encounter with the wonderful world of DAda, welcome. it is the fervent hope of
the editors that, after reading this issue, you too will say: 'Hurrah Dada! Il ne mort pas!"
No. 16 ([July] 1987). Photocopy. 11"x8 1/2". (24 pages). "What is Bulldada?." by the
Church of the SubGenius. "MailArt," by Paul Thomas. "Mail Art is a network of artists, of
whom there are at least 5,000 in thirty five countries who regularly correspond to each
other. Not only do they write, but they decorate their letters and envelopes with collages,
drawings, glitter, or various sorts of rubber stamps. they might also include a piece of
artwork they've done, too. mail art is, as Jon Held said in an article on mail art in the
"Dallas Morning News," "...a linking together of artists through the postal system."
Contribution by John Held, Jr. (USA).
No. 17 (1987). Photocopy. 11"x8 1/2". (20 pages). Church of the SubGenius. "Zine
Reviews."

Primal Plunge Catalog, The. Michael McInnis, Editor. The Primal Plunge, Allston,
Massachusetts. 1988-1989.
No. 1 (1988-1989). Offset. 8 1/2"x7". 24 pages. "Welcome to the first catalog from
Boston's only alternative bookstore. I should tell everyone a few things about this catalog
to clarify its contents. All the blurbs about magazines and books are brief comments on the
items, mostly about size, printing means, & basic design. These are by no means reviews
of the magazines and books. I have tried to be as objective as possible...Most of the
magazines listed are single issue mags. That is the number after the title is the only copy
available. Some of these magazines will put out future issues, but as the alternative small
press underground publishing world is at best sporadic and at worst a frustrating battle
against rising printing costs and reader indifference then it can be excused if a magazine
takes months, even years to put the next issue of what is technically a quarterly...This
catalog is a yearly thing and monthly updates can be had by sending a request along with a
SASE." Listings for "Box of Water," "Factsheet Five," "ND," "Smile," etc.

Prole. John Eberly, Editor. Wichita, Kansas. (1990).
No. 3 ([September 1990]). Photocopy. 8 1/2"x5 1/2". (4 pages). "John E. Issue." "Bean
Skillet Last Night," possibly written by Al Ackerman (USA), under the pseudonym "Emmett
'refried' Mumbles." Graphics and poetry by the editor.

Prop. Joachim Frank, et al (Rotating Editorship). Workspace Loft, Albany, New
York. 1979-1981.
No. 1 (March 1979). Offset. 11"x 81/2". 18 pages. Ed Atkeson, editor. Contributions by
Aaron Flores (Mexico), Al Ackerman (USA), Joachim Frank (USA), et al. "Erratic Art Mail
International system," by Ulises Carrion (Holland) .Geoffrey Cook (USA) on the
incarceration of Jorge Caraballo (Uruguay) and Clemente Padin (Uruguay) for "attacking
the morale & reputation of the Army."
No. 2 (July [1979]). Offset. 11"x8 1/2". 23 pages. G. C. Haymes and Theo Dorian,
editors. Contributions by Lon Spiegelman (USA), Ed Varney (Canada), Joachim Frank
(USA), Aaron Flores (Mexico), R. Dick Trace-It (Canada), et al.
No. 3 (December 1979). Offset. 9 1/2"x7". (28 pages). J. Galligan, editor. Contributions
by Ray Johnson (USA), R. Dick Trace-It (Canada), John Held, Jr. (USA), Jorge Carabello
(Uruguay), Steven Durland (USA), Bill Gaglione (USA), C. D. O. (Italy), Anna Banana
(USA), Lon Spiegelman (USA), et al.
No. 4 (May 1980). Offset. 9 1/2"x7". 28 pages. Jessica Lawrence, editor. "Literary Issue."
Contributions by Lon Spiegelman (USA), Guy R Beining (USA), John M. and C. Mehrl
Bennett (USA), Joachim Frank (USA), Musicmaster (USA), et al.
No. 5 (Fall 1980). Offset. 9 3/4"x7". 27 pages. Ed Atkeson, editor. Contributions by Stu
Horn (USA), Sue Fishbein (USA), Edgardo-Antonio Vigo (Argentina), Vittore Baroni (Italy),
Joachim Frank, Opal Louis Nations (USA), et al.
No. 6 (April 1981). Offset. 9 3/4"x7". 27 pages. Joachim Frank and Carol Tansay, editors.
Contributions by Al Ackerman, Opal Louis Nations (USA), Musicmaster (USA), Richard C.
(USA), et al. Notes on contributors. "Flexible circuits," contains information on publications
of interest.
No. 7 (December 1981). Offset. 9 3/4"x7". 27 pages. Joachim Frank, editor.
Contributions by Ulises Carrion (Holland), Piotr Rypson (Poland), Crackerjack Kid (USA),
Vittore Baroni (Italy), Opal Louis Nations (USA), Stu Horn (USA), Peter Below (West
Germany), Ruggero Maggi (Italy), Carlo Pittore (USA), Michael Scott (England), Studio
LeClair (USA), Paul Rutkovsky (USA), et al. Publication reviews. Contributor notes.
No. 8 (December 1982). Offset. 9 3/4"x7". 22 pages. Louise Krasniewicz and Joachim
Frank, editors. Contributions by Piotr Rypson (Poland), John M. Bennett (USA), Guy R.
Beining (USA), Al Akerman (aka Chipper) (USA), et al. contributor notes. Mail Art exhibition
No. 9/10 (July 1983). Offset. 91/2"x7 1/2". 28 pages. Joachim Frank, editor.
Contributions by Mark Bloch (USA), Johan van Geluwe (Belgium), Joel Lipman (USA), Steve
Random (USA), Serse Luigetti (Italy), Willy Buchholz (West Germany), Louise Krasniewicz
(USA), et al. Publication reviews. Contributor notes. Includes musical flexidisc.
No. 11 (December 1983). Offset. 11"x8 1/2". (20 pages). Joachim Frank, editor.
Contributors include Crackerjack Kid (USA), Stephen Ronan (USA), Hosea frank (USA),
John M. Bennett (USA), Mail Art exhibition, project and publication opportunities.
No. 12 (July 1984). Offset. 10 1/2"x8". (20 pages). Louise Krasniewwicz and Joachim
Frank, editors. documentation of the editors project, "Posthistoric Documents."
Contributions by David B. Greenberger (USA), Al Ackerman (USA), Minoy (USA), Karl
Kempton (USA), David M. Miller (USA), George Myers, Jr. (USA), Emmett Walsh (USA),
Carol Stetser (USA), Henryk Gajewski (Poland), Jacques Massa (France), John S. Fawcett
(USA), Guy Bleus (Belgium), Vittore Baroni (Italy), Andrej Tisma (Yugoslavia), Jan Wilson
Kaufman (USA), Lisa Fox (USA) et al. "List of Contributors."
No. 13 (January 1986). Offset. 10 1/2"x8". 27 pages. Joachim Frank, editor. "..the last
PROP." "Editorial: From Mail Art to Ail Art." "Mail art, the unconventional yet still extrovert
pastime of creative urban minds, has reached its crest. UMBRELLA, ARTCOMNET,
THERMOS, PROP, to name but a few magazines, have faltered. The postal fees are soaring.
The daily sorting of mail art into art-mail, exhibit announcements, personal niceties, sort-
of-interesting junk, and junk per se has become a nightmare. Just as it has happened in
many other art epochs of the past millenium, the question 'What's next?' is on everybody's
mind." Contributions by Paul Weinman (USA), Ulrich Kattenstroth (West Germany), David
Cole (USA), Edgar Allen Bushmiller (USA), Crackerjack Kid (USA), Carol Stetser (USA), et
al. List of contributors to "Prop," nos. 1-13.

Prove it Pretzel Boy. Alice Borealis, Editor. Baltimore, Maryland. 1994-1995.
No. 1 (1994)). Photocopy. 11"x8 1/2". (2 page). "It's a 'zine if I say it is." "Alice Events."
"About the Stamps." Accompanied by an artistamp sheet with contributions by Pinky
(Italy), Mr. Zip (England), Shmuel (USA), surllama (USA), et al. Edition 6/75.
No. 4 (n.d). Photocopy. 11"x8 1/2". (one page). "Alice Events." "About the Stamps."
Contributor list. Stamp sheet missing.
No. 5 (n.d.). Photocopy. 11"x8 1/2". (one page). "About the Little (Blank) Book." "About
the Postcard." "About the Stamps." "Alice Events." Contributor list. Book, postcard, and
stampsheet missing.
No. 7 (n.d.). Photocopy. 8 1/2"x5 1/2". (one page). "Contributors' List." Artistamp sheet
missing.
No. 8 (1994). Photocopy. 11"x8 1/2" and 11"x4 1/4". (3 pages). "Alice Events."
"Contributors' Projects." Artistamp sheet has contributions by ASKalice (USA), Ryosuke
Cohen (Japan), mike Dyar (USA), Edgardo-Antonio Vigo (Argentina), et al. Book and
postcard missing. Edition 29/50.
No. 10 (1995). Photocopy. 11"x8 1/2". (one page). Artistamp sheet with contributions by
Byron Black (Indonesia), Seth Mason (USA), Mielle Christophe (France), Solomito Luigino
(Italy), ASKalice (USA).

Proyecto 'Vrtice.' Fernando Garcia Delgado, Editor. Vrtice, Buenos Aires,
Argentina. 1997-1999.
No. 10 (December 1997). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18
pages. Homage to the late Edgardo Antonio Vigo by Hilda Paz (Argentina). "El Mail Art: Part
II," by Jos Luis Campal (Argentina). Contributions by Juan Carlos Romero (Argentina),
Laura Andreoni (Argentina), Jorge Daffunchio (Argentina), Anna Banana (Canada), Ibirico
(Spain), Pere Sousa (Spain), Patricia Collins (England), Emilio Morandi (Italy), Vittore
Baroni (Italy), Carlo Pittore (USA), John M. Bennett (USA), et al. mail Art exhibition,
project and publication opportunities. Includes original contributions by selected
Argentinean contributors.
No. 11 (March 1998). Photocopy, Rubber Stamps and Mixed Media. 6 1/2"x4 1/4". 18
pages. "Poesa Experimental Latinoamericana," by Clemente Padin (Uruguay).
Contributions by Jorge Garnica (Argentina), Andrs Moguillanes (Argentina), Hugo Vidal
(Argentina), Daniel Vidal (Argentina), Andrea Gagliardi (Argentina), Mariela Memoli
(Argentina), Hugo Pontes (Brazil), Antonio Gmez (Spain), Csar Reglero (Spain), Antonio
Orihuela (Spain), Robin Crozier (England), Ricardo Quesada (Peru), et al. Mail Art
exhibition, project and publication opportunities. Includes original contributions by selected
No. 12 (June 1988). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages.
"Poesa Experimental latinoamericana (Part II)," by Clemente Padin (Uruguay). Schedule of
events for Argentinean sessions of "Encuentros de Mailartistas Incongruentes '98."
contributions by Juan Carlos Romero (Argentina), Anabel Vanoni (Argentina), Hilda Paz
(Argentina), Ivana Martinez Vollar (Argentina), Orlando Pacheco Acua (Chile), Pedro
Juan Gutirrez (Cuba), Nuara (Spain), Ruud Janssen (Holland), Vittore Baroni (Italy),
Michael Lumb (England), Picasso Gaglione (USA), John M. Bennett (USA), et al. Mail Art
exhibition, project and publication opportunities. Includes original contributions by selected
No. 13 (September 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18
pages. "Sobra La Huelga de Art," by Stewart Home (England). Participant list for an
exhibition of visual Poetry, organized by Vortice Argentina. "Poemas Visuales," by Hugo
Pontes (Brazil). Contributions by Laura Andreoni (Argentina), Jorge Daffunchio (Argentina),
Juan Carlos Romero (Argentina), Ivana Martinez Vollaro (Argentina) Annina Van Sebroeck
(Belgium), Nevenko Petric (Croatia), Pere Sousa (Spain), Tartarugo (Spain), Pascal Lenoir
(France), Joe Decie (England), Bruno Pollaci (Italy), Arto Posto (USA), Sticker Dude (USA),
et al. Mail Art exhibition, project and publication opportunities. Includes original
contributions by selected Argentinean contributors.
No. 14 (December 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18
pages. "Sobra la Huelga de Arte 2000-2001," by Pere Sousa (Spain). "Sobra la Huelga de
Arte-ltima Parte," by Stewart Home (England). "Exhibicin Internacional de
Publicaciones," includes "Hexagono," UNI/ver(s)," "Mani Art", "Bric-a-Brac," etc.
contributions by Natalia Cacchiarelli (Argentina), Patricia Salas (Argentina), Laura Andreoni
(Argentina), Guy Bleus (Belgium), Svjetlana Mimica (Croatica), Frank Jensen (Denmark),
Csar Reglero (Spain), Julien Blaine (France), Patrcia Collins (England), Vittore Baroni
(Italy), Keiichi Nakamura (Japan), Francis Fan Mail (Luxembourg), H. R. Fricker
(Switzerland), John M. Bennett (USA), Patricia Tavenner (USDA), Gerardo Yepiz (USA), et
al. mail Art exhibition, project and publication opportunities. Includes original contributions
by selected Argentinean contributors.
No. 15 (April 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages.
"UNivrs(o) 4," by Clemente Padin (Uruguay) discusses the plight of Yugoslavian Mail
Artists. List of 21 Yugoslavian Mail Artists. "Carta Abierta a Vortice: Huelga de Arte 2000-
2001," by Csar Reglero Campos (Spain). "Querido, Viejo Motor Diesel," by Antonio
Orihuela (Argentina) discusses the work of Spanish Mail Artist Antonio Gmez.
Contributions by Laura Andreoni (Argentina), Lautaro Brunatti (Argentina), Beatriz Ramirez
(Argentina), Maria Isabel Rufino (Argentina), Baudhuin Simon (Belgium), Ed Varney
(Canada), Tartarugo (Spain), Bruno Capatti (Italy), Ruggero Maggi (Italy), Stephen Perkins
(USA), et al. Mail Art exhibition, project and publication opportunities. Original
contributions by selected Argentinean contributors. Rubber stamp impressions contributed
by the Sticker Dude (aka Joel Cohen) run through the issue.
No. 17 (September 1999). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18
pages. Assembling magazine. "Carta Abierta a la Huelga de Arte 2000-2001," by Fernando
Garcia Delgado (Argentina). Contributions by Jalil (Argentina), Henning Mittendorf
(Germany), Gza Perneczky (Germany), Jean-Claude Gagnon (Canada), Frank Jensen
(Denmark), Daniel Daligand (France), Guido Bondioli (Guatemala), Ruud Janssen
(Holland), Guttorm Nord (Norway), Chio Flores (Peru), Lancilloto Bellini (Italy), Giovanni
Strada (Italy), Sefij Mikhnovsky (Ukrania), ASKalice (aka Ken Miller, USA), Picasso
Gaglione (USA), et al. Mail Art exhibition, project and publication opportunities. Original
works by several contributors.

Public Property. Ramey Owen and Jim Hoadley, Editors. Circle Arts/West, San
Francisco, California. 1985.
No. 5 (Fall 1985). 8 1/2"x5 1/2". (20 pages). "Public Property is a monthly magazine of
Public Arts in print. anything 'printable' by anyone anywhere is accepted for publication.
there is no censoring and no editing!!" "Mail Art/Debate-Inquest," by Ruggero Maggi
(Italy).

Pulse. Ray Ellis, Editor. Dallas, Texas. 1982.
Vol. 1, No. 1 (November 1982). Offset. 11"x8 1/2". 38 pages. "The High Priest of the
SubGenius," an interview conducted by John Miller and Conrad Ellingworth with Doug
Smith. "SubGenius has never been just me. I've always been the one who does all the dirty
work, all the footwork, and I have to be the spokesman whenever there's any major PR
work to be done. It started out with three of us working for Bob, then during the first year,
five or six more guys got involved to the point that were like co-conspirators, early
apostles. Then the next year, around '81, there were, like twenty more-I'm talking about
people who sent in good stuff consistently. Everybody sends in stuff, but it's not always
good and it's usually very inconsistent, just by the nature of SubGeniuses."

Punkomik. David Jarvis, Editor. Aard Press, London, England. 1989.
No. 37 (February 1989). Photocopy and Rubber Stamps.. 8 1/4"x6". (20 pages).
"Ethereal Open Networkers TransVestal Virgins" issue. Contributions by Mark Pawson
(England), Paulo Bruscky (Brazil), Mark Rose (USA). Vittore Baroni (Italy), Guy Bleus
(Belgium), Pawel Petasz (Poland), Serge Segay (USSR), Harry Fox (USA), Gerard Barbot
(USA), Ruggero Maggi (Italy), Yoshiaki Kobasyashi (Japan), Kum Nam Baik (South Korea),
Mike Duquette (Canada), Pascal Lenoir (France), Radio Free Dada (USA), Csar Figueiredo
(Portugal), Clemente Padin (Uruguay), et al. Includes a comix book and artistamp sheet.
Signed Edition 12/36.

punks. Bay Area Daddaists, Editor. San Francisco, California. 1975.
(1975). Photocopy. 2 3/4"x2 /4". (32 pages). An art magazine created in one day to honor
the visit of Jorge Zontal (Canada) to the San Francisco Bay Area. "The PUNKS were
photographed May 2nd, 1975 and included Ken Doll, Joel Rossman, Bill Gaglione, Carlo G.
Cicatelli, Tim Mancusi, Indian Ralph, Opal L. Nations and Jorge Zontal."
(1975). Photocopy. 11"x8 1/2". (2 pages). The original sheet before cutting and binding to
form the above.

Punta Cero. A. Rueda, Editor. Santiago, Chile. 1990-1991.
No. 1 (June 1990). Offset and Mixed Media. 6 3/4"x4 3/4". (28 pages). Includes a reprint
of "Camolawa-Pish: Revista de Arte Postal," edited by Carlos Montes de Oca (Chile).
No. 2 (May 1991). Offset and Mixed Media. (52 pages). Contributors include Hans
Braumller (Chile), Carlos Montes de Oca, et al. Edition 52/200.

Pup, The. Bill Shields, Editor. The Mad Dog Press, Edina, Minnesota. 1987.
(April 1, 1987). Offset. 11"x8 1/2". (4 pages). "First in an Irregular Series of Emissions."
"Nam Poems," by the editor. Two letter by David Zack (Mexico).
([April 23 1987]). Offset and Mixed Media. 11"x8 1/2". (6 pages). "First in an Irregular
Series of Emissions." "Eat Yourself to a More Powerful Memory!," by Al Ackerman (USA).
Illustrations by Snopes Jung.
([August 15, 1987]). Offset. 11"x8 1/2". 4 pages. "First in an Irregular Series of
Emissions." "Rotational Situationism," by "Dr Al 'Sit-On-It-And-Rotate' Ackermans B-Bar-B
Ranch, Tucson, Arizona."

Perfect Arrow: A Publication of Arrows, Concepts and Correspondance. Maris
Kundzins, Editor. Tokyo Publications/The Puppet House, Seattle, Washington.
(1977).
([1977]). Photocopy. 19"x12 1/2". (2 pages). Editor was the first "Monty Cantsin"
assigned by David Zack (USA). Contributions by Ken Saville (USA), Fletcher Copp (USA),
Whitson (USA), Cavellini (Italy), David Zack, et al.

Push-Machinery. Daniel F. Bradley, Editor. Toronto, Canada. ([1986]).
No. 11 ([1986]). Photocopy. 14"x8 1/2". (24 pages). Photocopy art. Contributions by
John M. Bennett (USA), Jorge Caraballo (Uruguay), John Stickney (USA),
Phosphorusflourish (aka John Rininger, USA), et al.

Pyramid Magazine. John Atkin, Editor. Vancouver, Canada. (1987-1986.)
Issue 1.1 (n.d.). Photocopy and Rubber Stamp. 11"x4 1/4". (14 pages). "Post Card
Issue." Edition 8/25.
Issue 1.4 ([November 1987]). Photocopy and Mixed Media. 11"x8 1/2". (26 pages).
Contributors include Graf Haufen (West Germany), Kim Il Jung (West Germany), Matty
Jankowski (USA), Robin Crozier (England), Mike Duquette (Canada), Jill Smith (Canada),
Fruit Basket Upset (USA), Ryosuke Cohen (Japan), A-1 Waste Paper Co. (England), Nenad
Bogdanovic (Yugoslavia), Luca Brunori (Italy), et al. Edition 12/35.
Issue 2.1 ([1988]). Photocopy and Mixed Media. 11"x8 1/2". (38 pages). Contributions
by A.1 Waste Paper Co. (England), Martin Bernhardt (East Germany), Luca Brunori (Italy),
Ryosuke Cohen (Japan), Mike Duquette (Canada), John Held, Jr. (USA), Ruud Janssen
(Holland), Kazunori Murikami (Japan), Sh'wipe (Canada), the editor, et al. Edition 30/30.
Issue 2.4 (September 1988). Photocopy. 8 1/2"x5 1/2". (38 pages). "Measurement
Issue." A special issue produced for the North Brooklyn Small Press Convention.
contributors include Guillermo Deisler (East Germany), Pedro Bericat (Spain), A.! Waste
Paper Co. (England), Kazunori Murikami (Japan), Ryosuke Cohen (Japan), Tamotsu
Watanabe (Japan), Marc Bloch (USA), Serge Segay (USSR), Mike Duquette (Canada), Rea
Nikonova (USSR), Jill Smith (Canada), Matty Jankowski (USA), the editor, et al. Edition
23/30.
Issue 3.1 ([1988]). Photocopy. 11"x8 1/2". (44 pages). "Pyramid magazine may be
reproduced in whole for the purpose o making it more widely available around the world.
but this reproduction must not be in any way for commercial gain. Contributing artists hold
individual copyright to their work which must not be used for commercial or other purposes
without their consent." Twenty contributors from 10 countries including Matty Jankowski
(USA), A-1 Waste paper Co. (England), Susanna Raumala (Finland), Clemente Padin
(Uruguay), Miekal And and Liz Was (USA), Mark Rose (USA), Ruggero Maggi (Italy), Mike
Duquette (Canada), John Held, Jr. (USA), Serge Segay (USSR), et al. Mail Art exhibition,
Issue 3.2 ([1989]). Photocopy and Mixed Media. 8 1/2"x5 1/2". 36 pages. Twenty-six
contributors from 14 countries including Ryosuke Cohen (Japan), Johan Van Geluwe
(Belgium), Guillermo Deisler (East Germany), A.1 Waste Paper Co. (England), Judith
Railton (England), Giovanni Strada (Italy), Kim Il Jung (West Germany), Rea Nikonova
(USSR), Balazs Janos (Romania), Joyce Glasner (Canada), Luc Fierens (Belgium), Fran
Saunders (South Africa), Mark Rose (USA), et al. Mail Art project and publication
opportunities.
No. 3.3 ([1989]). Photocopy and Mixed Media. 8 1/2"x7". (36 pages). "White Space
Issue." Twenty contributors from 10 countries including Yvonne Ostergaard (Canada),
Giovanni Strada (Italy), Mike Duquette (Canada), Tomatsu Watenabe (Japan), Serge Segay
(USSR), Ryosuke Cohen (Japan), Reima Makinen (Finland), et al.
No. 3.4 ([1990]). Photocopy. 8 1/2"x5 1/2". (40 pages). Photocopy art. Twenty-seven
contributors from 12 countries including Ryosuke Cohen (Japan), Mike Duquette (Canada),
Jill Smith (Canada), Clemente Padin (Uruguay), A1 Waste Paper Co. (England), Jo Anne
Enchevarria Meyers (USA), Katja Silset (Denmark), Ruggero Maggi (Italy), Tomatsu
Watenabe (Japan), Kjell Nyman (Sweden), Rea Nikonova (USSR), Martin Berhardt (East
Germany), et al. "Pyramid Reviews. Mail Art project and publiction opportunities.
Quack-Quack Stories - Quoz?
Quack-Quack Stories. (Al Ackerman), Editor. San Antonio, Texas. 1984.
No. 12 ([April] 1984). Photocopy. 5 1/2"x4 1/4". ((8 pages). "Featuring Al and Ted."
Illustrations and text by the editor. Another TLP (Tacky Little Pamphlet), by the master of
the medium. This one concerning, "George Wetzel and his bird calls."

Quasi per Caso. Alberto Rizzi, Editor. Adria, Italy. (1991).
([1991]). Photocopy. 11 3/4"x8 1/4". 66 pages. Contributions by M. A. Longbottom
(England), Roberto Accorti (Italy), State of Being (USA), Michael Lumb (England), Lucien
Suel (France), Marcel Stssi (Switzerland), Matthias Dreyer (Germany), Bruno Capatti
(Italy), Laura Vitulano (Italy), Alessandro Ceccotto (Italy), Ruggero Maggi (Italy), Rene
Bouws (Holland), et al.

Quoz? Carlo Giovanni Cicatelli (aka Charles Chickadel), Editor. Trinity Press, San
Vol. 2, No. 7 (September 1974). Instant-Print. 5 1/2"x4 1/4". 40 pages. "Editor's First
Invitational Issue." Contributions by Monte Cazazza (USA), the Northwest Mounted Valise
(USA), Opal L. Nations (Canada), Anna Banana (USA), Dadaland (USA), Tim Mancusi
(USA), Al Souza (USA), Genesis P-Orridge (England), A. M. Fine (USA), Indian Ralph
(USA), Tip Top (USA), Sally French (USA), et al.
Vol. 2, No. 8 (December 1974). Instant-Print. 5 1/2"x4 1/4". 40 pages. "Cover photo:
Noted conceptualist Ken Friedman congratulates editor Tim Mancusi on his Very Last
Weekly Breeder as Monte Cazazza kisses Daddaland." Contributions by Edgardo Antonio
Vigo (Argentina), Horacio Zabala (Argentina), Fletcher Copp (USA), John Evans (USA),
Dawn Gaglione (USA), Daddaland (USA), Whitson (USA), Ken Friedman (USA), Raul
Marroquin (Holland), Ed Varney (Canada), A. M. Fine (USA), Gregg Puchalski (USA), et al.

Vol. 3, No. 9 (March 1975). Instant-Print. 5 1/2"x4 1/4". 40 pages. Contributions by
Sharon Chapman (USA), Whitson (USA), Tip Top (USA), Gregg Puchalski (USA), Klaus Groh
(West Germany), Linda Vista (USA), Haddock (USA), Bill Griffith (USA), Daddaland (USA),
Tim Mancusi (USA), Genesis P-Orridge (England), Valery Oisteanu (USA), et al.
Vol. 3, No. 10 (Summer 1975). Instant-Print. 5 1/2"x4 1/4". 48 pages. Poetry Issue.
Contributions by 47 artists including Ray Johnson (USA), Al Ackerman (USA), John M.
Bennett (USA), Jorge Caraballo (Uruguay), Monte Cazazza (USA), Daddaland (USA), Ken
Friedman (USA), Klaus Groh (West Germany), Billy Haddock (USA), Davi Det Hompson
(USA), Tim Mancusi (USA), Donald Millikin (USA), Opal L. Nations (Canada), Valery
Oisteanu (USA), Walt Phillips (USA), Genesis P-Orridge (England), Edgardo Antonio Vigo
(Argentina), Whitson (USA), Linda Vista (USA), Horacio Zabala (Argentina), David Zack
(USA), et al.
Vol. 3, No. 11 (Autumn 1975). Instant-Print and Mixed Media. 5 1/2"x4 1/4". 40 pages.
Contributions by Indian Ralph (USA), Linda Vista (USA), Davi Det Hompson (USA), Tip Top
(USA), Daddaland (USA), Tim Mancusi (USA), Rain Rien (USA), Frank Ferguson (USA),
Subwaxin Haddock (USA), Ron Illardo (USA), Ken Friedman (USA), et al.
Vol. 3, No. 12 (Winter 1975-1976). Instant-Print. 5 1/2"x4 1/4". (44 pages). "The
Visual Poetry of Opal L. Nations." "In late 1974, I mentioned to Opal L. nations that I would
like to publish a book of his poetry. We decided to work out the details through the mail
since he was in Vancouver and I was in San Francisco. Early in 1975, Opal returned for a
visit and brought with him the material for the proposed book. When I met him in
Berkeley, he handed me a folder containing a large sheaf of papers saying, 'Here's me
book, mate!' Upon inspecting the material I found not one poem in evidence. The entire
bulging folder consisted of over one hundred humorously macabre pen and ink drawings.
Of these I have chosen the ones that are reproduced in this issue and have labeled them
according to my initial expectations. That is, they are poetry-visual poetry. And this
magazine is a book of poetry. The project is now complete and the results are in your
hands to behold."

Ram Art Review - Rubberstampmadness
Ram Art Review. L. Zjawin Francke, Editor. Ram Cell, Chapel Hill, North Carolina.
1994-1995.
No. 2 (October 1994). Color Computer Print. 11"x8 1/2". (2 pages). "Greetings fellow
Mail Artists. This is the 2nd in the series of Computer Assisted Art (Ram Art) Editions that I
will issue each quarter. The mailing list for this issue was created from all of those that
responded to the 1st edition plus additions from other mailings I received. In this issue we
have more digital stamps scattered around, a selection of my RamArt titled, 'Africa", a
page of stamps ('hand Stamp') created by me for this issue, the featured mail Artist L. Z.
Francke's Ram Art piece titled 'The Last Bang' with a (4) stamp block related from this art,
and a collection of selected items from those that replied to the last issue...in the future,
the back of this page will be an open format pertaining to Mail Art. I will try to list any
notice or whatever that is mailed to me." Mail Art exhibition, project and publication
opportunities. Edition 50.
No. 3 (January 1995). Color Computer Print. 11"x8 1/2". (2 pages). "Greetings! A
number of my mail Art buddies are writers and musicians etc., so the Ram Art Review is
broadening coverage to include not only Ram Art, but also poetry. Last edition I featured
the work of L. Z. Francke. The featured artist for this edition in Dylan Guy." Mail Art
exhibition, project and publication opportunities. Includes stampsheets by the editor and
Ever Arts (Holland). Edition 50.
No. 4 (April 1995). Color Computer Print. 11"x8 1/2". (6 pages). Assembling magazine.
"Greetings. the theme for this issue 'Ascension' depicts the process of personal
development from primitive to modern attributes. the stampsheet for this issue depicts the
ruination and perversion of the potentially most important and dynamic communication and
educational medium in the history of mankind. The RamArt Review is featuring (2) artists
this issue. Editioned contributions by Mike Dyar (USA) and Bogna Blazewicz (Poland). Mail
Art exhibition, project and publication opportunities. Edition 50.
No. 5 (July 1995). Color Computer Print. 11"x8 1/2". (2 pages). "Greetings. The theme
for this issue is 'Departing Spirits.' this is what happens when human beings loose respect
for each other and the Earth that supports them. The Ram Art Review is featuring (2) more
artists this issue." Featured artists, Dennis Summers (USA) and Joachim (Holland). Mail Art
exhibition, project and publication opportunities. "Excepts from Bibliozine #32 Edited by
John Held Jr. of The Modern Realism Archive." Edition 50.

Rampike. Karl E. Jirgens, Editor. The Coach House Press, Toronto, Canada. 1988.
Special Issue (1988). Offset. 15 1/2"x6" (oversize). 80 pages. Special issue on
Phenomenology. Contributions by Jean-Claude Gagnon (Canada), John M. Bennett (USA),
Richard Kostelanetz (USA), Robert C. Morgan (USA), Opal L. Nations (USA), et al.

Random Entry Comix. Maximum Traffic, Editor. Butler, Pennsylvania. (1992).
No. 1 ([1992]). Photocopy. 5 1/2"x4 1/4". 19 pages. "Due to the number of replies to
'Random Entry', I have decided to make a second issue. So, please send more stuff."
Contributions by Peter Brandt (Germany), Spaz (USA), Steve Willis (USA), Ace Backwards
(USA), John Held, Jr. (USA), et al.
No. 2 (August 1992). Photocopy. 5 1/2"x4 1/4". 28 pages. Cover by Lon Spiegelman
(USA). Contributions by John Held, Jr. (USA), Julie Peasley (USA), Peter Brandt (Germany),
Mark Longbottom (England), Ruggero Maggi (Italy), Linda Hedges (USA), et al. Also
numbered "Maximum Traffic," Vol. 3, No. 15.

Rant. Leslie Caldera (aka Creative Thing), Editor. Whittier, California. 1982-1987.
No. 3 (September 1982). Photocopy and Rubber Stamps. 14"x8 1/2". (2 pages). "The
One Page Magazine." "I did not design this publication to be used as a soap box. However,
for this issue I have made an exception. Rant #3 is my contribution to 'Artworks, Artists
Rejected', a mail art project by the Cracker Jack Kid dealing with juried exhibitions...I still
don't think that juried shows are a bad thing. They serve to show the best of what is
available and to give prestige to those chosen. Mail art, however is a cat of a different
color. The idea of artists giving away their art does not go with rejection. It's like saying
thanks for the gift, but no thanks. I have sensed that there is a code of ethics among mail
artists concerning mail art show. To get a clear picture of what this code is I contacted Lon
Speigelman (sic). Lon has given lectures on the subject as well as organized several mail
art shows in Los Angeles. He sent me much relevant information from which I have culled a
'statement' for this magazine's purposes." Statement by Lon Spiegelman (USA). "Mail art
activity points to a political realization which will have to come about if we are to survive on
this planet. It typifies the finest points in each of the battling giants (capitalism and
communism). Shows are truly a social effort, displaying a whole that is indeed greater than
the sum of its individually produced and free parts. It's a collage..." contribution by Carla
Cryptic (USA), and Rudolph (USA).
No. 4/5 (February 1983). Photocopy. 14"x8 1/2". (4 pages). "Rant is published
whenever I get enough stuff for a new issue. It is printed in an edition of 100 and sent to
friends and mail art exhibition. It cannot be bought." "SPECIAL DOUBLE ISSUE! Music Mail
Art Exhibit Catalogue." documentation of the Mail Art exhibition, "Syncopated
Pandimonium," organized by the editor for Lovell's music store, Whittier, California,
January and February 1983. Seventy-one artists participated. Contributor list. Reproduction
of contributions by Nicola Frangione (Italy), Tuck Petertil (USA), et al.
No. 6 ([Spring 1983]). Photocopy and Mixed Media. 11"x8 1/2". (2 pages). "This is a
special issue combining Steve Random's book magazine, 'Vague,' and Creative Thing's one
page magazine, 'Rant.'" Jean Brown's Shaker Seed House in Tyringham, Massachusetts,
revealed. Contribution by Michael Leigh (England). Report of a party at the Los Angeles
home of Lon Spiegelman (USA), attended by Mail Artists Carolyn Olenius, Judith Hoffberg,
Steve Durland, Wally Darnell, Skooter, Michael Mollett, et al. "Everyone had a great time
checking out Lon's work area and extensive files, and striking up conversations with friends
previously known only through the mails."
No. 7 (Summer 1983). Photocopy and Rubber Stamps. 7"x4 1/4". (8 pages). "This issue
of Rant is devoted to Kurt Schwitters. During His Life time, Herr Schwitters was a painter,
poet, musician, Dadaist and an early practitioner of what we know today as mail art./A
special note of gratitude is extended to the six mail artists whos wonderful contributions
made this issue happen." contributions by Guy Bleus (Belgium), Brendan De Vallance
(USA), Dislokate Klammer (USA), Michael Leigh (England), Michael Hyatt (USA), and Minoy
(USA).
No. 9 ([Summer 1984]). Photocopy and Rubber Stamps. 5 1/2"x4 1/4". (8 pages).
Artiststamps created by the editor in commemoration of the Los Angeles Olympic Games.
Carved eraser imprints by the editor. Antique photograph of "fanatical gentleman" in a suit
of postage stamps.
No. 10 (September 1984). Photocopy. 11"x8 1/2". (2 pages). "Somnambulrant Issue."
Contributing editor for this issue, Midnight (USA), who writes, "...The thing that changed all
this was mail. Let me explain. One day a letter was delivered to me by mistake. It was
me(a)nt for this lady on the next block over. I didn't know her but my postman said she
was 'pretty weird' judging from her mail. Anyway, I got her letter. It was an invitation to a
mail art exhibit. It intrigued me so I sent off a cantaloupe that I did at work and was rather
proud of. Well, from there it was more invitations. I was wanted! Then the personal mail
started arriving. Postcards, letters, collages, books, rubber stamps, beer bottles, anything
that could be mailed. Soon I was a true believer. My name was known from New Zealand
to Denmark. My drab life was lit up by the glorious salvation of mail art!..." "This issue was
printed in an edition of 200. It cannot be bought!"
No. 11A (October 1984). Photocopy. 4 1/2"x2 3/4". (8 pages). "Birthday
Commemorative Issue," listing October birthdays for Peggy Calvert (USA), Guy Bleus
(USA), Minoy (USA), and the editor. Contributions by the four Mail Artists.
No. 13 (Spring 1983). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (8
pages). "I was curious as to how my mail art pals felt about public art in general and James
Wine's question in particular. In October 1984 I sent out Rant #11B stating Mr. Wine's
question ('I don't care if they put up those boring glass boxes, but why do they insist on
leaving that little turd in the plaza on their way out?') and asking for an answer. Most were
verbal, some were pictoral. Here they are, more or less as I received them. Contributions
by al Ackerman (USA), State of Being (USA), Mark H. Wamaling (USA), Minoy (USA), John
Held, Jr. (USA), john M. Bennett (USA), Midnight (USA), Steve Random (USA), John Evans
(USA), and Fruit Basket Upset (USA). The editor was a marshal during the Olympic Games
for the marathon. The issue is accompanied by a strand of rope used to line the race.
No. 14 (Spring 1985). Photocopy. 11"x8 1/2". (one page). Collaborative artistamp sheet
with contributions by Julie Hagan Bloch (USA), Gene Laughter (USA), Arturo Fallico (USA),
Rockola (USA), Minoy (USA), and Richard Meade (USA). "Rant #14 is printed in an edition
of 500. It cannot be bought." Contributing editor for this issue-John Held, Jr. The hand-
drawn red ink on this particular artistamp sheet, served as a perforation guide for use by
the contributing editor. Letter from the editor to the contributing editor, on verso.
No. 16 ([1985]). Photocopy. 11"x8 1/2". (8 pages). "Industrial Number." "Rant So Far," a
listing of previous issues with dates and descriptions. "RANT is printed whenever I get
enough stuff for a new issue. RANT 16 was printed in an edition of 200 jointly with
Christian Herman. 100 copes were included in her publication, 'Velocity'. Rant is sent to
mail art friends and exhibition. It cannot be bought."
No. 17 (August 1986). Offset and Rubber Stamps. 8 1/2"x5 1/2". (8 pages). Foldout
poster with contributions by Musicmaster (USA), Keith Bates (England), Wang Lu Yan
(Peoples Republic of China).
No. 19 (October 1986). Photocopy, Rubber Stamps and Mixed Media. 8 pages. "Rant No.
19 has been created by selected mail art friends who share October as a birth month. Each
year, I do a collaborative project with these folks. This year it resulted in this book."
Contributions by M(ichael) Hyatt (USA), Crackerjack Kid (USA), DKA (aka Darlene Altschul,
USA), Ruggero Maggi (Italy), Bill Whorrall (USA), We Never Sleep (USA), and the editor.
No. 20 (October 31, 1986). Photocopy, Rubber Stamp and Mixed Media. 5 1/2"x4 1/4".
(8 pages). Documentation of a "Decentralized Mail Art Congress," held in Santa Barbara,
California, on September 20, 1986. participants of the Congress included Californian artists
Jesse Edwards, Pat Fish, Richard Meade, and the editor.
No. 21 (January 10, 1987). Rubber Stamps and Mixed Media. 11"x8 1/2". (one page).
Collaborative artistamp sheet produced with rubber stamps by California artists Richard
Meade, Rudolph, Jesse Edwards, Darlene Altschul, Peggy Calvert, Michael Mollett, the
editor, et al.
No. 23 A ([1987]). Photocopy. 11"x8 1/2". (one page). Collaborative artistamp sheet
based on a project by the editor, asking correspondents to add to an image of the back of
Shozo Shimamoto's bald head. Perforated by John Held, Jr. (USA). Sixteen contributors
including by Blaster (aka Al Ackerman, USA), Judith Hoffberg (USA), C. S(teven). Short
(USA), Bill Whorrall (USA), John Held, Jr., Michael Leigh (England), buz blurr (USA), John
Bennett (USA,), Musicmaster (USA), et al.
No. 23 B (1987). Photocopy. 11"x8 1/2". (one page). Collaborative artistamp sheet
Shozo Shimamoto's bald head. Perforated by John Held, Jr. (USA). Sixteen contributors
including M. Hyatt (USA), State of Being (USA), Ruggero Maggi (Italy), Caledonia Barbot
(USA), Arturo Fallico (USA), David Cole (USA), Private World (USA), Rudolph (USA), Art
Nahpro (England), Elena Siff (USA), Oh, Boy (aka Johnny Tostada, USA), et al.
No. 23C ([1987]). Photocopy. 11"x8 1/2". (one page). Collaborative artistamp sheet
Shozo Shimamoto's bald head. Perforated by John Held, Jr. (USA). Fifteen contributors
including Hazel Nut Jones (England), H. R. Fricker (Switzerland), Jrgen Olbrich (West
Germany), Richard Meade (USA), Gerard Barbot (USA), Ruth Howard (USA), John Evans
(USA), Keith Bates (England), et al.
No. 24A (June 20, 1988). Offset and rubber Stamp. 5 1/2"x4 1/4". (8 pages). Photo-
documentation of "Kurt Schwitters' Centennial Birthday party," Los Angeles Museum of Art,
June 20, 1987, attended by California Mail Artists Skooter (aka Neil Taylor), Richard
Meade, Mike Mollett, Peggy Calvert, the editor, et al. Billboard by H. R. Fricker
(Switzerland) constructed in homage to Schwitters in Minden, West Germany.
No. 24B (June 21, 1988). Offset and Rubber Stamp. 5 1/2"x4 1/4". (8 pages). "To
celebrate Kurt Schwitters' centennial, I made a book. Each page was made by one of 60
artists from around the world who were invited to participate. along with all the
contributors books I mailed out on June 20, 1987 (Kurt's 100th birthday) I sent one to
Kurt's only child, Ernst Schwitters. I was very moved by his letter of response. So much so
that I have taken the liberty of reproducing 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 profiteering..."
Letters from Rudi Rubberoid (USA), Bug Post (USA), Rusty Clark (USA), and John Herd
(sic), Jr. (USA).
No. 4 (n.d.). Photocopy and rubber Stamp. 14"x8 1/2". (2 pages). "Last issue were
several mildly volatile comments on the'artistamp' industry & current rampant huckserism
of a large percentage of that community. In reply I received a long & occasionally lucid
commentary from Bug Post, which I'll reproduce in nearly its entirety, with footnoted
replies." Letters from Bug Post (USA), Rudi Rubberoid (USA), Walt Evans (USA), and Rusty
Clark (USA). "The following folks sent somewhere around twenty to sixty cinderellas, which
are being divided at random between the sixty or so people receiving this mailing..."
No. 6 (n.d.). Photocopy. 14"x8 1/2". (2 pages). "I save I suppose one-tenth of the mail
art I receive, which is till way too much to keep around indefinitely. The rest I cannibalize
or alter and send on. Very close to nothing is wasted. It surprises me that some people
send truly wonderful treasures, which really spice up the run of the mill...At the other
extreme are mail artists without much artistic brilliance. Somehow I never mind seeing
stuff from folks without talent, as even the bad stuff is oddly wonderful. I confess I do
occasionally weary of people who are in ruts, whether famous like Shozo or unheard of like
the rest of us, who send out the same damned thing over and over again, with
imperceptible variations." "Hucksterism 'can' destroy community. My only previous contact
with Banana post was at a huckster event. As I introduced myself, she began at once to try
to sell me printing services and subscriptions. there was not even a token friendly
exchange...Perhaps Banana is a great person who merely happens to make uninteresting
Hallmark Card style stamps; but she misuses the network for personal gain and that makes
her representative of a 'type' that puts a dollar value to the community. To me Mail Art is
more like a family dinner, not like a stroll through a shopping mall, an otherwise excellent
meal can be spoilt if Uncle Dufus only wants us to buy swampland, or sister Poop-for-brains
is relying on the family to keep her Amway business afloat." Edited letters from Cairie
Hodges (USA), Ann Maybe (aka Ex Posto Facto, USA). Bob Kirkman (USA) and Anna
Banana (Canada), who replies to the editor's criticism. "First, thanks for letting me know
your reactions to my excerpting some of your comments, as unsettling as they are; and
the opportunity to rebut your editorial comments...In over 22 years of mail-art networking
I have never met anyone so quick to judge, condemn and 'go public' with pronouncements.
My business is producing stamps; this is how I make a living...Your judgments about
others are very back and white...snap judgments and holier-than-thous can destroy
community from within as much or more than any commercial interface..." Contributors to
the "Cinderella Stamp Exchange." "The 'Gazette' is not really a public forum; it's my letter
substitute to 60 folks who send me letters stamps, and art."
No. 7 (n.d.). Photocopy. 11"x8 1/2". (2 pages). "The Anna Bananna issue got more
correspondence than any issue yet, most of it marked 'Do Not Quote,' the majority
complaining in essence that all they ever got back after sending art to the big Bananna
were pitches for subscription monies. If any of you are really as ticked about that as you
sound, just chill out & remember, 'nothing matters.'" Contributors to the "Cinderella Stamp
Exchange." "Museo Internationale de Neu Art." "Dominikbug's Exhibit!"
No. 8 (n.d.). Photocopy. 11"x8 1/2". (one page). Three short poems by the editor.
"Cinderella Stamp Exchange Participants" includes 32 artists.
No. 9 ([October 1995]). Photocopy. 11"x8 1/2". (one page). "As some of you know, and
some of you don't, I make the majority of my income from writing and editing books. I
rarely pitch these to mail artists, but as so many have expressed interest in my Other Life
as a semi-famous author of great merit and meager earning, here are a couple things you
can get autographed from me if you're really so inclined. As the Gazette is rarely serious,
you might wrongly expect my short stories to be satiric, But mainly they're terribly
severe." "Cinderella Contributors. Makers of cinderella stamps (called 'Artistamps' by
pompous snotsucking geeks and National Endowment wanna-bes) should send 60 stamps
to make sure all Gazetteers get one. Some folks send more, others less. Whatever."
Twenty-three contributors listed (none from outside the USA).
No. 10 (n.d.). Photocopy. 11"x8 1/2". (2 pages). "The Alzheimer Letter," by the editor,
and a response by Al Ackerman (USA), "Pag-hat the Rat-Girls's Nuns with Alzheimers
Letter Meets JBM." "A Checklist of Important Occult Titles." Advice to a zine publisher.
"Cinderella Contributors."

Raunch O Rama Information Sheet. Brad Goins, Editor. Champaign, Illinois. 1987.
No. 16 (Fall 1987). Photocopy. 8 1/2"x5 1/2". (12 pages). Music reviews. "One of the
most significant influences on the type of music reviewed in 'Raunch-O-Rama is the type of
vocal effect experimentation which developed out of the collaborations between singer
Cathy Berberian and composers Luciano Berio and John Cage." Contributions by Jenny
Soup (USA), John R(ininger). (USA), Anna Banana (Canada), and Tamotsu Wananabe
(Japan).
No. 17 (Late Fall 1987). Photocopy. 8 1/2"x5 1/2". (12 pages). "Our first-place winner in
the Abrasive Musical Nihilism Mail Art contest is Ruggero Maggi. This piece was done on
cloth with hand-sewn borders. The black-headed pins sticking into the unfor(unate)
protagonists' arms produced the gray ins circles in the photocopy above." Brief biography
of the Italian Mail Artist. Second place in the contest went to John R(ininger) (USA).

Re:Action: Newsletter of the Neoist Alliance. (Stewart Home, Editor). Neoist
Alliance, London, England. 1994-1997.
No. 1 (Winter Solstice 1994). Offset. 11 3/4"x8 1/4". (4 pages). "Anti-Neoist
Defamations in Canada and England." "In Canada, an idiot called Istvan Kantor has been
claiming for some time that he is involved in our activities. This is patently absurd because
the old Neoist network, of which Kantor was once a minor member, was definitively
superseded by the Plagiarist and Art Strike movements in 1985, and this impostor has
been permanently excluded from our circle for the past decade..."
No. 2 (Summer Solstice 1995). Offset. 11 3/4"x8 1/4". (4 pages). "The Grail Unveiled."
"Programme of the Neoist Alliance."
No. 3 (Summer Solstice 1996). Offset. 11 3/4"x8 1/4". (4 pages). "The Avant-Bard
Assault on the Swamp," a letter from 1989 from Stewart Home to Bob Black. "Luthering:
An Avant-Bard Manifesto," on the virtues of Luther Blissett. "Don't search for this multiple
singular. If you do, you will not find Luther and your understanding of the work of the
general intellect will become mired in confusion."
No. 5 (Winter Solstice 1996). Offset. 11 3/4"x8 1/4". (8 pages). "The First congress of
the New Lettrist International." "Congress is about creating the myth of unity, but our First
Congress will, contrariwise, unify the myth creation process. The congress will only exist at
the level of myth, thereby excising political chicanery." Organized by the Neoist Alliance
and the London Psychogeographical Association. More on the "Luther Blissett Project."
No. 6 (Summer Solstice 1997). Photocopy. 11 3/4"x8 1/4". (4 pages). "Science, Politics
& Gnosticism: Eleven Theses on Alchemy."

Readymail. Pascal Lenoir, Editor. Andeville, France. 1988.
No. 11 (February 1988). Photocopy. 8 1/4"x5 3/4". (2 pages). Mail Art exhibition,
project and publication information.
No. 15 (August 1988). Photocopy and Mixed Media. 8 1/4"x5 3/4". (4 pages).
Assembling magazine. Mail Art exhibition, project and publication opportunities.
Contributions by participants in glassine envelope.

Real Correspondence. Vittore Baroni, Editor. Near The Edge Editions, Forte Dei
Marmi and Viareggio, Italy. 1981-1999.
No. 1 (Winter 1981/1982). Photocopy and Mixed Media. (one page). Mail Art
questionnaire, "why I do mail art." Ready-made art, "directly from my trash-bin."
No. 6 (n.d.). Photocopy. 11 3/4"x8 1/4. (one page). An oft-repeated diagram of "MA
Tactics." "Notwithstanding the wide range of old and new visual topics covered (e.g. rubber
stamps, stamp, postcard, photocopy, audiocassette, etc.) Mail Art is not just another art
trend. Mail Art affects firstly the structure of cultural work, the way art and information is
produced and circulated. This is an INTRODUCTORY SCHEME to Mail Art Tactics." Diagram
describing the artist and art "before" and "after" Mail Art.
No. 6 ([1985]). Photocopy. 11"x8 1/2". (6 pages). The "MA Tactics" diagram as
reproduced in "Level" (Indianapolis, Indiana), No. 7. An example of the spread of the
original printing.
No. 6 (May 1994). Photocopy. 8 1/2"x5 1/2". (4 pages). The "MA Tactics" diagram from
"Real Correspondence 6" reprinted in "Images of Global Peace," edited by Brian Kasher
(Washington, D. C.).
New series No. 1 (August 1991). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". 8
pages. "I am always late answering my mail, and I seem to find the time to produce only
one issue of ARTE POSTALE! magazine every year. Therefore, I decided to resume the
publication of this small bulletin (the first series came out in the early eighties): I hope it
will help me to reply more promptly to all of you!" "Inside: THE STICKERMAN MUSEUM
invites you to join STICKERISM, a retrospective view to THE NETWORKING STRATEGIES OF
TRAX, prepare yourself for THE WORLDWIDE NETWORKER CONGRESS '92!" "After Tourism
Comes Planetary Citizenship: some random thoughts on networking for H. R. Fricker," by
the editor. "A networker is someone who knows that all islands are linked underneath..."
Editorial offices moved to Viareggio, Italy.
New Series No. 2 (September 1991). Photocopy and Mixed Media. 8 1/4"x5 3/4". 8
pages. "Cypermailart! Rete Postale e Nuovi Media," by the editor. Contributions by Pawel
Petasz (Poland), Gianluca Lerrici (Italy). "Note Sparse sul 'Networker.' (per H. R. Fricker),"
by the editor. "Decentralized World Wide Networker Congress 1992" announcement in
Italian.
New Series No. 4 (February 1992). Photocopy. 8 1/4"x5 3/4". 4 pages. "Mail Flue: or a
few things about Mail Art that I Have to Get out of my system," (sic) by the editor. "Each
and everyone who ever participated in the networking game called 'mailart' seems to have
a slightly different idea of what this is all about. And yes, you never get to know exactly
what mail art is, because even if you have the time and energies to write to a thousand
networkers, there are always other thousands that you will not be able to reach, your
mailing is always a partial and casual arrangement and you can never be sure that it can
be considered representative of all the different trends that are developing overnight in the
underground channels of networklandia." Lyrics to the song, "Let's Network Together."
Stickerman Museum notes.
New Series No. 6 (Summer 1992). Photocopy and mixed media. 8 1/4"x5 3/4". 7
pages. "You will see in this bulletin (n.6 of the new series) an invisible report of
STICKERMAN'S SECRET CONGRESS (picture above), then peep into THREE LETTERS TO
NOTORIOUS NETWORKERS and Netshake, Netrattle & Netroll with the sounds of the
planetary META-CONCERT IN SPIRIT in ARTE POSTALE! 63-the cassette edition.. Despite
the mournful tone of the NETWORKER BLUES lyrics, I will not stop producing my little mail
art magazine, in fact you will already find the plans for six more issues in the 1993
program of IL SOPPALCO HOME GALLERY, finally don't forget to read all about the ongoing
STICKERMAN PROJECT 1991-1993." Open letters to Lon Spiegelman (USA), Anna Banana
(Canada) and H. R. Fricker (Switzerland).
New Series (September 1999). Photocopy and rubber Stamps. 5 3/4"x4 1/4". (8
pages). "'Real Correspondence' is a mail art bulletin edited irregularly by Vittore Baroni for
Near The Edge Editions...Viareggio, Italy, distributed free by snail-mail since 1980, now
also available via e-mail on simple request..." "This is a mail art invitation: Call of the
Iconoclast!" "(A Shared Sample of) Unsolicited Mail," an "open letter" to Guttorm Nord
(Norway) by the editor. "...I think I already wrote this many times and I have been deeply
convinced of this since the very beginning of my involvement in mail art in the late
seventies-MAIL ART SHOWS ARE NOT THE HEART AND SOUL OF NETWORKING, not even
big collective mail art 'projects' not finalized to an exhibition. They can be a 'test' of what is
going on in the net, but my experience tells me that the real honest thumping core of mail
art resides in the one-to-one intimate exchange, in the personal feedback-and-forth from
me to you...I have been doing this for over 20 years and of course, I have changed and the
world has changed. I cannot pretend the excitement is still the same. I feel the archive is
now a little bit part of history, particularly since Ray Johnson's death marked the end of a
certain mail art era (in my mind, at least). Using e-mail and thinking of new creative ways
of using e-mail is more like today's equivalent of my early mail art days..."
New Series (December 1999). Photocopy and Rubber Stamps. 5 3/4"x4 1/4". 4 pages.
"A mail art bulletin of the Etheral Open Network..." "Here comes the Millennium Bunny
(slower but safer than the bug)." "mail art is a bit like a reliable pet living fee and easy in a
cosy little home, compared to the big jungle of greedy official art out there. I don't want to
sound like the old bore I probably grew up to be, but despite the ups and downs of
networking, the endless moaning about the impoverishment and lack of quality in 'new'
mail art, the rise of the internet (that I see as a positive step forward) and the talks of
commercialization in certain areas of the Eternal Net, after over 23 years I still find the
ever-changing one-to-one contact of correspondence art an enjoyable and very profitable
experience. It gives me much more, psychologically, than the essays and reviews I publish
every month in the magazines I write for, or than the traditional gallery events I
sometimes associate myself with. It's flexible, cheap (in the good sense), homely and
sincere."

Rebus Quarterly, The. Dina Melucci, Editor. West Orange, New Jersey. 1994-1995.

No. 8 (Summer 1994). Offset. 11"x8 1/2". 27 pages. "Rebus Pen Pals." "Rebus
Techniques," by the editor. Winners of the "Post Office I.Q. Contest, " includes a letter from
Postmaster Judy Myers (Bowling Green, Kentucky), which reads, "You creative 'addressing'
skills caused quite a stir among our employees on the morning of march 16 1994 when we
received the piece of mail you sent to Rita Larimore. While we certainly don't recommend
this type of addressing, it added a little fun to our day. I would like to share your
creativity; however, I need you permission to photocopy the envelope. Please sign the
attached if you will allow us to do so."
No. 9 (Fall 1994). Offset. 11"x8 1/2". 27 pages. "Welcome to our second anniversary
issue." "Post Office I. Q. Contest."
No. 11 (Spring 1995). Offset. 11"x8 1/2". 23 pages. "Rebus Pen Pals." "From the Mail
Room." "Postal Office I. Q. Contest," features contributions by Seiko Sato (USA), Claudia
Rose (USA), et al.

Recycling Booklet. Lancillotto Bellini, Editor. Verona, Italy. 1992-1997.
No. 8 (July 1992). Photocopy. 5 3/4"x4 1/4". (8 pages). "This 'Recycling Booklet' edition
has the purpose of evidencing the results of some mail-artists' creative project that have
been involved in realizing a new graphic work based on a common idea. Other edition will
follow open to all artists interested in such a project." Contributions by 12 artists including
Gerard Barbot (USA), A. 1. Waste Paper Co. (England), Gianni Broi (Italy), Matthias Dreyer
(Germany), Bruno Cappatti (Italy), Gabriele Castelli (Italy), Jacques Massa (France), Ennio
Pauluzzi (Italy), Societe Anonyme (Belgium), Giovanni Strada (Italy), et al.
No. 47 (February 1997). Color Photocopy, Rubber Stamps and Mixed Media. 11 3/4"x8
1/4". (one page). Contributors sheet sent by the editor to Keiichi Nakamura (Japan) and
passed-on to John Held, jr. (USA).

red dog chop. afungusboy and Jake Berry, Editors. Mr. Laurel, New Jersey, and
Florence, Alabama. 1991.
No. 4 (December 1991). Photocopy. 3 1/2"x2". (24 pages). Photocopy art collaboration
by the two editors. In rubber stamped envelope.

Reparation de Poesie. Jean-Claude Gagnon, Editor. Qubec, Canada. (1993-1996).
No. 5 ([1993]). Mixed Media. 10"x7". Unpaged. Assembling magazine. Theme: "Images
Hunters." Contributions by 55 artists from 11 countries. Contributors include Guillermo
Deisler (Germany), Gza Perneczky (Germany), Pedro Juan Gutierrez (Cuba), Ilmar
Kruusame (Estonia), John M. Bennett (USA), State of Being (USA), Daniel Daligand
(France), Pascal Lenoir (France), Jean-Franoise Robic (France), Ruggero Maggi (Italy),
Emilio Morandi (Italy), Giovanni Strada (Italy), Diane Bertrand (Canada), Claire Lamarre
(Canada), Malcom Reid (Canada), the editor, et al.
No. 8 ([1996]). Mixed Media. 11 3/4"x8 1/4". Unpaged. Assembling magazine.
Contributions by 49 artists from 8 countries. Contributors include Kevondo Nichersondo
(aka Kevin Nickerson, Canada), Jrgen Olbrich (Germany), Pascal Lenoir (France),
Giovanni Strada (Italy), Diane Bertrand (Canada), Antonio Gomez (Spain), Marcel Stssi
(Switzerland), Patricia Collins (England), John Bennett (USA), Stephen Perkins (USA), Carlo
Pittore (USA), State of Being (aka Reid Wood, USA), et al.

Retrofuturism. The Tape-beatles and Lloyd Dunn, Editors. The Drawing Legion,
Iowa City, Iowa. 1990-1993.
See "Photostatic" for earlier issues. See also "PhotostaticRetrofuturism."
No. 12 (January 1990). Photocopy. 8 1/2"x7". (pages numbered 1530-1547).
"'Retrofuturism' is a sporadic not for profit periodical of xerograhic art and by extension,
machine-based art generally. Much of the work in 'Retrofuturism' overlaps into the fields of
correspondence art, concrete poetry, photography, audio, video, film, performance, and
much f whatever else is going on in contemporary culture. "This is the first issue of
'Retrofuturism' to appear all by itself, as a discrete unit. the Tape-beatles just want you to
know what we wanted to do it just once. There may never be another issue of
'Retrofuturism.' But then again there may be a new one out next month! We simply haven't
decided yet." "Overlooked Classics," by Brad Goins (USA). "Cassette and CD Reviews," by
Paul Neff (USA). "Video Review," by John Heck (USA), "Software Review," by Lloyd Dunn
(USA). Edited by the Tape-beatles.
No. 13 (July 1990). Photocopy. 8 1/2"x7". (pages numbered 1554-1632). "From January
1, 1990 to January 1, 1993, 'Photostaic Magazine' is participating in the Art Strike which
has been called for internationally by various Art Strike Action committees. The Tape-
beatles, a collective of audio artists long associated with 'Photostatic,' PhonoStatic,'
RadioStatic,' etc., will not be participating in the Art Strike." "Dialog: Letters from Readers
and Responses from the Editors." "The Doctor Tells All," by Al Ackerman (USA). "Neoism?!
From the Horse's Mouth," by Monty Cantsin. "Proud Mary and the Internal network," by
Mark Bloch (USA). "Yawn No. 16," includes texts on Art Strike by Gza Perneczky
(Germany), Philippe Bill (France), et al. "Print Reviews," by Lloyd Dunn (USA).
"Information Received: Catalogs, Postal Work, Contact Lists." "Plagiarism: The Millennia of
Plunder," by Stephen Perkins (USA). Contribution by Carol Stetser (USA), and Mark Pawson
(England). Edited by the Tape-beatles.
No. 14 (January 1991). Photocopy. 8 1/2"x7". (pages numbered 1636-1685). "Desert
Storm," by Stephen Perkins (USA), "Report from the Iowa Chapter of the Aggressive
School of Cultural Workers." "The Magic of Bigamy: An Alternative to Art Strike," by Al
Ackerman (USA), Print Reviews: Newsletters, Bulletins, and Single-Sheet Publications."
Mail Art exhibition, project and publication opportunities. "Chain Mail Address Lists."
Contributions by Carol Schneck (USA), Crackerjack Kid (USA), Don Baker (USA), Jeff Brice
(USA), Sensoria from Censorium (Canada), et al. Cover statement by H. R. Fricker
(Switzerland), "The Art Strike 1990-1993 is in my opinion part of the process of change
and mourning in which the artists jointly try to assimilate the loss of their traditional role.
The strike is the manifest sign of this change. A sign to the outside; to ourselves a time of
reflection and learning./ Evidently 'Give up Art' does not necessarily mean 'Give up
Communication.'"
No. 15 (August 1981). Photocopy. 8 1/2"x5 1/2". (pages numbered 1688-1741). Special
section on "Netlinks 1992: International Networking Year," including "Decentralized World-
Wide networker congress 1992," by John Held, Jr. (USA); "The Heart of a Networker," by
FaGaGaGa (USA); "A Letter From H. R. Fricker;" "After Tourism Comes Interplanetary
Citizenship," by Vittore Baroni (Italy); "A Letter from Stephen Perkins to H. R. Fricker;" "An
Open Letter from Crackerjack Kid;" "A Networker Statement," by John Held, Jr.;
"Networking Challenge: A Statement by Crackerjack Kid (USA). "Mail Art," by Harry
Polkinhorn (USA). Other contributions to the issue by Ben Allen (Ireland), Lloyd Dunn
(USA), Matthew Fuller (Wales), Karen Eliot (USA), Don Milliken (USA), et al. Edited by the
Tape-beatles.
No. 16 (March 1992). Photocopy. 8 1/2"x5 1/2". (pages numbered 1744-1789).
"Everyone who contributes in some way to 'Retrofuturism,' whether they send a letter to
the editor, or a work to be reviewed, or work to be published, will receive a copy of the
issue of 'Retrofuturism' in which their contribution appears." Cover art by Stephen Perkins
(USA). "Mail -art Questionnaire." Guest Editorial by Stephen Perkins (USA), "Plagiarism."
Special section on "The Immediast Underground." Contributions by Ben Allen (Ireland),
Jean-Franoise Robic (France), Ross Martin (USA), Enrico Aresu (Italy). "'Yawn' No. 0," by
Florian Cramer (Germany). This issue credits Lloyd Dunn as editor under the auspices of
the Drawing Legion.
No. 17 (April 1993). Photocopy. 8 1.2"x5 1/2". (pages numbered 1864-1885). "Address
to the Southwest Decentralized mail Art congress," by Al Ackerman (USA). Contributions by
Nonlocal Variable (USA), Colin Ives (USA), John Stickney (USA). This issue credits Lloyd
Dunn as editor under the auspices of the Drawing Legion.

Ripority Folio. Monty Cantsin (aka Arthur Berkhoff), Editor. Pregroperativistic
Movement, Amsterdam, Holland. 1986.
Folio 2 (June 1986). Photocopy. 11 3/4"x8 1/4". (9 pages). "...the way this RIPORITY
FOLIO works is familiar with the FOLIO principles of David Zack CN WIZ OZ at the
immortality Center, that is, assimilating about everything that happens (RIPORITY in a
pregroperativistic sense) as far as possible in a FOLIO, meant to be distributed to all our
fellow-travelers in the bloodcirculation of Neoism, anti-Neoism, pregroperativism." Open
letters to Jack Saunders (USA), David Zack (Canada), Robert Ashworth (USA), Arturo G.
Fallico (USA) Jack O. Heart (USA),
Don Morgan (USA) and Willie Marlowe (USA). "In this RIPORITY FOIO is a taste of what we
all do and this is only a part, cause not every member of 'cell' can appear in every
publication, not because of censorship but because of financial limitations. You see in a
situation where there are for instance 100 documents, applications, letters, paintings etc.
etc. but where there's only money for 20 stamps it's necessary to think economically and
to be a hard realist, that's how the urgency turned me into a RIPORITY FOLIOist. It was the
only way..."
Folio 6 (July 1986). Photocopy. 11 3/4"x8 1/4". (9 pages). Open letters to "Istvan
Motnyu Kntora Cansin Monty Kantor" (aka Istvan Kantor, USA), David Zack (Canada), John
Bennett (USA), OMAHaha (aka Dazar, USA), and Jack Saunders (USA). Also reprints a
letter from Les Cammer (USA). The editor on the Decentralized World Wide Mail Art
Congresses in a letter to David Zack: "The Congress, The congress in Eeklo and there's
another congress in Trogen, Switzerland a congress here a congress there a congress
everywhere tadatadaaa tadatadaaa tadatadadadaaaaaa. I don't know Nazario, what's
behind this sudden trend of holding congresses everywhere. You know Norman Conquest
was taking about a shareholders' meeting and this is exactly what makes me so reserved
about congresses. This word 'congress' sounds very 'heavy' in Duch, it sounds like 'politics'.
Folio 9 (April 1987). Photocopy, Rubber Stamps and Mixed Media. 11 3/4"x8 1/4". (4
pages). Open letters to J. R. "Bob" Dobbs (USA), and Jon "Monty Cantsin" Held (USA).
Titled, "RIPORITY folio 9-SMILE," placing it in the cannon of "SMILE" magazines.

Robert's Telling Tales. Robert Ashworth, Editor. Bellingham, Washington. 1982-
1983.
No. 33 (December 1982). Photocopy. 8 1/2"x5 1/2". (14 pages). "Lampoon Issue."
No. 34 (March 1983). 8 1/2"x5 1/2". (8 pages). Announcement of a Mail Art project,
"What Is Your Town Like?" "Telling Tales was typeset on a 'cheapo' home computer.
Software was written by Robert Ashworth. Soon I will be offering 'use of computer' advise
for free through Robert's Think Tank. Write me for details...Computerized mail art/not a
bad concept."
Rubber. Aart van Barneveld, Editor. Stempelplaats, Amsterdam, Holland. 1978-
1981.
"Rubber is a monthly publication documenting the use of rubber stamps in the visual arts.
Each issue, printed in an edition of 400, includes a short text on the work of the featured
artist, a number of original stamps from works by the artist and several reproductions."
Vol. 1, No. 1 (January 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring Cozette de Charmoy (Switzerland). Short biographical text includes
exhibition; themes & works; and techniques. "Uses children's pictorial rubberstamps and
those reproduced from drawings and engraving; carves rubberstamps from erasers, e.g.
eyes, leaves, helmeted figures, razors, lips, postal cancellation stamp."
Vol. 1, No. 2 (February 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring Robert Jacks (Australia). Short biographical information featuring selected
works and exhibition history. "Some Rubber Stamp functions: 1). As the cost convenient
way to draw and reproduce. 2). The convenience of transportation and exhibition of small
works. 3). As the process avoids the elitism of the professional print activity. 4). Extending
the boundaries of art. 5). making works available to everyone. (from a letter of Robert
Jacks, dated Feb. 3 1978)."
Vol. 1, No. 3 (March 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Barton Lidice Benes (USA). "Uses mainly commercial rubberstamp alphabets and
numbers along with pictorial stamps, childrens stamps, business stamps, supermarket
pricing stamps, border designs on rollers, postage cancellation stamps. Aside from
rubberstamps also uses bodyprints, e.g. toes, fingers, tits, etc...vegetables and just about
anything that can be inked in stamp pads."
Vol. 1, No. 4 (April 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Pawel Petasz (Poland). "Small press, artists books, postcards, stamps, posters
etc. seem to be important media of contemporary art. Also rubber stamps are very easily
used./ Every edition made with these stamps can appear in many variants, be
individualized (Especially in mail Art) and can be in process as long as one likes. It
concerns not only purely rubber stamped editions, but also combined with other print
media. the images are 'recorded' on these stamps and can be used in many varied
artworks. another aspect-there is no special equipment necessary, rubberstamps are for
everyone easy to make and to use, even by people who don't call themselves 'artists' as
yet. in every country the technology is the same, so-there are no big differences in the
possibilities of more or less rich artists and more or less rich countries, and the realization
of the various stages of the work doesn't (sic) depend on just one person."
Vol. 1, No. 5 (may 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Marie C. Combs (USA). "Exhibited rubber stamp works in many juried national
print and drawing shows in the last six years and have had several rubber stamp works
shows on Michigan College campuses recently. Plan an international rubber stamp work
group show on Western Michigan University campus for 1979."
Vol. 1, No. 6 (June 1976). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Ulises Carrin (Holland). Includes an important essay, "Rubber Stamps Theory
and Praxis," on the use of rubber stamps in the fine arts. "Artists' rubber-stamps can be
anything except decorative. Their background (normal rubber-stamps) is too loaded with
associations related to our daily life, and not necessarily the most joyful parts of it."
Vol. 1, No. 7 (July 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Dik Walraven (Holland). "Investigation into the function of art, criticism on art
disguised as art. At the moment investigating the importance of weight and size of
artworks and objects that have not been documented in this manner."
Vol. 1, No. 8 (August 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages). Issue
featuring Elsa Stansfield (Holland). Installation artist working with the void.
Vol. 1, No. 9 (September 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring Ray DiPalma (USA). "I began working with rubber stamps in 1973 when an
extensive collection of stamps designed and manufactured in the early 1930's was given to
me. These stamps had been a hermeneutic tool originally used to teach reading but had
been long since abandoned. I see my work with stamps as an extension of my writings.
Most recently the one-of-a-kind books I've done make use of a fixed 'vocabulary' of stamp
images exploring techniques of repetition, blurring, juxtaposition and serial ordering on
varieties of paper and in various formats. Page as space. Frame tension. Transparency.
Movement & transformation. Disclosure as issue."
Vol. 1, No. 10 (October 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring J. H. Kocman (Czechoslovakia). One of the most important rubber stamp
artists in the emerging Mail Art network. Editor of "Stamp Activity," "the first international
rubber stamp anthology. this work was realized in the year 1972, in 30 copies, with 124
original rubber stamp-print contributions by 25 artists." Biographical information on the
artist.
Vol. 1, No. 11 (November 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring Bill Gaglione (USA) and Anna Banana (USA). "Rubber Stamp Shows and
Publications," from 1974 to 1978.
Vol. 1, No. 12 (December 1978). Offset and Rubber Stamps. 9 1/4"x6 1/4". (8 pages).
Issue featuring Franz Immoos (Holland). Stamp-objects.
Vol. 2, No. 1 (January 1979). Offset and Rubber Stamp. 9 1/4"x6 1/4". (16 pages).
Issue featuring Davi Det hompson (USA). "A booklet that tells everything Davi Det
Hompson knows about stamps and stamping." In addition to reproducing the featured
artists' work, a section "Rubber-News," appears.
Vol. 2, No. 2 (February 1979). Offset. 9 1/4"x6 1/4". (16 pages). "Introduction," by
Ulises Carrin. "This catalogue has been designed to be complementary to the exhibition of
stampworks by 4 Brazilian artists: Paulo Bruscky, Leonhard Frank Duch, Unhandijara
Lisboa and J. Medeiros. "Rubbernews."
Vol. 2, No. 3 (March 1979). Offset and Rubber Stamps. 9 1/4"x6 1/4". (16 pages).
"Fluxus Stamps." Contributions by Wolf Vostell (West Germany), Robin Page (Canada),
Jean Jacques Lebel (France), Robert Watts (USA), George Brecht (USA), Ben Patterson
USA), Dick Higgins (USA), Nam June Paik (USA), A. Kpcke (Denmark), Stanley Brouwn
(USA), Ben Vautier (France). Includes an illustration of "Flux Post Kit 7," and an original
rubber stamp impression by Dick Higgins.
Vol. 2, No. 7 (July 1979). Offset and Rubber Stamp. 9 1/4"x6 1/4". (16 pages). Issue
featuring the eraser carved rubber stamps of geORge brett (USA). "The parameters of
mail/art correspondence art are defined by the system which incorporates and processes
mail art: the United States Postal Service. The postal service dictates the size limitations,
partial content (or forbidden content), and the costs, among other things. But the service
also provides mail artists a model for imitation. The creation of special postal systems is an
obvious imitation of the larger system; OR Post is an example." Stamps in honor of Ray
Johnson (USA), R. Mutt (USA), Steve Durland (USA), Al Ackerman (USA), Marie Combs
(USA), Pawel Petasz (Poland), Richard Craven (USA), Ed Varney (Canada), Mohammed
(Italy), et al. Also features the eraser carvings of Henryk Bzdok (Poland). "The Polish artist
Henryk Bzdok, living in Katowice, has been active in the field of Mail-Art for quiet a long
time. The pieces included in this show have all a postcard format and are produced under
the name 'BZZ-carts." "Rubbernews."
Vol. 2, No. 8 (August 1979). Offset and Rubber Stamps. 9 1/4"x6 1/4". (16 pages).
Features a Mail-Art project by Ulises Carrin (Holland), "Artist's Postage Stamps and
Cancellations Stamps," held at the Stempelplaats Gallery, Amsterdam, Holland. Includes
the landmark essay, "Personal Worlds or Cultural Strategies," by Carrin. "Up to the
present, no art critic has made a serious attempt to identify and describe the elements of
works of this kind, how they affect each other, and the way they function as a whole, that
is, as a finished art work. they apply instead concepts borrowed from other art practices
that either cover too much or too little. the most striking of these inadequacies is related to
the apparent plural authorship of a mail-Art work. In a project like this one, containing
around 150 pieces, am I to be considered the author of only that one showing my
signature?...All 150 pieces should rather be considered one element of a complex art work
that involves much more than that which the public see hanging form the wall." "List of
participants."
Vol. 2, No. 10 (October 1979). Offset and Rubber Stamp. 9 1/4"x6 1/4". (16 pages).
Issue featuring R. Saunders (USA). Conceptual pages based on gloves.
Vol. 2, No. 11 (November 1979). Offset and Rubber Stamps. 9 1/4"x6 1/4". (16 pages).
Catalog for the exhibition of rubber stamp works by Raul Marroquin (Holland), at the
Stempelplaats Gallery, Amsterdam, Holland, November 10-December 7, 1979. Essay by
the artist. "The increasing use of rubber stamps within the visual arts has made the rubber
pieces mounted on wooden blocks the tools of a new discipline within the graphic field. The
rubber print is a simple method for dispersing ideas, concepts, slogans, and more and
more drawings, photographs, and various graphic materials. The growing use of the
medium by artists, writers, performers, and videomakers has reinforced the position of
rubber stamping in contemporary art-many exhibitions, festivals and publications have
been organized all over the world, on many occasions closely associated with another of
the most vital art activities of the 70's: mailart."
Vol. 2, No. 12 (December 1979). Offset and Rubber Stamp. 9 1/4"x6 1/4". (8 pages).
Issue featuring the work of R. D. Schroeck (USA) and Eduard Bal. Text stamps by
Schroeck, including the phrase, "I Killed Cavellini." Sculptural works by Bal. "Rubbernews."
Vol. 3, No. 4-6 (April-June 1980). Offset. 9 1/4"x6 1/4". (78 pages). "Rubber Stamp
Publications: An Index," by Aart van Barneveld. Historic listing of rubber stamp books and
magazines by about 100 artists including Simon Anderson (England), Anna Banana (USA),
Vittore Baroni (Italy), Peter Below (West Germany), John Bennett (USA), George Brett
(USA), Ulises Carrin (Holland), Buster Cleveland (USA), Robin Crozier (England), Leonhard
Frank Duch (Brazil), Leif Eriksson (Sweden), Bill Gaglione (USA), Michael Gibbs (Holland),
Klaus Groh (West Germany), Gyrgy Galantai (Hungary), John Held, jr. (USA), Davi Det
Hompson (USA), Robert Jacks (USA), J. H. Kocman (Czechoslovakia), Leavenworth Jackson
(USA), Niels Lomholt (Denmark), Gza Perneczky (West Germany), Pawel Petasz (Poland),
Joel Rossman (USA), Tim Ulrichs (West Germany), et al. Books and magazines are
pictured. Edition 500.
Vol. 3, No. 10-12 (October-December 1980). Offset. 9 1/4"x6 1/4". (62 pages).
"Stempelakties/Stamp Actions," Edited by Aart van Barneveld. "Six out of the nine stamp-
actions documented in this edition of 'Rubber' formed a series of exhibition in the
Stempelplaats: Pier van Dijk/Robert Joseph, Hezy Leskly, Mass and Individual Moving, Uwe
Poth, Endr Tot and Ronald Wigman. The remaining three (Johan van Geluwe, Robert
Saunders and Maio Wassenberg) are independent of this series. In stamp-actions,
emphasis is given neither to the stamp nor its print, but rather to the context within which
the stamp or its print, by means of transaction(s), is introduced." Edition of 500.
Vol. 4, No 1 (January 1981). Offset. 9 1/4"x6 1/4". (16 pages). "Table-Project," by
Robin Crozier (England). "The principle behind Robin Crozier's 'Table Project' is very
simple; he stamped the image of a table on a sheet of paper and reproduced that 500
times in A4 format. The sheets were then reworked with stamps, felt-tipped pens and
other-simple-means and provided with a name and date. The date played a role in the
sequence used in the exhibition of the resulting sheets." Photo-documentation of the
installation. Edited by Pim Wiersinga (Holland).

Rubber Buddies. J. M. Wilson, Editor. York, England. 1994.
(June 1994). Photocopy and Rubber Stamp. 11 3/4"x8 1/4". 42 pages. Rubber stamp
magazine from England, offering encouragement to their readership to get involved in Mail
Art. "The mailart exchange is going really well so if you haven't had a go yet then start this
month. There is all the information you need further along in the magazine. Also in this
issue I have listed some other mailart swaps you may be interested in. If someone out
there wishes to start another mailart swap and would like me to advertise it, then just send
in the details to me..."

Rubber Fanzine, The. Rudi Rubberoid, Editor. Bellingham, Washington. 1985-
1989.
Vol. 1, No. 1 (October 1985). Photocopy. 11"x8 1/2". (16 pages). "May be had for
stamp art contributions, letters of comment, exchange for other zines, tacky postcards
(also known as 'Coin of the Realm'), rubber stamps and, last and definitely least, one
dollar. Published about four times a year, if all goes well (We'll see about that)." Rubber
stamp art. Cover by Leavenworth Jackson (USA). Contributions by Peggy Calvert (USA),
Steve Bieler (USA), Mari Beth Jessen (USA), et al. Contributors notes.
Vol. 1, No. 2 (February 1986). Photocopy. 11"x8 1/2". (18 pages). Contributions by
Steve Bieler (USA), Peggy L. Calvert (USA), Dazar OMAhaha (USA), Hapunkt Fix (West
Germany), Ruud Janssen (Holland), State of Being (USA), Mark Wamaling (USA), et al.
Vol. 1, No. 3 (May 1986). Photocopy. 11"x8 1/2". (20 pages). Thirty-four contributors
including Ruud Janssen (Holland), Serse Luigetti (Italy), Ona Nuk (West Germany), Gerard
Barbot (USA), Darla Farnsworth (USA), Leavenworth Jackson (USA), Art Nahpro (England),
Tarzana Savannah (aka Darlene Altschul, USA), Candi Strecker (USA), et al.
Vol. 1, No. 4 (August 1986). Photocopy. 11"x8 1/2". (20 pages). Twenty-eight
contributors including Gerard Barbot (USA), Phyllis Cairns (USA), Peggy L. Calvert (USA),
Eric Farnsworth (USA), Serse Luigetti (Italy), Manfred Stirnemann (Switzerland), Joe
Schwind (USA), Tarzana Savannah (USA), Ona Nuk (West Germany), Tom Nelson (USA),
et al.
Vol. 2, No. 1 (November 1986). Photocopy. 11"x8 1/2". (20 pages). Cover by Darlene
Altschul (USA). Thirty-five contributors including Jan Verschoore (Holland), Graf Haufen
(West Germany), Hazel Jones (England), Ruud Janssen (Holland), Matty Jankowsky (USA),
Fran Rutkovsky (USA), B. J. Tisa (USA), Art Kornfeld (USA), Mitzi Cartee (USA), Phyllis
Cairns (USA), et al. "Letters to the Editor."
Vol. 2, No. 2 ((February 1987). Photocopy and rubber Stamps. 11"x8 1/2". 21 pages.
Cover by Candi Strecker (USA). Thirty-five contributors including Ben Allen (England),
Dott.Sw.Aqu'flott Laboratories (West Germany), Hapunkt Fix (West Germany), Henning
Mittendorf (West Germany), Art Nahpro (England), Jan Verschoore (Holland), A-1 Waste
Paper Co. (England), Lon Spiegelman (USA), Steve Fenkel (USA), Oncle George (USA),
Dazar OmaHaHa (USA), Franny Mae (aka Fran Cutrell Rutkovsky, USA). et al. "Letters."
Vol. 2, No. 3 (May 1987). Photocopy and Rubber Stamps. 11"x8 1/2". 21 pages. Cover
by Julie Hagan Bloch (USA), Twenty-nine contributors including A-1 Waste Paper Co.
(England), Ben Allen (Ireland), Steve Bieler (USA), Steve Frenkel (USA), Klaus Groh (West
Germany), Ruggero Maggi (Italy), Art Nahpro (England), Tom Nelson (USA), Mark Pawson
(England), Jan Verschoore (Holland), Citizen-X (Canada), et al. "Letters."
Vol. 2, No. 4 (August 1987). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages.
Cover by Fran Rutkovsky (USA). Thirty-one contributors including Mimi Acosta (USA), Larry
Angelo (USA), Julie Hagan Bloch (USA), Darling Darlene (aka Darlene Domel, USA), Mike
Duquette (Canada), Ruggero Maggi (Italy), Hapunkt Fix (West Germany), Clemente Padin
(Uruguay), Michael Sakolsky (USA), Rocola (USA), William Gaglione (USA), et al.
"Letters."
Vol. 3, No. 1 (November 1987). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages.
Cover by Cyndi Fox (USA). Twenty-nine contributors including A-1 Waste Paper Co.
(England), Doro Benditz (West Germany), Mike Duquette (Canada), Freya Zabitsky (USA),
Any Salyer (USA), J. K. Post (USA), Lori Icke (USA), Julie Hagan Bloch (USA), et al.
"Letters."
Vol. 3, No. 2 (February 1988). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages.
Twenty-nine contributors including Piotr Szyhalski (Poland), Salvatore De Rosa (Italy),
Ruggero Maggi (Italy), Art Nahpro (USA), William Gaglione (USA), Julie Hagan Bloch
(USA), Any Salyer (USA), John E. Mumbles (USA), Michael Duquette (Canada), et al.
"Letters."
Vol. 3, No. 3 (May 1988). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages. Thirty-
one contributors including Julie Hagan Bloch (USA), Cyndi Fox (USA), Colin Hinz (Canada),
Melody Hope Stein (USA). Ruggero Maggi (Italy), Galaxy Verbatim (USA), Ishabibbel
(USA), Christian Bressol (France), et al. Letters.
Cover by Salvatore De Rosa (Italy). Thirty-one contributors including Larry Angelo (USA),
Julie Hagan Bloch (USA), Steve Frenkel (USA), Oncle George (USA), Colin Hinz (Canada),
Melody Hope Stein (USA), Vivian Jean (USA), Ruggero Maggi (Italy), Art Nahpro (England),
J. K. Post (USA), Ricardo, Emperor of California (USA), Sharon Tuke (USA), et al. Letters.
Vol. 4, No. 1 (November 1988). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages.
Cover by Ricardo the Magnificent (USA). Thirty-six contributors including A-1 Waste Paper
Co. (England), Mimi Acosta (USA), Larry Angelo (USA), Julie Hagan Bloch (USA), Mike
Duquette (USA), Sharon Hauser (USA), Melody Hope Stein (USA), Musicmaster (USA),
Henning Mittendorf (West Germany), Art Nahpro (England), E. Z. Smith (USA), Marie Snell
(USA), et al. Letters.
Vol. 4, No. 2 (February 1989). Photocopy and Rubber Stamps. 11"x8 1/2". 19 pages.
Cover by Sharon Tuke (USA), Thirty contributors including A-1 Waste Paper Co. (England),
Diana Arseneau (USA), Blake the Enlighteened (USA), Lotte Rosenkilde Hansen (Denmark),
Miroslav Janousek (Czechoslovakia), Ruggero Maggi (Italy), Musicmaster (USA), Art
Nahpro (England), Donna Nasser (USA), J. K. Post (USA), et al.
Vol. 4, No. 2 (sic) (May 1989). Photocopy and Rubber Stamps. 11"x8 1/2". 21 pages.
Cover by Any Salyer (USA). thirty-four contributors including Steve Bieler (USA), Julie
Hagan Bloch (USA), Franois Duvivier (France), Arturo G. Fallico (USA), Geof. Huth (USA),
Miroslav Janousek (Czechoslovakia), Henning Mittendorf (West Germany), Musicmaster
(USA), Art Nahpro (England), Donna Nasser (USA), E. Z. Smith (USA), Freya Zabitsky
(USA), et al. Letters.
Rudi Rubberoid signs off as editor. "The Rubber Fanzine, as of August 15, 1989, is under
new management." "My Fifteen Minutes is over and it's time to pass the baton to a new
editor...This marks my fourth year doing 'TRF', a total of sixteen issues, produced pretty
well on schedule every three months." Cover by Steven Bryan Bieler. forty-six contributors
including Al Ackerman (USA), John M. Bennett (USA), Julie Hagan Bloch (USA), Franoise
Duvivier (France), Eric Farnsworth (USA), Geof Huth (USA), Leavenworth Jackson (USA),
Ruggero Maggi (Italy), Mumbles (USA), Maggot (USA), Henning Mittendorf (West
Germany), Art Nahpro (England), Donna Nasser (USA), E. Z. Smith (USA), Lon Spiegelman
(USA), et al. "Letters."

Rubber Fanzine II, The. A. C. Peare, Editor. Royal Oak, Michigan. 1991-1992.
No. 2 (Winter 1991-1992). Photocopy and Rubber Stamps. 11"x8 1/2". 21 pages. Cover
by Fliss (USA). "Thank you for your overwhelming support for the premiere issue. I guess
it's easier for you to encourage me than do your own zine, huh? Yeah, it's a lot of work but
I love it. Besides, Steve Bieler is adamant about not taking it back. Ever." Forty-three
contributors including A-! Waste paper Co. (England), Arte Ala Carte (USA), Franoise
Duvivier (France), Rice Freeman-Zachery (USA), Gummiglot (USA), Art Nahpro (England),
Carolyn Olenius (USA), Oncle George (USA), Michel Pollard (People's Republic of China),
Serge Segay (Russia), Shmuel (USA), Stampmeister Kevin (USA), A Classic Pair (USA),
afungusboy (USA), Henning Mittendorf (Germany). et al. Letters.
No. 3 (Spring 1992). Photocopy and Rubber Stamps. 11"x8 1/2". 21 pages. Cover by
Candi Strecker (USA). Thirty-eight contributors including Arto Posto (USA), Toby Galinkin
(USA), Gummiglot (USA), Illustrated Woman (USA), Ruggero Maggi (Italy), J. K. Post
(USA), Kay Sluterbeck (USA), E. Z. Smith (USA), et al.
(Summer 1992). Photocopy and Rubber Stamps. 11"x8 1/2". 20 pages. "One more thing-
we've got to talk about kitties, teddies, and buns. When I bought this zine from Rudi and
Steve (for an undisclosed six-figure sum), they both made me solemnly swear to uphold
the same policy about kits, teds, and buns that both of my predecessors outlined and
defined. I personally have nothing against kits, teds, and buns. I believe they, too, have a
special place all their own, and decency prevent me from naming that place. As a gesture
of good will to all you kitty cat, teddy bear, and bunny aficionados out there in stampland, I
salute you by stretching the rules and including some bunny art JUST FOR YOU." Thirty-
eight contributors including Gerart Bot (Holland), Peter Brandt (Germany), Rice Freeman-
Zachery (USA), JEM (aka Joy McManus, USA), Donna Nasser (USA), Michael Sakolsky
(USA), Stampmeister Kevin (USA), Carolyn Olenius (USA), et al.

Rubber Manic. A.C. Peare, Editor. Royal Oak, Michigan. 1991.
No. 1 (Witer 1991). Photocopy. 8 1/2"x5 1/2". 12 pages. "Welcome to this first irregular
issue of 'Rubber Manic', a zine devoted to the rubber stamp devotee. The focus of 'Rubber
Manic' is stamping activities...If you hurry, you can still catch the last few issue of 'the
Stamp Act', a quarterly zine of submitted rubber stamp art. Bieler announced in the Fall,
1990 issue that he's throwing in the towel, hanging up his editor stamps, and attempting to
live a normal life again...In case you didn't know, 'The Stamp Act' was the reincarnation of
master stamp guru Rudi Rubberoid's infamous 'the Rubber Fanzine.' Steve lasted two
years." "Mail Art Shows."

Rubber Stamp Folio: The International Forum for Rubberstamp Art, The. Blake
The Enlightened Wizard of Latex. Rubber Stamp Folio Corporation, Los Angeles,
California. 1989.
Issue 0 (February 1989). Color Offset. 11"x8 1/2". 12 pages. "Rudi Rubberoid of 'The
Rubber Fanzine' suggested that we start our own magazine since he was whelmed, no
overwhelmed, with the amount of art he had received. With Rudi's blessing and that of
others we decided to produce a color showcase for all of our favorite artists." Featured
artists include E. Z. Smith (USA), Art Naphro (England), Ruggero Maggi (Italy), Richard the
Rubberhearted (USA). "Sneak Peaks," includes works by Marie Snell (USA), Cyndi Fox
(USA), Woody Farlee (USA), Any Salyer (USA) and G. Humphrey (USA). Contributor notes.
Issue 1 (Summer 1989). Color Offset. 11"x8 1/2". 12 pages. Featured artists include
Any Salyer (USA), Suze Weinberg (USA), Franoise Duvivier (USA), J. K. Post (USA),
Henning and Angela Mittendorf (West Germany), Debra Martens (USA), Art Kornfeld (USA),
Rocola (USA), and Ricardo The Magnificent (USA). Contributor notes. "My Dear Subjects, I
am coming to the realization that the rubber stamp artists think of themselves as anti-
artists. They (at least some) don't take kindly to the word art or artists. But like it or not
you are artists. Like Marcel Duchamp, Man Ray, Kurt Schwitters, even Joseph Cornell. Off
Beat? Yes, not commercial? Yes but artists none the less. You are on the cutting edge of an
old but exciting medium. I say old because rubber stamps have been used in art for a long
time, but now artworks are being produced using rubber stamps as a 'prime medium,' a
more recent development."
Issue 2 (Fall 1989). Color Offset. 11"x8 1/2". 12 pages. Featured artists include Maria
Burg (USA), Julie Hagan Bloch (USA), Virginia Real (USA), Leavenworth Jackson (USA),
Musicmaster (USA), Woody Farlee (USA), State of Being (aka Reid Wood, USA), Anne
Norcia (USA), F. Van Schlafke (USA), Richardo the Magnificent (USA).

Rudy in the Network: (a) periodical bullettin. Emanuele Cal, Editor. Castellaneta,
Italy. 1994.
No. 1 (September 20, 1994). Photocopy. 11 3/4"x8 1/4". (2 pages). Brief newsletter
announcing and documenting
Salt Lick - Sztuka Fabryka News
Salt Lick. James Haining, Editor. Salt Lick Press, Quincy, Illinois. 1980.
Vol. 3, Nos. 1&2 (1980). Offset and Mixed Media. 11"x8 1/4". 50 pages. Contributions by
Al Ackerman (USA), Irene Dogmatic (USA), Frank Ferguson (USA), Rhoda Mappo (USA),
Uncle Don Milliken (USA), Angelika Schmidt (West Germany), Rolf Staeck (East Germany),
Tiptop (USA), Ed Varney (Canada), David Zack (USA), et al. List of "Presses & Magazines."
Vol. 3, Nos. 3&4 (1980). Offset. 11"x8 1/4". 46 pages. Illustrations by David Cole (USA).
List of "Presses & Magazines."

Scarabeus. Ladislav Guderna, Martin Guderna and Ed Varney, Editors. Vancouver,
Canada. 1984.
No. 10 (1984). Offset. 8 1/2"x6 3/4". 34 pages. "This issue of 'Scarabeus' is devoted to
Mail Art and Mail Art projects carried out by the editors...Mail Art continues to be an
important and vital communication medium of the 80's because it is so necessary. Within a
seemingly humble exterior, Mail Art embodies the actual realization of global
communication and cooperation on a person to person basis. Mail Art is a concrete example
of the spirit of mutual understanding thru communication which is the foundation of the
dream of global peace and prosperity." Contributions by Byron Black (Japan), Henryk
Bzdok (Poland), Mike Bidner (Canada), Shozo Shimamoto (Japan), Baik Kum-Nam (South
Korea), G. A. Cavellini (Italy), D. B. Greenberger (USA), et al. "Eduouard Jaguer: Riviste
D'Avanguardia e Mail-Art," by Enrico Baj (Italy). Letter from Edouard Jaquer (France). "Baj
has unexpectedly associated my personal work (as well as that of PHASES) with the
principle of mail-art."

Scarborough Speaks. Mike Duquette, Editor. Canadian Union of Postal Workers,
Scarborough Local, Scarborough, Canada. 1986-1988.
(1986). Offset. 11"x8 1/2". 10 pages. Active Canadian Mail Artist Mike Duquette, was also
a shop steward for his local postal union. In these newsletter to the membership he often
contributed his own art, as well as fellow international Mail Artists. Cover by the editor.
contribution by Clemente Padin (Uruguay).
Vol. 7 (1988). Offset. 11"x8 1/2". 14 pages. "Free Trade and Postal Workers," by the
editor. Artistamp contributed by the editor.
Vol. 9 (1988). Offset. 11"x8 1/2". 18 pages. Contributions by Colin Hinz (Canada), the
editor, et al.

Scatter Balance: Underground Visual and Aural Arts. David Deco and Papa Tango,
Editors. Los Angeles, California. 1990.
No. 2 (Spring 1990). Offset. 17"x11". (2 pages). "We interviewed Kalynn Campbell over
some samples of his work while his girlfriend, Jenni (sic) Soup, kept him in check. Kalynn
is a Dadaist and performance artist whose illustrations grace the pages of the 'Realist' and
'Ben is Dead' magazines." Artistamps by Campbell (USA).

Schism. Janet Janet (aka Stephen Perkins), Editor. San Francisco, California.
(1988)-1989.
No. 17 (n.d.). Photocopy. 5 1/2"x4 1/4". (8 pages). Publication in support of Art Strike,
1990-1993. "Strike Out Before You're Stuck Out."
No. 21 ([1988]). Photocopy. 5 1/2"x4 1/4". (8 pages). On the cover-"Schism 1968-
1988."
No. 24 (1989). Photocopy. 5 1/2"x4 1/4". (12 pages). "On January 1st, 1990, I will be
suspending all activities in support of the ART STRIKE 1990-1993. this issue of Schism will
be the last until 1993/If you feel the need for more copies of Schism #24 to get you
through the 'years without art,' please send a SASE for a replacement. Data from the ART
STRIKE FORM will be made available to the network of ART STRIKE ACTION COMMITTEES.
Otherwise back copies of Schism will be available only in sets. These sets will include all
Schisms published between 1985-89 (#11-24)." "Art Strike Form (Valid 1990-1993).
Date...... Today I did Not: make art, exhibit art, sell art, buy art, think about art (put an x
if you did)."
(n.d.). Photocopy. 5 1/2"x4 1/4". (12 pages). Conceptual work with crossed out words.

SCHMUCK Anthological. Felipe Ehrenberg and David Mayor. Beau Geste Press,
Surrey, England. 1975.
No. 6 (November 1975). Offset. 11 1/2"x8 1/4". (98 pages). "French Schmuck." In two
parts, with the first part designed by Jean-Clarence Lambert, with works by Ben Vautier
(France), Robert Filliou (France), Jean le Gac (France), Jochen Gerz (France), et al. "A.
Nother part, put tougher by David Mayor, with much help from Marcel Alocco and Jochen
Gerz." Includes a book by Ben Vautier, "Me Ben I Sign." Introduction by the two editors.
Edition 550.

(S)crap. Chris Winkler, Editor. Plutnium Press, Phoenix, Arizona. (1989).
No. 6 ([1989]). Photocopy and Mixed Media. 8 1/2"x5 1/2". 36 pages. "(S)crap is a
biannual fragment of something written, printed, or heard." "...the death and
dismemberment issue. how appropriate that this be the theme for the final issue in this
format. Until further notice (S)crap will alternate between a cassette issue, and a
contributor sponsored collective issue. " Contributions by john M. Bennett (USA), Harry
Polkinhorn (USA), Jake Berry (USA), State of Being (USA), Kjell Nyman (Sweden), John R
(aka John Rininger, USA), Mikel And (USA), Malok (USA), Mike Miskowski (USA), Ivan
Sladek (Czechoslovakia), Serge Segay (USSR), Bill Shields (USA), Pete Spence (Australia),
Stephen Perkins (USA), John Stickney (USA), John E. (aka John Eberly, USA). et al.

Score. (Crag Hill and B. Di Michele, Editors.) (Oakland, California). (n.d.).
No. 8 (n.d.). Offset and Rubber Stamps. 11"x8 1/2". (36 pages). Found poetry by Bern
Porter (USA) and Jrgen Olbrich (West Germany). Additional contributions by Mark
Melnicove (USA), Bob Grumman (USA), Klaus Groh (West Germany), Steve Perkins (USA),
Lloyd Dunn (USA), Carlo Pittore (USA), et al.

Secret Life of Marcel Duchamp, The. Pascal Lenoir, Editor. Grandfresnoy, France.
1991-1992.
No. 2 (January 1991). Photocopy. 8 1/4"x5 3/4". (10 pages). Contributions by Gza
Perneczky (West Germany), Peter W. Kaufmann (Switzerland), Rudi Rubberoid (USA), Mark
Mawtus (France), Antonio Sassu (Italy), Ruggero Maggi (Italy), Marcel Stssi
(Switzerland), et al. Edition 53/120.
No. 4 (January 1992). Photocopy. 8 1/4"x5 3/4". 8 pages. Contributions by Sara
Andreini (Italy), Amadeu Escorcio, A.1. Waste Paper Co., Ltd. (England), Guillermo Deisler
(East Germany), Peter W. Kaufmann (Switzerland), Gerard Barbot (USA), Ruth Howard
(USA), Arte Ala Carte (USA), Pitor Piatek (Poland). Edition 62/130.

Secret Love. Craig Lyman, Editor. New York, New York. 1986-1987.
Vol. 1, No. 1 (Spring 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2".
(30 pages). Assembling magazine. Homoerotic theme. Contributions by Fruit Basket Upset
(USA), John Held, Jr. (USA), National Neographic (USA), Private World (USA), et al. Edition
50.
Vol. 1, No. 2 (Summer 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2".
(25 pages). Assembling magazine. Contributions by Fruit Basket Upset (USA), Private
World (USA), Hokey Mokey (USA), et al. Edition 50.
Vol. 1, No. 3 (Winter 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2".
(36 pages). Assembling magazine. Twenty-one contributors including National Neographic
(USA), Fruit Basket Upset (USA), Scott Hightower (USA), et al. Edition 50.
Vol. 1, No. 4 (Spring 1987). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2".
(33 pages). Assembling magazine. Twenty-two contributors including Fruit Basket Upset
(USA), National Neographic (aka Keith Glancy, USA), et al. Edition 50.
Vol. 2, No. 1 (Summer 1987). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2".
(44 pages). Assembling magazine. Twenty-two contributors. Edition 50.

Secret Thoughts About Mail Art. Ruud Janssen, Editor. TAM (Traveling Art Mail)
Publications, Tilburg, Holland. 1997-1998.
Part 3 (December 11, 1997). Computer Print. 11 3/4"x8 1/4". 4 pages. "So far only few
reactions on these 'secret thoughts' from the network. If someone even takes the trouble
to read them, there aren't many reactions to them. But that is o.k. Somehow I am
documenting my life quite well, but I am not sure what the purpose is of all that. Lot of
words go around the world on this internet...In principle these thoughts are online only. but
maybe I might distribute some prints via snail-mail. You, as a reader, can do the same as
well, and you are even encouraged to do so, or to publish these secrets. What more fun is
there to do then publish secrets?"
Part 4 (December 1997). Computer Print. 11 3/4"x8 1/4". 2 pages. "This is the fourth
and last list of thoughts that are supposed to be secret...Reproduction of this text is
allowed provided that the text isn't changed, source is mentioned, and a copy of the
magazine where the text is included in, is sent to TAM." Summary of letters received from
Guy Bleus (Belgium), Gnther Ruch (Switzerland), etc.
Part 8 (April 1998). Computer Print. 11 3/4"x8 1/4". 5 pages. Summary of mail and e-
mail received from Dobrica Kamperelic (Yugoslavia), Charles Franois (Belgium), Jenny de
Groot (Holland), Bruno Capatti (Italy), Joel Cohen (USA), Fluxlist (Internet) and Nancy
Mandel (USA), who expresses interest in doing a story on the editor for
"Rubberstampmadness."

Semiautomatic. Patrick Mullins, Editor. Chattanooga, Tennessee; Athens, Georgia
1994.
No. 2 (May 1994). Photocopy. 8 1/2"x7". (24 pages). "...I plan to attempt to construct a
unified whole from whatever is available. I'm especially interested in collaged visuals and
writing, concrete and visual poetry and writings on issues of culture, communication and
language. Please spare me your dogma; I'm not interested in listening to anyone preach."
Contributions by Luke McGuff (USA), Thom Metzger (USA), Schiz-Flux (USA), The Festival
of Failure (USA), Paul Weinman (USA), et al. Reviews. Published in Chattanooga,
Tennessee.
No. 4 (n.d.). Photocopy. 8 1/2"x5 1/2". (20 pages). Contributions by John M. Bennett
(USA), Avelino de Araujo (Brazil). Spencer Selby (USA), et al. "Recommended
Publications." Published in Athens, Georgia.

Sempervivum. (Dale Speirs, Editor). Society for Economic Epistemology, Calagry,
Canada. 1998-2000.
Issue 7 (February 1998). Photocopy. 11"x8 1/2". (2 pages). Announcement of a Mail Art
exhibition by Bruno Pollacci (Italy).
Issue 8 (April 1999). Photocopy. 11"x8 1/2". (2 pages). "Round Robin Art," by the
editor. "A popular type of project in mail art is to send out a postcard, piece of paper, or
whatever to a correspondent, and ask him/her to add art to it, then pass it on to someone
else. Sometimes addresses are included so that the item can be returned to the originator
when full, and copies then sent out to the participants. Sometimes the originator doesn't
expect to get the item back, and is content to know that it is out there being exchanged."
"Other People's Mail Art Projects."
No. 9 (June 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings" of exhibition,
project and publications opportunities.
No. 10 (July 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings." "Amateur Press
Associations, by the editor. "Apas are a form of zine distro dating back to the late 1800s.
Science fiction apas date back to the 1930s, and there are a large number formed in more
recent years. There are individual variations in the procedures, but for most apas, you send
in x number of copies of your zine to the Central Mailer or Official Editor. The C.M. then
collates the zines into bundles and sends back a set to each member. You pay an annual
fee to help cover the cost of postage."
No. 12 (September 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings." "Amateur
Press Associations," by the editor. "...Or, you could organize your own amongst your
papernet friends. mailart assemblings, where everyone sends in x copies of their work and
gets back a collated set, are essentially a type of apa."
No. 13 (September 1999). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "World
Wide Party #6" Contribution by Chuck Stake (aka Don Mabie, Canada), who sent in both a
statement telling how he celebrated the event and a graphic.
No. 14 (November 1999). Photocopy. 11"x8 1/2". 2 pages. "Displaying Your Mail Art at
Home," by Denise Petty. "Many people have favourite mail art that they like to take out
and admire often. Such mail art is mounted on album pages or stored in boxes. Some
collectors will frame sheets of artistamps or mail art and use them as wall decorations. The
cost of frames can run into good money. It may be difficult to justify framing items in this
manner, especially when the material is inexpensive. There is a easy way to display mail
art that I have found, by using refrigerator magnets...." "Mail Art Listings."
No. 15 (January 2000). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "Mail Art
Listings."
No. 16 (July 2000). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "Mail Art
Listings."

Sensoria from Censorium. John Marriott, Editor. Mississauga, Canada. (1989).
([1989]). Photocopy. 11"x8 1/2". (72 pages). "SENSORIA FROM CENSORIUM has grown
from realizations that I had while pondering some sketches that I had done for relief while
at work as computer-input drone. These drawings were done as the need arose, on a desk-
side pad. Doing them was my way of dealing with the brain-deadening circumstances.
Hence the title, SENSORIA FROM CENSORIUM: in this case it means Expression in a time
and place where it is forbidden-on company time. The gyst has a broad range of
applications, and refers to art that arises inspite of restrictive situations, to art that is
necessary for personal well-being, and to art that is a continual and vital part-of and
response-to life." Graphics by the editor. Contributions by Jonathan Prince (USA), Stephen
Perkins (USA), Linda Carpenter (Canada), et al. Art Strike. Cassette Culture. Photocopy
art. "For many similar reasons Photocopy Culture is akin to Cassette Culture, which is a
breeding ground for unlimited creative and intellectual projects and exchanges. Photocopy
Culture's fanzines, mail-art, news-letters, leaflets and posters operate on a level that is
used by Cassette Culture. Independent artists make their works available by word of
mouth, hand to hand in cultural circles, through local shops, alternative music
programming on campus radio stations, via independent distributors using mail-order
catalogues, and through the vital arteries of world-wide mail networking. It is through
networking that local artists can engage in international communities of creative
independents who operate outside of 'Official' culture."

Serious Attentions. Svjetlana Mimica, Editor. Split, Croatia. 1992-1995.
(No. 1) (October 1992). Photocopy. 11 3/4"x8 1/4". (7 pages). "Enclosed you find a
xerox-copy of the first magazine make by Svjetlana Mimica from Croatia. since mail from
Croatia is difficult to send out I distribute these magazines on request by Svjetlana. Please
forgive the bad copy quality. In WAR materials to make a good xerox is impossible." (Note
from Ruud Janssen, Tilburg, Holland, October 14, 1992). "Serious Attentions' will appear
quarterly, free for mail-artists, xeroxed in Croatia, legalized in IOUMA [International Union
of Mail Artists, ed.] (Holland) as international mail-art magazine." poetry by the editor.
Contributions by Andrea Ovcinnicoff (Italy), Kimmo Framelius (Finland), G. Donaudi (Italy),
Malok (USA), Mike Dyar (USA), John Held, Jr. (USA), et al.
No. 2 (1993). Photocopy. 8 1/4"x5 3/4". 7 pages. Printed and distributed by Ruud
Janssen (Holland) for the editor. Contributions by De Decker Geert (Belgium), Jim Klingbeil
(USA), Ruud Janssen, et al. Mail Art exhibition, project and publication opportunities.
No. 3 (1993). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (6 pages). Printed and
distributed by Ruud Janssen (Holland) for the editor. Contributions by Picasso Gaglione
(USA), Simon Baudhuin (Belgium), JEM (aka Joy McManus, USA). Ruud Janssen, et al. Mail
No. 5 (October 1993). Photocopy. 8 1/4"x5 3/4". (12 pages). "Blinking Through: japan
tour diary 1993," by John Held, Jr. (USA). Contributions by Zdenek Sima (Czech Republic),
Peter and Angela Netmail (Germany), "Testimony of an Artist in War," by Andrej Tisma
(Yugoslavia). Poetry by the editor. Mail Art exhibition, project and publication opportunities.
No. 8 (July 1994). Photocopy and Carbon Paper. 11 3/4"x8 1/4". (10 pages). Poetry by
the editor. "Electronic Mail-Art," by Ruud Janssen (Holland). "Brain Cell," by Ryosuke
Cohen (Japan). "First networking Congress in Uzbekistan."
(1995). Photocopy. 11 3/4"x8 1/4". (12 pages). Contributions by Le Peintre Nato (France),
Mario Pejakovice (Croatia), Jos VDBroucke (Belgium), Igor Bartolech (Hungary), et al.

Shattered Wig Review. (Robert Rupert Wondolowski, Editor.) Baltimore,
Maryland. (1992).
No. 9 ([1992]). Photocopy. 8 1/2"x8 1/2". Literature and poetry review. Contributions by
Al Ackerman (USA), John M. Bennett (USA), Blair Wilson (USA), Guy R. Beining (USA),
Jake Berry (USA), et al.

Shigeru Magazine. Shigeru Nakamura, Editor. Kyoto, Japan. 1985-1990.
(October 18, 1985-April 2 1986). Photocopy. 10"x7 1/4". (4 pages). Graphics by the
editor. Text mostly in Japanese. Mail Art project announcement.
(June 1-August 15, 1986). Photocopy. 10"x7 1/4". (12 pages). Mail Art exhibition,
project and publication opportunities, including the editor's "Autumn Copy" project.
(November 10, 1986-January 15, 1987). Photocopy and Rubber Stamp. 10"x7 1/4". (8
pages). Mail Art exhibition, project and publication opportunities, including the editor's
"Sunrise '87" project. Stamped with an original eraser carving by the editor.
(April 8, 1987). Photocopy. 10"x7 1/4". (8 pages). Mail Art exhibition, project and
publication opportunities. "Conclusive Statement of the Italian Decentralized Mail Art
Congress."
(August 15, 1987). Photocopy and rubber Stamp. 10"x7 1/4". (8 pages). Mail Art
exhibition, project and publication opportunities. Stamped with an original eraser carving
by the editor.
(January 1, 1988). Photocopy. 10"x7 1/4". (12 pages). Participant list for the editors Mail
Art project, "Sunrise '86." Mail Art exhibition, project and publication opportunities.
"Declaration of SHIGERU MAGAZINE: 'Information will gather where it will be sent.'
Greetings to all mail art artists. I would like to interest all of you in sending me your works
of art for publication in Shigeru magazine. This magazine was originated by me thanks to
the support and advice of Mr. Luc Fierens, a Belgian friend of mine. All materials: letters to
the editor, drawings, paintings and so on as (well as) mail art works will be collected and
assembled at the Shigeru magazine. At present our magazine is in a process of
development and I don't know what direction it will take but I can say this much, it will be
one of the more unique magazines in its field. I would like to publish as many editions as
possible. The first editions will be very small but as this publication gathers momentum, its
size will continue to grow. We need your cooperation to make it grow. Your help will be
Shigeru magazine's life blood. your letters, drawings and paintings for mail art will give
Shigeru magazine its flesh and substance. I hope to make Shigeru magazine a publication
we can all be proud of."
(April 2, 1988). Photocopy and Rubber Stamp. 10"x7 1/4". (16 pages). Contributions by
Gerard Barbot (USA), Claudine Barbot (USA), Fernand Barbot (USA), Rea Nikonova
(USSR), Klaus Groh (West Germany), Ruggero Maggi (Italy), et al. "Message from India:
One Truth: One World: One Human Family," by Swami Nirmalananda (India). Mail Art
(August 15, 1988). Photocopy. 10"x7 1/4". (16 pages). "Mail Art Congress in Kyoto,"
with participants Gerard Barbot (USA), Ryosuike Cohen (Japan), Hiroko Midorikawa
(Japan), and the editor. Contributions by Clemente Padin (Uruguay), El Olivare (Spain),
Mauricio Silva (Brazil), Ruth Wolf-Rehfield (East Germany), Gerard Barbot (USA). et al.
participant list for the editor's project, "Autumn Copy '86." "Mail Art exhibition, project and
(January 15, 1989). Photocopy and Rubber Stamps. 10"x7 1/4". (16 pages). "Open
Letter," by Luce Fierens (Belgium). "Japanese Diary," by John Held, Jr. (USA).
Contributions by Gyrgy Galantai (Hungary), Graciela G. Marx (Argentina), John Held, Jr.,
Gerard Barbot (USA). Mail Art exhibition, project and publication opportunities.
(January 1, 1990). Photocopy. 8 1/4"x5 3/4". (16 pages). Editor Shigeru Nakamura
changes his name to Shigeru Tamaru. Documentation for the editor's project, "Your
Shadow." Participant list. Contributions reproduced for entries by Copy Left (aka Manfred
Stirnemann, Switzerland), Giovanni Strada (Italy), Crag Hill (USA), Ruggero Maggi (Italy),
Pat Fish (USA), Rea Nikonova and Serge Segay (USSR), Gerard Barbot (USA), FaGaGaGa
(USA), Jun Kuramitsu (Japan), et al. "Mail Art Meeting in Zushi," with Japanese Mail Artists
Kowa Kato, Kazuyoshi Takeishi, and the editor. ( Mail Art exhibition, project and publication
opportunities.

Shimbu. Bob Comings, Editor. Nada Farm Museum of Archetypes, Willits,
California. (1984).
No. 1 (([1984]). Photocopy. 8 1/2"x5 1/2". (20 pages). "This issue has been dedicated to
the Nothing Doing Mailart Show..." List of participants. Contributions reproduced for entries
by Zona (USA), Victor Perez (USA), Minoy (USA), Arturo G. Fallico (USA), Gene Laughter
(USA), Ruth Wolf Rehfield (East Germany), Robert Rehfield (East Germany), Buster
Cleveland (USA), Al Ackerman (USA), Clemente Padin (Uruguay), et al.

Shit Diary. Kerwin Ilamba, Editor. The Runaway Spoon Press, Port Charlotte,
Florida. 1994.
No. 11 (May 1994). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (16 pages). "This issue
is dedicated to Bob Grumman's poetic philosophy which is the only one I have come across
that helps me better understand current forms of visual poetry, and other words which
don't help here." Contributions by Bob Grumann (USA), Vittore Baroni (Italy), John M.
Bennett (USA), Guy R. Beining (USA), et al.

Short Fuse. Holden and Zero, Editors. Santa Barbara, California. 1994-1995.
No. 58 (1994). Photocopy. 17"x11". (3 pages). "Statement: put these sheets together
this on top the others at bottom & display as a poster if you want. The form of the
magazine is adaptable to the requirements of the pieces included." Contributions by Les
Cammer (USA), Jake Berry (USA), John M. Bennett (USA), Guy R. Beining (USA), Mary
Winters (USA), Zero (USA), et al. "A publication like this, using commonly available tools,
is within your grasp to make. don't seek (t)o be legitimated by corporate capitalism,
academia, or any other authoritarian system."
No. 59 (1994). Photocopy. 17"x11". (3 pages). Contributions by Manwomen (Canada),
Clemente Padin (Uruguay), John M. Bennett (USA), Paul Weinman (USA), Paulo Bruscky
(Brazil), Blair Wilson (USA), Jake Berry (USA), et al.
No. 60 (1995). Photocopy. 17"x11". (3 pages). "(What is) International Networker
Culture (Anyway)?," by John Held, Jr. (USA). contributions by Jake Berry (USA), Teresinka
Pereira (Brazil), Paulo Bruscky (Brazil), Guy R. Beining (USA), et al.
No. 61 (1995). Photocopy. 17"x11". (3 pages). Contributions by Jake Berry (USA),
Clemente Padin (Uruguay), Alice Borealis (USA), John M. Bennett (USA), Lucien Suel
(France), Richard Kostelanetz (USA), et al.

Shots: A Journal About the Art of Fine Photography. Daniel Price, Editor. Danville,
Kentucky; Joseph, Oregon. 1989-1990.
No. 13 (January-February 1989). Newsprint. 12 1/4"x9 3/4" (oversize). 22 pages. "Mail
Art," by John Held, Jr. (USA). "When I tell people that I am involved in mail art, I invariably
hear reminiscences of decorated envelopes sent to a pen pal or loved one. I explain that
mail art has a very specific twenty-five year history, and decorating envelopes does not
automatically make a persona a mail artist...The difference lies in the fact that over a
twenty-five year period an alternate art system has developed connecting an international
group of artists via the postal system..."
No. 14 (April 1989). Newsprint. 13"x10 1/2" (oversize). 38 pages. "Why is 'SHOTS'
published? I'll try to explain. What you now hold in your hands is just the mere beginnings
of what I hope will eventually become a vital communication link between all you
photographers who at present are not inter-connected in any way whatsoever." Front and
back covers features Mail Art by Robert Watts (USA), Kite Post (USA), John Held, Jr. (USA),
A1 Waste Paper Co. (England), et al. Artistamps by the editor.
No. 17 (October 1989). Newsprint. 13"x10 1/4" (oversize). 46 pages. Back cover
features rubber stamp collage with contribution by A1 Waste Paper Co. (England).
No. 19 (January/February 1990). Newsprint. 10 1/4"x8 1/4". 48 pages. "Some Really
Tiny Pictures!" issue. A zine of photography, stressing "fine photography," rather than "fine
arts photography." Notice of a photography show by Mail Artist Roy Arenella (USA).
No. 20 (March/April 1990). Newsprint. 10 1/4"x8 1/4". 56 pages. "Girls, Girls, Girls"
issue. Contributions by Ben Allen (North Ireland), Roy Arenella (USA), Sally Mann (USA),
Sylvia Plachy (USA), Lavona Sherarts (USA), Benedict Tisa (USA), et al.
No. 21 (July 1990). Newsprint. 10 1/2"x8". 55 pages. "Landscapes" issue. Contributions
by Benedict Tisa (USA), Roy Arenella (USA), Lavona Sherarts (USA), Bill Ritchey (USA), et
al.
No. 22 (July/August 1990). Newsprint. 10 1/2"x8 1/2". 55 pages. "The Animal Pictures
Issue." Ben Allen (North Ireland) contributes two pages of "Photobooth Portraits."
No. 24 ([1990]). Newsprint. 12"x93/4" (oversize). 95 pages. Contributions by Laura Poll
(USA), buZ blurr (USA), Roy Arenella (USA), et al.

Shredding Teeth. Daniel F. Bradley, Editor. Pangen Subway Ritual, Toronto,
Canada. (1988).
No. 3 (July 1988). Photocopy and Rubber Stamp. 11"x8 1/2". (4 pages). "Circular," by
Brian David Jo(h)nston.

Shredding Trout. Daniel F. Bradley, Editor. Pangen Subway Ritual, Toronto,
Canada. 1988.
No. 1 (July 1988). Photocopy and Rubber Stamps. 11"x8 1/2". (4 pages). Contributions
by Mike Miskowski (USA) and G. M. Evason (Canada).

Shushma: The official Secret Newsletter of the Shushma Legion. (Al Ackerman,
Editor). (San Antonio, Texas). (1985).
([September 1985]). Photocopy. 14"x8 1/2". (2 pages). Veiled references to Lon
Spiegelman (USA), John M. Bennett (USA), David Zack (Mexico) and David Johnson
(Ireland).

Sh'WIPE! Greg Evason and Daniel F. Bradley, Editors. Wendysstomack, Toronto,
Canada. 1987.
Issue F (December 13, 1987). Photocopy and Rubber Stamp. 5 1/2"x4 1/4". (4 pages).
Sh'WIPE!...will appear once a week for a total of 26 weeks, until the final issue, April 30,
1988." contributions by John Eberly (USA), Greg Evason (Canada), Bill Shields (USA), et al.
Issue G (December 20, 1987). Photocopy and Rubber Stamp. 5 1/2"x4 1/4". (4 pages).
Contributions attributed to Simonson, Hugh Williamson, and Leroy Gorman.

Sick Roof: A Journal of Humorous, Pathetic, and Serious Poetry. Mumbles (aka
John Eberly), Editor. Wichita, Kansas. (1989).
No. 5 ([1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Contributions by John M. Bennett
(USA), "Swarthy" Turk Sellers (aka Al Ackerman, USA). Mad Dog Shields (USA), the editor,
et al.

SIGN'zine: Cuadernos de Expresin Visual. Angela Serna, Editor. Industrias
Mikuerpo, Madrid, Spain. (1996).
No. 6 ([1996]). Photocopy. 8 1/4"x5 3/4". (12 pages). Visual poetry. Contributions by
Antonio Gomez (Spain), Pere Sousa (Spain). Vittore Baroni (Italy), Ana Ortega (Spain), et
al.

Signal: International Review. Miroljub Todorovic, Editor. Beograd, Yugoslavia.
1996-2000.

No. 10 (December 1995). Offset. 9 1/2"x6 1/2". 40 pages. Editor is the primary
proponent of "Signalism," a Yugoslavian branch of Visual Poetry, and an active Mail Art
participant since the early 70s. "Strategija Vizuelne Poezije: Tri Vida," by Dick Higgins
(USA). "Kriticki Tekst," by Enzo Minarelli (Italy). "Mail-Art Kao Alternative," by Ricardo
Cristobal. "Gumeni Pecati Teorija I Praksa," by Ulises Carrion (Holland). "Netvork
Stvaralastveo," by Jaroslav Supek (Yugoslavia). "Misterije Planetarne Kulture," by Dobrica
Kamperelic (Yugoslavia). Contributions by Timm Ulrichs (Germany), Nenad Bodganovic
(Yugoslavia), Guillermo Deisler (Germany), Richard Kostelanetz (USA), Jean-Marc Rastorfer
(Switzerland), Leonhard Frank Duch (Brazil), Sandor Gogolyak (Yugoslavia), Serge Segay
(Russia), et al.
No. 11-12 (1996). Offset. 9 1/2"x6 1/2". 68 pages. Essays by scholars and artists on
"Signalism," including texts by
Dobrica Kamperelic (Yugoslavia), Klaus Peter Dencker (Germany), Bob Cobbing (England),
John Held, Jr. (USA), and Pierre Restany (France). Contributions by Stephen Perkins (USA),
Rod Summers (Holland), Karl Kempton (USA), Keiichi Nakamura (Japan), Michael Lumb
(England), Emilio Morandi (Italy), Shigeru Tamaru (Japan), Pascal Lenoir (France), Mogens
Otto Nielsen (Denmark), Julien Blaine (France), Ruud Janssen (Holland), et al. "Important
Publications From and About the Network, 1984-1995," by Andrej Tisma (Yugoslavia).
Reprint of the newspaper article, "After Quarter of a Century /The Second Life of the
Signal." "List of Authors in Signal, 1970-1973."
No. 13-14 (1996). Offset. 9 1/2"x6 1/2". 72 pages. "Guillermo Deisler (1940-1995)."
"Subkulturna Kosmopolitska Transkultura: Mejl Art i Muzika," by Michal Murin. "Vaznije
Antogogije, Zbornici, Katalozi i Druge Publikacije Visuelne Poezije i Mejl Arta Koje se Nalaze
u Signalistickom dokumentacionom Centru." "New Publications in Signalist Documentation
Centre." "Signalism-Bibliography (1965-1996)." Contributions by Julien Blaine (France),
Clemente Padin (Uruguay), Sarenco (Italy), Dimitri Bulatov (Russia), Miroslav Kliver (Czech
Republic), Richard Kostelanetz (USA), Dobrica Kamperelic (Yugoslavia), Keiichi Nakamura
(Japan), Guillermo Deisler (Germany), Shozo Shimamoto (Japan), Ed Varney (Canada),
Annina van Sebroeck and Luc Fierens (Belgium), Lucien Suel (France), Ruggero Maggi
(Italy), Vittore Baroni (USA), Daniel Daligand (France), Marcel Stssi (Switzerland), Jiri
Valoch (Czech Republic), et al.
No. 15-16-17 (1997). Offset. 9 1/2"x6 1/2". 76 pages. "Vizuelna Poezija," by Richard
Kostelanetz (USA), "Poezija Kao Desavanje," by Miroslav Klivar (Czech Republic). "Zastitnik
'Umetnicke Gerile'," by Andrej Tisma (Yugoslavia). "Fragments from Reviews on Andrej
Tisma's Art." "Important Publications from and About the Network in 1996," by Andrej
Tisma. "Planetary Communication," by the editor. "Signalizam-Bibliografija." Contributions
by Willi R. Melnikov (Russia), Pierre Garnier (France), Stephen Perkins (USA), Serse
Luigetti (Italy), Paulo Bruscky (Brazil), Fernando Aguiar (Portugal), Opal L. Nations (USA),
Ryosuke Cohen (Japan), et al.
No. 18 (1998). Offset. 9 1/2"x6 1/2". 74 pages. "Novi Krvotok Signalizma," by Andrej
Tisma (Yugoslavia). "Signalizam i Istorija," by Gza Perneczky (Germany). "Signalizam: Ili
Umetnost Kao Komunikacija," by Dobrica Kamperelic (Yugoslavia). "Signal (Jugoslavija) i
Ovum 10 (Urugvaj) Secanja na Strast za Poezijom," by Clemente Padin (Uruguay).
"Signalizam i Mail-Art," by Zvonko Saric (Yugoslavia). "New Publications in Signal(i)st
Documentation Centre." Contributions by Serge Segay (Russia), Bob Cobbing (England), A.
de Araujo (Brazil), Ruggero Maggi (Italy), John Held, Jr. (USA), Luce Fierens (Belgium),
Whitson (USA), et al.
No. 19-20 ([1999]). Offset. 9 1/2"x6 1/2". 104 pages. "The Russian Neo-Avantgarde:
Visual Poetry and Mail Art," by the editor. "The Practice of Impossible," by Dmitry Bulatov
(Russia). "Web.Art's nature," by Andrej Tisma (Yugoslavia). "Der Horizont und die Roesie,"
by Klaus Groh (Germany). "Mail Art at Bluffton college," by Teresinka Pereira (USA).
"Umetnost Prozimanja," by Andrej Tisma (Yugoslavia). Dick Higgins obituary from the 'New
York Times'." "Important Publications from the Network (1996-1998)." "New Publications in
Signalist documentation Centre." "Signalism-Bibliography: Supplement and Continuation."
"Poets, Artists, Networker!," by the editor. "In the moment when I was preparing the new
issue of The International review 'Signal' (19-20) my country was hit by bombs sent by
NATO criminals...I have been writing poetry for fifty years, I have believed in man, I have
believed in humanity. My vision of art was international, planetary art. now, after
murdering bombardments conducted by aircrafts send from USA, Great Britain, France,
Canada, Italy, Germany, Spain, Belgium, Holland and Turkey, I have to ask myself can I
still believe in what I have believed." Letters from Clemente Padin (Uruguay), Marjorie
Perloff (USA), Lawrence Upton (England), Daniel Daligand (France), et al. Special section of
Russian visual poetry, with contributions by Serge Segay (Russia), Willi R. Melnikov
Starquist (Russia), et al. contributions by Julien Blaine (France), Pete Spence (Australia),
Klaus Groh (Germany), Kum-Nam Baik (South Korea), P. W. Kaufmann (Switzerland),
Csar Figueiredo (Portugal), Spencer Selby (USA), et al.
No. 21 (2000). Offset. 9 1/2"x6 1/2". 104 pages. "Elektronska Umetnost i Internet," by
Andrej Tisma (Yugoslavia). "Signalisticko Cedo U Obzorju Novog Milenijuma," by Dobrica
Kamperelic (Yugoslavia). "Signal Art," by Jaroslav Supek (Yugoslavia). "Novi Signalisticki
Izdanci," by Dobrica Kamperelic. "Miroljub Filipovic Filimir," by Dobrica Kamperelic.
"Signalismus; Mehr als nur Ein-Ismus," by Klaus Groh (Germany). "Third Millenium
Spirituality," a review by the editor of an exhibition by Andrej Tisma. "Edgardo Antonio
Vigo: Aspiration to Freedom," by Clemente Padin (Uruguay). Jedinstvena Knjiga Eseja," by
Dobrica Kamperelic. Signalism bibliography. Contributions by Dmitry Bulatov (Russia),
Klaus Peter Dencker (Germany), David Cole (USA), Barry E. Pilcher (Ireland), Pete Spence
(Australia), Julien Blaine (France), Daniel Daligand (France), David Alvey (USA), Picasso
Gaglione (USA), Ruggero Maggi (Italy), Pascal Lenoir (France), et al.

Signs and Stones Magazine. Guido Vermeulen, Editor. Lingua & Littera Editions,
Brussels, Belgium. (1995-1996).
([May 1995]). Photocopy and Mixed Media. 11 3/4"x8 1/4". 59 pages. Contributions by
Robin Crozier (England), John Upton (England), Patricia Collins (England), Simon Baudhuin
(Belgium), Silvia Barsi (Italy), Hartmut Andryczuk (Germany), Ivan Preissler (Czech
Republic), Keiichi Nakamura (Japan), Marilyn Dammann (USA), et al. Includes an original
collage by the editor. Edition 57/77.
([August 1996]). Photocopy. 11 3/4"x8 1/4". 39 pages. "Based on the mail art project of
Guido Vermeulen." Contributions by Marilyn Dammann (USA), Zebra Man (USA), Anne-
Miek Bibbe (Holland), Clemente Padin (Uruguay), K. Frank Jensen (Denmark), Henning
Mittendorf (Germany), Theo Breuer (Germany), Ruggero Maggi (Italy), Listsa Spathi
(Germany), Bruno Sourdin (France), et al. Edition 19/77.

Sin City. Tim Mancusi, Editor. A Gollinkambi Product, (San Francisco, California).
1972-1973.
(1972). Photocopy. 5 1/2"x4 1/4". (8 pages). Comix by Bay Area Dada artist and editor of
the "New York Correspondence School Weekly Breeder."
No. 2 (1973). Photocopy. 5 1/2"x4 1/4". (8 pages). More filth by the editor of the "New
York Correspondence School Weekly Breeder." Contribution by Chilly Billy Griffy (aka Bill
Griffith, USA), creator of "Zippy the Pinhead."
No. 2 (1973). Photocopy. 11"x8 1/2". (2 pages). Unfolded copy of the above.

Sirqwork. (Frank Ferguson), Editor. Billings, Montana. 1981.
(1981). Photocopy. 5"x3 3/4". (16 pages). Ronald Reagan de-collaged.

Sivullinen Newsletter. Jouni Vrkangas, Editor. Helsinki, Finland. 1995.
(Autumn 1995). 11 3/4"x8 1/4". (4 pages). "I'll print all news, 'classifieds' etc. you send
me. If you want your ad/flyer printed, please send a copy of the item advertised." Notices
for "Global Mail," et al.

Skinny Chest. (Anonymous), Editor. South Pasadena, California. 1996.
No. 2 (1996). Photocopy. 5 1/2"x4 1/4". 30 pages. "Please accept this, the latest offering
from Skinny Chest: an irregularly published journal of reckless context devoted to nothing
so much as threading together people for whom the world is a somewhat magical and
curious place...SC No. 2 is loosely devoted to travel, movement, the various modes of
transportation. Perhaps it is also an excuse to send things to Russia, Australia, Switzerland,
Ohio; the mysterious thrill of mail." Twenty contributors including Patricia Collins
(England), John M. Bennett (USA), W. Melnikov (Russia), Lucian Suel (France), Larry
Tomoyasu (USA), Lothar Trott (Switzerland), et al.

Slowness of Being (Die Langsamkeit des Seins). Gerd J. Wunderer, Editor.
Augsburg, Germany. 1994.
(1994). Photocopy and Mixed Media. 5 3/4"x4 1/4". (88 pages). "Non commercial,
independent, privat, free, international art magazin, privat culture exchange."
Contributions by Clemente Padin (Uruguay), Crash (Italy), Henning Mittendorf (West
Germany), Ilmar Kruusamae (Estonia), Serge Segay (Russia), Simon Baudhuin (Belgium),
et al.

Slugfest, Ltd. Michael T. Nowak, Editor. Simpsonville, South Carolina. 1996.
Vol. 7, No. 1/2 (Summer/Autumn 1996). Photocopy. 11"x8 1/2". 73 pages. "...a
quarterly journal of poetry, letters, satire, opinions, humor, conundrums, puzzles,
paradoxes, oxymorons, scatology, philosophy, (meta)physics, politics, psychology,
ideology-in short, we want to look at life from as many points of view, using as many
voices as possible. We are a vehicle for the free expression outside the mainstream,
keeping the barbarians of mass culture at bay. We look forward to active participation in
our creation by you, our readers."

Slugnet Mailart Summary and Christmas Card List. George W. Steed, Editor.
Virtinia Beach, Virginia. 1989.
No. 2 (Early Summer 1989). Photocopy. 11"x8 1/2". (5 pages). "Some of these people
I've found through other sources (most seem to have rubber stamping in common)." List of
rubber stamp publications. List of 35 names and addresses with subjects they are
interested in, illustrated by their graphics. Contributors include J. K. Post (USA), Dean
Bandes (USA), F. von Schlafke (USA), Shmuel (USA), Dogfish (USA), E. Z. Smith (USA),
Giovanni Strada (Italy), Sally Mericle (USA), Pascal Lenoir (France), Roz Stendahl (USA),
Mr. Luce (aka Luc Fierens, Belgium), Antonio Gomez (Spain), Julie Hagan Bloch (USA),
Diane Arseneau (West Germany), et al.

S'Mail: global-NETWORK-zine. Jo Klaffki (Joki), Editor. Kunst-Bahnhausen-
academy, Minden, Germany. 1993.
No. 1 (March 15, 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (40 pages).
"Besides the other regular zines, like 'Smile' (now out of print). 'Stars & Types, 'ON-mag,'
we move on in exchange with our networking partners. Now the 'S'Mail-mag' will dedicate
the 'artistamper's scene' in general. Since years there was given the necessity to reflect
the international artistampers-background, from the sight out of the Kunst-Bahnhausen-
academy. But besides lighten up the artistamp-subjekt, we will find room & time for having
a look on special mailings." Special sections featuring the artistamp works of H. R. Fricker
(Switzerland) and Vittore Baroni (Italy). Additional contributions by Cracker Jack Kid (USA),
State of Being (USA), Gerard and Fernand Barbot (USA), David Cole (USA), John Held, Jr.
(USA), Dominique Bugmaster (USA), Anna Banana (Canada), Jean Noel Laszlo (France),
Dogfish (USA), Peter W. Kaufmann (Switzerland), Lon Spiegelman (USA), Marcello
Diotallevi (Italy), E. F. Higgins (USA), Mr. Netmail (aka Peter Kstermann, Germany), et al.
No. 2 (August 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (38 pages).
Magazine focusing on artistamps. Artistamp news, including the upcoming Mars-Expo in
Seattle, Washington, and an exhibition organized by Jean-Noel Laszlo (France), at the
Muse de la Poste, Paris. Special sections on E. F. Higgins III (USA) and Marcello Diotallevi
(Italy). Additional contributions by Gerard Barbot (USA), David Cole (USA), Fernand Barbot
(USA), buZ blurr (USA), Crackerjack Kid (USA), Arturo G. Fallico (USA), Jas. W. Felter
(Canada), Peter W. Kaufmann (Switzerland), Jean-Noel Laszlo (France), Emilio Morandi
(Italy), Dogfish (USA), Dominique Bugpost (USA), Michael Lumb (England), Guy Bleus
(Belgium), A1 Waste Paper (England), Ever Arts (Holland), Kingdom of Edelweiss (USA), et
al. Artistamp publications, including works by Bugpost and Felter.
No. 3 (November 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (42 pages).
"There's no doubt, that "S'Mail" is becoming amore & more requested specialist literature
for the artistamp interested people./This obviously was confirmed during the "MARS-EXPO
'93.' which was held up in Seattle/USA in SEP 18. There, where I also had the chance being
personally present, I have made fruitful exchange and experiences with many artistamper
fellows. But sure, I also faced a bigger artistamp collectorship as usually
proofed...Momentary we can observe many ex(c)iting global activities regarding the
artistamp subject. But the information about moves slowly and not always straight on.
therefore (s)traight on with the motto...zines are the voices of the ongoing network
culture." "Perforation Patrol," in which the editor gives his impressions of attending "MARS-
EXPO '93," which featured a special section on artistamps, with many producers present.
Transcription of a radio program featuring Carl Chew (USA), talking about 'cinderella"
philately. Special artistamp section on the works of Carl Chew. Contributions by Jas.. W.
Felter (Canada), Ed Varney (Canada), buZ blurr (USA), Cracker Jack Kid (USA), Fernand
Barbot (USA), Jeffrey Dixon (USA), Greg Byrd (USA), Beth Jacobson (USA), Arturo G.
Fallico (USA), Mark Rose (USA), Sheba (USA), David Cole (USA), John Held, Jr. (USA), Kite
Post (USA), 3 O'Clock Mail (aka Ex Posto Facto [Julie Jeffries], USA). Peter W. Kaufmann
(Switzerland), Giovanni Stada (Italy), A1 Waste Paper Company (England), Peter Brandt
(Germany), Dogfish (USA), Art Naphro (England), Klaus Rupp (Germany), Sandor Gogolyk
(Yugoslavia), Anna Banana (Canada), et al. "International News."
No. 4 (January 1994). Color and Black & White Photocopy. 8 1/4"x5 3/4". (44 pages). "I
have no doubts, that 500 or even a full 1000 networkers occasionally produce their
individual kind of artistamps, but 350 artistampers now really in action on the net-
stages,...that sounds nearly unbelievable!" Special section on Anna Banana (Canada).
Contributions by Ed Varney (Canada), Jas. W. Felter (Canada), C. T. Chew (USA), Pat
Tavenner (USA), Greg Byrd (USA), Gerard Barbot (USA), John Held, Jr. (USA), buZ blurr
(USA), Exoticia Post (aka Sheba, USA), Kite Post (USA), D. Bugmaster (USA), Crackerjack
Kid (USA), H. R. Fricker (Switzerland), Emilio Morandi (Italy), Klaus Rupp (Germany), Peter
Kstermann (Germany), et al.
No. 5 (November 1994). Color and Black & White Photocopy. 8 1/4"x5 3/4". (40 pages).
Special section on the artistamps of buZ blurr (aka Russell butler, USA), with an
explanation of the techniques he uses in the production of his stamp work. Contributions by
C. T. Chew (USA), Gerard, Fernand and Claudine Barbot (USA), Marcello Diotallevi (Italy),
John Held, Jr. (USA), Jas. W. Felter (Canada), E. F. Higgins III (USA), Greg Byrd (USA),
Sheba (USA), Anne Maybe (aka Ex Posto Facto, USA), Arte Ala Carte (USA), David Cole
(USA), Alexsandor Jovanovic (Yugoslavia), Ruggero Maggi (Italy), Jean-Noel Laszlo
(France), et al. Special section on unusually perforated stampsheets, with an original
contribution by the editor included.
No. 6 (August 1995). Color and Black and White Photocopy. 8 1/4"x5 3/4". (40 pages).
"This S'Mail-mag No. 6 certainly should present a little memorial part concerning the
remembrance of Ray Johnson, who unfortunately died in January of this year. Surely there
(exists) many more stamplike designs dedicated to Ray, but I only took that, what I found
in the mailstream of the last 6 month and which only may concern to the 'S'Mail-mag'
subjekt." Ray Johnson artistamps by Marcello Diotallevi (Italy), Gerard and Fernand Barbot
(USA), E. F. Higgins (USA), Santini del Prete (Italy), Michael Lumb (England), Anna Boschi
(Italy), Greg Byrd (aka Toast Post, USA). Special section on Dogfish (aka Robert Rudine,
USA). Additional contributions by Jas. Felter (Canada), H. R. Fricker (Switzerland), Crash
(Italy), buZ blurr (aka Russell Butler, USA), C. T. Chew (USA), Klaus Rupp (Germany), E.
A. Vigo (Argentina), et al.

(Smile). (Al Ackerman, Editor). (San Antonio, Texas.) (1985).
"INTERNATIONAL MAGAZINE OF MULTIPLE ORIGINS AND THE CONTEXT FOR THE
NEGATION OF INDIVIDUALITY. Karen Eliot is the name chosen/invented by Karen Eliot to
refer to an "individual" human being who can be anyone. Karen Eliot is a context not a
person. The name is fixed the people using it aren't. Smile is the name that refers to an
international magazine of multiple origins. The name is fixed the type 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 in particular is responsible and to undermine capitalist
notions of individuality, identity, and ultimately ownership, by showing that these concepts
depend upon nominalism rather than a genuine material referent." (Stewart Home,
England).
(July 1985). Photocopy. 14"x8 1/2". (4 pages). "Don't know if you receive Stewart
Home's SMILE MAGAZINE? Here's a take off on Stewart's PHILOSOPHY OF THE WORK OF
STREWART (sic) HOME that I did, plus page of SMILE LETTERS etc..." "September 84 San
Antonio, Texas. Dear Stewart, or Monty if you prefer. Monty (or maybe he's calling himself
Stewart Now?) I remember once in Portland Oregon he went around for several days
calling himself Lionel and going toot toot but this turned out to be the botulism he'd
contracted from Zack's clams casino surprise which surprised all of us who'd eaten it. I
myself went around for several days thinking my hair had turned white overnight when in
reality it had all fallen out. Ackerman." "SMILE LETTERS" reprinted from "SMILE" No. 7,
edited by Stewart Home.

SMILE . Vittore Baroni, Editor. Viareggio, Italy. 1985-1989.
(June 1985). Photocopy, Rubber Stamps, Stickers and Mixed Media. 8 1/4"x5 3/4". (8
pages). Assembling magazine. Special "SMILE/SNARL" issue published in conjunction with
the "Nineth Neoist Festival" held at Artestudio, Pontenossa, Italy. June 1-6, 1985.
Contributions by those attending including Ruggero Maggi (Italy), et al. Essay by the
editor. "What is Neoism? Who cares about the sex of the angels? Each Neoist writes his
own manifesto, adds symbols to the mithology (sic) of Monty Cantsin, publishes Smile
magazines, draws maps of the promised land...A smile to everybody, a snarl if
necessary."
(October-December 1989). Photocopy and Mixed Media. 6"x4 1/4". 63 pages. "aka 'Arte
Postale!' 61." List of participants who responded to the editor's call to contribute "covers"
of "SMILE" magazine. Over 50 contributions reproduced, including works by Al Ackerman
(USA), Henryk Bzdok (Poland), Karen Eliot/Pete Horobin (Scotland), Monty Cantsin/Graf
Haufen (West Germany), Rea Nikonova and Serge Segay (USSR), Karen Eliot/Stewart
Home (England), Pawel Petasz (Poland), Guy Bleus (Belgium), Robin Crozier (England), H.
R. Fricker (Switzerland), Gza Perneczky (West Germany), Creative Thing (USA), Yoko
Sato (England), Piermario Ciani (Italy), Guillermo Deisler (East Germany), Joki (aka Jo
Klaffki, West Germany), et al. Listing of published "SMILE" magazines.

SMILE. (John Berndt), Editor. (Baltimore, Maryland). (1986).
No. 3 ([1986]). Photocopy. 8 1/2"x5 1/2". (8 pages). "The Answer is the Destruction of
the Question" on front cover. "Notes on the Pleasures of Neutrality." Notice of Art Strike.

SMILE. Florian Cramer, Editor. Berlin, Germany; Amherst, Massachusetts; and
The House of Seven by Nine Squares, Berlin, Germany. 1992-(1994).
(August 1992). Photocopy. 11"x8 1/2". (6 pages). Listing of books. "The bibliographical
issue." Information taken from bibliography from insert in No. 100 (see below).
([October 1992]). Photocopy. 8 1/2"x5 1/2". (4 pages). "Presence and Space." Includes
a detourned Andy Warhol (USA).
([November 1992]). Photocopy. 11"x8 1/2". (74 pages). Neoist work published in
Massachusetts. "Reading for Immortality: Toward an Interrogation of Nous, Neoism and
Neoplatonism," by John Kennedy and Karen F. Eliot. Letters to/from Karen Eliot. "The Fake
Is More," by Monty Cantsin. "Achieving what no one even three years ago, could foresee as
the necessary resolution to the dialectical impasse posed by the object-form critical
dilemma, Karen Eliot's pieces both assert and transcend objectness and formality; or,
perhaps better stated, they represent a synthesis of the form and object into what might
be called 'form-object' art." "A Fistful of Smile," by Karen Eliot.
([November 1992]). Photocopy. 11"x8 1/2". (2 pages). "Addendum to SMILE magazine.
'The Anatomy of Neoism'/Presence and Space'/'Rhetoric Is Pornography'." "Karen Eliot (to
be delivered as a lecture at the Modern Language Association Convention, New York City,
27-30 December 1992)...We cannot do without the concept of the sign, for we cannot give
up this cultural complicity without also giving up the critique we are directing against this
complicity. (So our choice consists in conserving old concepts like this within the domain of
our sporadic critique while here and there denouncing their limits.)"
No. 100 (March 1993)). Offset. 8 1/2"x5 1/2". 7 pages). "My Alphabet" on front cover.
"This paper is intended to show how identity is constructed in Neoism by inscribing text
into various institutional fields; to demonstrate how these texts and identities become
unstable and ambiguous at the same time." Letters by Eliot Cantsin (USA) and Lieutenant
Murnau (aka Vittore Baroni, Italy). Bibliography of "SMILE" magazines, which includes the
present number with the description, "Text pages identical with those in SMILE
'Saturnalia'."
([1994]). Offset. 8 1/4"x5 3/4". (20 pages). Published in Germany. "The Elective
Affinities," by the editor. Back cover has the "SMILE" logo, with text incorporated within it,
reading, "calling a magazine...(SMILE)...can greatly increase its circulation."

SMILE. (Lloyd Dunn), Editor. Oakdale, Iowa. (1990).
([1990]). Photocopy. 11"x8 1/2". (4 pages). Compilation of texts from various issues of
'SMILE" including those published by Mark Pawson (England) and Vittore Baroni (Italy).

SMILE. Karen Eliot (aka Drake Scott, et al.), Editor. Schiz-Flux, Madison,
Wisconsin. (1987-1993).
(No. 1) ([1987]). Photocopy. 11"x8 1/2". (16 pages). "Schiz-flux is newly formed. We
wish to transform the whole of everyday life, and all social relations which are
characterized by separation, alienation and non-participation under the reign of capital. We
will begin by studying situationist and other currents such as neoism, PRAXIS, and post-
structuralism. Then we plan to test the efficacy of these societal critiques thru action,
psychogeographic expeditions, and the construction of 'situations'. Situations entail the
freeing of various artistic techniques from a limited application in the theater, gallery,
music hall, etc. to their application on the actual social field. The creative, transformative
energy usually associated with art is combined with the project of revolution. This
revolution is not spurred by duty of scientific socialism, but rather springs from the
productive apparatus of the molecular unconscious. Our goal is to make possible self-
realisation, communication and participation. This must occur thru purely non-spectacular
means."
No. 2 ([1988]). Photocopy. 11"x8 1/2". (26 pages). "Festival of the Swamps," organized
by Xexoxial Endarchy (aka Liz Was and Miekal And, USA). "Orientation for the Use of a
Context and the Context for the Use of an Orientation." "Artists Strike." "If you like Smile
and would like more people to Smile, you might consider becoming a Smile distributor. We
will forward copies at our cost for bulk orders, plus tips for optimal salesmanship. Or better
yet, put out your own Smile magazine and form your own group called Schiz-Flux
comprised of de-individualed persons named Karen Eliot. Imagine the confusion when 50
magazines hit the streets-all named Smile. Start by plagiarizing this and other of your
favorite revolutionary writings. Smile magazine is written and conceived by Karen Eliot."
No. 3 (Fall 1988). Photocopy. 11"x8 1/2". 23 pages. The "Snarl" issue. "Interview with
Karen Eliot." Publication reviews. "Please submit articles, comics, graphics, on the crafty,
skillful, shrewd, subversion of the system. Energizing and empowering action with makes
one Hungary for more action. Tips for living as far outside of the system as possible.
culture that is outside the dominant reality. needed are positive solutions to the problems
of real living as well as 'low' technology solutions to solving people's basic needs: food,
clothing, shelter, energy, transportation, defense and communication."
No. 4 (n.d.). Newsprint. 111/4"x8 3/4". 28 pages. The "Smirk" issue. "Post-leftist pleasure
politics." "Feral Faun versus Karen Eliot: The Master(s) (de)bate." "Interview with Karen
Eliot." "Society makes me sick. It is the web of domination that steals my life from me. It
has created a situation in which my life is not my own, but is produced for me by forces
beyond my control."
No. 5 ([1990]. Offset. 11"x8 1/2". 42 pages. The "Smut" issue. "Journal of Illicit Sex and
Hardcore Exposure." "Art Strike? Strike an Artist!!" "Editor's note: We at SMUT magazine
are pleased to bring you the most recent clandestine writing of prime Art Strike advocate
Stewart Home who, unable to live up to his Art Strike rhetoric (thereby rebuttressing the
rift between theory & practice that his PRAXIS movement was founded to destroy) now
writes surreptitiously under the appropriated name of Drake Scott, SCHIZ-FLUX co-founder
and PRAXIS dissident..."
No. 6 (n.d.). offset. 11"x8". 42 pages. The "Snicker" issue. "CONVERSant
maniFESTATIONS: MANIMENTS & MOVIFESTOS." "No longer is the simplicity of choice
between realism & abstraction but between an opaque surface of alternatives. & now more
than ever, to create an artform that is not redundant requires infinite participation &
person-to-person contact with the global infestation. While it will always be possible to be
productive in a void, the possibility of continuous exchange thru the mail, in person & thru
electronic media has served to reduce the poverty of spirit, which goes hand in hand with
isolation." letter from D. C. (aka David Crowbar, USA), editor of "Popular Reality." "Fuck
Dirge." by Malok (USA).
No. 7 ([1993]). Newsprint. 10 1/2"x8".58 pages. The "Squirts" issue. "Museum of Love
Making," by Frank Moore (USA). "Becoming Schiz-Flux." "Schiz-flux is about movement-it
is a movement-but it begins with an inhibition. Regardless of its source, this inhibition is
the threshold where 'I'dentity is challenged and where the body encounters the confining
cold steel of the socialized cage. Yo move across this prohibitory threshold is to enter onto
and into the "Schiz-flux body of intensities."

Smile. Graf Haufen, Editor. Artcore Editions, Berlin, West Germany. 1986.
Vol. 64 (May 31, 1986). Offset, Photocopy. 8 1/4"x5 3/4". 51 pages. Cover by Scott
Helms (USA). "Neoism: Smile with Monty." "Some Neoist Addresses." "Mail Art Discussion,"
begins with an "Open Letter," by the editor to Larry D. Smith (USA). "To reduce Mail Art
only to the artworks that are sent out by mail is to castrate Mail Art. Mail Art is a living
underground culture and every contact with 'normal art' institutions is dangerous!" Others
participating in the discussion include Enrico Oliva (Italy), Lancillotto Bellini (Italy), Peter
Horobin (Scotland), and Csar Espinosa (Mexico). "Lettrism," with contributions by Kum
Nam Baik (South Korea), Vittore Baroni (Italy), Guillermo Deisler (Bulgaria), Csar
Espinosa (Mexico), S. Gustav Hgglund (USA), Scott Helmes (USA), Judy Kleinbery (USA),
Harry Polkinhorn (USA), and the editor. "Mail Art Listings," of exhibition, project and
publication opportunities. Edition 200.
Vol. 63 (September 6, 1986). Offset, Photocopy and Rubber Stamp.. 8 1/4"x5 3/4".
"What is SMILE? - I know, you already heard this name. You perhaps read one or more
magazines, flyers, fanzines with this positivistic name. SMILE is a multinational idea. A
name to use for printed works with NEOIST contents!!...The SMILE magazine is published
in many countries from various Monty Cantsins, of course it also covers different themes,
aims, ideas. The idea behind this SMILE magazine is to spread information about all kinds
of exciting, extreme, illuminating lifestyle, which also includes style of working in music,
art, poetry, performance etc." "Neoism: Smile with Monty," excerpts from a letter by Karen
Eliot (aka Stewart Home, England). "Neoistory," a letter by Istvan Kantor (aka Monty
Cantsin, Canada). "Neoism grow out of mail-Art Activities. I met David Zack in Budapest in
1976, where he exhibited his mail-art archive at the Young Artists' Club, the first
announcement of the Monty Cantsin open-pop star project was sent to mail artists in June
1978, form Portland, Oregon, USA by me and David well, (...) of course Neoism and Monty
Cantsin became my life, that's the only way to understand the whole thing." "Mail Art
Discussion," with reactions from the previous issue by Enrico Oliva (Italy), Ulli Kattenstroth
(West Germany), Martin Krist (Austria), Tony Lowes (Ireland), Harry Polkinhorn (USA).
"Statement of the Mail Art Congress 7/5/86 in Turin." "Photography." "Why Photography as
a medium for an exposition? Well, my contacts in Mail-Art often use photography in a
special way." contributions by Gerd Brner (West Germany), Andrzej Dudek-Drer
(Poland), Joseph W. Huber (East Germany), Manfred Martin (East Germany), Roland
Owsnitzki (West Germany), Viktor Pavel (West Germany), and Giancarlo Toniutti (Italy).
Artist statements by Toniutti, Dudek-Drer, Martin and Pavel. "Interview with Monty
Cantsin." Reviews in "Material: cassettes, records, fanzines, magazines, catalogues,
multiples, actions, etc." "Mail Art Listings."

SMILE. Monty Cantsin (aka Stewart Home), Editor. London, England. (1984-
1989).
([1984]). Photocopy. 8 1/4"x5 3/4". (16 pages). "Addresses" contains a listing of 19
Neoist cells. "The Generation Positive Presents an Examination of the Work of Stewart
Home." "The generation positive Presents Total Anticopyright." "The Generation Positive
Presents Great Triumphs of the Human Spirit." "The Generation Positive Presents Ultra-
Art." "The Generation Positive Presents a List of Names." "The Second International Neoist
manifesto f Post Positivist Revolt." "The Generation Positive Presents the Multiple Name
Aesthetic." "The Generation Positive Presents Magazines Breeding Like Rabbits." Neoist
poetry. "BAL TIM ORE," on back cover. Unattributed.
No. 7 ([1985]). Offset. 11 3/4"x8 1/4". (28 pages). "Neoism: Dance the Monty Cantsin,"
on front cover. Addresses for various "SMILE" and Neoist cells. "Blood, Bread and Beauty."
Photographs of Monty Cantsins. ""Neoist Artifacts." "Correspondence Script," a gathering of
correspondence from April 15, 1984 through November 24, 1984. "Malaise, History
Memory," and "Neoist Poetry," School of Al Ackerman (USA).
No. 9 ([1986]). Offset. 11 3/4"x8 1/4". (20 pages). "Take Your Desires for Reality," on
front cover. "International Magazine of Multiple Origins." Text with the following
subheadings: "The Destruction of Meaning and the Meaning of Destruction; Beyond Chaos,
Beyond Coherence; The Art of Ideology and the Ideology of Art; From Dada to Class War;
Glamour; Down with Authority, Long Live Revolutionary Inspiration!; Empty Words; The
Principles of Praxis; Notes on Context and Methodology ('We are not artists, politicos, or
philosophers, but as we move towards the concrete refusal of creativity our activities,
leading to future inactivity, cause us to engage in the discourses of art, politics, and
philosophy.'); The Condition in Which Ideology Rematerializes Itself; From Author to
Authority; The Anti-Essentialist; Networking ('Mail art, postal art, or correspondence art, as
it is sometimes called is a system whereby a network of 'individuals' [perhaps five or ten
or even twenty thousand worldwide] exchange writing and visual images using the
international postal system as the vehicle through which they operate this exchange. Of
course no one 'individual manages to exchange with every other 'individual' in the network:
but each 'postal artist' is aware that they are participating in a communications structure
known as 'the international mail art network', and is open to exchanging writing and
imagery with anyone else who participates, or wishes to participate, in the network...The
'Postal Artist' is typical of the while male under capital [although obviously there are black
and female artists] and indeed has much in common with the 'revolutionary milieu' and
activists of all kinds. All these people accept the capitalist demand that they 'justify' their
existence through the 'accomplishment' of an endless series of 'tasks'. ..Of course our
analysis may be incorrect but at least it can be put to the test. For the three years between
1990 and 1993 we will be abandoning all forms of creativity, activism, cultural
intervention."); The Ecstasy of Alienation; Philosophy in the Bathroom; Second
Manifestation of Praxis; A Report on the Conditions Surrounding Creativity; Advise from
your Marxist Astologer." Also includes, "Anarchist," a work of fiction.
No. 10 ([1987]). Offset. 11 3/4"x8 1/4". (20 pages). "Sex Without Secretions," on the
cover. Text with the following subheadings. "Desire in Ruins; The Refusal of Creativity;
Artists' Placement and the End of Art; 6 of 666 From the Apocalypic Church of Bob; From
Ruins in Art to Art in Ruins; Destruction in Art/Destruction of Art ('In his famous lecture to
the Architectural Association, Gustav Metzger traced the origins of destruction in twentieth-
century art back to Futurism and Dada. However Metzger's ideas were more extreme and
broad ranging than even these historical precedents imply.'); Multiple Names (including
'History; Methodology; A Summary of the Results; An Incomplete Karen Eliot Curriculum
Vitae); Overthrow the Human Race!!; The Avant-Garde of Presence; 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 self-perpetuating 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 of a reasonable price.
once this has been found collectively we must raise the finances to make this dream come
true. i will attempt to coordinate correspondence on this subject & enclose a list of all
persons who have received this initial bulletin./i look forward to receiving your views &
comments." Replies from (followed by comments from the editor) Eric Finlay (England),
Michael Leigh and Hazel Jones (aka A1 Waste Paper Co. Ltd., England), Stewart Home
(England), Mark Pawson (England). Tony Lowes (Ireland), DJ at FOMT (North Ireland), Ben
Allen (North Ireland), Art Naphro (England), Barry Edgar Pilcher (Wales), Stefan Szczelkun
(England), Robin Crozier (England). Replies vary from practical considerations to
antagonistic (i.e. Tony Lowes: "It's the whole myth of achievement, the whole sappy, raw,
super-star shuffle. I think now that in the attempt to establish a collective identity-the
Cantsin to Smile routeen (sic)-the 15 minute super-star-the end result was not to debunk
super-star identity-but to let us all have a piece of the action. Interesting, no?"). The editor
ends with a reply to Robin Crozier: "As in many ways this whole episode began with you i
feel that you should get the final word. In your quiet decisive way I think you are confident
that your own large collection of exchanged works & collective projects will be taken on by
a private or state administered body. Even if in the blackest of future prospects your entire
volume of work was destroyed after your death you could rest contentedly in the
satisfaction that you perhaps as much as anyone in this world have stimulated
correspondence art & mailart activity among a great many people. That in itself is of
monumental importance. i dont think at this stage that we are well enough organised as a
group in britain to discuss practicably the institution of a national archive for
correspondence art & mailart. however i would hope that those who are keeping collections
look after them as best they can & spend as much time & resource upon archiving so that it
becomes an integral part of the art process & to those who are intent upon casting it back
into the river i ask that they do so in the most artistic & creative way imaginable to them.
Through the production of this series of replies my own interest in the case rests. the
cynicism & bitterness within the network is obvious; the contradictions within the polemic
are blatant & the lack of organisational coherence within an art group of movement is once
again manifested. I feel confident however that this argument will continue & sadly as
usual in the british way-the gate will be firmly closed after the gleeful cuddy has bucked
over the horizon."

Smile: Art-Magazin. Jo Klaffki (aka Joki Mail Art), Editor. Minden, Germany.
(1984)-1992.
No. 1 (([1984]). Offset. 11 3/4"x8 1/4". (54 pages). "...our sincere thanks to an essential
impulse that let to the publication of this magazine. Monty Cantsin-we have never met
Monty Cantsin personally-, himself the editor of a SMILE magazine in England is mailing a
chain letter round the world asking people to 'make your own magazines and call them
SMILE'. Here you are, dear Monty." "Am Schnsten Ganz Lssig," an examination of the
smile of Mona Lisa, with modified approaches by various artists including Timm Ulrichs
(West Germany), Robin Page (Canada), Marcel Duchamp (France/USA), the editor, et al.
Contributions by Bernd Lbach (West Germany). Klaus Groh (West Germany), Peter
Kstermann (West Germany), et al. Edition 500.
No. 2 (April 1985). Offset. 11 3/4"x8 1/4". 54 pages. "The meanwhile somewhat
increased second volume will, because of the world-wide interest in Mail Art, spread
pleasure in more than 200 copies over 18 countries. A large part of it can be offered
bilingual thanks to Peter Kstermann's speedy tongue...Finally as aside: we as an
'avantgardistic art magazine' have dedicated this volume almost entirely to Mail Art..."
"Mail Art-The Fall of Man in the Limelight of the Arts," by the editor (English translation by
Peter Kstermann). Participant list of 63 artists for the Mail Art exhibition, "Hoppla Kultur,"
curated by the editor. Participant list for the editor's Mail Art show, "Hommage Liberty."
"Minden has continually paid hommages to MailArt in exhibitions since 1979, and since
1982 we have listed 6 international show, not least thanks to Peter Kstermann's initiative,
more are being prepared. It may not be exaggerated to regard Minden as a small 'Mail Art
Mekka' within this worldwide movement." "Kunstarchologie im Kosmopolitischen
Urganismus: Ein Versuch ber Mailart," by Ulli Kattenstroth (West Germany). "The Concept
of Monty Cantsin," by Monty Cantsin (Baltimore, Maryland). Contributions by Robert
Rehfield (East Germany), Guy Bleus (Belgium), Nenad Bogdanovic (Yugoslavia), Shozo
Shimamoto (Japan), Giovanni Strada (Italy), Pierre Marquer (France), Arno Arts (Holland),
Ryosuke Cohen (Japan), Daniel Daligand (France), Jrgen Olbrich (West Germany), Johan
Van Geluwe (Belgium), Ruud Janssen (Holland), G. X. Jupitter-Larsen (Canada), et al. Mail
Art exhibition, project and publication opportunities. Edition 650.
No. 3 (December 1985). Color Offset. 11 3/4"x8 1/4". 52 pages. "With this third
number, SMILE once again expresses its sympathy to that moving force which can be
found among the branching rootwork of a strange tree. This impetuous plant 'Mail Art
Movement' takes its nourishing juices from the network of hundreds of corresponding
artists all over the globe. One may virtually call them the makers of this newly Art-
Mag(azine), since they are considered to be the essential contributors. SMILE regards itself
within this still young art movement as inspiring and coordinating foliage, part of that stout
tree." Contributor list for the Mail Art exhibition," Internationale Knstler-Postmarken Expo"
organized by the editor in September 1985. "International Postage Stamps," by the editor
(translated into English by Peter Kstermann). "Mailart-Berlin," by Graf Haufen (West
Germany). "Cavellini," by Peter Kstermann (West Germany). "Neoism," and "Beating a
Dead Horse," by Vittore Baroni (Italy). "Festival," by Diagonale (France), proposes an
international Neoism Festival. "Open Letter to the Neoist Network and the Public at Large,"
by Monty Cantsin (aka Stewart Home, England). Address list for various "SMILE"
magazines and Neoist cells. Contributions by Dazar (USA), H. R. Fricker (Switzerland),
Keith Bates (England), Rockola (USA), Gerard Barbot (USA), Art Nahpro (England),
Marcello Diotallevi (Italy), Guy Schraenen (Belgium), Robert Rehfield (East Germany), Ruth
Wolf-Rehfield (East Germany), David Jarvis (England), Csar Espinosa (Mexico), Shozo
Shimamoto (Japan), et al. Mail Art exhibition, project and publication opportunities.
No. 4 (April 1986). Offset. 11 3/4"x8 1/4". 48 pages. "Art on the Move: Joki Visits
Poland." "Art on the Move: Peter and Joki visit Berlin," by Peter Kstermann (West
Germany). "Frieden-Freiheit," by Mona Catbird (aka, the editor). "Art Strike," by Box Smile
(aka Stewart Home, England). Participant list for the Mail Art exhibition, "AKT '86," curated
by the editor. Contributions by A. Dudek Drer (Poland), P. Rogalski (Poland), Giovanni
Strada (Italy), Peter Kstermann, Dobrica Kamperelic (Yugoslavia), Claudine, Fernand and
Gerard Barbot (USA), Chuck Stake (Canada), Pat Fish (USA), Birger Jesch (East Germany),
Steffen Jacob (East Germany), David Cole (USA), et al. "DIC im Mail-Art-Mekka Minden," a
proposed Mail Art Congress in Minden, Germany, being organized by the editor and Peter
Kstermann for September 1986. Mail Art exhibition, project and publication opportunities.
No. 5 (October 1986). Offset. 11 3/4"x8 1/4". 48 pages. "Even the old hands of the
international mailart-scene were not successful to round off the definition of MAILART
during the Minden-congress days. What's the reason for it? Is there too little or too much
unsuitable literature about this artistical corresponding network? At present every art
historian would surely wet himself because he has to go into this swamp to snoop around
all the swampy flowers." "Supplementary thoughts of a congress in MAIL ART MEKKA
MINDEN." Participants in the Minden session of the "Decentralized World-Wide Mail Art
Congress," included H. R. Fricker (Switzerland), Peter Kstermann (West Germany), Guy
Stuckens (Belgium), Jrgen Olbrich (West Germany), Chuck Stake (Canada), Andrzej
Dudek-Drer (Poland), Mogen Otto Nielsen (Denmark), Marcel Stssi (Switzerland),
Henning Mittendorf (West Germany), et al. Participant list for a Mail Art exhibition that
accompanied the event. "Mail Art from the Museum-A Paradox Idea?" "First Family Fun and
Games Los Angeles Mailart Congress," by Lon Spiegelman (USA). Contributions by John
Held, Jr. (USA), Ruggero (Maggi (Italy), H. R. Fricker (Switzerland), AU (Japan), Chuck
Stake (Canada), Gyrgy Galantai (Hungary), et al. Mail Art exhibition, project and
No. 6 (April 1987). Offset. 11 3/4"x8 1/4". 50 pages. "Smile Art," by Mona Catbird (aka
Jo Klaffki). Contributions to the "Smile" project by Giovanni Fontana (Italy), Ruth Wolf-
Rehfield (East Germany), Ruggero Maggi (Italy), State of Being (USA), Christian Laport
(France), Pawel Petasz (Poland), Crag Hill (USA), Al Ackerman (USA), et al. Shozo
Shimamoto (Japan) in Paris, France, with the editor, Klaus Groh (West Germany), H. R.
Fricker (Switzerland), Jacques Massa (France), et al. Report of the editor's "Bunker
Paintings, 1977-1987." "Labyrinthe: International Mail Art Show," Minden, Germany.
Contributions by Matty Jankowski (USA), Achim Schnyder (West Germany), Birger Jesch
(East Germany), Dazar (USA), Dobrica Kamperelic (Yugoslavia), Guy Bleus (Belgium),
Vittorio Bacelli (Italy), Mogens Otto Nielsen (Denmark), Henning Mittendorf (West
Germany), Robin Crozier (England), Mark Bloch (USA), et al. Mail Art exhibition, project
No. 7 (March 1988). Offset. 11 3/4"x8 1/4". 49 pages. "Mail Art Station Minden," by the
editor. MAILART-STATION of the Minden days of culture in Sept. '87, which upper cultural
bailiffs like to call 'KULTUR VOR ORT' (culture on the spot) may be worth some reflection
from the participants' point of view. For the MA-Station I had forced a pathetic budget out
of a benevolent squad of bureaucrats to bring together with almost a dozen of co-artists a
fresh breeze into the cultural pomp intended by the country's patronage. My idea was to
set up a so-called art-action-event as a global Zeitgeist stigma against the bourgeois
comprehension of culture. For this it took only a tent-like station in and about which all the
solo performances of the invited mailartists were to go off." Mailartists present for this
event included Achim Schnyder (West Germany), Ruggero Maggi (Italy), H. R. Fricker
(Switzerland), Andrjez Duduk-Drer (Poland), et al. "Give Up Art-Do Sense," by Mona
Catbird (aka the editor). Contributions to "Smile Art," by Vittore Baroni (Italy), Park
Pawson (England), Micheal Leigh (England), Dazar (USA), et al. Review of "MA-Congress
86," by Gnther Ruch (Switzerland). Participant list for the editor's project, "Freeing
Intervention," with contributions reproduced depicting works by Jacques Massa (France),
Kjell Nyman (Sweden), Tatomir (Yugoslavia), Mogen O. Nielsen (Denmark), Mike Duquette
(Canada), Clemente Padin (Uruguay), Stephen Jacob (East Germany), Thomas Schulz
(Poland), et al. "Gina for President," in which the editor recommends his pet pig for office.
Mail Art exhibition, project and publication opportunities. Includes a poster, "Gina for
President."
No. 8 ([1989]). Offset. 11 3/4"x8 1/4". 50 pages. "Gina for President," project draws
contributions by Ruggero Maggi (Italy), Georg Lipinski (East Germany), Mike Duquette
(Canada), Bruno Capatti (Italy), Tatomir Toroman (Yugoslavia), Shozo Shimamoto (Japan),
A1 Waste Paper Co. (England), Pierre Marquer (France), Pat Fish (USA), Baudhuin Simon
(Belgium), et al. "Mental-Bankers," project by the editor. "Smile" project contributions by
Acosta Bentos (Uruguay), Art Strike Aktion Committee (California, USA), Friedrich Winnes
(West Germany), Ivan Sladek (Hungary), Ryosuke Cohen (Japan), et al. "Hiroshima-Mail-
Art-Project," a report from Japan. "Recycling-Mailart-Project in Potsdam, DDR." "Neoistic-
Actionpainting Deco-Recycling." a performance by the editor in Minden, Germany. "Comics
Guest Column," with contributions by A1 Waste Paper Co. (England), Mike Duquette
(Canada), Mogen O. Nielsen (Denmark), et al. Mail Art exhibition, project and publication
opportunities.
No. 9 (January 1990). Photocopy. 11 3/4"x8 1/4". (20 pages). "Confessions of
Aesthetic's Resistance," an editorial. "How refreshing the expression THIS IS NOT ART
should appear, perhaps one could feel soon within the upcoming art-strike movement.
Therefore this edition of SMILE is dedicated to this strike for art's sake, as like the proverb
reminds: don't wait any longer, you must strike while the iron is hot!" "Peel or Bend
Bananas: Smile About Serious Culture." by Mona Catbird (aka the editor). "This movement
was called MAIL-ART like today, but the better name is networking. For the idea (only the
idea, not the product) as art passed spreading through the network...But the real spirit of
networking is the permanent anarchistic moving-power, which always will set subverted
attacks to the art-tradition or the hardening of culture software as well." Reprints of
"Confession in Support of the 1990-1993 Art Strike," and "20 of the Most Difficult,
Awkward & Searching Questions You Could Ask About the Art Strike 1990-1993." Ruud
Janssen (Holland) confers the Presidency of the "International Union of Mail-Artists," on
Gina the Pig. Contribution by Mike Duquette (Canada).
No. 10 ([1990]). Offset. 11 3/4"x8 1/4". 48 pages. Artistamp sheets by he editor.
"Mental Bankers Report 1990," a history of the editor's project, with contributions by W. W.
Neaumann (East Germany), John Held, Jr. (USA), Ruud Janssen (Holland), H. R. Fricker
(Switzerland), Andrej Tisma (Yugoslavia), Dobrica Kamperelic (Yugoslavia), Guillermo
Deisler (East Germany), Wermwe (West Germany), et al. "Smile" contributions first
published in "Smile" magazine edited by Vittore Baroni (Italy) include Creative Thing
(USA), Lancillotto Bellini (Italy), Rocola (USA), Gza Perneczky (West Germany), Fran
Rutkovsky (USA), Piermario Ciani (Italy). et al. "Metaphysical-Telephatic Poetry," by A.
Dudek-Drer (Poland). "International Networking News," includes Mail Art exhibition,
project and publication opportunities. Special edition of "The Pig Times," with contributions
by Rea Nikonova (Russia), E. Seifried (East Germany), Lucien Suel (France), Ruggero
Maggi (Italy), et al. "Top Art Strike Networker on Stamps." "Statement Regarding the Art
Strike 1990-1993," by Andrej Tisma (Yugoslavia).
No. 11 (April 1991). Color Offset. 11 3/4"x8 1/4". 50 pages. "Mahamat-Hall," by the
editor. "the opening-day of Mahamat-hall happened in August 1990, when Shozo from
Japan cut the string of the black curtain. Just more that 20,000 colorful works appeared
within its last position , buried into the 1st mailart-memorial-center worldwide and named
Mahamat-hall." "Artistamps," with contributions by Cracker Jack Kid (USA), Peter
Kaufmann (Switzerland), H. R. Fricker (Switzerland), Joel Smith (USA), Gerard Barbot
(USA), Anna Banana (Canada), Stephen Jacob (Germany), John Held, jr. (USA), Jas. Felter
Canada), Fernand Barbot (USA), et al. "Olympic mental Games in 1`990-1991," a project
by the editor with contributions by Ever Arts (Holland), Ruud Janssen (Holland), PLG
Frieslander (Germany), Emilio Morandi (Italy), Claudine Barbot (USA), Michael Leigh
(England), O. Jason (England), Rea Nikonova (Russia), et al.
No. 13 (March 1992). Color and Back & White Photocopy. 11 3/4"x8 1/4". (50 pages).
"Smile Classified," exhibition at the V & A Museum, London, England. "But, what will
happen with SMILE after this museal (sic) incorporation? Nothing! SMILE was one mag of
multiple small-press-origins, also here in Germany. And in KUNST-BAHN-HAUSEN we won't
deal with memorial mausoleum culture, even thou we've sold SMILE-issue for the V&A -
display. (To) represent a living up mag-culture, we insist on inspiring exchange. And surely
it'S a MAIL catching MET-A-SPIRIT around the world. It waS by MAIL too, what mediate all
the informel works before und later on. S'MAIL will come then, also to transfer memorial
songs for all the gone SMILEs..."Introduction," to the "Smile Classified," exhibition, by
curator Simon Ford (England). "The original premises of 'Smile' can be traced back to the
1970s mail-Art magazine 'File' (the title is a play of 'Life' magazine), produced by the
Canadian group General Idea, and 'Vile' magazine (a play on 'File'), produced by Anna
Banana, in San Francisco. it was the Mail Art connection that gave the 'Smile' concept its
initial impetus and the possibilities for its wider dissemination." "Network Culture," by the
editor. "Cotemp-(92)-Netwerker-Congress." "Mental-Bankers-Project 1992" report with
contributions by Giovanni Strada (Italy), Rene Bouws (Holland), Luc Fierens (Belgium),
David Cole (USA), Pascal Lenoir (France), Serge Segay (Russia), Societe Anonyme
(Belgium), Vittore Baroni (Italy), Malok (USA), Heino Otto (Germany), et al. "Net News
from Elsewhere," includes recent Mail Art publications. "Top Art Strike Networker on
Stamps." "2nd International Artistamp Biennial," curated by the Pacific Northwest
Artistamp Collective. Essay by Jas. Felter (Canada). List of participants. "Artistamps
Memory," by the editor. Contributions by Gyrgy Galantai (Hungary), Anna Banana
(Canada), Lon Spiegelman (USA), Ed Varney (Canada), Joel Smith (USA), Ginny Lloyd
(USA), Vittore Baroni (Italy), et al.

SMILE. Monty Cantsin (aka Mark Pawson), Editor. London, England. 1986-(1989).
(1986). Photocopy. 11 3/4"x8 1/4". (8 pages). "SMILE Congress." Reports of
"Decentralized World-Wide Mail Art Congresses," held at the Tate Gallery, London, July 30,
1986; at Community Copyart, North London, August 9, 1986; and at the Prince of Wales
pub, Clapham, on September 10, 1986. Congress participants for the three Congresses
included David Jarvis (England), Keith Bates (England), Ben Allen (Ireland), Harry Fox
(England), Stefen Szczelkun (England), Niall Munro (England), Michael Leigh and Hazel
Jones (aka A1 Waste Paper Co. Ltd., England), Peter Kstermann (West Germany), Chuck
Stake (Canada), Mark Bloch (USA), et al. Signed and dated.
(November 1987). 11 3/4"x8 1/4". (10 pages). "Small Plastic Babies...I decided to ask
my friends in the Mailart network to help me find them. At first I did this via personal
letters, and later, in July 1986, I produced and circulated a project invitation..." List of
contributors from 16 countries, and "what they sent...all measurements are height."
([1988]). Photocopy. 8 1/4"x5 3/4". (12 pages). "Smile History Lesson." Consists of
reproductions of front covers of various books dealing with Mail Art (Jean-Marc Poinsot,
"Mail Art: Communicaton a Distance Concept;" Herv Fischer, "Art et Communication
Marginale;" Anna Banana, "About Vile;" Crane/Stofflet, "Correspondence Art;" Vittore
Baroni, "Mail Art Handbook;" Chuck Welch, "Networking Currents;" John Held, Jr.,
"International Artist Cooperation: Mail Art Shows, 1970-1985;" Graf Haufen, "Neoism
Now;" H. R. Fricker, "Mail Art is Not Fine Art It's the Artist Who is Fine;" Gnther Ruch,
"MA-Congres 86;" Stewart Home, "The Assault on Culture."), followed by the question, "Is
your name in this book? YES/NO."
([1989]). Photocopy. 8 1/4"x5 3/4". (8 pages). "Editorial: O.K. Kids, this issue of SMILE
takes the form of a list of all SMILES published to date, which somebody actually asked for,
surely not realising its length/extent. A conventional Family Tree proved impossible, and
the published list is inevitably incomplete, and still contains m/stakes. It is specifically
designed to be of limited use, (Anti-Anal-Archivist-Device), many of the SMILEs listed were
published in small editions, and are totally unavailable, for others, possibly still available,
the author/editors addresses are not given so that even if you wanted to get back issues
(and honestly, who'd bother??) you can't. I guess that the solution is, as ever, to publish
you own SMILE." "Blood of the Neoist." Invitation to a "SMILE" project by Vittore Baroni
(Italy).

SMILE Classified. Simon Ford, Editor. National Art Library, Victoria & Albert
Museum, London, England. 1992.
(March 1992). Offset. 8 1/4"x5 3/4". 8 pages. "This booklet was produced to accompany
a display entitled, 'SMILE: A Magazine of Multiple Origins,' at the National Art Library,
Victoria & Albert Museum, from 20 March to 10 August 1992." Introduction by the editor.
"International Magazine of Multiple Origins," lists 93 issues of "SMILE" published in the
United States, Canada, Europe, the United Kingdom and Australia. "As stated above about
25 'Smile' magazines belong to the museum and can be studied more closely after the
display has finished and the items catalogued. The cataloguing will be treacherous. 'Smile'
is a librarian's nightmare. The given conventions of publishing and librarianship e.g.
attributable authors, titles, International Standard Book Number (ISBN), sequential
numbering, regularity, consistent titles, etc., are often occluded or purposely falsified. The
'Smile History Lesson' ('Anti-anal-Archivist-Devise') by Monty Cantsin is a monumental
effort only made possible by the author's intimate knowledge of the subject; those
unacquainted are on a hiding to nothing (you can hear Karen Eliot laughing now)."

Snack. Billski, Editor. Seattle, Washington. (1984).
([1984]). Color and Black & White Photocopy. 8 1/2"x7". (48 pages). Color photocopy
cover. Contribution by Patrick T. (USA) on back cover. "A Day in the Life," by John Bennett
(USA). Publication reviews including "Eat It Up," and "Tropical Trouser Snake." Edition
34/100.

Snacks. Pas de Chance, Editor. Toronto, Canada. 1994-1995.
No. 319 (September 16, 1994). Photocopy, Rubber Stamps and Mixed Media. (52
pages). "Every copy of this book is different. Copy No. 1 was published in August 1993.
This copy is No. 319, published on Sep 16 1994." Contributors send in notices for lost
animals. Contributions by 80 participants including Julee Peaslee (USA), Ashley Parker
Owens (USA), John M. Bennett (USA), Clemente Padin (Uruguay), Mike Dyar (USA), David
Dellafiora (England), Klaus Groh (Germany), Donald P. Milliken (USA), Julie Atomic (aka
Julie Shapiro, USA), Reed Altemus (USA), Anna Banana (Canada), Mark Pawson (England),
Reverend Randall Tin-Ear (USA), et al.
No. 468 (February 11, 1995). Photocopy, Rubber Stamps and Mixed Media. (56 pages).
"Every copy of this book is different. Copy No. 1 was published in August 1993. this copy
is No. 468, published on Feb 11 1995." Contributions by Igor Bartolech (Yugoslavia), M. B.
Corbett (USA), Antonio Gomez (Spain), Helena Perkins (USA), Baudhuin Simon (Belgium),
Jokie X. Wison (USA), Jan DeSirey (USA), et al.

Snail Mail Gets a New Shell: A Newsletter from the Dispatch of Signs & Stones.
Guido Vermeulen, Editor. Brussels, Belgium. (2001).
([2001]). Computer Print. 11 3/4"x8 1/4". (2 pages). Mail Art exhibition, project and

So Called. Sonja van der Burg, Editor. The Hague, Holland. 1986.
No. 2 (July 1986). Photocopy. 5 3/4"x4 1/4". (16 pages). Theme: Dadafilters. "OK you
rainbow-warriors, mail-art fighters and other heroes...here we are again, worshipping the
postal services that binds us together." Musings on the "Decentralized World-Wide Mail Art
Congress," with mentions of Mark Bloch (USA) and Harry Fox (USA), who have traveled to
Europe to attend various sessions. List of 18 contributors to the issue including Vittore
Baroni (Italy), Robin Crozier (England), Luc Fierens (Belgium), Charles Franoise
(Belgium), Fruit Basket Upset (USA), Martin Krist (Austria), Pascal Lenoir (France), Achim
Schnyder (West Germany), et al.

Socks, Dregs & Rockin' Chairs. Geof Huth, Editor. Schenectady, New York. 1989.
No. 2 (1989). Photocopy. 8 1/2"x5 1/2". (8 pages). Comix art. Contributions by John E.
(USA), Bob Grumman (USA), the editor, et al.

Sol Cultural. Csar Reglero Campos, Editor. Taller Del Sol, Coma-Ruga, Spain.
(1995-1996).
([1995]). Offset and Mixed Media. 16 1/2"x6" (oversize). Pages numbered 37-76.
Contributions by Spanish Mail Art group Taller Del Sol, Ibirico (Spain), Clemente Padin
(Uruguay), Ruggero Maggi (Italy), et al. Mail Art exhibition, project and publication
opportunities.
([1996]). Photocopy. 11 3/4"x8 1/4". (25 pages). "Declaracion De No-Principles de 'Sol
Cultural'." Mail Art and visual poetry in loose pages. Contributions by Gerardo Yepiz
(Mexico), Dave Zucker (Spain), Clemente Padin (Uruguay), Ashley Parker Owens (aka
"Global Mail"), et al. Mail Art exhibition, project and publication opportunities.

Some Thoughts About Mail Art. Ruud Janssen, Editor. TAM-Publications, Tilburg,
Holland. 1993-1997.
No. 93003 (December 1993). Computer Print, Rubber Stamp and Sticker. 8 1/4"x4". (6
pages). Headings for "To Know Mail-Art...?" (Seven statements, including, "The only people
who 'really' know what Mail-Art is all about, are the ones that practice it. I tried several
times to explain to others what mail-art is all about, but they never really understood it.
Sure, they know that it has to do with mail and art, but there is more to Mail-Art then just
sending out a decorated envelope to somebody else."); "To Feel Mail-Art." (Seven
statements including, "Another thing that always come sup in my mind when I think of
mail-art is, that I have the feeling I am not alone on this world. Lots of people have the
same 'drive' as I have. They are searching for new things in their lives. They are facing the
problems they are encountering. and problems are not really problems when you can share
them with friends."); To Explain Mail-Art." (Three statements including, "The one who
reads this collection of statements probably knows already about mail-art. But still I can't
explain mail-art just like that. Even talking 'face-to-face' with a mail-artist, I know that I
am still looking for the unfound words to explain this strange communication-form."); "Can
You Stop with Mail-Art? (Four statements including, "Even when a mail-artist dies, it really
doesn't stop. the rest will talk and write about him/her. There is only no reply to these
words unless family and/or friends take over."). "P.. This collection of statements will
constantly change because mail-art is also constantly changing as is my own life and views
about things."
Part 2 (March 1995). Computer Print and Rubber Stamps. 11 3/4"x8 1/4". 4 pages.
"Why Write About Mail-Art?" (Eight statements, including "A reason for me to write about
mail art is because I like to document things. Not only to document numbers, sounds,
dates and facts. I also like to document my thoughts. the way you put things into words
explains sometimes more than you imagine..."). What is Mail Art? (Three statements). "Will
Mail Art Ever End?" (Three statements including, "some think that Internet and E-mail will
gradually make the 'snail-'mail obsolete. But I don't think it will ever happen. The 3D-
pieces just have to be transported..."). "What is the Difference Between mail Art and Art?"
(Five statements including, ""Mail art is a direct communication between individuals. no
galleries, no museums, no shop you can buy it in. mail art is exchange only. so to get mail
art you will have to send it out."). "Mail Art Archives." ("Sometimes the problem of
archiving things is just too difficult. it absorbs too much space and energy to deal with that.
Recycling is a way of keeping the energy in the network. As archive is just static and will
collect dust. Eventually everything will end up as garbage or in a museum. the dump(y)ard
is just another museum with different visitors. in a world of classes someone is always
judging what is good or bad. in mail art all energy is equal. it just depends on the sender
and receiver.").
Part 3 (September 1995). Computer Print. 8 1/4"x5 3/4". 4 pages. "Mail Art is a
Personal Experience." (Three statements including, "Because I am now already 15 years
active with mail art I thought it would be interesting to tell about some nice experiences I
had in mail art. just write them down before I forget about them.") "Nice Things to Send by
Mail." (Four statements). "Nice Things to Receive by Mail." (three statements).
"Controversial Things to Send by Mail." (Three statements concerning, chain-letters.
simple Xeroxes, requests). "Nice to Meet Mail Artists." (Four statements including, "I had
all sorts of meetings. I visited the mail-art congresses in 1986, the tourism year initiated
by H. R. Fricker and Gnther Rch. The most interesting meeting was at the Media in
Belgium, where over 30 mail artists came together. Also the congresses in 1992 were a
historic time, it became the year where I had the largest amount of travels ever in my life
so far."). "Isolation in Mail Art?" (Four statements including, "There are also whole large
parts of our world where there is no networker connected to mail art. In Africa I know only
a few mail artists, and I know they aren't able to send out much mail.").
Part 4 (November 1995). Computer Print. 11 3/4'x8 1/4". 5 pages. "This text mainly
focusses (sic) on the Internet. And some see it as the next step after the mail art network.
Since I work in both networks now I am writing these thoughts for both groups explaining
my views about the whole." What is the Internet? (Three statements). "Do You Have to
Join Internet?" (Five statements). "Problems of Getting on Internet." (Three statements).
"Problems of Being on Internet." (Six statements). "More Info About Internet." (Three
statements). "Reactions to this text are welcome. Also reactions in E-mail are welcome.
This still is a concept-version of the text. When it is adjusted my views probably have
changed/evolved again). A project I started in 1990 is collecting all kinds of statements
about mail art. Not only to publish a book or so, but to document things, to make
statements of people all over the world accessible for others that are interested in it too.
This is the fourth selection of thoughts on mail art I publish. If you haven't read the first
three or the other mentioned publications, then just send me something nice when you ask
me for this and you'll surely get those texts too. Don't send me just a postcard with the
line: 'send me info' because that isn't how the mail art network works. Exchange of energy
is what it is all about." Boxed section, "for your eyes only," with handwritten note.
Part 5 (January 1996). Computer Print and Rubber Stamps. 11 3/4"x8 1/4". 5 pages.
"This fifth article deals with all the mail I get and send out, and where it eventually end
up..." "Answering all the Mail I Get." (Five statements). "Where Does All the Mail I Get Go
To?" (Five statements including, "Some pieces of mail are directly archived. The
contributions for the TAM Rubberstamp Archive go on a special pile which is registered in
my computer-list. Actually the address-list of this archive forms the backbone of my
address-list for contacting people in netland. Books and catalogues of projects, magazines,
etc. they go on the pile 'literature' which I mostly read quite soon, and then it goes to the
'library' section of my archive..."). "Where Does all the E-Mail I Get Go To?" (Three
statements). "The TAM-Archive." (Five statements including, "A very special part of my
collection is the books, magazines and catalogues part. I know my collection isn't that big
when compared to collections from Gza Perneczky, Guy Bleus, John Held Jr., to name a
few, who have all documented their collections with publications. but is still is my specific
collection. I believe that every mail artist (networker) builds up his own collection and that
this forms his/her idea of what the mail art network is all about...").
Part 6 (February 1996). Computer Print and Rubber Stamp. 11 3/4'x8 1/4". 5 pages.
"What is an Assembling Magazine?" (Seven statements including, "In the mail art network
most publications are made by a single person or just a small group of people. They get
their information/art from the network and send their findings & thoughts about that again
into the network. In a 'normal' magazine the editor arranges the text and/or visuals and
decides what to include in the magazine. Mostly we talk about a ZINE because there is no
official institute that published the magazine. It is all part of the large 'underground'
movement, where there are no fixed rules. (2) In an assembling magazine (or zine) we
have a rather different concept. The organizer/editor invites mail artists to send in a
number (N) of original works. this number (N) mostly determin(e)s the edition-size. Once
the editor decides he/she is ready (enough contributions, or the deadline has passed)
he/she will make N identical zines and will send a copy to every participant."). "Did I
Participate in Assembling Zines?" (three statements). "Do I Like Assembling Zines?" (Two
statements including, "The quality of some assembling zines is quite good, but some are
real(l)y not that interesting for me. I am just being honest here. I put more value to a
single original piece of work I sometimes get, than to the 'mass-produced' hand-made
edition of, lets say, 120 originals. In the last five year I also started to make more
originals, and decided not to send that much xeroxes out anymore."). "Negative Aspects of
Assembling magazines." (Four statements including, "Because some networkers want to
have all the assembling zines that are out there, they send in the amount of required works
to any editor. The quality comes secondly, and if a large part of the assembling zine is filled
like that, this triggers others to do the same."). "Positive Sides to Assembling Magazines."
(Three statements including, "Some see the collection of assembling zines as a nice thing
to do. If you like collecting, it sure gives you a nice overview of the different styles and
techniques that are used in the network. Some earlier assembling zines are already
collected by archives. That happens when an artist gets noticed by institutes. But art-
dealers sometimes want to get their money back, and sell assembling zines where 'big
names' appear in. I('m) not sure what to think of that.").
Part 8 (April 1996). Computer Print and Rubber Stamp. 11 3/4"x8 1/4". 5 pages. "This
8th article deals partly with the publishing of all the texts at TAM-Publications & the
problem of mail art & money." "What is Tam-Publications?" (Seven statements including,
"All texts that I produce and print get a number. Because I don't use the official institutes
to print my publications, I sometimes use the term ISSM (opposed) to the regular ISSN
numbers that the 'real' printing-houses use."). "Money and Mail Art?" (Eleven statements
including, "But do mail art & money mix? Every mail artists I know is only spending money
on this mail art. I have never met someone that is making a profit on the mail art. That is,
the active mail artists. Of course it is possible to sell mail art. Some people oppose to this,
others just do it to get rid of 'their collections'. There are examples of 'archives' that have
been sold. Normally then the collection gets destroyed because the buyer mostly is looking
for mail from artists know(n) in the 'traditional art-world.' I heard from Crackerjack Kid
that some early Ray Johnson letters are being offered for big money."
Part 9 (May 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 9th article is
especially written for the Mail-Art project 'Future Communication' organised at the
Denmark's Post Headquarters in Copenhagen-Denmark, August 1996...It is not the first
time that the postal office is arranging a mailart exhibition. I have been and/or participated
in similar exhibition in The Hague (Netherlands), Paris (France), Bern (Switzerland),
Brussels (Belgium). It seems that the postal services here in Europe are getting very much
interested in this mail art thing."
Part 10 (May 1996). Computer Print. 11 3/4"x8 1/4". 6 pages. "This 10th article actually
is a collection of older statements I sent into the network of colored papers...Older Mail-Art
Statements from Ruud Janssen. Over the years I have written several short statements.
This list contains most of them as far as I could find them back. The date I wrote the
statement is also mentioned. On 22/05/1994 I started with putting all the statements I
once wrote into one big file. I printed them out on colored paper now and then and
scattered them into the network. End of 1995 my old computer broke down and I lost a big
part of this compute-file. Now I decided to print the whole list of statements as they were
scattered together with the date the statement was written." "DATE: 02/04/1985. Once
you know about mail-art, your life changes. Well, anyway, it did mine. Mail-art is more
than art; it is a way of living your life."
Part 11 (June 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 11th article deals
with the current status of the Mail Art network, but also with a bit of history that came
before it." "Older Networkers." (Six statements, including, "Sometimes the mail artists are
d(i)vided up into generations. The 'first generation'; Ray Johnson who started in the NYCS
with a selective group he chose to write to and asked them to play the game with him. Of
course there is also the 'zero generation.' Artists that already used the mail system for
communication, art & play (Marcel Duchamp, Van Gogh maybe?) where individual artists
were in contact with other artists through the mail in a creative way on a one-to-one basis.
the 'second generation' in the 60's-70's when FLUXUS joined up and a selective group
experimented with the mail system, the 'third generation' where mail art rapidly grew in
70's-80's because of the exhibitions and publications within the mail art network that
spread the news to newcomers (this is where I joined the mail art network for the first
time, and lots of the people I am still in contact with nowadays are from this 3rd
generation). Not a limited group anymore but the concept that anybody could take part
and be a member of the mail art network really took shape. this lead to the congress-year
in 1986, where anybody could organize a congress, as long as two or more mail artists had
a meeting at a certain place. The 'fourth generation,' after the congress in 1986..., where
the mail art population grew into a very large group...the end of the 80's and the beginning
90's was also the gradual beginning of the 'fifth generation,' where communication was
done with the use of computers. Mark Bloch (USA), Charles Franois (Belgium) and me (in
Holland) already were working with BBs's to send out electronic mail..." "New Networkers."
(Four statements). "Computer Networkers." (Five statements including, "But between
computer-networking and mail-art networking there is a difference. The communication on
the internet has little to do with mail art. One can discuss mail art, publish visuals and
articles on web-sites, but the mail art is when the postal system is used. so e-mail could be
seen as mail, but the getting of data from a server I see more as going to a library. It is
not communication as seen in the way communication is defined."
Part 12 (June 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 11th article deals
with the post Ray Johnson Mail School of Correspondence...On June 1st, I receive(d) a
yellow postcard from Jos van den Broucke in Belgium of this POST RAY JOHNSON BIKE
MAIL SCHOOL OF CORRESPONDENCE. He sent this card during his bike-tour from Temple
in Deerlijk to Pigdada place in Habay-N where Baudhuis Simon lives. His trip was dedicated
to all mail artists who due to financial, social, political, physical or any other reason are
limited in their possibilities to participate to the network. The card was also an invitation to
react to the text on it, so these thoughts are dedicated to this card-initiative by Jos van
den Broucke." Includes headings on "Limitations" (four statements); "What to do to Help"
(two statements). "Mail Art: A Way of Life" (one statement); and "Speed of
Communication" (four statements).
Part 13 (August 1996). Computer Print. 11 3/4"x8 1/4". 4 pages. "Who is Ray
Johnson?...In October [1994, ed.] I started with my mail-interview project in which I
invite(d) mail artists to answer my questions. Not in the form of a questionnaire, but more
like a real interview where the mail artists can (react) in any communication-form he likes
to the question, and that answer will deter(mine) my next question. I only found i(t)
natural to try to get Ray Johnson involved in this project as well, but I thought he would
not answer at all. To my surprise he answered very quick, within a week. Typical Ray (as I
know now) that he didn't tell me about when he started his NYCS, but he just reacted to
the invitation. I asked "answer in any leng(th) you choose," and Ray choose a specific
length, which he indicated on the paper of the invitation..." contains the text of "The
Unfinished Mail-Interview with Ray Johnson," which was interrupted by the subject's death
on January 13, 1995. Contributions (digital) by Ray Johnson.
Part 14 (September 1996). Computer Print. 11 3/4"x8 1/4". 4 pages. "This 14th article
deals with how I experience mail art nowadays... not an easy question, but I must say that
since I started in 1980 the changes have been enormous. To mention a few: The internet
has taken over a part of the communication...The mail artists from the beginning start to
die...Mail artists have stopped...Mail artists who want to claim their part of the network. ('I
won't mention names. But some mail artists want to achi(e)ve some place in the art history
through the mail art network. They send out the strangest things, and document all they
send out. Also send things to museums and archives to make sure that the mail art they
send out will be there when the history-writers start to write the history.')..."
Part 17 (June-December 1997). Computer Print. 3 pages. "Future communication Part-
2/Overkill." "Publishing Online." (Five statements including, "The fun of the internet is that
the publishing of texts is so very easy, once you master the hardware and software. These
thoughts #17 are an experiment. I won't send these words out by snail-mail into the mail-
art network at all. I will only publish them online on this site, like a kind of diary."). "Let Me
Know (Six statements including, "The purpose of these thoughts-online-are, to get
reactions from you. I will bundle all the reactions, and make something out of it. The
readers of these thoughts determine what will happen."). "Overkill of Information." (Four
statements, including, "Since June 21th 1997 till today (August 28, 1997, ed.) about 900
hits, and the last month the average is 10 hits per day."). "Reactions."

Soppalco, Il (The Balcony): Home Art Gallery. Vittore Baroni, Editor. EON (Eternal
Open Network) Archives, Viareggio, Italy. 1989-1991.
(1989). Photocopy. 8 1/4"x5 3/4". (4 pages). "In the best tradition of underground
samizat art and neoist apartment Festivals, I have built in the entry and living-room of my
new house a small gallery composed of ten framed panels, size cm. 50x70. I will exhibit
temporarily selections of works by single authors or collective projects, a drawing the
materials from the EON Archives, now situated in two small rooms under the roof. the
opening party with a score of local friends, was on April 1st, 1989, for a due tribute to the
genius of Guglielmo Achille Cavellini (the man who introduced me to Mail Art). the Maestro
himself visited the show in early July, leaving a trace in the log-book. IL SOPPALCO is not a
traditional gallery, nothing is sold or bought, visits are only by appointment or, less
formally, the audience is make up by friends, relatives, acquaintances, neighbors and any
person that happens to pass through my home (thieves included). the other two shows of
'89 are by Japanese noise-master and exquisite prono-cop-artist Masami Akita & junkyard
poet/copy-art graffiti maniac Gustav S. Hagglund from NY City. Sole Curator: Vittore
Baroni." Contributions by Cavellini (Italy), Masami Akita (Japan) and Gustav S. Hgglund
(USA).
(1990). Photocopy. 8 1/4"x5 3/4". (8 pages). After the first three test-show of 1989, my
little home-gallery IL SOPPALCO will present in 1990 six bi-monthly exhibitions, with a
selection of original pieces and editions culled from the E. O. N. archives, belonging to six
'heroes' of the postal network: LON SPIEGELMAN, whose dedication, generosity and
colorful alien doodlings are still in our hearts (will he ever rejoin the madness? can such
wounds be healed in a lifetime?); GUY BLEUS, reclusive archivist and untiring organizer of
collective projects, always accompanied by exciting catalogues; PAWEL PETASZ, genuine
genius of self-publishing, combining wit and poetry on little handmade bits of paper;
EDGARDO ANTONIO VIGO, for almost thirty years a one-man factory distributing visual
poems and his own brand of humanistic (marginal) philately; RUGGERO MAGGI,
indefatigable correspondent, shadow-maker, jungle lover and now curator of the first mail
art gallery in Milan; ANNA BANANA, publisher of the seminal magazine Vile in the early
seventies, still in the mail with her Banana Rag newsletter, fruity graphics and collective
stamps editions..." contributions by Lon Spiegelman (USA), Guy Bleus (Belgium), Pawel
Petasz (Poland), Edgardo Antonio Vigo (Argentina),Ruggero Maggi (Italy), and Anna
Banana (Canada).
(1991). Photocopy. 8 1/4"x5 3/4". (8 pages). "& We Remember G. A. C. It took some
time to realize that the master of Self-Historification, GUGLIELMO ACHILLE CAVELLINI
(1914-2014), is now residing in a different corner of the cosmos, without a mailing
address. In 1991 my little HOME GALLERY will present bi-monthly exhibitions of SIX other
ABSENT FRIENDS. Next year, 1992, IL SOPPALCO will be used as part of THE STICKERMAN
MUSEUM, a one-year project devoted to the promotion of ADHESIVE ART." Exhibitions in
1991 by "Ulises Carrion (194-2041) NL...Demos Ronchi (1922-2022)I...Mike Bidner (1945-
2045)CAN...Damasco Ogaz (19??-20??)VEN...Michael Scott (1934-2034)UK...Achim
Weigelt (1965-2065)D..."

Sorriso Vertical, Il. Natale Musarra, Editor. Edizioni LOPLOP, Piano Tavola, Italy.
1986.
No. 1 (October 1986). "Arte Postale/Mail Art." "An Introduction About Art and Exchange,"
by Guy Bleus (Belgium). "Brain Cell," by Ryosuke Cohen (Japan). "Also Mail Art Can be Jail
Art or Who is Afraid of Ronnie Cohen?," by Vittore Baroni (Italy). From the catalog
"Autoritratti Impertinenti," by Guglielmo Achille Cavellini. "Mail Art Show Editorial," by
Alessandro Aiello (Italy). Participant List for the Mail Art exhibition, "Military Hospital."
Contributions by Andrzei Dudek-Drer (Poland), Luc Fierens (Belgium), Karsten Mattes
(East Germany), Seiei Jack Nakamura (Japan), Vittore Baroni (Italy). Ubaldo Giacomucci
(Italy), G. X. Jupitter-Larsen (Canada), John M. Bennett (USA), Manfred Martin (East
Germany), Graf Haufen (West Germany), Annika E. Sderhom (Sweden), Ruggero Maggi
(Italy), Serse Luigetti (Italy), et al. Publication and music reviews.

SoS Jazz. Mark Corroto (aka FaGaGaGa), Editor. The Beat Coffeehouse,
Youngstown, Ohio. 1995-1996.
(September 1995). Photocopy. 14"x8 1/2". (6 pages). "Why jazz criticism? Good
question. Or me, with the marginal roll jazz plays in the total music sales and press, I see
jazz reviews playing more the role of information provider then hard criticism." By the
editor of, "Face."
(January/February [1996]). Photocopy. 14"x8 1/2". (8 pages). "Thelonious Monk was
quoted as saying, 'writing about music is like dancing about architecture.' Sometimes I
agree, but most times I feel a need to say something about the special things I hear...SoS
Jazz is available free at coffee, book and record stores in North Eastern Ohio. Otherwise
you gotta send us 2 stamps for a sample issue..."

Source: Music of the Avant Garde. Stanley Lunetta, Editor. Composer/Performer
Editions, Sacramento, California. 1972.
Vol. 6, No. 1 (1972). Offset. 13 3/4"x10 3/4" (oversize). 117 pages. Guest edited by Ken
Friedman (USA). "International Sources: Notes on the Exhibition," by Ken Friedman.
"'International Sources' is more than an issue of SOURCE Magazine. It was planned to be
read and used as both a catalogue to an exhibition and as an exhibition itself...This
exhibition is not intended as a definitive presentation either of the arts developed in the
'60's, nor of what is happening today. While some amounts of definitive material are
presented here-including the first full publication of the completed symphonic work of Nam
June Paik and the first major publication of collected pieces by Stu horn-other materials are
simply introductions to tremendously exciting areas of the arts that feed further careful
research..." Contributions by dick Higgins (USA), Stu Horn (USA), Endre Tot (Hungary),
Fluxus, Jiri Valoch (Czechoslovakia), Image Bank (Canada), Nam June Paik (USA), Albrecht
D. (West Germany), Stanley Marsh 3 (USA), et al. Notable for the inclusion of reprints of
the "NYCS Weekly Breeder," Vol. 1, Nos. 1-11, edited by Ken Friedman (later passed on to
Stu Horn, and from Horn to the Bay Area Dada group).

Spaziomostre Alternative. Ce.S.A.Coo.P.-Arte, Editor. Barletta, Italy. 1993.
No. 15 (May 1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "Mostra Del Mese: Fulgor C.
Silvi," by Bruno Chiarlone (Italy). Includes a brief biography of Mail Artist Fulgor C. Silvi
(Italy), and a recent exhibition history. Invitation to participate in the Mail Art exhibition,
International Mail Art for the F.R.E.D. (Forum for the Re-Use of the Ex-Distillery," Barletta,
Italy.

Sphinx, The: A Journal of Inscrutability. Mumbles (aka John Eberly), Editor.
Wichita, Kansas. (1989).
Vol. 1, No. 1 ([1989]). photocopy. 8 1/2"x5 1/2". (4 pages). "This is #4 in the new line
of affordable autopublications now available from MUMBLES...HAM, GOOD FOR NOTHING,
THE SPHINX, LTD ATTN SPAN and soon many other quality publications featuring original
fiction, comix, poetry, etc. are yours for the low, low price of one SASE each."

Spiegelman's mailart rag. Lon Spiegelman, Editor. Los Angeles, California. 1983-
1986.
Vol. 1, No. 1 (October 1983). Photocopy and Ink. 11"x8 1/2". 2 pages. "Penis
Fudsworth's backlog attributed to new job," by the editor (aka Penis Fudsworth). "After two
years of being out of work, I finally landed a job...I have been hired by the journalism
department at California State University (Northridge campus) as the supervisor in charge
of producing the daily campus newspaper...In the past six years of mail-art activity, this is
the first major backlog of regular correspondence which I have experienced. Usually, I had
managed to get in 40-60 hours per week." "News Briefs," notes the editor's progress with
"Commonpress #21" and Mike Mollet's (USA), "VW Bus," project. "It's now time to take the
vehicle apart, piece by piece, and mail it through the network. ..This is a real conceptual,
performance, mail-art piece."
Vol. 1, No. 1 (November 1984). Offset and Rubber Stamp. 11"x8 1/2". 20 pages. "I've
tried getting together as much mailart information as I can to share with everyone in this
issue. Like I say, this is a personal 'Rag,' not a public 'Rag.' Please consider each copy a
personal piece of correspondence that I didn't have time to sit at my old Royal typewriter
and bang out to you, one at a time." "World's Youngest Mailartist," a notice of the birth of
Benjamin Karl Bennett, born September 20, 1984 to John M. Bennett (USA) and C. Mehrl
Bennett (USA). "About this Issue...," by the editor. "I've been writing to people who dabble
in mailart and want SASE's, or money for catalogues or want to auction shows off to cover
their expenses, etc...something is happening within the Network that just doesn't set right
with me...They not only want us to send them our work for free, but they want us to send
them money to cover their expenses. That's bullshit, and it's been happening so much
recently that I'm to the point that I don't want to send work to anybody who I don't know.
That's too bad, because in the past I've always sent work to any show or publication or
project that has labeled itself a 'mailart' project, thus offering support for a kindred
spirit...This problem has to be dealt with if the Network is to survive as we know it today.
Any suggestions?" "Book Review: Mike Crane: A Modern Quintilian: A Review of
'Correspondence Art' by Mike Crane," by Ernest J. Stroh-Symtra. "Special Mail Art Edition
Retraction," in which the editor apologizes to Judith A. Hoffberg, editor of "Umbrella"
magazine for an unauthorized issue (Vol. 7, No. 2). "From the Editor & Publisher: A Special
Mail Art Edition came out in late March, edited by Lon Spiegelman, which was sent to some
mail artists and friends of the 'editor' as a Volume 7, Number 2 edition of 'Umbrella.' As
indicated above, it was unauthorized by me and thus, the retraction." "On the road with
lhs...Spiegelman leaves 1/2 his beard at Interdada '84," an overview of the editor's
experiences at "Interdada 84," in San Francisco, California, organized by Ginny Lloyd (USA)
and Terrence McMahon (USA). "Off the road with L. Alien: Mollett lands on InterDada
festival," by Michael Mollett (USA). "(Thoughts on InterDada '84)," by John Leslie Fox II
(USA). "A report on InterDada '84 by John Held Jr." Photographs of Inter Dada Festival by
John Leslie Fox II of Skooter (USA), Pat Fish (USA), Bill Gaglione (USA), Rockola (USA),
Steve Caravello (USA), John Held, Jr. (USA), Turk LeClair (USA), Victoria Kirby (USA),
Anna Banana (USA), Lisa Sellyeh (USA), Chuck Stake (Canada), Cavellini (Italy), et al.
"1981 Interview with Buster 'Dada' Cleveland." "Mailart News and Notes," with information
on the activities of various Mail Artists, as well as Mail Art exhibition, project and
publication opportunities. Separate listing for "Mailart Shows" and "Mailart Publications." An
"open letter" from Carlo Pittore (USA) objecting to "filing fees" for juried exhibitions.
Contributions by Al Ackerman (USA) and John M. Bennett (USA). Edition 7/400.
Vol. 1, No. 3 (September 1985). Offset. 11"x8 1/2". 20 pages. Review of Michael
Crane's "Correspondence Art," by John Evans (USA). "Thoughts from the League of
Nations," by the editor, in which he states that he has documented participation in 1,068
Mail Art exhibition, project and publications from 1978-1984. "Mailartists share their work
with each other, support each other spiritually, show each other's work in shows,
publications and projects and never pay a fee or enter a juried show...Simply put-mailart is
a pure and fee channel of communication between artists. The primary objective of
mailartists is to keep the channels of communication open to all." "1984 mailart events:
shows-projects-publications-shows," a listing of the editor's 1984 participation in the Mail
Art network by date, name of exhibition, project or publication, and place. One of the first
significant detailed Mail Art documentation projects. "Letters to the Editor" from Earnest
Ftroh-Fymtra (aka Al Ackerman?, USA). Ray Johnson (USA), Jack Saunders (USA), Guy
Bleus (Belgium). "Mailart News and Notes," includes mentions of Richard Meade (USA),
Chuck Welch (aka Crackerjack Kid, USA), Musicmaster (USA), Ruud Janssen (Holland),
David Zack (Mexico), Pat Larter (Australia), Al Ackerman, Pete Horobin (Scotland), Waclaw
Ropiecki (Poland), Pawel Petasz (Poland), Rod Summers (Holland), Klaus Groh (West
Germany), Creative Thing (USA), Stephen Perkins (USA), Pat Fish (USA), Tomasz Schulz
(Poland), et al. "Mr. Network," an open letter from the editor to Shozo Shimamoto (Japan).
"No Boy," by C. Mehrl Bennett (USA). Photographs of Mail Artist visiting the editor including
John Evans, Creative Thing (USA), Minoy (USA), Richard Meade (USA), Michael Mollett
(USA), John Fox (USA), Al Ackerman, Anthony Bradley (England), H. R. Fricker
(Switzerland), Bill Gaglione (USA), Rudolph (USA), Michael Hyatt (USA), et al. Personal
note from the editor to John Held, Jr. (USA) on back cover. Edition 19/500.
Vol. 1, No. 4 (December 1986). Offset, Rubber Stamps, Ink and Sticker. 11"x8 1/2". 20
pages. "Baroni views Italian mailart: The Current State of Mailart in Italy," by Vittore
Baroni (Italy), an indispensable text on the subject. Forerunner of this present work, "Ma
publications total over 130," by the editor. "With all of the recent discussion about the
mailart network, publications seem to have taken a back seat to the more-talked-about
shows. People just seem to do publications any way they want- ever hear of a bunch of
'considerations' for a 'mailart publication?'... Some publications devote only a small amount
of their issue to 'mailart.' Some are felt to be 'mailart publications' merely because a large
number of contributors are themselves considered to be mailartists. Some mailart
periodicals are totally personal while others request the actual pages from
contributors...Myself, I feel the best definition of a mailart publication is that its editor is a
mailartist, because if they weren't a mailartist, then they wouldn't be doing a mailart
publication...Anyway, I started thinking about all of the mailart publications that I've
played with in the past. After coming to a short list from memory, I began going through
my archives in search of the names of publication I couldn't remember. The final tally blew
my mind. I didn't expect over 130 during the last nine years. And, I'm sure there are a
bunch that I have forgotten...What makes my particular list valid to me, is that they are
periodicals that I've played with during my mailart internment...I wish to dedicate this
article on mailart publications to Pawel Petasz, the father of 'Commonpress,' which many of
we mailartists consider the epidome (sic) of the genre." Publications listed by title, editor,
and editor's address. "After Tourism Comes Spiegelmism." "Tourism valid if separated," by
Pete Horobin (Scotland). "mailart news and notes," mentions the activities of Creative
Thing (USA), Temporary Museum of Temporary Art (aka Miekal And and Liz Was, USA),
Fred Truck (USA), Uncle Don (aka Don Milliken, USA), Carol Pittore (USA), E. M. Plunkett
(USA), Musicmaster (aka Thomas Michael Cassidy, USA), Edgar Allen Bushmiller (USA),
Sonja van der Berg and Margot van Oosten (Holland), John Held, Jr. (USA), Nenad
Bogdanovic (Yugoslavia), Frank Gaard (aka Artpolice, USA), Bob Black (USA), David
Greenberger (USA), Ginny Lloyd (USA), Cavellini (Italy), A-1 Waste Paper Co. Ltd.
(England), Stephen Perkins (USA), et al. "Leboeufism, mailart congresses, symposiums
spark 'New Audiencelessness," by Al Ackerman (USA). "But today, in terms of audience
appeal and packing them in, mailart is definitely rivaling things like Morris Dancing and
bee-keeping. This is called 'audiencelessness'-or the New Audiencelessness, if one happens
to be speaking recently-and, you know what they say, once an art form or narrow-focus
activity achieves this kind of non-recognition through all-out public apathy, then those of
us who practice it find that we have, in a measure, been delivered from the constraints of
public scrutiny and expectation." Lists of Decentralized World-Wide Mail Art Congresses,"
as complete a listing of mailart congress sessions as 'The Rag' could compile." Forty-eight
sessions listed from January 9-October 16, 1986. "The First Family Fun and Games Los
Angeles Mailart Congress." "Symposium lost in shuffle," a report of the "International
Mailart Symposium" at the Canadian Correspondence Art Gallery, organized by Chuck
Stake (Canada). A letter from buZ blurr (USA) describes the event, which drew the
participation of Jrgen Olbrich (West Germany), Cracker Jack Kid (USA), Mark Dicey
(Canada), and Sandra Tivy (Canada), et al. "Archives," by the editor. "Archives are merely
the physical results of mailart activity which has taken the form of artists communicating
with each other to share works and ideas, and collaborate on joint ventures, thus keeping
their creativity alive and growing...More and more mailartists are expressing their concerns
in trying to reach some kind on consensus on the vast amounts of property being amassed
in private/public archives, including the results of mailart shows. This has come to the
forefront of discussions given the recent rumors pertaining to the sale of the Jean Brown
Archives and Judy Hoffberg's Umbrella archives...Jean Brown wrote back, in part, '...the
Getty people who are handling the transaction of the archive sale and transfer are among
those who have never heard of mailart and have asked me what mailart is. I've explained it
twice and am prepared to do it again. It's so disorganized and nebulous. Meanwhile all the
participants will be on file at the Getty Center for the Arts and Humanities where I think it
correctly belongs. I have no doubt that am ambitious scholar will come along, study it and
collate the philosophical intent and relevance of it. It will then become elevated to the
status of a valid art form. I went through this with Dada for so many years..." Rod
Summers (Holland) is featured in "Homage to the network's 'audio man'." Bern Porter
(USA) visits Los Angeles. Contributions by Dazar (USA), Al Ackerman, et al. Edition
132/500.

Square. Pawel Petasz, Editor. Arriere-Garde, Elblag, Poland. 1982.
No. 1 (1982). Mixed Media. (9 pages). "The magazine devoted to mail art in oblong
envelopes. Appears monthly in two complementary copies: left and right." Handmade
paper cover with rubber stamp, with envelopes inside from the editor's correspondents,
including Ko De Jonge (Holland) and Rocola (USA). Edition 2.

STAMP. Arto Posto (aka Dorothy Harris), Editor. Clayton, Missouri; Chicago,
Illinois. 1990.
Vol. 1, No. 2 (January 1990). Photocopy. 11"x8 1/2". (16 pages). Magazine for rubber
stamp art. Reproduced rubber stamp work from 11 contributors including A.1. Waste Paper
Co., Ltd. (England), Ruggero Maggi (Italy), Lancellotto Bellini (Italy), Vittore Baroni (Italy),
John Held, Jr. (USA), Sally Mericle (USA), Musicmaster, et al.
Vol. 1, No. 3 (February 1990). Photocopy. 8 1/2"x5 1/2". 28 pages. Rubber stamp art.
"Mail Artists who contributed to this third issue of STAMP," number 16 participants
including Juswannasurf (USA), Bruno Pommey (France), Gummiglot (USA), A Classic Pair
(USA), C(arol). Schneck (USA), The Bag Lady (USA), Daniel Daligand (France), John Held,
Jr. (USA), Malok (USA), Jean-Pierre Naud (France), J. K. Post (USA), Shmuel (USA),
Jeanne Rust (USA), Lancellotto Bellini (Italy), et al.
Vol. 1, No. 4 (March 1990). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x5 1/2".
42 pages. "MAIL ARTISTS who contributed to this fourth issue of STAMP," include 22
participants including by Vittore Baroni (Italy), John M. Bennett (USA), A Classic Pair
(USA), Daniel Daligand (USA), Walt Evans (USA), Luc Fierens (Belgium), Gummiglot (USA),
John Held, Jr. (USA), Ruud Janssen (USA), Hazel Jones (England), Maxie (USA), Salvatore
de Rosa (Italy), C(arol). Schneck (USA), Shmuel (USA), Li Yu (USA), Lancillotto Bellini
(USA), et al.
Vol. 1, No. 6 (July 1990). Photocopy. 8 1/2"x5 1/2". (48 pages). Editorial offices moved
to Chicago, Illinois. "So many of you have spread the word to others, and more wonderful
mail arrives here daily. Thank you. You have enriched my life, brought a smile, amazed me
with your creativity, shared yourself and your art. This is the last STAMP, but I hope it is
not the last mail art from you to me and each other. May all your mailboxes overflow!"
Contributions by 32 artists from 9 countries including A.1. Waste Paper Co., Ltd. (England),
Larry Angelo (USA), The Bag lady (USA), Rick Banning (USA), Fernand Barbot (USA), Steve
Bieler (USA), Mark Bloch (USA), Vittore Baroni (Italy), A Classic Pair (USA), Joan Coderre
(aka Arte Ala Carte, USA), Gullermo Deisler (East Germany), Ona Doddle (England),
FaGaGaGa (USA), Gummigot (USA), Honoria (USA), Leavenworth Jackson (USA), Ruud
Janssen (Holland), M. A. Longbottom (England), Ruggero Maggi (Italy), Jean-Pierre Naud
(France), Clemente Padin (Uruguay), JK Post (USA), Rudi Rubberoid (USA), Marcel Stssi
(Switzerland), et al.

Stamp Act, The. Steven Bryan Bieler, Editor. Seattle, Washington. 1989-1991.
(Fall 1989). Photocopy. 11"x8 1/2". (20 pages). "Welcome to 'The Stamp Act' (formerly
the Rubber Fanzine)...In taking over 'The Rubber Fanzine' from the pioneering Rubberoid, I
have moved from spectator to participant....Rudi began 'TRF' in 1985, and produced 16
eye-opening issues before handing the reins to me." Contributions by 23 artists including A
Classic Pair (USA), Al Ackerman (USA), A.1. Waste Paper Co, Ltd. (England), Larry Angelo
(USA), Julie Hagan Bloch (USA), Oncle George (USA), Cyndi Fox (USA), Lotte Rosenkilde
Hansen (Denmark), Juswannasurf (USA), Maxie (USA), Donna Nasser (USA), Any Salyer
(USA), Candi Strecker (USA), et al.
(Winter 1990). Photocopy. 11"x8 1/2". (20 pages). Twenty-six contributors including A
Classic Pair (USA), A.1. Waste Paper Co., Ltd. England), Mimi Acosta (USA), Larry Angelo
(USA), Bruce Pommey (aka Lola Fish, France), Edward R. Gonzo (aka Rudi Rubberoid,
USA), Gummiglot (USA), Donna Nassar (USA), E. Z. Smith (USA), Larry Thomas (USA),
Sharon Tuke (USA), et al.
(Spring 1990). Photocopy. 11"x8 1/2". (22 pages). "This is my third issue of TSA; there
are no copes available of the first two, Fall '89 and Winter '90." Twenty-four contributors
including A.1. Waste Paper Co., Ltd. (England), A Classic Pair (USA), Joan Coderre (USA),
Woody Farlee (USA), Gummiglot (USA), Lotte Rosenkilde Hansen (Denmark), Leavenworth
Jackson (USA), Donna Nasser (USA), Oncle George (USA), Rudi Rubberoid (USA), Any
Salyer (USA), Candi Strecker (USA), et al.
(Summer 1990). Photocopy. 11"x8 1/2". (20 pages). Twenty-one contributions including
A.1. Waste Paper, Co., Ltd. (England), Joan Coderre (USA). Ishkabibbel (USA), Gummiglot
(USA), Cyndi Fox (USA), Musicmaster (USA), Donna Nassar (USA), Carolyn Olenius (USA),
E. Z. Smith, et al.
(Fall 1990). Photocopy. 11"x8 1/2". (20 pages). Rubber Stamp art. Twenty-one
contributors including A.1. Waste Paper Co, Ltd. (England), Larry Angelo (USA), Gummiglot
(USA), Lotte Rosenkilde Hansen (Denmark), Musicmaster (USA), Donna Nassar (USA), Rudi
Rubberoid (USA), Michael Sakolsky (USA), Larry Thomas (USA), Sharon Tuke (USA), et al.
(Winter 1991). Photocopy. 11"x8 1/2". (20 pages). "In 1989, I was given possession of
Rudi Rubberoid's 'The Rubber Fanzine,' which I renamed 'The Stamp Act'...I am now
turning this enterprise over to-A Classic Pair. Look for The Rubber Fanzine II in your
mailbox this fall. Nineteen contributors including A Classic Pair (USA), Arte Ala Carte (aka
Joan Coderre, USA), Woody Farlee (USA), Gummiglot (USA), Musicmaster (USA), Donna
Nassar (USA), Rudi Rubberoid (USA), Any Salyer (USA), et al.

Stamp Art. Joel Rossman, Tim Mancusi, and Bill Gaglione, Editors. Abracada; The
Stamp Art Gallery, San Francisco, California. (1980)-1995.
([1980]). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (54 pages). Rubber
Stamp assembling magazine. "'Stamp Art' accepts only handstamped pages 150 8
1/2"x11"). Sorry, no Xerox. This issue's front cover was designed by Tim Mancusi from a
photograph taken by Patrick Rupert. It is the worlds first 3-color rubber stamp image."
Fifty-five contributors including Anna Banana (Canada), Vittore Baroni (Italy), John M.
Bennett (USA), Henryk Bzdok (Poland), Monty Cantsin (Canada), Buster Cleveland (USA),
Geoffrey Cook (USA), Crackerjack Kid (USA), Joachim Frank (USA), Nancy Frank (USA),
Tohei Horiike (Japan), Leavenworth Jackson (USA), Ginny Lloyd (USA), Carl Loeffler (USA),
Ruggero Maggi (Italy), Bern Porter (USA), Jean Marc Rastorfer (Switzerland), Rockola
(USA), Johan Van Geluwe (Belgium), G. E. Marx Vigo (Argentina), Carlos Zerpa
(Venezuela), et al. Edition 150.
No. 2 ([1981]). Photocopy, Rubber Stamps and Mixed Media. (59 pages). Rubber stamp
assembling magazine. Edited by William Gaglione. "Produced in a limited edition of 150, is
a collection of rubberstamp art featuring the hand stamped works of international artists."
Fifty-seven contributors including Vittore Baroni (Italy), John M. Bennett (USA), buZ blurr
(aka Russell Butler, USA), buster Cleveland (USA), Ko De Jonge (Holland), Dogfish (USA),
Igor Durisin (Czechoslovakia), Fancy Frank (USA), Mauricio Guerrero (Mexico), Judith
Hoffberg (USA), Alex Torrid Zone Igloo (USA), Leavenworth Jackson (USA), Birger Jesh
(East Germany), Jacques Juin (West Germany), Serse Luigetti (Italy), Scarlatina Lust
(USA), Ruggero Maggi (Italy), Tim Mancusi (USA), Rockola (USA), Marilyn Rosenberg
(USA), Joel Rossman (USA), Lon Spiegelman (USA), et al. Rubber stamp on front cover.
Edition 150.
No. 3 ([1982]). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (81 pages).
Rubber stamp assembling magazine. William John Gaglione, editor. Published by Abracada.
"Contributors to STAMP ART should send 150 handstamped copies of rubbberstamp
artwork, size 8 1/2"x11" (21.5cmx28cm) to the publisher. All contributors will receive a
copy." Ninety-three contributors including Ammunition (USA), Vittore Baroni (Italy), Byron
Black (Japan), Guy Bleus (Belgium), Paul Cotton (USA), Dadaland (aka the editor, USA),
Csar Espinosa (Mexico), Pittore Euforico (aka Carlo Pittore, USA), John Evans (USA), John
Jacobs (USA), Leavenworth Jackson (USA), Ginny Lloyd (USA), Ruggero Maggi (Italy),
Manuel Marin (Mexico), Graciela G. Marx (Argentina), Richard Meade (USA), MIT (USA),
Padma Press (aka Carol Stetser, USA), Michele Perfette (Italy), Post Neo (aka Robert
Rockola, USA), Lon Spiegelman (USA), J(aroslav) Supek (Yugoslavia), Bill Whorrall (USA),
Annie Wittels (USA), et al. Edition 150
No. 4 (Summer 1983). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (81
pages). Rubber stamp assembling magazine. Edited by William Gaglione. Published by
Abracadada. Seventy-nine contributors including Bernard Banville (aka Zona, USA). John
M. and C. Mehrl Bennett (USA), Guy Bleus (Belgium), Bart Boumans (Holland), Buster
Cleveland (USA), Paul Forte (USA), Rocklola (USA), Leavenworth Jackson (USA), John
Jacobs (USA), G. X. Jupitter Larsen (Canada), Ruth Laxson (USA), Ruggero Maggi (Italy),
Manual Marin (Mexico), Dan Max (USA), Richard Meade (USA), Jrgen Olbrich (West
Germany), Gza Perneczky (West Germany), Carlo Pittore (USA), Radio Free Dada (USA),
Steve Random (USA), Steen Mollar Rasmussen (Denmark), Angelika Schmidt (West
Germany), Carol Stetser (USA), Skooter (USA), Josef Venker (USA), Anne Wittels (USA), et
al.
No. 5 (Summer 1984). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". 125
pages. Rubber stamp assembling magazine. Edited by William Gaglione. "STAMPART #5,
Summer 1984, is a double edition magazine co-published with CARE #11. the magazines
are similar in concept. They are non-judgmental art communication projects based on a
central theme. contributors share in the creation of the magazine by submitting multiple
copies of their work, which are assembled by the editor. CARE magazine is a mail art
magazine founded by Bart Boumans and students from the academy of art in Erdschedt,
Holland. CARE #1 was first published in March 1982. CARE magazine is based on the
principles of earlier publications, such as THE WEEKLY Breeder-founded by Ken Friedman in
San Diego in the early 170s and the European magazine COMMONPRESS, founded by
Pawel Petasz in Poland in 1975. Each issue of these publications had a different editor, with
a unique theme, size, and design concept...As guest editor of CARE #11, Bill Gaglione has
chosen rubberstamp art as the theme and combined this issue of CARE #11 with
STAMPART #5. This combination issue is the largest yet published. Its more than 125
pages contains a wide assortment of rubber stamp images, computer graphics, water color,
copyart and collage." Contributors to both "Stampart" and Care" include Gail Alien (USA),
Kum-Nam Baik (South Korea), Anna Banana (Canada), Vittore Baroni (Italy), John M. and
C. Mehrl Bennett (USA), Jeff Berner (USA), Guy Bleus (Belgium), Phyllis Cairns (USA),
Ryosuke Cohen (Japan), Buster Cleveland (USA), Anna Couey (USA) Patrick Beilman (aka
Cowtown Art, USA), Dogfish (USA), Klaus-Peter Furstenau (West Germany), John Jacobs
(aka H.Y.P.E., USA), John Held, Jr. (USA), Leavenworth Jackson (USA), Fruit Basket Upset
(USA), Ginny Lloyd (USA), Ruggero Maggi (Italy), Tim Mancusi (USA), Des McLean (USA),
Richard Meade (USA), Minoy (USA), Ms. Pitts (USA), Private World (USA), Indian Ralph
(USA), Steve Random (USA), Steen Moller Rasmussen (Denmark), Rockola (USA), Steve
Ronan (USA), Paul Rutkovsky (USA), Rubbert Sperling (USA), Franklin Stein (USA), Carol
Stetser (USA), Patricia Tavenner (USA), Carol Zastoupel (USA), et al.
No. 6 (Summer 1985). Photocopy, rubber Stamps and Mixed Media. 11"x8 1/2". (67
pages). Rubber Stamp assembling magazine. Edited by Wm. Gaglione. Contributors include
Sheril Cunning (USA), H. R. Fricker (Switzerland), Fruit Basket Upset (USA), Phyliss Cairns
(USA), Ruth Howard (USA), Leavenworth Jackson (USA), LA Dada Group (USA), Ginny
Lloyd (USA), Private World (USA), Indian Ralph (USA), Carol Stetser (USA), Alan Vorpat
(USA), students at The Academy of Art (San Francisco, California), et al. Edition 150.
(January 10, 1992). Photocopy, Rubber Stamps, Photograph and Mixed Media. 11"x8
1/2". (20 pages). Rubber Stamp assembling magazine. "The Networker Congress Issue."
Edited by Picasso Gaglione. Published by The Stamp Art Gallery, San Francisco, California.
"This special limited edition of Stamp Art was published at the Stamp Art Gallery during the
Networker Congress and International Mail Art Show in San Francisco on 10 January 1992."
contributions by American Mail Artists E. Z. Smith, Hardboard Ed, The Moadster (aka
Maillory Moad), John Tostada, John Held, Jr. and the editor. Photograph by E. Z. Smith of
the contributors on the front cover. Editon 9/19.
(1995). Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (20 pages). "This is a special
rubber stamp issue of Stampzine" stamped on cover. Contributors include San Francisco
Bay Area artists Picasso Gaglione, John Held, Jr., R. Seth Friedman (editor, "Factsheet
Five"), Geoffrey Cook, Patricia Tavenner, Ted Purvis, Diana Mars, Jessica Goddard, Steve
Caravello, et al. Edition 9/35.
(1995). Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (20 pages). Variant of above.
Edition 15/35.

Stamp Axe. Daniel Langlois, Diane Daigneault, and Pier Lefbvre, Editors.
Montreal, Canada. 1987.
Vol. 3, No. 1 (1987). Offset. 11"x8 1/2". (64 pages). Thirty-seven contributors including
Manfred Stirenmann (Switzerland), Clemente Padin (Uruguay), Antonio Tregnaghi (Italy),
Bruno Chiarlone (Italy), Carla Bertola (Italy), Jan Verschoore (Holland), Henning Mittendorf
(West Germany), Ulrich Kattenstroth (West Germany), Klaus Groh (West Germany), Pierre
Marquer (France), David Jarvis (aka Aard Press, England), Lloyd Dunn (USA), Fernand
Barbot (USA), Stephen Perkins (USA), Miekal And and Elizabeth Was (USA), G. X. Jupitter-
Larsen (Canada), et al.

Stamp World. C. T. Chew, Editor. Triangle Post, Seattle, Washington. 1984.
(1984). Newsprint. 17 1/2"x11". (8 pages). Artistamp/Visual Poetry publication, with artist
postage stamp contributions by E. F. Higgins III (USA), Anna Banana (Canada), George
Maciunas (USA), Buster Cleveland (USA), Patrick Beilman (USA), Cavellini (Italy),
Scarlatina Lust (USA), Dogfish (USA), Bill Ritchie (USA), the editor, et al.

Stampola. Geraldine Serpa (aka Ms. Pitts), Editor. Eureka, California. 1981-1984.
Vol. 1, No. 1 (November 1981). Newsprint. 15"x11 1/2". 15 pages. Rubber stamp
magazine. "Well here it is, my first issue of STAMPOLA, at last in print. I'm excited about
the possibilities for future articles and rubber stamp people that I will meet./ I have done
correspondence art and rubber stamping since 1973. I've had an opportunity to correspond
with a lot of talented people. I have most of their correspondence in my files. Through
STAMPOLA I can share it with all of you...There will be articles in future issues on a lot of
rubber stampers and correspondents." Feature on cover artist Carol Law USA). Participant
list for the rubber stamp/Mail Art exhibition "Eureka, I Have Found It!" Contributions by
Sas Colby (USA), Carioca (USA), Steven Durland (USA), et al. "Stampart Gallery," with
contributions by Mario Lara (USA), et al. Mail Art exhibition and project opportunities.
Vol. 2, No. 1 (February 1982). Newsprint. 15"x11 1/2". 12 pages. "Letters," including
one by Carolyn Olenius (USA). "Call for Entries," lists Mail Art exhibition, project and
publication opportunities. "Odds and Ends," mentions Guy Bleus (Belgium), Carlo Pittore
(USA), Rosalie's Hotel (USA), et al. Contribution by Bruce Wood (USA).
Vol. 2, No. 2 (June 1982). Newsprint. 15"x11 1/2". 15 pages. "Letters" by Carol Law
(USA), John Fawcett (USA), et al. "Postcard-Pourri," includes contributions by Bruce Wood
(USA), Ken Brown (USA). Bill Nelson (USA), Frank Ferguson (USA), Henk Tahnkeldy
(Holland), et al. "Stampart Gallery," includes contributions by Turk Le Clair (USA), Pawel
Petasz (Poland), Vittore Baroni (Italy), Lon Spiegelman (USA), Anna Banana (Canada), et
al. "Call for Entries," includes mail Art exhibition opportunities. Contribution by Michael Row
(USA). "Odds & Ends," mentions "Umbrella" magazine, Candi Strecker (USA), Rosalea's
Hotel (USA), etc.
Vol. 2, No. 3 (November 1982). Newsprint. 15"x11 1/2". 15 pages. "Letters" by Carolyn
Olenius (USA), Michael Row (USA), et al. "Mailer's Postmarks," by the editor. "Call for
Entries" lists Mail Art exhibition, project and publication opportunities. "Odds & Ends"
mentions Leavenworth Jackson (USA), "Carlo Pittore (USA), "BILE" and "Stampart"
magazine, et al.
Vol. 3, No. 1 (February 1983). Newsprint. 15"x11 1/2". 19 pages. Reviews of "Stamp
Art #3" edited by William John Gaglione, and "SWAK: The Complete Book of Mail Fun for
Kids," by Randy Harelson (USA). Feature on Bill Whorrall (USA). Feature on Carioca (aka
Carrie Carlton, USA)."Call for Entries," lists Mail Art exhibition, project and publication
opportunities. Review of "Heavy Pieces," Mail Art project organized by Dave Lovell (USA).
"Odds & Ends" mentions Dadaland (aka Bill Gaglione, USA).
Vol. 3, No. 2 (Spring 1983). Newsprint. 15"x11 1/2". 19 pages. "Letters," includes
correspondence from Lon Spiegelman (USA), envelopes from Leavenworth Jackson (USA)
and Irma Perez (USA). "Carla Crypic," by Tom Leavitt. "Anna Banana, Chuck Stake, Art
Rat; correspondence artists come up with great names for themselves. Our latest discovery
in Carla Cryptic, a mail artist and prolific carver of rubber stamps." "Call for Entries" lists
Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions
"Umbrella" magazine; the exhibition, "Rubber Stamps and Libraries," (curated by John
Held, Jr., USA); ABRACADADA, "the self-proclaimed 'World's First Rubber Stamp Store'
opened by Bill Gaglione" (USA); and a project by Lon Spiegelman.
Vol. 3, No. 3 (Summer 1983). Newsprint. 15"x11 1/2". 19 pages. "Call for Entries" lists
Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions Carla
Cryptic (USA) and "Interdada 1984."
Vol. 4, No. 1 (Winter 1984). Newsprint. 15"x11 1/2". 19 pages. "Op Dreams," features
the op-art rubber stamps of William Gaglione (USA). "Letters" features correspondence
from Irma Perez (USA), Ruggero Maggi (Italy), et al. "Call for Entries" lists Mail Art
exhibition, project and publication opportunities. "Odds & Ends" mentions Darlene Altschul
(aka Tarzana Savannah, USA); William Gaglione; Rockola (USA); Sas Colby;
"Correspondence Art," by Mike Crane and Mary Stofflet; Modern Realism Gallery, in Dallas,
Texas, directed by John Held, Jr. (USA), et al. \

Stamps From/Collage of Stamps From. Ruud Janssen, Editor. TAM (Travelling Art
Mail)- Rubberstamp Archive Tilburg, Holland. 1988-2001.
No. 6282 (1988). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). "Everybody who
sends out mail-art uses various kinds of rubber-stamps. I'm making an archive of all those
stamps, and therefore I kindly ask you to print a few of your (funniest....)stamps on this
paper, and return it to Ruud Janssen...Thank you!" TAM 8810 (self-administered
publication number).
No. 6419 (1989). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 89-05.
No. 7472 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Note attached.
No. 7473 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
No. 8893 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
No. 8930 (n.d). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
No. 9213 (1993). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 93.2
No. 10199 (1993). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 93-12
No. 10714 (1994). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Note
Attached. TAM 94.05
No. 11291 (1994). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Text changes
slightly. "Everybody who sends out mail-art uses various kinds of rubberstamps. I'm
making an archive of all those stamps, and therefore I kindly ask you to print a few of your
(funiest or what-ever...) stamps on this paper, and return it to: Ruud Janssen...Thank
You!" TAM 94.11.
No. 12466 (1995). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 95.07.
No. 12467 (1995). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 95.07.
No. 14051 (April 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Text
added to bottom reads, "This archive started October 1983 and since then mail artists have
sent in their prints. The number above indicates how many sheets have been sent out, and
I hope you will keep sending in all kind of new rubber stamps!"
No. 14052 (April 15 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). 'this
sheet was printed on: 15 April 1996."
No. 14053 (April 15, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
No. 14535 (May 29, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). "In
October 1983 I started the TAM Rubber Stamp Archive. 13 years later there will be an
exhibition about this huge archive. A selection will be shown but you have the chance to
send in your latest stamps for this exhibition by sending this sheet or previously send out
numbered sheets (only original sheets are accepted) before October 5th 1996 to: STAMP
ART GALLERY...After this deadline the papers end up in the TAM-Rubberstamp
Archive...Thank You!...this sheet was printed on: May 29, 1996.
No. 14553 (May 29, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). As
above.
No. 14987 (June 25, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
Stamp Art Gallery Special. "this sheet was printed on" June 25, 1996). Stamp Art Gallery
Special.
No. 14989 (June 25, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
Stamp Art Gallery Special.
No. 14991 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Stamp Art
Gallery Special.
No. 16019 (September 21, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one
page). Stamp Art Gallery special. Note attached: "The last sheet I send out...(for USA
expo)." Printed on the bottom: "more info at:
<http://www.geocities.com/Paris/4947/rub_arch.html> this sheet was printed on:
September 21, 1996.
No. 16076 (October 7, 1996). Computer Print and Rubber Stamp. 11 3/4"x4". (one
page). Note on the bottom of sheet. "This archive started October 1983 and since then mail
artists have sent in their prints. the number above indicates how many sheets have been
sent out, and I hope you will keep sending in all kind of new rubber stamps!
page).
page). "this sheet was printed on: 17 October 1996 and distributed in USA."
(1996). Computer Print and Rubber Stamps and Mixed Media. 11 3/4"x4 1/4". (19 pages).
Nineteen sheets of "Stamps From," distributed in 1996, bound in a book by The Celestial
Shardery, Gone Ballistic Press, Dan Diego, California.
No. 16568 (1997). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". Odd size sheet for
series. "more info at http://www.Geocities.com/Paris/4947/rub_arch.html" TAM 97.2 "
No. 17535 (June 20, 1997). Computer Print. 11 3/4"x4". (one page). "Everybody who
send out mail-art uses various kinds of rubberstamps. I'm keeping an archive of all those
stamps (started in 1983), and therefore I kindly ask you to print a few of your (funniest or
what-ever...) stamps on this paper, and return it to: Ruud Janssen c/o: TAM Rubber Stamp
Archive, ...Thank You!" Bottom of the sheet reads: "the number above indicates how many
sheets are sent out since Oct. 1983. more info at URL:
<http://www.geocities.com/paris/4947/rub_arch.html> this sheet was printed on: 20 June
1997"
No. 19619 (September 11, 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one
page). "Stamps From:" changed to "Collage of Stamps From:" "This is a special sheet for
the archive. I send them to mail artists whom I know they use stamps. Please place name-
stamp (above) and one or more other stamps (below) on this paper. If you aren't #4, pass
on the sheet. If you are #4 then return it to: Ruud Janssen, c/o: TAM Rubber Stamp
Archive...Thank You!." Bottom reads: "this is a special collage stamp sheet sent out in
September 1998." Stamps by Guido Bondioli (Guatemala), b. saved (USA) and John Held,
Jr. (USA).
No. 19682 (September 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one
page). "Collage of Stamps From."
No. 19683 (September 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one
page). "Collage of Stamps From."
No. 20513 (January 7, 1999). Photocopy. 11 3/4"x4 1/4". (one page). Photocopied
sheet sent by Norberto Jose Martinez (Argentina).
No. 22178 (October 4, 1999). Computer Print, Rubber Stamp and Sticker. 11 3/4"x4".
(one page). Printed on the bottom: "this is a special collage stamp sheet sent out in June
1999/more infor at URL: <http://www.geocities.com/Paris/4947/> this sheet was printed
on: maandag 4 oktober 1999." Rubber stamps printed on the sheet by Keiichi Nakamura
(Japan) and Eberhard Janke (Germany).
No. 22462 (October 20, 1999). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". (one
page). "Collage of Stamps From:...This is a special sheet for the archive. I send them to
mail artists of whom I know they use rubber-stamps. Please place name-stamp (above)
and one or more other stamps (below) on this paper. If you aren't #2, pass on the sheet.
If you are #2 then return it to: Ruud Janssen, c/o: TAM Rubber Stamp Archive,...Thank
You!" Rubber stamps by Petra Weimer (Germany).
No. 22473 (October 28, 1999). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).
"Collage of Stamps From." Rubber Stamps added by John M. Bennett (USA).
No. 22914 (February 29, 2000). Computer Print and Rubber Stamps. 11 3/4"x4 1/4".
(one page). "Collage of Stamps From:...This is a special sheet for the archive. I send them
to mail artists of whom I know they use rubber stamps. Please place name-stamp (above)
and one or more other stamps (below) on this paper. If you aren't #4, pass on the sheet.
If you are #4 then return it to Ruud Janssen, c/o: TAM Rubber Stamp Archive,...Thank
You!" Stamps by Dale Speirs (Canada), editor of "Opuntia."
No. 23537 (April 2, 2001). Computer Print and Rubber Stamp. 11 3/4"x4 1/4". (one
page). "Collage of Rubberstamps From:...From 1983 till the end of 2000 TAM formed an
archive with rubberstamp prints. 23468 sheets were sent out and over 10000 were
returned. for the year 2001 and further you can still send in your prints. this part of the
archive goes straight into the Archive of the Aministration (sic) Centre in Belgium. If you
aren't #3, print on this paper and pass on the sheet. If you are #3 then return it to: The
Administration Centre-RSA, attn. Guy Bleus...Thank You!"
page). As above.
page). Stamps by Petra Weimer (Germany).

Stark Fist of Removal, The: Newsletter of the Church of the SubGenius. Douglass
St. Clair Smith (aka Rev. Ivan Stang), Editor. SubGenius Foundation, Dallas,
Texas. 1980-1989.
Vol. 17, No. 37 (1980). Offset. 8 1/2"x7". 24 pages. A "fake cult," whose strain runs
through Mail Art in the manner of Neoism. "The Church of the SubGenius is an Order of
Scoffers and Blasphemers, dedicated to Total Slack, delving in Mockery Science.
Sadofuturists, Megaphyics, Scatolography, Schizophreniatrics, Morealism, Sarcastrophy,
Cynisacreligion, Apocalyptionomy, ESPectorationalism, Hyno-Pediatrics, Subliminimalism,
Satyriology, Distro-Utopianity, Sardonicology, Fasciestiouism, Ridiculophagy, and
Miscellatheistic Theology."
Vol. 17, No. 38 (1981). Newsprint. 14 1/2"x11 1/4". (28 pages). Mail Artist tEntatively, a
cONVENIENCE (USA), a Neoist convert, listed as "SubGenius Freak Out of the Year."
Vol. 17, No. 39 (1982). Newsprint. 11"x8 1/2". 55 pages. "The correct Line: A Primer for
Pinheads," by Bob Black (USA). Pam Nelson (USA) "shows miraculous Dobbs Dinner Roll
manifestation."
Vol. 17, No. 40 (1983). Newsprint,. 11"x8 1/2". 95 pages. "The Church is not responsible
for the actions of individuals which may result from the mere possession of this Book. any
resemblance by characters in these pages to any person, living or dead, except where
intended for direct satirical purpose is strictly 'coincidence.' That's right, it's all a big joke!
Ha ha! 'The Conspiracy'-what a laugh! Ha ha! 3,000 children starving to death in Mexico
City every day, ha ha! Radioactive waste canisters rotting in the ocean! Ha ha ha! Mind
control by horrible secret societies - yuk, yuk, yuk." Chicago convention participants
include tENTATIVELY a cONVENIENCE (USA). Luke McGuff (USA), Candi Strecker (USA),
Bob Black (USA), et al.
Vol. 17, No. 41 (1984). Newsprint. 11"x8 1/2". 111 pages. "Banana Rag," edited by Anna
Banana (Canada), listed in "Misc. One-Man or One Woman Oddities."
Vol. 17, No. 41&42 (1989). Newsprint. 11"x8 1/2". 127 pages. Contributions by A-1
Waste Paper (England), Al Ackerman (USA), Winston Smith (USA), Tuli Kupferberg (USA),
Norman conquest (USA), Joe Schwind (USA), et al.
(n.d.). Newsprint. 11"x8 1/2". 16 pages. "Other Mutants: Part One: Your New SubGenius
Pals, continued." Listing of co-conspirators includes St. tENTATIVELY, a cONVNIENCE
(USA), Sean/Monty Cantsin (USA), Neoistic Krononauts (aka Paul summers, USA), Jake
Berry (USA), Rev. Malok (USA), Winston Smith (USA), De Media (Belgium), Rev. Arthur
Berkhoff (Holland), Istvan Kantor (aka Monty Cantsin, Canada), A-1 Waste Paper Co. Ltd.
(England), DJ FOMT (aka Daniel Johnson, North Ireland), G. X. Juppiter-Larsen (Canada),
Nunzio Nunzio (aka Al Ackerman, USA), PhotoStatic (USA), HYPE (aka John Jacobs, USA),
Genesis P. Orridge (England), et al.

Stars & Types: International Comics-Fanzine. Jo Klaffki (aka, Mona Catbird and
Joki Mail Art). Edition Kunst-Bahnhausen, Minden, Germany. (1988)-1991.
No. 1 ([1988]). Offset. 8 1/4"x5 3/4". 47 pages. "This should be the No. 1 - and in
defiance al all speculations, it's also the 'number one' in Germany-a small-press-zine (total
print run 500) destined for an international comic-fan-community./First, we love our
creators (The STARS), because they are (still!) non-profit-jobers by this subject. Then we
enjoy theirs unspent creations (the TYPES), which also make a bright impression." Comic
strip art by artists drawn mainly from the international Mail Art network.
Contributors include Stephen Jacob (East Germany), Brian Salzberg (USA), David Cole
(USA), Reima Mkinen (Finland), Arturo G. Fallico (USA), Mogens Otto Nielsen (Denmark),
Antonio Tregnaghi (Italy), John Held, Jr. (USA), A.1 Waste Paper Co. Ltd. (England),
Gerard Barbot (USA), E. Seifried (West Germany), Pedro Juan Guitierrez (Cuba), Heino
Otte (West Germany), Mark Rose, USA), et al.
No. 2 ([1989]). Offset. 8 1/4"x5 3/4". 48 pages. Comic art. Contributions by Julie Doucet
(Canada), H. R. Fricker (Switzerland), W. W. Neumann (East Germany), Stefen Jacob (East
Germany), Rea Nikonova (USSR), Ruggero Maggi (Italy), Serge Segay (USSR), Yoshiaki
Kobayashi (Japan), Antonio Gomez (Spain), G. Lerici (Italy), Ace Backwards (USA), Mike
Duquette (Canada), Vittore Baroni (Italy), Charles Franois (Belgium), Baudhuin Simon
(Belgium), Bill Whorrall (USA), Brian Salzberg (USA), A.1. Waste Paper Co. Ltd. (England),
Hazel Jones (England), Gerard Barbot (USA), Dobrica Kamperelic (Yugoslavia), G. Lipinsky
(West Germany), et al.
No. 3 (1989). Offset. 8 1/4"x5 3/4". 48 pages. Comic art. Contributions by Reima
Mkinen (Finland), A.1. Waste Paper Co. Ltd. (England), Vittore Baroni (Italy), Kimmo
Framelius (Finland), Julie Doucet (Canada), G. Lerici (Italy), Jeff Hoagart (USA), W. W.
Neumann (East Germany), Mike Duquette (Canada), Ace Backwords (USA), et al.
No. 4 (1990). Offset. 8 1/4"x5 3/4". 48 pages. "...dear comic-lover, meanwhile the art-
strike-shadows were overwhelming the Kunst-Bahnhausen-academy and it was to fear
getting stopped this successful STARS & TYPES-edition." Comic Art. contributions by Rea
Nikonova (USSR), Gian Luca Lerici (Italy), Yoshiake Kobayashi (Japan), Baudhuin Simon
(Belgium), Arturo G. Fallico (USA), Mike Duquette (Canada), Ruggero Maggi (Italy), W. W.
Neumann (East Germany), Vittore Baroni (Italy), Renee Boows (Holland), Gerard Barbot
(USA), Ace Backwords (USA), Reima Mkinen (Finland), Julie Doucet (Canada), Lucien Suel
(France), Stephen Jacob (East Germany), Walter Askin (USA), et al.
No. 5 ([1990]). Offset. 8 1/4"x5 3/4". 48 pages. Cover by David Cole (USA). Comic art.
Contributions by Wemwe (aka Achim Weigelt, West Germany), Salvatore de Rosa (Italy),
A1 Waste Paper (England), Walter Askin (USA), Maria Chr. Menezes (Brazil), Baudhuim
Simon (Belgium), Gnther Ruch (Switzerland), Vittore Baroni (Italy), Gerard Barbot (USA),
Julie Doucet (Canada), Jaroslav Supek (Yugoslavia), Serge Segay (USSR), Gian Luca Lerici
(Italy), Marco Pasian (Italy), E. Seifried (East Germany), Daniel Daligand (France), Pedro
Juan Gutierrez (Cuba), Crackerjack Kid (USA), et al.
No. 6 (1991). Offset. 8 1/4"x5 3/4". 48 pages. "Just we are back again, after a 4-month
long break collecting materials, in o(r)der to present this issue. Purely the sixth but not a
sexed. If you consider why the imagination of STARS & TYPES is poorly sexminded, even
though we never select or censor contributions. A good answer may be this: all of our
cheerful creating coworkers haven't problems with their sexual conditions. That's the result
of a splendid mental inspiration into our network, which needs neither selection nor
censorship./If we look backwards we find published more than 60 honorable comic creators
till yet. ...It may wonder the devil, when we combine ART-STRIKE-project with comics'
affairs, but we insist on saying 'comic isn't art'. its only a cheerful play, isn't that enough?"
Contributions by W. W. Neumann (Germany), Robin Crozier (England), Ace Backwords
(USA), Ruggero Maggi (Italy), Giovanni Strada (Italy), Crackerjack Kid (USA), Vittore
Baroni (Italy), Heino Otto (Germany), A.1. Waste paper (England), Julie Doucet (Canada),
E. Seifried (Germany), David Cole (USA), Arturo G. Fallico (USA), et al. "Comic-Stamp-
Project. Cracker Jack Kid from Lebanon/USA has crated & sent us the left shown stamp-
frame for collaboration with-in the ART-STRIKE-project. Please take part & draw in your
self-portrait and send to:..." Art Strike postage stamp completed by John Held, Jr. (USA).

State University of New York at Buffalo Reporter. Robert T. Marlett, Executive
Editor. Division of University Relations, Buffalo, New York. 1988.
Vol. 19, No. 20 (March 10, 1988). Newsprint. 16 3/4"x11 1/4". 16 pages. "Mail Art," by
Chris Vidal (USA). "Examples of the many faces of mail art are now on display in Lockwood
Memorial Library, compiled by Gregory Puchalski, a 1972 graduate of UB with a B.A. in Fine
Arts, who is now a billboard painter in Pittsburgh. The exhibit is a collection of some of the
pieces he has received since the early '70s." Contributions by H. R. Fricker (Switzerland),
et al.

Stirnnetz Mit Der Spinne. Dirk Frhlich, Editor. Buchlabor, Dresden, Germany.
1993.
No. 30 (1993). Photocopy, Rubber Stamps and Mixed Media. 11 1/2"x8 1/4". 39 pages.
Also called "Spinne." Collaboration by participants through the post. contributors include
Guillermo Deisler (Germany), Hartmut Graf (Germany), Rea Nikonova (Russia), David Cole
(USA), Crackerjack Kid (USA), Jos Oliveira (Portugal), PLG Frieslnder (Germany), Hans
Ruedi Friker (Swiizerland), Lutz Wohlrab (Germany), Birger Jesch (Germany), Peter W.
Kaufmann (Switzerland), Serge Segay (Russia), Jos VdBroucke (Belgium), Vittore Baroni
(Italy), Angela Phler (Germany), Peter Kstermann (Germany), Vittorio Baccelli (Italy),
Arturo G. Fallico (USA), John Held, Jr. (USA), Mark Pawson (England, Hazel Jones
(England), Michael Leigh (England), Paul Jackson (aka Art Naphro, England), et al. Edition
21/26.

Stomp! Luca Brunori, Editor. Certaldo, Italy. 1989.
Vol. 1. No. 1 (June 1989). Photocopy. 8 1/4"x5 3/4". (16 pages). Participant list for the
Mail Art exhibition, "Peperon de' Paperoni," an homage to the cartoon character Uncle
Scrooge McDuck on his 88th birthday. Contributions reproduced from participants Serge
Segay (USSR), Guido Bondioi (USA), Arthur Berkhoff (Holland), Alessandro Ceccotto
(Italy), Rea Nikonova (Russia), Shigeru Nakayama (Japan), A1 Waste Paper (England),
Claudine Barbot (USA), Ben Allen (North Ireland), et al.

Strange Faeces. Opal and Ellen Nations. Oakland, California. (1974).
No. 15 ([1974]). Photocopy. 11"x8 1/2". (176 pages). Cover by the editor. Contributions
by Frank Ferguson (aka Sir Quaxalot, USA), Monte Cazazza (USA), Ray Johnson (USA),
Cees Francke (Holland), Anna Long (aka Anna Banana, USA), Pat Tavenner (USA), Carlo
Giovanni Cicatelli (aka Charles Chickadel, USA), Gill Gaglione (USA), Bill Farley (USA), Rain
Rein (USA), May Wilson (USA), Al Ackerman (USA), Greg Puchalski (USA), Tim Mancusi
(USA), Tyler James Hoare (USA), et al.

Stress: The First Italian Music & Life Free Newsletter. Claudio Cherardini, Editor.
Prado, Italy. 1987.
Vol. 4, No. 32 (October 18, 1987). Newsprint. 11 3/4"x8 1/4". 16 pages. First national
edition. "Mail Art News," by Roberto Banchi (aka Bobo, Italy). Short article on Mail Art with
a list of Italian Mail Artists including Ruggero Maggi, Marcello Diotallevi, Marco Pasian,
Vittore Baroni, Guglielmo Achille Cavellini, Laura Vitulano Bruno Capatti, et al. Contribution
by Bruno Captti (Italy).
Vol. 4, No. 39 (November 29, 1989). Newsprint. 11 3/4"x8 1/4". 16 pages. Second
national edition. "Mail Art News," by Roberto Banchi (aka Bobo). A listing of Mail Art
projects, including those organized by Piermario Ciani (Italy) and Bruno Capatti (Italy).
Vol. 4, No. 42 (December 20, 1987). Newsprint. 11 3/4"x8 1/4". 16 pages. Third
national edition. "Mail Art News," by Roberto Banchi (aka Bobo, Italy). List of Mail Art
contacts including Paulo Brus(c)ky (Brazil). Bruno Chiarlone (Italy), Robert Maria
Mascheroni (Italy), et al.

Stretch Marks: A Rubber-Stamp Art Zine. Roslyn M. Stendahl, Editor. Minneapolis,
Minnesota. 1995.
Vol. 2, No. 4 (November 1995). Offset. 11"x8 1/2". (28 pages). "The good news is that
this issue is 4 pages longer than the last, 28 pages inkling the covers. That's 8 more than
the first February 1994 issue. The bad news is that you hold the last regular issue of
'Stretch Marks' in your hand./When I started 'Stretch Marks' in February 1994 I had only
two criteria for its continuation. 1. I had to keep having fun with it; 2. it had to break even
by the end of two years. You're holding issue 8 in your hands, two years of quarterly
publication. I'm still having fun with 'Stretch Marks' but despite expensive efforts at
advertising, and help from all sorts of rubber-folk promoting 'Stretch Marks,' it still does
NOT break even....For all these reasons I've decided it isn't prudent to continue 'Stretch
Marks.' I needed 500 subscribers to break even, but I never seemed to break the 300 mark
by much. The 'penis' controversy seemed to be a sticking point for many." Contributions
from Laural Hall (USA), Michael Sakolsky (USA), A.1. Waste Paper Ltd. (England),Beth
Jacobs (USA), Zetetics (USA), Rick Banning (USA), Victoria Miguel (USA), Woody Farlee
(USA), Steve Frenkel (USA), et al. Stamp Art Gallery (San Francisco, California) poster for
"Women in the Post: Rubber Stamp Books by Beth Jacobson and Rice Freeman-Zachery,"
by Bill Gaglione (USA).

Strike/Strike 1990-1993. Don Baker and Jeff Brice, Editors. Seattle, Washington.
(1989).
(1989). Photocopy. 8 1/2"x5 1/2". (20 pages). "First there was the Art Strike,/Then there
was the Word Strike,/Now, there is the Strike/Strike./Three Strikes And You're Out...This
booklet is produced for a certain network, apart from the mainstream concerns of art. It
uses the language and symbols that are accessible to the system it moves through. Even
mail networks contain aesthetics, they naturally arose out of necessity. Does that negate
the meaning of the doctrines of non-aesthetic-values of mail art philosophy? Don't we look
at DADA as an aesthetic in the context of our art historical roots? The artstrike, wordstrike
and the strike/strike are positive influences in the artistic groups because they make us
THINK!!!"

Strippers's Lament. Kalynn Campbell, Editor. Devil's Press, North Hollywood,
California. 1989.
(1989). Photocopy. 8 1/2"x5 1/2". (16 pages). Pin-up and tattoo inspired art. "Permission
to reprint any crap within must be obtained in writing or an obese strip-o-gram will appear
at your door."

Student Artist Call for Survival. Michael Schwartz, Editor. Student Artist Call,
Tucson, Arizona. 1992.
Vol. 1, No. 2. (January 1991). Photocopy. 5 1/2"x4 1/4". (32 pages). "Student Artist
Call seeks to establish a network committed to non-violent transformation, of society,
towards a culture of sustainability, equality and self determination. Student Art Call works
to bridge the gap between environmental, social, peace and justice organizations via the
arts, while expanding and diversifying the student movement."
Vol. 1, No. 3 (May 1991). Photocopy. 5 1/2"x4 1/4". 38 pages. "Make Free Art with Artist
in Residence Michael Schwartz," includes notice of the editor's "Postal Art Project." Csar
Figueiredo (Portugal) authors, "Mail-Art Exhibition Against a Genocide Celebration." Mail Art
exhibition, project and publication opportunities. Contributions by Lora Jost (USA), Gerard
Barbot., Chris Dodge and Jan DeSirey (aka MSRRT, USA), Epistolary Stud Farm (USA),
Angela & Henning Mittendorf (Germany), Pedro F. Bericat (Spain), et al.

Sty Zine. Mike Murrman, Editor. Bloomington, Indiana. 1995.
No. 25 (1995). Photocopy. 5 1/2"x4 1/4". (120 pages). "Very simply, this issue of Sty
Zine is a collection of postcards I received from 1993-1995. It is not a complete collection,
like I would have wanted, but it's a p(r)etty bunch of cards. I don't know for sure why I'm
doing this, reprinting these, but it's an idea that's been bouncing in my head for over two
years. It feels great to get it out of my head. Some of these cards are like running sagas,
unfolding stories of people's lives; others are quick notes from strangers. Either way, they
say a lot. I've recently become fascinated with postcards, both receiving and sending them.
You can only say so much on a postcard, usually just enough..."

Subliminal Zone Chronicles Comix, The. Arte Ala Carte (aka Joan Coderra), Editor.
Cosmos Comix, Canton, Connecticut. 1992.
Vol. 1, No. 3 (Spring 1992). Photocopy and Mixed Media. 7"x4 1/4". 32 pages. "Trading
Cards-Artistamps-Comix."

Subtle Journal of Raw Coinage, The. Geof Huth, Editor. Schenectady, New York.
1991.
No. 45 (1991). Rubber Stamps. 7 1/2"x3". (one page). "Wordst (sic) by Michael Helsem."
Rubber stamped "poetry,' by the Dallas, Texas, artist/poet. Edition 120.

Suite et Fin. Vincent Courtois, Editor. Lyon, France. 2000.
No. 3 (November 2000). Computer Print. 8 1/4"x5 3/4". (16 pages). Prose, poetry and
graphics. Eight contributors including Tartarugo (Spain).

Summer Rites. Guido Vermeulen, Editor. Lingua & Littera, Brussels, Belgium.
1996.
(December 1996). Photocopy and Mixed Media. 11 3/4"x8 1/4". (28 pages). Poems
"Based on an art performance," by Marilyn Dammann (USA), and "a cycle of dutchpoems
translated into English," by the editor. "Art Biography" of the editor enclosed.

Sushi. (John Eberly), Editor. Mega Multi Corporeal Mumbles Empire, Wichita,
Kansas. (n.d.).
No. 1 (n.d.). Photocopy. 8 1/2"x5 1/2". 3 pages. "Sushi Blindfold Test with Eel Leonard."
The editor quizzes the musical aptitude of Eel Leonard (aka Al Ackerman, USA). "the
biggest surprise for The Eel was the revelation of #3, by his favorite diva. 'Shore shoulda
got that-un' fumed The Eel. Asked for any furthur comments, he belched: 'Drink Ovalteen!'

Synthetica. Carli, Editor. Seattle, Washington. 1991.
No. 10 (June 1991). Photocopy. 11"x8 1/2". (2 pages). "Escaping," a "story in
installments" by Svjetlana Mimica (Yugoslavia).

Syzygy. Sth Tisue and Brad Russell, Editors. Plastercramp Press, Chicago, Illinois.
1990.
No. 1 (September 1990). Photocopy. 8 1/2"x7". 52 pages. "Why Publish Noise," by
Miekal And (USA). Interview with Bob Black (USA). "The Facts on Polywave," by G. X.
Jupitter-Larsen (Canada). "Reviews," by Seth Tisue (USA). Contributions by Michael Shores
(USA), Freddie Baer (USA), John M. Bennett (USA), Musicmaster (USA), Michael Helsem
(USA), Angela Mark (USA), Guy R. Beining (USA), Jake Berry (USA), et al.

Sztuka Fabryka News. De Decker Geert, Editor. Sztuka Fabryka, Tielrode, Belgium.
1996-2001.
(April 1996). Computer Print. 5 1/2"x4". (2 pages). Three testimonials on behalf of the
curative powers of receiving letters from Sztuka Fabryka.
(September 1996). Computer Print. 5 1/2"x4". (2 pages). "Reconstruction of the 'Galeria
Sztuka Fabryka' logo. Used by Pawel Hipcio-founder of Sztuka Fabryka in the year 1937-as
an information flyer for his customers."
(May 1998). Computer Print. 5 1/2"x4". (2 pages). "P. Hipcio's house of birth and place
where Galeria Sztuka Fabryka was located, Zakopane-Poland."
(May 1998). Computer Print. 5 1/4"x4". (2 pages). Biography of Pawel Hipcio, Polish
founder of Sztuka Fabryka in 1937.
(April 1999). Computer Print. 5 1/4"x4". (one page). "In 1997 'Sztuka Fabryka' designed
a serie(s) of pencils for 'Spoek (P)encils'."
(September-October-November 2000). 8 1/4"x3". (one page). "For the Sztuka Fabryka
Archive a database has been compiled that is based upon our classification system that we
use for the storage of mail-Art. meanwhile we do the last works on the reorganisation for
the Archive so that in December we can start to put the information of our Archive onto
the database."
(January-February 2001). Computer print. 8 1/4"x3". (one page). "The re-organisation
of the Archive continues. meanwhile we started to put the information of our Archive into
the database. Ask us for information if you are interested about our Archive."
Tabloid Trash - Two Ton Santa
Tabloid Trash. Rusty Clark, Editor. West Springfield, Massachusetts. 1996-1997.
No. 1 (n.d.). Computer Print and Rubber Stamp. 11"x8 1/2". (2 pages). "You'll find this
'zine pretty laid back. My main interests are to keep in touch with all the carving and non-
carving friends I've made through mail art and to encourage more people to try their hand
at this cheap, easy and gratifying art. I am also looking forward to sharing the work of
other carvers with you. I have a three year archive of ALL the mail art I've received )boxes
and boxes) and there's some great stuff in there."
No. 6 (1996). Computer Print. 14"x8 1/2". (6 pages). "This sixth issue f Tabloid Trash
contains more carved art and less talk than usual. my mailbox has been overflowing with
wonderful images and I', going to squeeze in as many as I can. Many of these carvers and
images are new to TT constant readers, and frankly, I'm astounded. There's a lot more
carving going on out there than I ever realized." Contributions by Anne-Miek Bibbe
(Netherlands) Julie Hagan Bloch (USA), Zebra Man (USA), Ainslie Waller (England), Tim
Mancusi (USA), Mick Mather (USA), Sylvia Kleindinst (USA), Larry Angelo (USA), Seiko
Sato (USA), Joel Cohen (aka the Sticker Dude, USA). Tim Blackburn (aka Zetetics, USA),
the editor, et al.
No. 7 (1997). Computer Print and Rubber Stamps. 11"x8 1/2". (6 pages). "I'm still trying
to decide if having Internet access and a web page is a good thing or a bad thing for me.
It's got its advantages. I've met some of my longtime snail mail correspondents via email
and the immediacy of sending and receiving is a plus but on the other hand it just isn't the
same as getting a handmade piece of mailart in the mailbox. Seems as if many of us are
forsaking the ink and paper route for digital contact." Recommended publications.
Contributions by Tim Mancusi (USA), Larry Angelo (USA), Becky Ivancic (USA), et al.

TACT? Patricia L. Malcolm (aka Flux-Ho), Editor. San Francisco, California. (1995).
No. 1 ([1995]). Photocopy and Mixed Media. 8 1/2"x7". (32 pages). "Yeah, this is TACT?
#1. The theme of this first issue is self-portrait, all the art in it reflects the theme as
interpreted by me and the artists who mailed in their contributions. Websters dictionary
defines TACT as: the ability to do or say the right thing at the right time. I've never been
able to do this. Have you? In fact I strive to remain as tactless as possible for as long as
possible. Why? because I believe tact is just another way to silence our voice. our truth.
the reality." Contributions by M. B. Corbett (USA), Ramcell (USA), Tapio Holopainen
(Finland), John Held, Jr. (USA), Seth Mason (USA), Clemente Padin (Uruguay), David
Dellafiora (Australia), Picasso Gaglione (USA), State of Being (aka Reid Wood, USA),
Patricia Collins (England), Larry Angelo (USA), Arte Ala Carte (aka Joan Coderra, USA),
Mike Dyar (USA), Antonio Gomez (Spain), Theo Breuer (Germany), Graffiti Grafix (USA),
Scott Helmes (USA), et al.
No. 2 ([1995]). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". 39 pages. "The
theme of #2 , is jobs and while working on this issue memories and feeling of frustration,
pain, anger and shame rose to the surface while writing about past and present job
experiences...as a black/mixed race woman, who grew up lower-middle class with an
academic/intellectual mother." Contributions by Diana Mars (USA), Karen Switzer (USA),
Seth Mason (USA), et al.

Taggerzine: Isle of Views: A Participatory Fanzine. Dan Landrum, Editor. Dan
Diego, California. (1993-1994).
No. 6 ([1993]). Computer Print. 11"x4 1/4". (34 pages). "Isle of Views: Enterviews,
Interviews, Vistas & Buena Vistas...Taggerzine is a participatory fanzine. Make of it what
you will." Contributions from various zine publishers, including Paul Weinman (USA).
No. 7 (n.d.). Computer Print. 11"x4 1/4". (32 pages). "Isle of Views: A Participatory
FanDomain" becomes the standard subheading throughout the run of the periodical. "I
know enough to know that I don't know enough', hence TZ has NO EDITORIAL POLICY,
none, zippo, nada. Does that lead to anarchy in these pages, pure schlock or worse:
pointless corporate fashion/image titillations and maniac gratification? YOU DECIDE! Make
of this what you will." Contributions by Paul Weinman (USA), Janet Kuypers (USA), the
editor, et al.
No. 8 (n.d.). Computer Print. 11"x4 1/4". (40 pages). "As for 'Taggerzine,' I print 202 per
issue. They're not actually monthly (and the material is not dated), just whenever I get
around to it." Letter by Joolee Peeslee (aka Julie Peasley, USA).
No. 9 (n.d.). Computer Print. 11"x4 1/4". (38 pages). "A Participatory Fandom" with
letters and contributions by zine publishers and Mail Artists including Barbara Cooper
(USA), Julie Peasley (aka Dyslexic, USA). R. Seth Friedman (USA), et al. Insert for
"Taggerzine Specials."
No. 10 (n.d.). Color and Black & White Computer Print. 11"x4 1/4". (38 pages). "The back
page is whiere I traditionally say thanks to everyone who is playing with me in the
ZineZone, you know, you like being acknowledged & appreciated or at least seeing your
name in print somewhere-anywhere...well, er...almost anywhere. We, I've become a
victim-of-my-own-success, Taggerzine has grown too damn big. Sure it's a tiny little
pretty-near insignificant publication, but still it's bigger than my RealTime life can deal
with...So it's all or nothing-I'm not gonna select out you special ones (you know who you
are) with whom I'm having so much fun being pen-pals, or making FunBooks, or mail-
art, or whatever...Bud do me a favor don't share Taggerzine or Taggerzine Specials with
your friends...At the height of my anonymous nobodys all of a sudden I have more love,
affection, fun, intrigue-not to mention just plain bulk mail than I can handle."
No. 11 (nod.). Color and Black & White Computer Print and rubber Stamps.. 11"x4 1/4".
(22 pages). Color ink-jet printed graphics enliven the centerfold.
No. 12 (n.d.). Color and Black & White Computer Print. 11"x4 1/4". (16 pages). "...this
prototype color printer has to go back to meet it's corporate maker and be disassembled,
policy is policy...so this is the last TZ issue you'll be seeing in living color for the
foreseeable future. It's funny when TZ first c(a)me out in color John Held jr. said: 'I've
seen the future, and it is Taggerzine." Well, now, TZ's future is the past, go figure..."
Responses to past surveys in "Taggerzine Survey Questions."
No. 13 (n.d.). Computer Print. 11"x4 1/4". (12 pages). "The very last issue
ever...promise...yup, this is taggerzine's swan song. this is the end my friend." Survey
results.
No. 16 ([1994]). Computer Print. 11"x4 1/4". (32 pages). "Handy Decoder Key to the
Three (yep, count 'em) Women Mail Artists Living in Boulder, Colorado," profiles Julie
Shapiro (aka Julie Atomic, USA), Julee-Peeslee (USA) and Lorraigue Pie (USA). Contribution
by Barbara Cooper (USA). "Zinster & artists" address list.
No. 22 (n.d.). Computer Print. 11"x4 1/4". (40 pages). Mail Artists in address list include
Julie Peasley (USA), R. Seth Friedman (USA), the Pag-Rat Girl (aka Pag-hat the Rat-girl,
USA), Karen Switzer (USA), et al.
Special Edition (n.d.). Computer Print. 11"x4 1/4". (24 pages). "Paul Weinman: A
Taggerzine Special Edition...This special edition of Taggerzine is dedicated to 'Paul
Weinman-his life, his works.' Few people have the courage to stand up before the masses
and say: 'I feel different than you'. Fewer still are willing to continually put themselves on
the line, at risk to express what they truly believe in. Paul Weinman is one. You may not
agree with him, but you owe it to yourself to hear his voice. Someday you too may need to
be heard."
(n.d.). Computer Print, Rubber Stamps and Mixed Media. 11"x4 1/4". (36 pages). Cut and
bound pages of the periodical. Fragment reads, "Taggerzine is a participatory fanzine. Only
a small number (202)...are printed and a smaller number (22) are mailed out."

Taggerzine Specials. Dan Landrum, Editor. San Diego, California. (1994).
(n.d.). Computer Print. 8 1/2"x5 1/2". (20 pages). "Pesto Armageddon (end of the world &
indigestion)." Poetry, including the work of Paul Weinman (USA).
(n.d.). Computer Print. 8 1/2"x5 1/2". (28 pages). "Fine Art Rorschach: Party Series," by
Barbara Cooper (USA). "the original vivid color 'Party Series' cards are one-of-a-kind. they
are hand painted in brilliant acrylic colors. The artist, Barbara cooper comments:
'Ultimately, I decided to title this card series 'Fine Art Rorschach' as different people seem
to get very different stories out of the figures' interactions. I have taken the liberty of
putting a sentence of two with each painting to describe how I see it. You may or may mot
agree'."
(n.d.). Computer Print. 8 1/2"x5 1/2". (16 pages). "You Are What You Become," by Gabriel
Monteleone Neruda.
(n.d.). Computer Print. 8 1/2"x5 1/2". (12 pages). "Steps to Freedom," by Aloma Bloom
and Jessie Gretzinger.
(n.d.). Computer Print. 8 1/2"x5 1/2". (16 pages). "Chic-A-Go-Go (3 living in Chicago)."
Includes the work of Janet Kuypers (USA).
(n.d.). Computer Print. 8 1/2"x5 1/2". (8 pages). "Sidelong Glances," by the editor.
([1994]). Computer Print. 8 1/2"x5 1/2". (12 pages). "Aaaarrgh...grrrrr: Letters of
Reform." Letters from the editor to the "Utne Reader" and The Smithsonian. Letters
received from United States politicians Al Gore and Dianne Feinstein.
(n.d.). Computer Print. 8 1/2"x5 1/2". (20 pages). "Madonna & Marilyn: Ad Nausea," by
Lyn Lifshin (USA).

TAM-Bulletin. Ruud Jannsen, Editor. TAM (Traveling Art Mail) Archive, Tilburg,
Holland. 1985-(1995).
(1983). Photocopy. 5 3/4"x 4 1/4". (16 pages). Contributions by Vlasis Rassias (Greece),
Carlo Pittore (USA), Lucien Suel (France), Henk Fakkeld (Holland),
No. 1984.5 (1984). Photocopy and Rubber Stamp. 11 3/4"x8 1/4". (one page). "The
TAM-bulletin is an irregular issued paper with new about mail-art projects." Mail Art
exhibition, project and publication opportunities. Contribution by Birger Jesch (East
Germany).
No. 1984.7 (1984). Photocopy. 11 3/4"x8 1/4". (one page). Mail Art exhibition, project
and publication opportunities offered by Luc Fierens (Belgium), Gza Perneczky (West
Germany), Nenad Bogdanovic (Yugoslavia), et al.
No. 1984.9 (July 25, 1984). Photocopy. 11 3/4"x8 1/4". (one page). Mail Art exhibition,
project and publication opportunities. Insert on the "TAM-bulletin" reads, "What is the TAM-
BULLETIN? (or 'how it works..') 1- The TAM-bulletin is a kind of service to the MA-network.
2- Invitations for MA-projects are collected until one A4-page is full. 3-It is then copied and
sen(t) with the outgoing mail from TAM. 4- As soon as a new A4-pages is full the old one
isn't copied anymore. This means that the bulletins appear in a limited edition and change
very quick (sometimes after even one week there is already a new bulletin!). 5- If possible
the person who receives the bulletin can copy it for his friends. 6- And this way MA-
information travels very fast to all parts of the world."
No. 1984-11 (August 17, 1984). Photocopy. 11 3/4"x8 1/4". (one page). Mail Art
exhibition, project and publication opportunities. "Many thanks to everybody who has sent
prints of rubberstamps for the TAM-rubberstamp-archive! Today there are 165 mail-artists
who have sent in their stamps (29 different countries)."
No. 1984-16 (October 1, 1984). Photocopy. 11 3/4"x8 1/4". (one page). Mail Art
exhibition, project and publication opportunities. "No copyright, so copy for your friends!"
No. 1985-4 (March 8, 1985). Photocopy. 8 1/4"x5 3/4". 8 pages. "As you can see this
bulletin is more pages then the previous one. Lack of time is the reason that this bulletin
comes out later then planned. To print all the messages received for this bulletin I needed
some extra pages. If you haven't the time to read this whole bulletin (pity you!) you
mustn't forget to read the 'news from the TAM-front', because a lot of things happened
lately." Mail Art exhibition, project and publication opportunities. A diagram of, "The TAM-
Activities," includes "Projects, Bulletins, Rubberstamp Archive, Music, Poetry." "News from
the TAM-Front," includes the editor's "Computer-Mail-Art Project," and "TAM Was
Here,"(installation photo of the exhibition at Melveg, Amsterdam, Holland), and a
forthcoming lecture "at the school in Boxtel where I work."
No. 1985.5 (April 10, 1985). Photocopy. 8 1/4"x5 3/4". 8 pages. "Thank you all for the
beautiful mail you sent to me. The only problem of getting this much mail is that I can't
answer it all...sorry! TAM is a one-man organisation. Mail-art is more alive then ever as you
can see: a lot of new projects started with spring. I hope you enjoy reading this bulletin,
and don't forget to read the news from the TAM-front: the second 'TAM was Here'
exhibition will be in Italy from 3-8 till 16-8!" Mail Art exhibition, project and publication
opportunities. "News from the TAM-Front." "Some news about the TAM-bulletin: As you
know I can't send each bulletin to every mail-artist I write to, because the edition would
then be about 1000, and I can't send out that much mail every month. Only a few friends
get each bulletin, and also you if you promise me to copy it a few times and send it to
friends of yours."

No. 1985.6 (July 12, 1985). Photocopy. 8 1/4"x5 3/4". 12 pages. "The TAM-bulletin is
an irregular mag with news about mail-art projects and events." Announcement for the
"First International Swiss MA-Congress 1985/86," proposed by H. R. Fricker (Switzerland)
and Gnther Ruch (Switzerland). Mail Art exhibition, project and publication opportunities.
Contributions by Klaus Groh (West Germany), Ubalso Gioacomucci (Italy), E. Seifried (East
Germany), Henning Mittendorf (West Germany), Clemente Padin (Uruguay), Julie Hagan
Bloch (USA), Jo Klaffki (aka Joki Mail Art, West Germany), et al. "News From the TAM-
Front," including news of the "TAM-rubberstamp archive" and the "Computer-mail-art
project." "Once again something about the TAM-bulletin. Some people send me commercial
advertisements about things they want to sell to mail-artists. I won't normally print those
things. As Lon Spiegelman once said: Money & Mailart don't mix, and I agree." Edition
58/300.
No. 86.1 (February 9, 1986). Computer Print and Rubber Stamps. 11 3/4"x8 1/4". (2
pages). "As most of you will have noticed the TAM-bulletin was on vacation for a
while...But as you also can see I started using a computer now to get things done...Well, I
hope you like this new version of the TAM-bulletin. If you want to get the next one please
send me something in return. The previous bulletins were printed at a printshop (with a
circulation of 150-300). Because this was too exp(n)sive I sue now my computer printer,
and the circulation will be very small." "News from the TAM-Front," includes information on
the "TAM-was here" project, exhibited at Melweg, Amsterdam, Holland, and Ponte Nossa,
Italy, where the editor met Ruggero Maggi (Italy), Roberto Mascheroni (Italy), and Emilio
Morandi (Italy), et al.. Mail Art exhibition, project and publication opportunities.
No. 1986.3 (May 5, 1986). Computer Print and Sticker. 11 3/4"x8 1/4". (3 pages).
"Well; the new computerized bulletin is going a bit better now. I still sometimes have to
find the time and money to send them out, but the circulation is now smaller, so that
makes things easier. I want to thank E. Seifried, Private World, Peter Kstermann, Pat Fish,
Poul Esting, Pierre Marquer, Darlene Altschul, Darla and all the others who copy this
bulletin. In this way lots of mail-artists enlarge their own network. In the future I hope to
spread this bulletin by phone, but there are not that many mail-artists who use a computer
(and also have a printer, a modem and telephone). I know that I'm now planning for the
future, but mail-artists all over the world must realize that the future of the mail-art-
network depends on the search towards new things. The regular mail-art letter and
postcard will vanish in the coming years because of the new communication-techniques
which are coming. A new way of communication could be the transfer of data (and that
could be dada-data) and art through computer-networks. This new form of mail isn't that
far away! In fact it already exists in a limited size." Mail Art exhibition, project and
(November 1985). Photocopy. 8 1/4"x5 3/4". (one page). "Dear Friends, Editing the
TAM-bulletin is a beautiful job but at the moment is costs too much time and money to
keep it up. it stopped me from keeping up with my 'personal' mail-art and I really like to
get back to this. Also my work as a science-teacher and my study in Informatics ask too
much time at the moment. So for a short period the TAM-bulletin is now on vacation after
its 21 issues..."
No. 1987.01 (April 25, 1987). Photocopy. 8 1/4"x5 3/4". 12 pages. "The TAM-bulletin is
an irregular issued paper with news about mail-art projects and more...!" "From the
Editor...Yes, you are correct, this is the next TAM-bulletin. It took more then one whole
year before it came out, but I finally managed it. It is also the biggest circulation ever sent
out. The last TAM-bulletin had an edition of 300 copies. This one has an edition of 400
copies." Mail Art exhibition, project and publication opportunities. "News from the TAM-
Front:..the influence of some mail-art 'projects' is greater than one might imagine. For
instance the MAIL-ART CONGRESSES. This project (the word projects for this is an
understatement) by H. R. Fricker and Gnther Ruch is still a topic about which mail-artists
keep talking and writing. .." Listing of 245 artists (and their addresses) participating in the
editor's, "Bank Art Project." Edition 16/400.
No. 87.7 (1987). Computer Print. 9 3/4"x8 1/4". (one page). "The new TAM-BULLETINS
you can only red by calling a BBS (=Bulletin Board Service) in Tilburg. The configuration for
calling this BBS is:...P.S. You first have to tell me you want to call for the TAM-bulletin. If
you have difficulties in contacting the BBS just write me and I myself will create your
entrance-code...I understand that it is very difficult for people who don't have a computer
or modem to red the new TAM-Bulletins, but I will publish a list of people who download
the bulletins. So you can write to them for you new copy of the TAM-Bulletin. This new
version from the TAM-Bulletin can be updated much faster by me and only a few minutes
after I finished it you can download it yourself. Welcome to the new communication-world!"
No. 87.09 (August 26, 1987). Computer Print and Rubber Stamps. 16"x8 1/4". (one
page). Mail Art exhibition, project and publication opportunities. Notice of "An Annotated
Bibliography of Mail Art," by John Held, Jr. (USA).
TAM-940027 (April 1994). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". (6
pages). "In 1985 the TAM-bulletin started as a mail-art magazine. Two years later the
bulletin got computerized, and got accessible by computers through a BBS system. not
many mail-artists used this new form, so I started a new concept besides the computerized
version: The 'add & Pass on' -concept. What you red now is a (print-out) of the
computerized version. The 'add & pass on"-versions are quite rare because they are
handmade and grow when they are circulated in the network." "News from the TAM-Front,"
includes information that, "In April 1994 I decided to make again the Computerized TAM-
Bulletins and include a selection of new mail-art projects in them. Not a complete overview
like in 'Global Mail' from the USA, but just a random selection of projects which might be
interesting for you. To spread the information I also make a few print-outs of this bulletin."
Mail Art exhibition, project and publication opportunities." "The Computerized Tam-
Bulletin...is a mail-art magazine that contains news from the TAM-front, news about mail-
art meetings and (mostly) news about mail-art projects. The TAM-Bulletin can be uploaded
from the TBHS (The TAM Bulletin Host System, since 1990, a BBS that is accessible by
appointment only (call by voice for the appointment or write me in advance which date &
time you want to make contact with my computer). The computer contains besides the
latest TAM-Bulletins also texts that I write about mail-art, texts others sent to my
computer, and other bits and pieces in digital form."
TAM-940030 (May 1994). Computer Print and Rubber Stamps. 8 1/4x 5 3/4". (8 pages).
"News from the TAM-Front," mentions the editor's other projects including the TAM-
Rubberstamp Archive, a compilation of Mail-Art address lists, "Dead mail artists list," and
"Words and Abbreviations" used in mail-art. Mail Art exhibition, project and publication
opportunities. "Dead Mail-Artists," listing inserted.
(July/August 1993). Photocopy, Rubber Stamps and Mixed Media. 8 14"x5 3/4". (20
pages). Assembling magazine. "How to use the TAM-bulletin: participate in the projects
you like, add projects you have received informations about and sent the bulletin to
another mail-artist. Keep the TAM-bulletins circulating!" Original contributions of Mail Art
exhibition, project and publication opportunities by Michael Pollard (Indonesia), M. B.
Corbett (USA), A.1. Waste Paper Company (England), Laura Gianfreda (Italy), the editor,
et al.
(1995). Photocopy, Rubber Stamps and Mixed Media. 5 3/4"x4". (22 pages). Assembling
magazine. "In 1985 the TAM-bulletin started as a mail-art magazine. Two years later the
bulletin got computerized, and got accessible by computers through a BBS system. not
many mail-artists used this new for, so now there is a new concept...Rules; Every TAM-
bulletin is an original. it contains mail-art info's that mail-artists send to me so if you want
to spread your mail-art invitations, you have to send several of them to TAM. I will pass
them out with this TAM-Bulletin. The reason for this form is to make a magazine that
doesn't look like a xerox-product, but rather a collection of what is going on in the mail-art
network. Also the invitations look like the mail-artists intended them to be. Try to reduce
the Xerox-production a bit. Also other mail-art products that I receive )art-stamps,
stickers, etc...) I can include in the new TAM-bulletin. Special request is to send in original
RUBBERSTAMPS, which I will use in the TAM-bulletin. After that, the rubberstamps stays in
the TAM rubberstamp Archive. TAM-bulletins are sent out randomly. so there is no fixed
mailing-list, nor a subscription-rate. People who send in a rubberstamp surely will get a
copy, because they make me very happy with this gift. " Contributions from M. B. Corbett
(USA), Zetetics (USA), Jorge Garnica (Argentina), Altor (Italy), Pas de Chance (Canada),
John Held, Jr. (USA), Pascal Lenoir (France), Factor X (England), Tarzana Savannah (USA),
Ryosuke Cohen (Japan), et al.

TAM Rubberstamp Archive Information-Newsletter, The. Ruud Janssen, Editor.
TAM Rubberstamp Archive, Tilburg, Holland. 1993-1984-1996).
(May 21 1984). Photocopy and Rubber Stamp. 3 pages. "At the time you get his list:
Rubber-stamps from 104 artists. Which live in 24 different countries." List of contributors
to the "Rubber-Stamp Archive."
(May 6, 1985). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". 6 pages. "Almost every
mail-artist uses rubberstamp; name-stamps, bought rubber-stamps, self-designed
rubberstamps and self-made rubberstamps. T. A. M. is collecting all the prints of these
rubberstamps which mail-artists use, and hopes to get one of the biggest archives of
rubberstamp-prints./The list with examples which now lies in front of you gives you the
names and addresses of all mail-artists who have sent prints for the archive. The list is not
in alphabetic order, because the archive expands every day. It isn't possible to put all the
prints beside the names, because there are to many. the number besides the rubberstamp-
print refers to the mail-artist who has sent this print...Beside the rubberstamp-prints the
archive also contains catalogs, books, magazines and-of course-original
rubberstamps...There are rubberstamps from 365 artists, which live in 37 different
countries."
(August 24, 1985). Photocopy. 8 1/4"x5 3/4". 6 pages. "There are rubberstamps from
518 artists, which live in 38 different countries." Contributions by Jaroslav Supek
(Yugoslavia), Dobrica Kamperelic (Yugoslavia), Bill Gaglione (USA), Guy Bleus (Belgium),
Rockola (USA), Bernd Lbach-Hinweiser (West Germany), Salvatore De Rosa (Italy), Joki
Mail Art (West Germany), Stewart Home (England), et al.
No. 1993.02 (February 15, 1993). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". 9
pages. "Introduction...The rubberstamp-Archive is now almost 10 years old. Almost every
day more contributions come in. Several documentaions about this archive are previously
make, and in this newsletter you will find an overview of all the previous publications. This
newsletter is updated every two months and sent to people who inform about the archive.
"Historic Overview." "What there is in the TAM RUBBERSTAMP-ARCHIVE." "Countries," a
listing of 62 nations from which participants have contributed, and the number of
contributors from each. "Numbers," with dates that stamp-sheets were circulated into the
Mail Art network. "Latest News."
No. 930005 (November 23, 1993). Computer Print, Rubber Stamp and Sticker. 8
1/4"x4". (6 pages). "Spread this news to you(r) mail-art friends, since it is impos-sible to
send this information-newsletters to all participants! Thank you, and keep sending in the
prints of the new rubberstamps you make." "Introduction." "Historic Overview." "What
There is in the TAM-Rubberstamp Archive." "Stamp Sheets." "Latest News," includes notice
of the status of the Archive. "All donations are still very welcome! Due to the fact that the
archive is kept in boxes, it is not really accessible for visitors. If this changes I will inform
you by messages in the current mail-art magazines. for research purposes I am always
willing to cooperate. I recently made a collection of prints of all original rubberstamps in
the Archive. Ask for details if you are interested."
No. 1995.04 (April 28, 1995). Computer Print, Rubber Stamps and Sticker. 11 3/4"x8
1/4". 4 pages. "Introduction...The Rubberstamp-Archive is now almost 12 years old and
every day more contributions come in. "Historic Overview." Events," which includes notice
of significant publications and activities associated with the Archive. "What There is in the
TAM-Rubberstamp Archive," including printed sheets returned by contributors, magazines
and books about rubber stamps, Mail Art exhibition catalogs about rubber stamps, and
catalogs from rubber stamp companies. "Stamp-Sheets," documenting the distribution of
stamp-sheets sent into the MailArt network. "Latest News," including notice of a
forthcoming exhibition and publication.
(November 1995). Photocopy. 11 3/4"x8 1/4". (2 pages). Participant list of contributors
to the TAM Rubberstamp Archive, which includes 1510 participants from 68 countries as of
the publication date.
TAM-96013 (May 10, 1996). Computer Print, Rubber Stamp and Sticker. 11 3/4"x8
1/4". 34 pages. "Address-List Participants: Updated till May 10th 1996." Listing of
contributors, and their address, to the TAM Rubberstamp-Archive. Sixty-seven countries
represented. Significant listing of those involved in Mail-Art over the past decade.
No. 96-04 (April 1996). Computer Print, Rubber Stamps and Mixed Media. 11 3/4"x8
1/4". 5 pages. "The Rubberstamp-Archive is now over 12 years old and every day more
contributions come in. Several documentations about this archive are previously made, and
in this newsletter you will find an overview of all the the publications. This newsletter is
updated every month and is sent to mail-artists, mail-art archives and magazines to inform
about the rubberstamp archive." "Historic Overview," "Events." "What There is in the TAM-
Rubberstamp Archive." "Stamps-Sheets." Latest News."
No. 96-06 (June 1996). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". 8 pages. "A
limited edition of this newsletter is printed in booklet form and sent into the network.
Normally the newsletter is printed with small letters, but for this booklet I used a special
layout. Edition: 200 copies." "Events" lists activities of the TAM Rubberstamp Archive since
October 1983 through forthcoming events in October 1996 (Stamp Art Gallery, San
Francisco, exhibition). Notice of rubber stamp publications.
No. 96.07 (July 1996). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". 10 pages.
"Introduction." "Historic Overview." "Events," includes "June 1996: A limed edition of the
updated newsletter is printed in booklet form and sent again into the network. Normally
the newsletter is printed in small letter, but for this booklet I used a special layout. Edition:
200 copes. Together with this booklet and also separately special stamp-sheets are printed
which can be sent directly to San Francisco for the upcoming exhibition. Because it is
impossible to exhibit all the items of the TAM Rubber Stamp Archive-collection, in this way
the contributors can still send in the prints of rubberstamps they think should be exhibited.
For me it will be a surprise too which sheets will join the collection since the exhibition will
be arranged by John Held Jr. from Stamp Art Gallery."
No. TAM-960143 (August 1996). Computer Print and Rubber Stamps. 12 pages. "The
Rubberstamp-Archive is now almost 13 years old and every day more contributions come
in. Several documentations about this archive are previously made, and in this newsletter
you will find an overview of all the other publications. This newsletter is updated every
month and is sent to mail-artists, mail-art archives and magazines to inform about the
rubberstamp archive. "Historic Overview, " including "July 1996: The 15,000 stampsheet
was printed." "What there is the TAM-Rubberstamp Archive." "Stamp Sheets," includes the
statement that, "The statistical numbers show that the average amount of invitations that
is sent out comes to 1000 each year. The stamp-sheets are sized half-A4 (Which size
depends on the choice I made with printing the sheets, there are two forms! Also I
sometimes use colored paper to make the archive look more divers)...For the exhibition in
San Francisco I made special stamp-sheets which mail artists have to send in before
October 5th 1996..."
TAM 960157 (October 15, 1996). Computer print and Rubber Stamps. 15 pages. "The
TAM Rubber Stamp Archive," by the editor. "This is the text that goes with the lecture on
Saturday 26 October 1996 at the Stamp Art Gallery in San Francisco where a small
selection of the TAM Rubber Stamp Archive will be shown. The exhibition was opened on
October 5th and will hang there till end October. In this lecture I will tell something about
the archive, the history, and in fact tell about some of the detains mentioned in the
newsletter that I have been spreading about the archive."

Tamotsu Watanabe. Tamotsu Watanable, Editor. Tokyo, Japan. 1988.
No. 2 (April 1988). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (10 pages).
Documentation of "Add To & Return" project by the editor. Thirty-one contributors listed
including Joki Mail Art (aka Jo Klaffki, West Germany), B.E.R.M. (East Germany), Heino
Otto (West Germany), Arturo Fallico (USA), Ever Arts (Holland), Kowa Kato (Japan),
Salvatore De Rosa (Italy), Shigeru Nakayama (Japan), Daniel Daligand (France), G. X.
Jupitter-Larsen (Canada), Luc Fierens (Belgium), Bruno Capatti (Italy), Brad Goins (USA),
Sabine Wohlrab (East Germany), John Held, Jr. (USA), et al. Edition 29/30.
No. 9 (November 1988). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (4 pages).
Documentation of editor's "Add To & Return," project. Seven contributors including JJ & Co
Communication Ent. (Italy), Atman (USA), Oh Boy (aka John Tostada, USA), DKA
Productions (aka Darlene Altschul, USA), Daniel Daligand (France), Kjell Nyman (Sweden),
and John Held, Jr. (USA), Edition 7/7.
No. 12 (December 1989). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (4 pages). "I
sent 250 xeroxs with my marks to mail artists during 1987 to 1988. On the 250 xeroxs,
100 were returned to me with fantastic added improvement. To my surprise, some of the
mail artists made tens of extras copies of their xerox and sent them to their friends. One
after another I received all of those improved copies, in total more than 400, thus I was
introduced to even more mail artists. Finally, I made brochures numbered 2 to 11 based on
the returned and improved copies and sent them to those mail artists. number 2, 10,11
brochures are based on original xeroxs I sent to mail artists. Number 4 of the brochure is
based on Salvatore De Rosa's improvement, No. 5 is based on Guido Bondioli's
improvement, No. 6 is based on Lambi Caravita's improvement, No. 7 is based on Mike
Duquette's improvement, No. 8 is based on Rene Monte's improvement, No. 9 is based on
John Held, Jr.'s improvement." Names and addresses of Mail Artists from 23 countries that
participated in the project.

Tampon De-Collage. Ted Purvis, Editor. Stamp Art Gallery/Archive Editions, San
Francisco, California. 1996.
No. 1 (Spring-Summer 1996). Photocopy and Rubber Stamps. 5 1/2"x4 1/4". (8 pages).
Rubber stamp contributions by Jessica Goddard (USA), Bill Gaglione (USA), and the editor.
No. 2 (Spring-Summer 1996). Photocopy and Rubber Stamp. (8 pages). "Stamp Action
for Yves Klein," by Diana Mars (USA). Cover by the editor. Breast prints in IKB by the Mars.
Edition 18/30.
No. 6 (Fall 1996). Photocopy and Rubber Stamps. 5 1/2"x4 1/4". (8 pages).
"tensemosaicdecollage," consisting of "Mosaic Ingredients submitted by M. B.
Corbett/Arranged by the Tampon De-Collage Editorial Committee."
No. 12 (Winter 1996). Photocopy and Rubber Stamps. (8 pages). "Field Study...A
Catalogue of Stamps used for Field Studies including those used in the business,
correspondence and publication of those studies by David Dellafiora." Rubber stamps by
the Australian Mail Artist.

Taproot. Luigi-Bob Drake, Ed. Burning Press, Cleveland, Ohio. 1990.
No. 22 (1990). Computer Print and Rubber Stamp. 8 1/2"x7". 46 pages. "Co-Labor-ative
Writing...Welcome to the 'ColLaboration Projekt,' an ongoing discussion about the process
of collaborative creative writing. The project is intended to be an experiment in interactive
critical commentary, an examination by example, and a stimulus for further creative work.
...You are holding in your hands the second full installment-many thanks to all the
participants who have been so generous with their responses and so patient for this
report...While much Mail Art is not primarily written (or even concerned with categories like
'writing' or 'art'), the concern with communication and interaction between people seemed
relevant; certainly more important than any distinctions between 'writers' & 'mail-artists'."
Contributions by Robin Crozier (England)/John M. Bennett (USA), John M. Bennett/C. Merle
Bennett (USA), Miekal And (USA)/Liz Was (USA), Jake Berry (USA)/John Eberly (USA),
Michael Leigh (England)/Hazel Jones (aka A-1 Waste Paper Company, Ltd., England).
Additional contributions by Stefan Szczelkun (England) and Rod Summers (Holland), Al
Ackerman (USA), et al. "Bibliography," by J. W. Curry (Canada).

Temple Post. Jos Vandenbroucke, Editor. The Temple, Deerlijk, Belgium. 1989-
1992.
(April 5, 1989). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (30 pages). Stamped "04-
05-1989," but there are works appearing in the issue from 1990. "The Temple - research
and distribution of images." Collage of mail received and photographs from The Temple.
Contributions by Emilio Morandi (Italy), Vincze Lszl (Romania), Guido Bondioli
(Guatemala), Anna Banana (Canada), Shozo Shimamoto (Japan), Mayumi Handa (Japan),
Clemente Padin (Uruguay), A1 Waste Paper Co. (England), Mike Duquette (Canada),
Gerard Barbot (USA), Dobrica Kamperelic (Yugoslavia), Jenny De Groot (Holland), et al.
(February 19, 1990). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (8 pages). Special
issue of Belgian Mail Artists with contributions by Mettalic Avau, Societe Anonyme, Charles
Franois, De Media (aka Jan De Boever), Luc Fierens, Simon Baudhuin, De Decker Geert,
Guy Bleus, Kristof D'Haeseleer, et al. Inserted "open letters" in response to mail received
from John held, jr. (USA), Julia and Gyrgy Galantai (Hungary), Mark Bloch (USA), Luigi-
Bob Drake (USA), Kristof D'Haeseleer Belgium, et al. (forerunner of "Temple Post
Gazetta.")
(January 5, 1991). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (22 pages). "In
Memoriam Achim Weiglet," pays tribute to the late West Germany Mail Artist. Contributions
by Vincze Ferenc Gyrgy (Romania), FaGaGaGa (USA), Csar Figueiredo (Portugal),
Clemente Padin (Uruguay), John Held, Jr. (USA), Luc Fierens (Belgium), Ruggero Maggi
(Italy), Robin Crozier (England), et al. Original photograph of the editor with Robin Crozier
in Sunderland, England, inserted.
(July 7, 1991). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (pages number 43-66).
"Temple News," includes notice of a visit by Jos Oliveira (Portugal), and a forthcoming trip
to Romania. Contributions from Andrej Tisma (Yugoslavia), Jenny De Groot (Holland),
FaGaGaGa (USA), Dobrica Kamperelic (Yugoslavia), Vittore Baroni (Italy), Clemente Padin
(Uruguay), De Decker Geert (Belgium), Rea Nikonova (Russia), Serge Segay (Russia),
Pawel Petasz (Poland), John Held, jr. (USA), Ruud Janssen (Hollnd), Lon Spiegelman
(USA), et al.
([January 1992]). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (pages numbered 99-
130). Contributions by Crackerjack Kid (USA), Charles Franois (Belgium), Gerard Barbot
(USA), Dobrica Kamperelic (Yugoslavia), Clemente Padin (Uruguay), Ryosuke Cohen
(Japan), Ruggero Maggi (Italy), Daniel Daligand (France), Gyrgy and Vincze Laszlo
(Romania), Made Balbat (Estonia), Jenny De Groot (Holland), Graciela Marx (Argentina),
Michel Pollard (People's Republic of China), Vittore Baroni (Italy), et al. "Networking in War
conditions," by Andrej Tisma (Yugoslavia).
([June 1992]). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (pages numbered 131-
158). "Congress Solitaire." Contributions by Robin Crozier (England), Shozo Shimamoto
(Japan), Mayumi Handa (Japan), Guido Bondioli (USA), Luce Fierens (Belgium), Graciela
Genesis Marx (Argentina), Emilio Morandi (Italy), Made Balbot (Estonia), Jenny De Groot
(Holland), Ruud Janssen (Holland), Vincze Ferenc Gyorgy (Romania), Vincze Laszlo
(Romania), A1 Waste Paper Co. (England), Eugene Shashkin (Russia), Michel Pollard
(USA), Andrej Tisma (Yugoslavia), Geert De Decker (Belgium), et al.
(July 11, 1992). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (pages numbered 159-
197)). "Networking Under Embargo," by Andrej Tisma (Yugoslavia). "People in the Streets
are Talking About Mail-Art," by Svjetlana Mimia (Croatia). "Better/Best/Net-Hierarchy," by
the editor. Notice of a "Decentralized Networker Congress" in St. Petersburg, Russia,
January 18, 1992. Contributions by Julee Peezlee (USA), Made Balbot (Estonia), Robin
Crozier (England), Peter W. Kaufmann (Switzerland), Rea Nikonova (Russia), Serge Segay
(Russia), De Decker Geert (Belgium), Ruud Janssen (Holland), Vittore Baroni (Italy),
Dobrica Kamperelic (Yugoslavia), Vincze Laszlo (Romania), Maillory Moad (aka The
Moadster, USA), Malok (USA), Guy Bleus (Belgium).

Temple Post Gazetta. Jos Vandenbroucke, Editor. The Temple, Deerlijk, Belgium.
1996.
(January 14, 1996). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (2 pages). "Open
letters" by the editor in response to correspondence received January 8-12, 1996.
responses to Lancilloto Bellini (Italy), Baudhuin Simon (Belgium), Ruggero Maggi (Italy),
Guido Vermeulen (Belgium), Reika Yamamoto (Japan), John Held, Jr. (USA) and Picasso
Gaglione (USA), Clemente Padin (Uruguay), Jenny De Groot (Holland), Ruud Jannsen
(Holland), Igor Bartolech (Yugoslavia), Keiichi Nakamura (Japan), et al.
(February 21, 1996). Photocopy, Rubber Stamps and Mixed Media. 11 3/4"x8 1/4". (4
pages). "Open letters" by the editor in response to correspondence received from Svjetlana
Mimica (Croatia), Marta Irene Varela (Argentina), Andrej Tisma (Yugoslavia), Igor
Bartolech (Yugoslavia), Guido Vermeulen (Belgium), Emilio Morandi (Italy), Geert De
Decker (Belgium), Serge Segay (Russia) and Rea Nikonova (Russia), Baudhuin Simon
(Belgium), Guy Bleus (Belgium), Luce Fierens (Belgium) and Annina Van Sebroeck
(Belgium), Ann-Miek Bibbe (Holland), John Upton (Scotland), Dobrica Kamperelic
(Yugoslavia), Shozo Shimamoto (Japan), Jenny De Groot (Holland), Sabine and Darko Vulic
(Switzerland), Charles Franois (Belgium, et al. "This gazetta will be given to all
participants of the Djeuner Sur L'Art meeting at Sztuka Fabryka's place (The Vodka
Congress on 24feb96), to all senders of the treated mail, and to Vincze Laszlo, "Global
Mail," Made Balbat, Clemente Padin, Cracker Jack Kid Chuck Welsh..."

Tensetendoned. Michael B. Corbett, Editor. Preston Park, Pennsylvania. 1992-
1998.
No. 1 (December 1992). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. "Tensetendoned: A networker periodical of accumulation and
distribution. Send 56 originals, copies, postcards, or 120 stickers 12x20 cm (5"x8") or
smaller and in return receive an assembled collection of submitting artists' work. NO
DEADLINE...Ongoing and constant...Media and theme open...Exist to Serve." Each issue
contains participants contributions, and an accompanying participant list. Twenty-four
contributors including Clemente Padin (Uruguay), Antonio Gomez (Spain), Luce Fierens
(Belgium), Shozo Shimamoto (Japan), Mayumi Handa (Japan), Ruggero Maggi (Italy), Altor
(Italy), JEM (aka Joy McManus, USA), Gerard Barbot (USA), Bern Porter (USA), Vagrich
Bakhchanyan (USA), FaGaGaGa (USA), Crackerjack Kid (USA), Arte Ala Carte (USA), Mark
Hamilton (USA), (USA), State of Being (USA), et al.
No. 2 (February 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Twenty-eight contributors including Voith Andras (Hungary), Xavier
Mulet (Spain), Ben Tripe (Belgium), Andrej Tisma (Yugoslavia), Anines Macadam
(Argentina), Emilio Morandi (Italy), Michael Fox (Germany), Guillermo Deisler (Germany),
Sal Wood (England), Buttons (USA), Mono (USA), Musicmaster (USA), JEM (USA), Jonathan
Stangroom (USA), Crackerjack Kid (USA), Sheba (USA), et al.
No. 3 (March 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Twenty-nine contributors including Magda Lagerwerf (Holland), Ben Tripe
(Belgium), Natalia Follardt (Hungary), Solamito Luigino (Italy), Marcel Stssi (Switzerland),
Stefan Szczelkun (England), Harmut Graf (Germany), Hans Braumller (Germany), P. L. G.
Frieslaender (Germany), Crackerjack Kid (USA), Dogfish (USA), Desirey-Dodge (USA),
FaGaGaGa (USA), Buttons (USA), Arte Ala Carte (USA), Jonathan Stangroom (USA), Bob
Kirkman (USA), et al.
No. 4 (April 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Colleen Rohnstrock (Ireland), Clemente Padin
(Uruguay), Reiu Tuur (Estonia), Andrej Tisma (Yugoslavia), Anna Banana (Canada), Witta
Jansen (Denmark), Marcel Herms (Holland), David Dellafiora (England), Artpool (aka
Gyrgy and Julia Galantai, Hungary), Emilio Morandi (Italy), Bartek Nowak (Poland),
Guillermo Deisler (Germany), Musicmaster (USA), Jennifer Huebert (USA), Julee-Peezlee
(USA), Obvious Front (USA), Arte Ala Carte (USA), Voith Andras (Hungary), Reed Altemus
(USA), Crackerjack Kid (USA), State of Being (USA), et al.
No. 5 (May 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2".
Unpaged. Assembling magazine. Thirty-one contributors including Pascal Lenoir (France),
Artpool (Hungary), Clemente Padin (Uruguay), Antonio Gomez (USA), Ruth Knecht
(Germany), Jrgen Olbrich (Germany), Giovanni Strada (Italy), Altor (Italy), Crackerjack
Kid (USA), Reed Altemus (USA), Jonathan Strangroom (USA), Bern Porter (USA), The
Haddock (USA), Artie Bohm (USA), David Hunter (USA), Teresinka Pereira (USA), Mark
Hamilton (USA), et al.
No. 6 (June 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Guy Bleus (Belgium), Pascal Lenoir (France),
Colleen Rohnstock (Ireland), Voith Andras (Hungary), Clemente Padin (Uruguay), Andrej
Tisma (Yugoslavia), Rora and Dobrica Kamperelic (Yugoslavia), Antonio Gomez (Spain),
Pere Sousa (Spain), Jrgen Olbrich (Germany), Gullermo Deisler (Germany), P. L. G.
Frieslaender (Germany), Altor (Italy), Crackerjack Kid (USA), Arte Ala Carte (USA), David
Hunter (USA), et al.
No. 7 (August 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-two contributors including Clemente Padin (Uruguay), Dobrica Kamperelic
(Yugoslavia), Raphael Nadolny (Poland), Theo Breuer (Germany), David Dellafiora
(England), Michael Lumb (England), Jonathan Stangroom (USA), Daniel Plunkett (USA),
buZ blurr (USA), Mike Dyar (USA), Carl Pittore (USA), Alice Borealis (USA), Arte Ala Carte
(USA), et al.
No. 8 (September 1993). Color and Black & White Photocopy and Mixed Media. 8 1/2"x5
1/2". Unpaged. Assembling magazine. Color front cover by Jonathan Stangroom (USA).
Thirty-one contributors including Svjetlana Mimica (Croatia), Guy Bleus (Belgium),
Franzobel (Austria), Kurt Beaulieu (Canada), Magda Lagerwerf (Holland), Piet Franzen
(Holland), Jrgen Olbrich (Germany), Crackerjack Kid (USA), John M. Bennett (USA), JK
Post (USA), Mike Dyar (USA), Julee Peezlee (USA), Alice Borealis (USA), et al.
No. 9 (October 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-two contributors including Svjetlana Mimica (Croatia), Dobrica Kamperelic
(Yugoslavia), Clemente Padin (Uruguay), Bartek Nowak (Poland), Antonio Gomez (Spain),
Jrgen Olbrich (Germany), Silvia Barsi (Italy), John M. Bennett (USA), Mike Dyar (USA),
Alice Borealis (USA), Obvious Front (USA), Stephen s'Soreff (USA), Sheba (aka Exotica
Post, USA), Willie Marlowe (USA), Arte Ala Carte (USA), Jennifer M. Huebert (USA), et al.
No. 10 (November 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Note the contributions of artists from Yugoslavia (Serbia), Croatia
and Bosnia during the Balkan crises. Thirty-two contributors including Gerardo Yepiz
(Mexico), Darko Vulic (Bosnia), Andrej Tisma (Yugoslavia), Svjetlana Mimica (Croatia),
Paulo Bruscky (Brazil), Mogen Otto Nielsen (Denmark), Carlos Montes de Oca (Chile),
Marcel Stussi (Switzerland), Anines Macadam (Argentina), Jean-Franoise Robic (France),
Lucien Suel (France), Ruud Janssen (Holland), Theo Breuer (Germany), Hartmut Andryczuk
(Germany), Crackerjack Kid (USA), Ray Johnson (USA), Mike Dyar (USA), Arte Ala Carte
(USA), J. B. Dodd (USA), et al.
No. 11 (December 1993). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. "First Anniversary Issue." Thirty-one contributors including Byron
Black (Indonesia), Ian Gunn (Australia), Klaus Rupp (Germany), Bruno Sourdin (France),
Ruggero Maggi (Italy), Giovanni Strada (Italy), M. Greenfield (England), John M. Bennett
(USA), Jonathan Stangroom (USA), Ashley Parker Owens (USA), Reed Altemus (USA), Alice
Borealis (USA), afungusboy (USA), Rusty Clark (USA), C. Reider (USA), et al.
Assembling magazine. Thirty-one contributors including Kurt Beaulieu (Canada), Svjetlana
Mimica (Croatia), Paulo Bruscky (Brazil), Andrej Tisma (Yugopslavia), Carlos Montes de Oca
(Chile), Altor (Italy), Antonio Gomez (Spain), Anines Macadam (Argentina), Jrgen Olbrich
(Germany), Hartmut Andryczuk (Germany), Theo Breuer (Germany), Patricia Collins
(England), John M. Bennett (USA), Jonathan Stangroom (USA), Alice Borealis (USA),
SolarZ (aka Barbara Solarz (USA), Rusty Clark (USA), Carolyn Substitute (USA), J. B. Dodd
(USA), et al.
magazine. Thirty-two contributors including R Krasninkevicius (Lithuania), Magda
Lagerwerf (Holland), Carola Van Der Heyden (Holland), Jrgen Olbrich (Germany), Patricia
Collins (England), Vittore Baroni (Italy), Giovanni Strada (Italy), Fabio Sassi (Italy), John
Held, Jr. (USA), Picasso Gaglione (USA), Ashley Parker Owens (USA), Crackerjack Kid
(USA), John M. Bennett (USA), SolarZ (USA), State of Being (USA), Mike Dyar (USA),
Obvious Front (aka D. Young, USA), Alice Borealis (USA), Arte Ala Carte (USA), Rusty Clark
(USA), et al.
magazine. Thirty-two contributors including Jean-Franoise Robic (France), Svjetlana
Mimica (Croatia), Kurt Beaulieu (Canada), Anines Macadam (Argentina), Guido Vermeulen
(Belgium), Patricia Collins (England), Arto Posto (USA), Ashley Parker Owens (USA), David
Hunter (USA), Laura Poll (USA), Becky Ivancic (USA), C. Reider (USA), et al.
No. 15 (June 1994). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Neoist Machine Group (Canada), Carlos Montes
de Oca (Chile), Abelardo Mena (Cuba), Vittore Baroni (Itlay), R. Krasninkevicius
(Lithuania), Antonio Gomez (Spain), Manfred Vani Stirnemann (Switzerland), Arte Ala
Carte (USA), Alice Borealis (USA), John M. Bennett (USA), Mike Dyar (USA), Mono (USA),
SolarZ (USA), Obvious Front (USA), et al.
No. 16 (July 1994). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Anines Macadam (Argentina), Svjetlana Mimica
(Croatia), Rene Montes (Mexico), Magda Lagerwerf (Holland), Bartek Nowak (Poland),
Antonio Gomez (Spain), Clemente Padin (Uruguay), Jean-Franois Robic (USA), Lucien Suel
(France), Giovanni Strada (Italy), Theo Breuer (Germany), Patricia Collins (England), Arte
Ala Carte (USA), Carolyn Substitute (USA), SolarZ (USA), et al.
No. 17 (August 1994). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Pas De Chance (Canada), Jrgen Olbrich
(Germany), Vincze Laszlo (Romania), Serge Segay (Russia), M. Vanci Stirnemann
(Switzerland), Antonio Gomez (Spain), Antoni Miro (Spain), Ennio Pauluzzi (Italy), Patricia
Collins (England), Crackerjack Kid (USA), Mike Dyar (USA), Ashley Parker Owens (USA),
Stephen Perkins (USA), et al.
No. 18 (September 1994). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including Kurt Beaulieu (Canada), Jean-
Franoise Robic (France), Gerardo Yepiz (Mexico), Clemente Padin (Uruguay), Patricia
Collins (England), Altor (Italy), Reed Altemus (USA), Arte Ala Carte (USA), Patricia
Tavenner (USA), et al.
No. 19 (October 1994). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including Paulo Bruscky (Brazil), K. Frank
Jensen (Denmark), Ryosuke Cohen (Japan), Magda Lagerwerf (Holland), Dmitry Bulatov
(Russia), Patricia Collins (England), Jrgen Olbrich (Germany), John M. Bennett (USA),
Alice Borealis (USA), Mike Dyar (USA), Picasso Gaglione (USA), Helena Perkins (USA),
Jonathan Stangroom (USA), et al.
Assembling magazine. Thirty-one contributors including Mauricio Gomez Munoz (Columbia),
Svjetlana Mimica (Croatia), Joachim Buchholz (Germany), Rene Montes (Mexico), Ruud
Janssen (USA), Clemente Padin (Uruguay), Pas De Chance (Canada), Patricia Collins
(England), Alice Borealis (USA), Ashley Parker Owens (USA), Chris Reider (USA), SAG (aka
Steve Goudie, USA), et al.
No. 21 (January 1995). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including Jean-Franois Robic (France),
Gyrgy Galantai (Hungary), Guttorm Nordo (Norway), Fernando Aguiar (Portugal), K. Frank
Jansen (Denmark), Patricia Collins (England), David Dellafiora (England), Reed Altemus
(USA), John M. Bennett (USA), Crackerjack Kid (USA), Ex Posto Facto (aka Julie Jeffries,
USA), Flux-Ho (aka Patricia L. Malcolm, USA), Ray Johnson (USA), Ashley Parker Owens
(USA), The Sticker Dude (USA), et al.
Assembling magazine. Thirty-one contributors including Patricia Collins (England), Gerardo
Yepiz (Mexico), Uto Gusztav (Romania), Clemente Padin (Uruguay), Ruud Janssen
(Holland), Magda Lagerwerf (Holland), Dirk Frohlich (Germany), Crackerjack Kid (USA),
Ray Johnson (USA), Ashley Parker Owens (USA), Joolee Peezlee (USA), Jonathan
Stangroom (USA), The Sticker Dude (USA), Paul Weinman (USA), et al.
magazine. Thirty-one contributors including K. Frank Jensen (Denmark), Pascal Lenoir
(France), Ruud Janssen (Holland), Guttorm Nordo (Norway), Dmitry Bulatov (Russia),
Antonio Gomez (Spain), M. Vanci Stirnemann (Switzerland), Clemente Padin (Uruguay),
Dobrica Kamperelic (Yugoslavia), Jorge Garnica (Argentina), Patricia Collins (England),
Angela and Peter Netmail (Germany), Jeff Bagato (USA), John M. Bennett (USA), Mike Dyar
(USA), Ex Posto Facto (USA), Ashley Parker Owens (USA), Carlo Pittore (USA), Bern Porter
(USA), Jonathan Stangroom (USA), The Sticker Dude (USA), et al.
magazine. Thirty-one contributors including Lois Klassen (Canada), Dobrica Kamperelic
(Yugoslavia), Patricia Collins (England), John Ashbaugh (USA), DG (aka Diana Garcia,
USA), Ashley Parker Owens (USA), Bern Porter (USA), The Sticker Dude (USA), Paul
Weinman (USA), et al.
No. 25 (May 1995). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. Assembling
magazine. Thirty-one contributors including Patricia Collins (England), Ruggero Maggi
(Italy), Guttorm Nord (Norway), Antonio Gomez (Spain), M. Vanci Stirnemann
(Switzerland), Clemente Padin (Uruguay), Mario Gemin (Argentina), Pascal Lenoir (France),
Joan Rabascall (France), Ruud Janssen (Holland), Magda Lagerwerf (Holland), Jrgen
Olbrich (Germany), John M. Bennett (USA), Crackerjack Kid (USA), Teddy Ficklen (USA),
David Hunter (USA), Helena Perkins (USA), Stephen Perkins (USA), Carlo Pittore (USA),
Bern Porter (USA), et al.
magazine. Thirty-one contributors including Gerardo Yepiz (Mexico), Aleksandar Jovanovic
(Yugoslavia), Dobrica Kamperelic (Yugoslavia), Patricia Collins (England), John M. Bennett
(USA), Alice Borealis (USA), Rusty Clark (USA), Ms. Perfect (USA), Laura Poll (USA), Bern
Porter (USA), The Sticker Dude (aka Joe Cohen, USA), Carolyn Substitute (USA), et al.
No. 27 ([September] 1995). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including Edgardo-Antonio Vigo (Argentina),
K. Frank Jansen (Denmark), Teruyuki Tsubouchi (Japan), M. Vanci Stirnemann
(Switzerland), Clemente Padin (Uruguay), A. d. Eker (Holland), Ruud Janssen (Holland),
Sugar Irmer (Germany), Patricia Collins (England), David Dellafiora (England), John M.
Bennett (USA), Crackerjack Kid (USA), Tim Mancusi (USA), Ashley Parker Owens (USA),
Bern Porter (USA), Jaime Weitzman (USA), et al.
Assembling magazine. Thirty-one contributors including Svjetlana Mimica (Croatia),
Dobrica Kamperelic (Yugoslavia), Harry Fox (England), Kevono Nickersondo (aka Kevin
Nickerson, Canada), Reed Altemus (USA), John M. Bennett (USA), Rusty Clark (USA), D. G.
(aka Diana Garcia, USA), Metal Dog (USA), Louise Millmann (USA), Laura Poll (USA), Zebra
Man (USA), et al.
No. 29 (January 1996). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including K. Frank Jansen (Denmark),
Jrgen Olbrich (Germany), Ennio Pauluzzi (Italy), Keiichi Nakamura (Japan), Willi R.
Melnikov (Russia), Anna Banana (Canada), Jean-Claude Gagnon (Canada), Joachim
(Holland), Marcel Stssi (Switzerland), Pedro Bericat (Spain), John M. Bennett (USA),
Dominique Bugpost (USA), Tim Mancusi (USA), Metal Dog (USA), Stephen Perkins (USA),
et al.
magazine. "The Lumpy Issue." Thirty-one contributors including Kurt Beaulieu (Canada),
Pascal Lenoir (France), Antonio Gomez (Spain), m. Vanci Stirnemann (Switzerland), Anne-
Miek Bibbe (Holland), Joachim (Holland), Patricia Collins (England), John M. Bennett (USA),
Alice Borealis (USA), Greg Fiorini (USA), Louise Millmann (USA), Jonathan Stangroom
(USA), the Sticker Dude (USA), et al.
magazine. Thirty-one contributors including K. Frank Jensen (Denmark), Sophia Marinou
(Greece), Magda Lagerwerf (Holland), Clemente Padin (Uruguay), Willie R. Melinkov
(Russia), Diana Bertrand (Canada), Pas De Chance (Canada), Giovanni Strada (Italy),
Mario Gemin (Argentina), David Dellafiora (England), Hartmut Andryczuk (Germany),
Sugar Irmer (Germany), Reed Altemus (USA), Boog (USA), Crackerjack Kid (USA), Willie
Marlowe (USA), Non-Local Variable (USA), et al.
No. 32 (September 1996). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged.
Assembling magazine. Thirty-one contributors including Giovanni Strada (Italy), Magda
Lagerwerf (Holland), Henk Van Ooijen (Holland), Diane Bertrand (Canada), Theo Breuer
(Germany), Reed Altemus (USA), Greg Fiorini (USA), Indianadan (USA), Joy McManus
(USA), The Sticker Dude (USA), Paul Weinman (USA), et al.
magazine. "Fourth Anniversary Issue." Thirty-one contributors including Pascal Lenoir
(France), Giovanni Strada (Italy), Gerardo Yepiz (Mexico), Anne-Miek Bibbe (Holland),
Magda Lagerwerf (Holland), Marcel Stssi (Switzerland), Patricia Collins (England), David
Dellafiora (England), Theo Breuer (Germany), Eberhard Janke (Germany), Reed Altemus
(USA), John M. Bennett (USA), Boog (USA), Spephen Perkins (USA), Jonathan Stangroom
(USA), The Sticker Dude (USA), et al.
magazine. Thirty-one contributors including Joachim (Belgium), Gerardo Yepiz (Mexico),
Antonio Gomez (Spanish), Fabio Sassi (Italy), Hartmut Graf (Germany), Diane Bertrand
(Canada), J. B. Dodd (USA), Greg Fiorini (USA), Laura Poll (USA), the Sticker Dude (USA),
et al.
Assembling magazine. Thirty-one contributors including Giovanni Strada (Italy), Anne-Miek
Bibbe (Holland), Antonio Gomez (Spain), Diane Bertrand (Canada), Kevondo Nickersondo
(Canada), Theo Breuer (Germany), Jorg Seifert (Germany), John M. Bennett (USA), Greg
Fiorini (USA), Scott Garinger (USA), Mark Sonnenfeld (USA), Dan Unger (USA), et al.
No. 36 (April 1998). Photocopy and Mixed Media. 8 1/2"x5 1/2". Unpaged. "Fifth
Anniversary Issue." Assembling magazine. Thirty-one contributors including Mario Gemin
(Argentina), Guy Bleus (Belgium), K. Frank Jensen (Denmark), Pascal Lenoir (France),
Reika Yamamoto (Japan), Magda Lagerwerf (USA), Antonio Gomez (Spain), Patricia Collins
(England), David Dellafiora (England), Giovanni Strada (Italy), Vittore Baroni (Italy), M.
Vanci Stirnemann (Switzerland), Diana Bertrand (Canada), Jean-Claude Gagnon (Canada),
Reed Altemus (USA), John M. Bennett (USA), Stephen Perkins (USA), Jonathan Stangroom
(USA), Theo Breuer (Germany), Jorg Seifert (Germany), Dietmar Vollmer (Germany), et al.
Assembling magazine. Thirty-one contributors including Diane Bertrand (Canada), Keiichi
Nakamura (Japan), M. Vanci Stirnemann (Switzerland), Giovanni Strada (Italy), Magda
Lagerwerf (Holland), Antonio Gomez (Spain), Patricia Collins (England), Joe Decie
(England), Theo Breuer (Germany), Jrgen Olbrich (Germany), Jorg Seifert (Germany),
John M. Bennett (USA), Scott Garinger (USA), Tim Mancusi (USA), Stephen Perkins (USA),
The Sticker Dude (USA), Gerardo Yepiz (Mexico), et al.

Testtube. Tracy Hunker, Editor. Columbus, Ohio. 1983-1985.
Vol. 3, No. 3 (January 1983). Photocopy. 11"x8 1/2". 6 pages. Profile of John M.
Bennett (USA) diverges into a discussion of Mail Art. "To avoid the culture vultures who
aren't really flocking towards artists books, many artists employ non-traditional publishing
methods. A true mail art exhibition includes a catalog of the work sent in from all over the
world and is free to the participates (sic) who may have only cost them 20. Artists' Union
of Japan lost themselves in the translation and recently published a mail art book of 200
pages worth over $12 in the publishing world, but given away to the artists (of which a
TESTUBE flyer was one)." "On Starting Your Own Fanzine."
Vol. 4 (October 1984). Newsprint. 14"x5 1/2". (16 pages). "TESTTUBE was started in
summer of 1979, in Columbus, Ohio USA. This issue represents its 5th anniversary.
However, it also marks the next to last issue in the 'printed fanzine' format. In 1985, it will
continue as a 'cassettezine' and 'semi-annual director'." Publication reviews. "News Flash!
Bob, the leader of the Church of the Subgenius has been assassinated in San Francisco.
(M)ore news as it comes in..."
(1984-1985). Newsprint. 7"x5 3/4". (32 pages). "Testube Data-File for 1984-1985."
Computerized music and fanzine listings by category and geography.
Vol. 2, 3, 4 (March 1985). Newsprint. 14"x 11 1'4". 30 pages. "Notice: The cover &
centerfold of this tabloid was printed in 1981, while the rest was printed March 13, 1985.
This is the final issue of Testube as a regular periodical." Centerfold contains contributions
by Bill Gaglione (USA) and Darlene Darling (USA). Publication reviews.

That Long Newspaper Spoon. (John Rininger), Editor. Colicky Baby Publishing,
DeKalb, Illinois. 1991-1992.
No. 7 (1991). Photocopy. 8 1/2"x5 1/2". "4 pages). "Says No! to the New World Order."
Photocopy collage.
No. 8 (1992). Photocopy. 8 1/2"x5 1/2". (8 pages). "Believe Everything You Read."
Photocopy newspaper collage.

Thought Crime. Michael Hudson and Melissa Barrow, Editor. 23 Thought Crime 23
,Tempe, Arizona. 1995.
Issue 4 (Summer 1995). Color and Black & White Photocopy, Mixed Media. 11"x8 1/2".
122 pages. "We are an active networking facility and outlet for a wide-spread, loosely-knit
network of allied individuals. With each issue we aim to present stimulating cross-sections
of thoughts, ideas, images and information geared toward provoking ever-widening
bandwidths of communication, cooperation, and interactions." Contributors include Arte Ala
Carte (USA), Paul Weinman (USA), Michael Sakolsky (USA), John Held, Jr. (USA), John M.
Bennett (USA), et al.

3-6-2: A Quasi-Poetic Broadside. Gregory Fiorini, Editor. 3-6-2 Press, Turlock,
California. 1997.
(Summer 1997). Photocopy. 17"x11". (2 pages). "Ammunition: Dada, Found Art,
Automatism." Artistamps by Picasso Gaglione (USA) illustrate the text. (USA).

Through the Cracks: A Mini-Journal of Socially Relevant Words and Images. Joel
S. Cohen (aka the Sticker Dude) and Irving Wexler, Editors. Ragged Edge Press,
New York, New York. 1992-1996.
No. 1 (Fall 1991). Offset. 8 1/2"x6". 7 pages. "'Through the Cracks' is a publication which
reflects, in the broadest possible sense, the social and private tumult, challenges and
changes in the world around us. Toward this end, we encourage all forms of creative work,
from the deeply personal and idiosyncratic to the overtly political." Contributions by
Thomas Kerr (USA), Joel S. Cohen, et al.
No. 2 (Spring/Summer 1992). Offset. 8 1/2"x6". (8 pages). Contributions by Larry
Rossing (USA), Tuli Kupferberg (USA), et al.
No. 3 (Fall/Winter 1992). Offset. 8 1/2"x6". (8 pages). Contributions by Valery Oisteanu
(USA), Thomas Kerr (USA), Joel S. Cohen, et al.
No. 7 (Spring 1996). Offset. 8 1/2"x6". (8 pages). Contributions by Thomas Kerr (USA),
Joel S. Cohen (USA), Musicmaster (USA), Ashley Parker Owens (USA), et al.

Thurds: From the Art of Rosalea's Hotel. Rosalea, Editor. SWEET-ART Publications,
Harper, Kansas. 1980-1983.
Vol. 1, No. 2 (1980). Photocopy. 8 1/2"x3 1/2". (22 pages). "This 'magaling' (part
magazine/part art mailing), THURDS FROM THE ART OF ROSALEA'S HOTEL, is a collectible
designed to: 1. increase in value with each passing year. 2. Not offend anyone; the pages
are unfound so that anything offensive can be easily discarded. 3. Stamp out apathy and
ignorance in America. 4. Give members and Fans of Rosalea's Hotel something to live
for."
Vol. 2, No. 3 (Fall-Winter 1981). Photocopy. 8 1/2"x3 1/2". (24 pages). "In this issue:
dreams."
Vol. 4, No. 1 (1983). Photocopy. 8 1/2"x3 1/2". (30 pages). "Dr. Ling Discusses Dying
While Living."

To Be Continued to the End. Vincent Courtois, Editor. Lyon, France. 2000.
No. 1 (December 2000). Computer Print. 11 3/4"x8 1/4". (5 pages). Collage work by
Tartarugo (Spain), Pascal Lenoir (France), Philippe Pissier (France), the editor, et al.

Toad & Rice Weekly. R. Bowman (aka Increase Maready), Editor. Chapel Hill,
North Carolina. 1991-1992
First Annual Edition (January-December 1991). Photocopy. 11"x8 1/2". (74 pages).
"We the editors, are proud and happy to present this inaugural issue of the Toad & Rice
Weekly...It is our aim with this publication to inform the public of the movements and the
plots of the Toad & Rice, in order that the public can make informed decisions about their
own travel plans and activities." Contributions by Al Ackerman (USA), Glans T. Sherman
(aka Al Ackerman, USA), Monsieur Luna Bisonte (aka John M. Bennett, USA), et al.
"Experience the Controversial and Seminal First Year of the Toad and Rice Weekly!"
Vol. 1, Issue 13 (January 1992). Photocopy. 11"x8 1/2". (4 pages). "Death, Deal(?) and
Departure, Are You Drunk? (a musical oratory in tabula rasa and toad & rice," by Blaster Al
Ackerman (USA).
Vol. 2, Issue 1 (January 1992). Photocopy. 8 1/2"x3 1/2". 8 pages. "Stories My Rice
Told Me," by "Swarthy" Turk Sellers (aka Al Ackerman, USA). "Memoirs, Photographs,
Documents," features a photograph of Monsieur de la Bisone (aka John M. Bennett, USA).
Vol. 2, Issue 2/3 (February/March 1992). Photocopy. 8 1/2"x3 1/2". 8 pages.
Vol. 2, Issue 4 (April 1992). Photocopy. 8 1/2"x3 1/2". 8 pages. "Letter to the Editor"
includes correspondence from Eula Dread, a possible pseudonym of Al Ackerman (USA).
Vol. 2, Issue 5 (May 1992). Photocopy. 8 1/2"x3 1/2". 8 pages.
Vol. 2, No. 6/7 (June/July 1992). Photocopy. 8 1/2"x3 1/2". 8 pages. "Puffy Treats," by
Dr. Blaster Al Ackerman (USA). Contribution by Monsieur De La Bennett, M. D. (aka John
M. Bennett, USA).

Tonga Dada. Jerry Tonga, Editor. Mt. Vernon, New York. 1991.
Vol. 1, No. 1 (January 22, 1991). Photocopy. 5 1/2"x4 1/4". (8 pages). "Post Neo Beat
Zine." Photocopy art.
(Vol. 1, No. 2 (n.d.). Photocopy. 5 1/2"x4 1/4". (16 pages). Photocopy art with fragment
from a Vittore Baroni (Italy), artistamp sheet.
Vol. 1, No. 3/4 (March 9, 1991). Photocopy and Mixed Media. 5 1/2"x4 1/4". (16
pages). Photocopy art. Contributions by Liz Was (USA), and afungusboy (USA).
Vol. 1, No. 5 (April 21, 1991). Photocopy. 5 1/2"x4 1/4". (12 pages). "Special thanks to
Paul Wood, Cardiff, U.K."
(Vol. 1, No. 6) (n.d.). Photocopy. 4 1/4""x2 3/4". (16 pages). Photocopy art, mixing
found images and drawing.
(Vol. 1, No. 7) ([1991]). Photocopy, Rubber Stamps and Mixed Media. 5 1/2"x4 1/4".
(22 pages). "This is the last issue of Tonga Dada. thanks to everybody who sent in art work
and stamps. Write me for more mail Art fun." Contributions by Afungusboy (USA), John M.
Bennett (USA), FaGaGaGa (USA), Willie Marlowe (USA), The Haddock (USA), Ruggero
Maggi (Italy), et al. Art Strike sticker enclosed.

Total. Nenad Bogdanovic, Editor. Odzaci, Yugoslavia. 1988.
No. 18 (1988). Photocopy, Rubber Stamps and Mixed Media. 8 1/4"x5 1/2". (22 pages).
Assembling magazine. "Soviet Mail Artists," including contributions by Jury Leiderman,
Ilmar Kruusame, Boris Konstrictor, Evgenij Arbenev, Ann Ulchuk, Andrej Monastyrsky,
Nataly Abalakova, Anatoly Zhigalov, August A. Sigov, Rea Nikonova, and Serge Segay.
Edition 133.

Tourism Review. Hans Rudi Fricker, Editor. Tourist Office, Trogen, Switzerland.
1985.
Vol. 1, No. 1 (1985). Color and Black & White Photocopy, Rubber Stamps. 8 1/4"x5 3/4".
24 pages. "About Tourism," by the editor. "Tourism is the expression of all the artistic
activities and situations which develop when one artist is on the way to another and on the
spot where they meet each other./Tourism is the execution of the mail-art concept/The
activities of the correspondence-artists, mail-artists and the networkers, with the
assistance of the postal system, developed worldwide relationships among artists./The
tourist doesn't trust the postal system, however, he uses mail-art and it's developed
channels before starting..." A number of original rubber stamp impressions are included
including, "MAIL ART IS NOT FINE ART IT IS THE ARTIST WHO IS FINE," and "AFTER
DADAISM FLUXISM MAILISM COMES TOURISM." Documentation of the editor's, "Malicious
Tours." "The 'Malicious Tours' were the rubber stamp letters I sent out in 1984/From time
to time 5 to 8 mailers form a closed group. these 5 to 8 letters would be sent at the same
time./If everyone that receives a letter had been on his way to visit one of the others then
no one would have met because everyone would have been on the way./These 'malicious
tours' were simply an analysis of mail-art from the touristic view: 'Each person acts as if he
would communicate with the others but the meetings never occur.'"

Tracks; a journal of artists' writings. Herbert George, Editor. New York, New York.
1976.
Vol. 2, No. 1 (Winter 1976). Offset. 9"x5 3/4". 75 pages. "A Sandwich of Ants Between
Two Worlds," by Opal L. Nations (Canada). Contributors notes for Nations reads, "...a
graphic-correspondence artist and book illustrator, was born in Brighton, England in 1941
and lives in Vancouver, British Columbia."

Transfusion: New Bulletin. Allessandro Ceccotto, Editor. Mail Art Archive, Adria,
Italy. 1993-1995.
No. 34 (May 1993). Photocopy and Mixed Media. 8 1/4"x5 3/4". (44 pages). Continuation
of "New Bulletin." Editor notes his five year involvement in Mail Art (1988-1993) Single
color photocopy artistamp by Peter and Angela Netmail (aka Peter Kstermann and Angela
Phler). "Blinking Through: Japan Tour Diary 1993," by John Held, Jr. (USA). Contributions
by Raimondo Del Prete (Italy), the Netmails, Bartek Nowak (Poland), FaGaGaGa (USA),
Serge Segay (Russia), Anna Boschi (Italy), Ilmar Kruusamae (Estonia), Arte Ala Carte
(USA), Aerial Print (Japan), Petr Brandt (Germany), Geoffrey Cook (USA), Laura Gianfreda
(Italy), John Held, Jr., Ruud Janssen (Russia), Jake Berry (USA), et al. Mail Art exhibition,
No. 35 (June 1993). Photocopy. 8 1/4"x5 3/4". (44 pages). Review by Clive Phillpot
(USA) of "Mail Art: an Annotated Bibliography," by John Held, Jr., translated from its
original appearance in "Art Libraries Journal," by Alberto Rizzi (Italy). List of participants in
the exhibition, "Italian Report," curated by Ruggero Maggi (Italy). "Intermedia Project
'Perfomedia'," by Emilio Morandi (Italy). "Arte Caotica," by Ruggero Maggi. Contributions
by Henning Mittendorf (Germany), Dobrica Kamperelic (Yugoslavia), John Held, Jr., Emilio
Morandi, Aerial Print (Japan), Silvia Barsi (Italy), Klaus Rupp (Germany), Malok (USA),
Mike Dyar (USA), Serge Segay (Russia), Ruggero Maggi, Giovanni Strada (Italy), Vittore
Baroni (Italy), et al. Mail art exhibition, project and publication opportunities.
(June 1993). Photocopy. 8 1/4"x5 3/4". (20 pages). "Special Malok," reproduces a body
of photocopy artwork by the American Mail Artist.
No. 36 (July 1993). Photocopy. 8 1/4"x5 3/4". (40 pages). "(Cos'e in Qualche Modeo) La
Cultura Internaionale del Networker?/(What is) International Networker Culture," by John
Held Jr. (USA), Italian translation by Alberto Rizzi (Italy). Contributions by M. B. Corbett
(USA), Ruggero Maggi (Italy), Emilio Morandi (Italy), Henning Mittendorf (Germany), Anna
Boschi (Italy), Clemente Padin (Uruguay), Laura Gianfreda (Italy), John Ashbaugh (USA),
Peter Kstermann (Germany), Peter Brandt (Germany), Dobrica Kamperelic (Yugoslavia),
Guy Bleus (Belgium), et al. Publications received (covers reproduced). Mail Art exhibition,
project and publication opportunities (invitations reproduced).
Supplemento No. 36 (July 1993). Photocopy. 8 1/4"x5 3/4". (12 pages).
"Mailartincontriamoci," by Anna Boschi (Italy). "Mail-Art...My Love," by Anna Boschi.
Contributions by Raimondo Del Prete (Italy), Silvia Barsi (Italy), et al. Documentary
photographs of Giovanni and Renata Strada (Italy), Franco Santini (Italy), Raimondo Del
Prete, Fulgor C. Silvi (Italy), and Alfio Fiorentino (Italy).
No. 37 (October 1993). Photocopy and Mixed Media. 8 1/4"x5 3/4". (44 pages). Photo
documentation of Shozo Shimamoto at the "Venezia Biennale," June 13, 1993.
"International Swamp Academy," by Ilkka Juhani Takalo-Eskola (Finland). "Program of the
Neoist Alliance," by the Neoist Alliance (aka Stewart Home, England). Contributions by
Emilio Morandi (Italy), Franco Santini (Italy), Greg Byrd (USA), Anna Boschi (Italy),
Rlphael Nadolny (Poland), M. B. Corbett (USA), John Held, Jr. (USA), buZ blurr (USA), et
al. Publications received. Mail Art exhibition, project and publication opportunities.
(October 1993). Photocopy. 8 1/4"x5 3/4". (24 pages). "Special Janssen," features
drawings, artistamps and a biography of Ruud Janssen (Holland). "Information about the
TAM-Gallery."
No. 38 (December 1993). Photocopy. 8 1/4"x5 3/4". (44 pages). "Mail Art-My Dream of
Freedom and Love," by Henning Mittendorf (Germany). "The Great God Cavellini is Dead,"
and "Lost in the Material World: A Memory of Achim Weigelt," by Mark Bloch (USA).
Reprints of "Bibliozine" Nos. 11, 12, and 14, by John Held, Jr. (USA). "Statements," by
Ruud Janssen (Holland). Contributions by Igor Bartolech (Yugoslavia), Silvia Barsi (Italy),
Luce Fierens (Belgium), Jake Berry (USA), et al. Mail Art exhibition, project and publication
opportunities.
No. 39 (January 1994). Photocopy. 8 1/4"x5 3/4". (32 pages). Reprint of "Bibliozine"
#15, edited by John held, Jr. (USA), "Standard Questions," by the editor. "I Metanetworker
in Spirit," by Ruggero Maggi (Italy). Mail Art exhibition, project and publication
opportunities.
Special No. 39 (January 1994). Photocopy. 8 1/4"x5 3/4". (26 pages). Photo
documentation of "Performedia," in Pontenossa , Italy, with Fulgor C. Silvi, Alberto Rizzi
(Italy), and the editor. Performance with John Held, Jr. (USA) and Joki Mail Art (aka Jo
Klaffki, Germany), in Dallas, Texas. Contributions by Andrej Tisma (Yugoslavia), Igor
Bartolech (Yugoslavia), Giovanni Strada (Italy), FaGaGaGa (USA), Angela Phler and Peter
Kstermann (Gemany), Jean-Franoise Robic (France), Henning Mitendorf (Germany),
Peter Brandt (Germany), Serge Segay (Russia), Clemente Padin (Uruguay), Predrag
Popovic (Yugoslavia), et al.
No. 41 (May 1994). Photocopy. 8 1/4"x5 3/4". (20 pages). Photo-documentation of
"Rubberstamp Workshop" in Minden, Germany, with Reiu Tr (Estonia), Michael Fox
(Germany), Klaus Rupp (Germany), Georg Lipinsky (Germany), Joki Mail Art (Germany),
Peter Brandt (Germany), Pit Frieslnder (Germany), Peter Kstermann (Germany), Angela
Phler (Germany), et al. Reprint of "Bibliozine" #20, edited by John Held, Jr. (USA). "Un
Nuovo Mondo Onesto?," by Franco Santini (Italy). "Brave New World/," by Igor Brtolech
(Yugoslavia). Mail Art exhibition, project and publication opportunities.
No. 43 (July 1994). Photocopy. 8 1/4"x5 3/4". (32 pages). "Performedia 1994," by Emilio
Morandi (Italy). "Inverness Mailfesta," by Malcolm Reid (Canada), Jean-Franoise Robic
(France), Raphael Couroise (Uruguay), John Held, Jr. (USA), Carlo Pittore (USA), State of
Being (aka Reid Wood, USA), Anna Banana (Canada), Jean-Claude Gagnon (Canada),
Emilio Morandi (Italy), Giovanni Strada (Italy), Monty Cantsin (aka Istvan Kantor, Canada),
Marcel Stssi (Switzerland), et al. "Chain-Letters and 'Add To'-Xeroxes," by Ruud Janssen
(Holland). Networker Congress Area Fiorentina," organized by Gianni Broi (Italy). "Letter di
Honoria Agli Amici del Fringeware," by Honoria (aka Madelyn Starbuck, USA). "Networker
Telenetlink Year 1995," by Chuck Welch (USA), Photo-documentation of Mail Art exhibition
in Diritti e Rovesci, Italy, with Honoria (USA), Joki Mail Art (Germany), Giovanni and
Renata Strada (Italy), Raimondo Del Prete (Italy), Franco Santini (Italy), et al. Mail Art
Special No. 43 (July 1994). Photocopy. 8 1/4"x5 3/4". (24 pages). Contributions by 45
artists including Geert De Decker (Belgium), Ruggero Maggi (Italy), Henning Mittendorf
(Germany), Jean-Franoise Robic (France), Angela and Peter Netmail (Germany), Franco
Santini (Italy),Raimondo Del Prete (Italy), Honoria (USA), Renee Bouws (Holland), Carolyn
Substitute (USA), Obvious Front (USA), Alice Borealis (USA), Ruud Janssen (Holland),
Pinky (Italy), Giovanni Strada (Italy), Magda Lagerwerf (Holland), Ryosuke Cohen (Japan),
John Held, Jr. (USA) Anna Boschi (Italy), Malok (USA), Mike Dyar (USA), et al.
No. 44 (August 1994). Photocopy. 8 1/4"x5 3/4". (40 pages). "L'Arte del Silenzio e La
Voce Della Luna," by Franco Santini (Italy) and Raimondo Del Prete (Italy). "Press
Release," by Gianni Broi (Italy). "Indonesian-German Workshop," by Angela and Peter
Netmail (Germany) and Byron Black (Indonesia). "'Networker Gallery 'Nenad Bogdanovic'."
"Little Notice About Postal Service, 12/07/1994," by Igor Bartolech (Yugoslavia). "Brain
Cell," by Ryosuke Cohen (Japan). "Chain Letters," by Dorothy A. Penney (USA). "Eraser-
Carving," "The TAM Rubberstamp Archive," and "Chain-Letters and 'Add To' -Xeroxes," by
Ruud Janssen (Holland). Mail Art exhibition, project and publication opportunities.
Special No. 44 (August 1994). Photocopy. 8 1/4"x5 3/4". (20 pages). "Dedicated to Igor
Bartolech." Contributions by Franco Santini (Italy), Ruggero Maggi (Italy), Clemente Padin
(Uruguay), Geert De Decker (Belgium), Mike Dyar (USA), Henning Mittendorf (Germany),
Peter Netmail (aka Peter Kstermann, Germany), Igor Bartolech (Yugoslavia), et al.
No. 47 (December 1994). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". (24 pages).
"Strano Network" conference with Vittore Baroni (Italy), Giuseppe Chiari (Italy), Gianni Broi
(Italy), et al. "Criminal Correspondence," by Gianni Broi. Photo by Giovanni Strada (Italy)
of a performance with John Held, Jr. (USA), Anna Banana (Canada), and Jean-Franoise
Robic (France) in Quebec, Canada. "Arte Postal," by Claire Lamarre (Canada). "Mail-Art
Statements from Ruud Janssen (Holland)." Publications received. Mail Art exhibition,
Special No. 47 ([December 1994]). Photocopy. 8 1/4"x5 3/4". 23 pages. Contributions
by Fabio Sassi (Italy), Ruggero Maggi (Italy), Ennio Pauluzzi (Italy), Hans Braumuller
(Chile), Jean-Franoise Robic (France), Alice Borealis (USA), Serge Segay (Russia), Malok
(USA), Luigino Solamito (Italy), Giovanni Strada (Italy), et al.
No. 48 (January 1995). Photocopy. 8 1/4"x5 3/4". (32 pages). "International Union of
Mail Artists," and "Electronic Mail Art (VII)," by Ruud Janssen (Holland). Text by Marcel
Stussi (Switzerland). "Bibliozine" No. 26, by John Held, Jr. (USA). "My-Self/Hare," by Emilio
Morandi (Italy). "The Nude Networkers," by Peter Kstermann (Germany). "I
Metanetworker in Spirit," by Ruggero Maggi (Italy). "Eraser-Carving," by Ruud Jansen. Mail
Art exhibition, project and publication opportunities. Portrait of Ray Johnson (USA) on back
cover by Ruud Janssen.
Special No. 48 ([January 1995]). Photocopy. 8 1/4"x5 3/4". (28 pages). Focus on the
Photocopy artworks of Aerial Print (aka Kazuyoshi Takeishi, Japan) and drawings by Ruud
Janssen (Holland).
No. 50 (May 1995). Photocopy. 8 1/4"x5 3/4". (32 pages). "1995-The Year of
Performance at Artpool." "An Artistamp Sheet From Kenya," by Angela and Peter Netmail
(Germany). Contribution by Peter Netmail (aka Peter Kstermann, Germany). Mail Art
Special No. 50 (May 1995). Photocopy. 8 1/4"x5 3/4". (28 pages). "The Communication-
Forms in Networking," by Ruud Janssen (Holland). "Electronic Mail-Art (IX), (X) and (XI),"
by Ruud Janssen. "Corrispondenze Biunivoche," by Antonio Amato (Italy). "I Santini Del
Prete," by Ido Brezo (Italy). "Bibliozine " No. 29 ("Eternal Network" review) and No. 30
(Ray Johnson), by John Held, Jr. (USA). "Mail Art Networking Information," by Peter and
Angela Netmail (Germany). Contribution by Anna Boschi (Italy).
No. 52 (September 1995). Photocopy. 8 1/4"x5 3/4". (32 pages). "Ravenna Event,"
organized by Giovanni and Renata Strada (Italy), with the participation of Mayumi Handa
(Japan), Yoyoi Yoshitome (Japan), Reika Yamamoto (Japan), Nenad Bogdanovic
(Yugoslavia), Emilio Moradni (Italy), Alessandro Cecotto (Italy), et al. "We Love the
Networker Gallery Nenad Bogdanovic," by Franco Santini (Italy) and Raimondo Del Prete
(Italy). "Bibliozine" No. 37, by John Held, Jr. (USA). "Shozo Shimamoto Voted Chairman of
the Japan Association of Art and Culture for the Disabled," by Shozo Shimamoto (Japan).
"The Ideological Character of NETWORK," by Clemente Padin (Uruguay). "Newsletter for
Participants and Other People Interested in the Mail-Interview Project (June 1995)," by
Ruud Janssen (Holland). "Networker Gallery of Nenad Bogdanovic," by John Held, Jr.
"Comunicato Stampa," by Ruggero Maggi (Italy). Mail Art exhibition, project and
Special (September 1995). Photocopy. 8 1/4"x5 3/4". (28 pages). "Transfusion
Perfomedia 95 Special." Photo-documentation of "Perfomedia," organized by Emilio Morandi
(Italy) at Ponte Nossa, Brescia, and Bergamo, Italy, August 1995. "Perfomedia 1995," by
Emilio Morandi. Contributions by Renata and Giovanni Strada (Italy), Nenad Bogdanovic
(Yugoslavia), Gruppo AU (Japan), Alberto Rizzi (Italy), Alfio Fiorentino (Italy), Bruno
Capatti (Italy), Franco Santini (Italy), Raimondo Del Prete (Italy), et al.

Transmog. Ficus Strangulensis, Editor. Strangulensis Research Labs, Charleston,
West Virginia. 1994.
No. 14 (May 1994). Photocopy. 11"x8 1/2". (26 pages). Contributions by Musicmaster
(USA), Michael Basinski (USA), Guy R. Beining (USA), John M. Bennett (USA), Jake Berry
(USA), Bob Grumman (USA), Michael Helsem (USA), Malok (USA), Pag-hat the Rat-girl
(USA), et al.

Travelin' with Marilyn. Marilyn Califf, Editor. Memphis, Tennessee. 1995.
No. 1 (Winter 1995). Photocopy. 11"x8 1/2". 10 pages. "Original art, poems, stories,
articles, recipes, drawings and a feature story about her Arkansas trip."

Travelling Project. Keiichi Nakamura, Editor. Tokyo, Japan. 1996.
No. 1996.5 (May 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of the
editors' "I Am Here," project. Contributions by Lothar Trott (Switzerland), K. Frank Jensen
(Denmark), Sheila Spoerier (USA), Claude Pelieu (USA), Solamito Luigino (Italy), Barry
Edgar Pilcher (Ireland), Predrag Petrovic (Yugoslavia), Boog (USA), Vesna Nedic
No. 1996.7 (July 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of the
editors' "I Am Here," project. Contributions by Predrag Petrovic (Yugoslavia), Eberhard
Janke (Germany), Lother Trott (Switzerland), Bruno Pollacci (Italy), John Held, Jr. (USA),
Pete Spence (Australia), Dietmar Voller (Germany), Adda Dada (USA), Boog (USA), La
Toan Vinh (Canada), Walt Evans (USA), John M. Bennett (USA), et al.
No. 1996.9 (September 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of
the editors' "I Am Here," project. Contributions by Predrag Petrovic (Yugoslavia), Dragonfly
Dream (USA), Guido Vermeulen (Belgium), David Dellafiora (England), Dan Landrum
(USA), C. W. Haney (aka Celestial Shardery, USA). Michael Fox (Germany), Lancillotto
Bellini (Italy), Antonio Miro (Spain), et al.
No. 1996.10 (October 1996). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of
the editors' "I Am Here," project. Contributions by Wahyuni Kamah (Indonesia), Eberhard
Janke (Germany), Guido Vermeulen (Belgium), Dr. Surearts (USA), Dan Landrum (USA),
Igor Bartolech (Yugoslavia), Eiichi Matsuhashi (Japan), Solamito Luigino (Italy), Ruud
Janssen (Holland), Ex Posto Facto (USA), Mary Beach Pelieu (USA), Ruggero Maggi (Italy),
Anne-Miek Bibbe (Holland), et al.

Triangle Collage: Collage Collaborations. Keiichi Nakamura, Editor. Tokyo, Japan.
1995-1996.
Vol. 1 (November 1995). Photocopy. 8 1/4"x5 3/4". (22 pages). "Collage Collaborations
by," Barry Edgar Pilcher (Ireland), Bruno Sourdin (France), and the editor.
Vol. 2 (February 1996). Photocopy. 8 1/4"x5 3/4". (20 pages). "Collage Collaborations
by," Barry Edgar Pilcher (Ireland), Bruno Sourdin (France), and the editor.
Vol. 3 (April 1996). Photocopy. 8 1/4"x5 3/4". (20 pages). "Collage Collaborations by,"
Barry Edgar Pilcher (Ireland), Bruno Sourdin (France), and the editor.

Tropical Trousersnake, The. T. Neil Fritz, Editor. Orlando, Florida. (1984).
Vol. 2, No. 1 ([1984]). Photocopy. 11"x4 1/4". (18 pages). "Snake Tracks...Some people
wish for TS to remain a personal newsletter of artistic and pseudo artistic endeavor in
Florida. Others want a full-fledged Mail Art publication. One, at least, all but insists that
socio-political change be TS' foremost goal...TS will be an attempt at communication, an
ongoing exchange in which there are no restriction, not even, I guess, on restrictions. As
publisher and editor of TS I hope to act as a channeler of this exchange, but what you see
as TS is only part of the whole." "The State of Mail Art," by Evadne Engstrom (USA), Mail
Art/West Coast Editor and founder of the Dada Relief Front, in which she greets
participants of his "Post the Palms" Mail Art exhibition. "Spring is in the Air and Sex is in
the Mail-a Mail Art Story." Mail Art exhibition, project and publication opportunities.
Publications received. Reports from Al Ackerman (USA) and Gene Laughter (USA).
Contribution by Gene Laughter.
Vol. 2, No. 2 ([1984]). Photocopy. 11"x4 1/4". (16 pages). "The State of Mail Art," by
Evadne Engstrom (USA), comments on chain letters in Mail Art. "Every piece of mail art is
not going to be a Rauschenberg, but it will have someone behind it trying to make a
connection. To build a bridge in the dark. The tirades have just as much meaning as a well
thought out postcard or artwork, but they have no more meaning." Mail Art exhibition,
project and publication opportunities. Contribution by Harry Fox (USA), Patrick T. (USA).

Tui Tui Philatelic Bulletin. Dogfish (aka Robert Rudine), Editor. Seattle,
Washington. 1995-1998.
(February 2, 1995). Photocopy. 7 1/2"x5 1/4". (2 pages). Tui-Tui is an "independent
state," from which the editor issues postage stamps. "Technical Details," accompany the
issue notice for this "Jaro XXIV" issue, including values, designer, printer, process, size,
perforations, and First Day of Issue.
(March 2, 1995). Photocopy. 11"x8 1/2". (one page). Release of the "Flood Relief to Terra
Candella Semi Postal," in homage to fellow artistamp producer, Harley Francis (aka Terra
Candella, USA). "January of 1995 brought torrential rains to the Russian River watershed,
spilling that river out of his banks and flooding the environs of Tui Tui's great ally, the
Kingdom of Terra Candella...To address the crisis, the Government of the Co-Tyees of Tui
Tui motioned the International Council of Independent States to declare Terra Candella a
disaster area and to mobilize all manner of aid to the Kingdom. particularly urged was the
issuance of flood tax surcharged semi-postal stamps to both call attention to the crisis and
to raise funds to aid flood victims of the Kingdom and its surrounds." "Technical Details" as
to value, designer, printer, process, size, perforations, and First Day of Issue.
(April 3, 1998). Photocopy. 11"x8 1/2". 2 pages. "In honor of the great Argentine artist,
the late Edgardo Antonio Vigo, with whom Co-Tyee Dogfish enjoyed and fellow-suffered a
twenty year collaboration of warm correspondence, shared art, all too human disasters of
personal politics and a long distance friendship, Tui Tui issues this Twenty Nuppe
Ultalacustrine Air Post commemorative stamp. Although never face to face, Dogfish and
Vigo 'met' in 1977 through a remarkable avant-garde art magazine-Lightworks-which
featured artists' postage stamps." Also included are "Technical Details" of the stamps'
issuance.

Turtle Island Dazibao: Another Little Piece of the Eternal Network. Tartarugo,
Editor. tARTarugo press, Vigo, Spain. 2001.
No. 0 (March 2001). Computer Print. 8 1/4"x3 3/4". (6 pages). Mail Art exhibition,
No. 1 (May 2001). Computer Print. 8 1/4"x3 3/4". (6 pages). Mail Art exhibition, project
No. 2 (June 2001). Computer Print. 8 1/4"x3 3/4". (6 pages). Mail Art exhibition, project

TV. Terence McMahon, Editor. The Fault, Union City, California. 1982.
(April 1982). Newsprint. 9 1/2"x6 3/4". (32 pages). Contributions by Opal Nations
(Canada), Madam X (USA), Patrick T. (USA), Ian Teuty (USA), Stephan Ronan (USA), Dan
Max (USA), Artfoot (USA), Rockola (USA), Carlo Pittore (USA), Vittore Baroni (Italy),
Skooter (USA), Radio Free Dada (aka Turk LeClair, USA), et al.

Twisted Imbalance. Art Decco, Editor. Raleigh, North Carolina. (1986-1987).
([1986]). Newsprint. 16"x11 1/2". (16 pages). Anarchist/SubGenius periodical. "The
Breakdown of Monetary Survival," by Jake Berry (USA), "The Abolition of Work," and
"Anarchism and Other Impediments to Anarchy," by Bob Black (USA). Publication reviews.
contributions by David Crowbar (aka 'Popular Reality," USA) and the Church of the
SubGenius (USA).
([1987]). Color Offset. 11"x8 1/2". (22 pages). "Boston Babylon," by Ivan Stang (aka
Douglas St. Clair Smith, USA).

Two-Ton Santa. (Susan M. Clarke), Editor. Portsmouth, New Hampshire. 1992.
U-Direct - Unowned Worlds
U-Direct. Gabriele Stohschen; Betya Goldman Editors. Mary Kuntz Press, Chicago,
Illinois. 1994-1996.
No. 1 (August 13, 1994). Newsprint. 10 1/2"x8". 41 pages. Newsletter of the
Underground Press Conference, Chicago, Illinois. Includes schedule for "The First Annual
Underground Press Conference," August 13-14, 1994. "Conceptualism: The Ideological
Meaning of the Artistic Avant-Garde," by Clemente Padin (Uruguay). "Black Liberation
Radio," by Ron Sakolsky (USA). "Poetry in the Underground Press," by Bob Grumman
(USA). "White Boy and the World of Poetry," by Michael Basinki (USA) discusses the work
of Paul Weinman (USA). Edited by Gabriele Stohschen.
No. 2&3 ([1995]). Newsprint. 10 1/2"x8". 39 pages. Magazine of the "Second
Underground Press Conference," August 18-20, 1995. "Brief Spoof History, 1991-1994,
Collaborations Between Androia & Weinman," by Ron Androla (USA). "The Little Knoun (sic)
World of the One-Word Poem," by Bob Grumann (USA). "Hocus-Pocus," by Richard
Kostelanetz (USA). "Blair Wilson/After an in the Night Phone Call," by Michael Basinski
(USA). "Reviews: zines, chaps and other publications." Edited by Batya Goldman.
No. 4 ([1995]). Newsprint. 10 1/2"x8". 31 pages. Newsletter of the "Second Annual
Underground Press Conference," Chicago, Illinois, August 18-20, 1995. "Obituary- Paul-X,"
by Ashley Parker Owens (USA). Conference panelists include Joolee Peezlee (aka Julie
Peasley, USA). John Held, Jr. (USA), Seth Friedman (USA), Luigi-Bob Drake (USA), et al.
"1989 Interview with Mike Gunderloy," by Ron Sakolsky (USA). "Interview with R. Seth
Friedman," by Tim Brown (USA). "Busting Up Like a Flower of Fire from the Underground:
Or is Paul Weinman Reading in the Nude Again," by Ron Androla (USA). "Review of Zines,
Chaps & Other Publications."
No. 5 (August-November 1995). Newsprint. 10 1/2"x8". 43 pages. Schedule for the
"Second Annual Underground Press Conference," Chicago, Illinois, August 18-20, 1995.
"Archiving and Documenting the Underground," panel features john Held, Jr. (USA), Chris
Dodge (USA), and R. Seth Friedman (USA), et al. "So What IS the Role of the Reviewer in
the Zine community?," by Ashley Parker Owens (USA). "Reviews of Zines, Chaps, and
Other Publications," contains reviews by Alice Borealis (USA), Heath Row (USA), Michael
Basinski (USA) et al. Contributions by The Sticker Dude (aka Joel Cohen, USA), et al.
No. 6 ([October 1995]). Newsprint. 10 1/2"x8". 31 pages. "This Stew Stinks: Thoughts
on UPC 95," by Ashley Parker Owens (USA). "The Poetics of Underground Poetry," by
Michael Basinski (USA). Publication reviews.
No. 7 (February-May 1996). Newsprint. 10 1/2"x8". 31 pages. "To Be a Zine or Not To
Be," by Daren Johnson (USA). "Getting a UPC code is not necessarily a bad thing, it's just a
sign that a zine has grown too big to cater to the regular zine customer. Some guy in
Dayton who hasn't gotten out in the sun for a few months." "Reviews of Zines, Chaps, and
Other Forms of Independent Expression."
No. 8 (May-June 1996). Newsprint. 10 1/2"x8". 29 pages. "List of Experimental Poetry &
Arts Magazines," by Spencer Selby (USA). "Review Section: Zines-Chapbooks-Video-Books-
Periodicals-Comix-Independent & Underground."
No. 9 (August-September). Newsprint. 10 1/2"x8". 30 pages. "Third annual
Underground Press Conference & Independent Comic's Exposition," Chicago, Illinois,
October 12, 1996. Publication reviews.

U-Mak-It. A1 Waste Paper Co. Ltd. (AKA Michael Leigh and Hazel Jones), Editors.
London, England. (1987).
No. 23 ([September 1987]). Photocopy and Rubber Stamps. 5 3/4"x4 1/4". 15 pages.
Detourned advertisements reflect the editors' Mail Art involvement. "Here a prolific mail-art
person types a short letter of complaint to Dave Zack about the tape of cello music she has
just received from him."

UBMA (Una Brecha Muy Abierto). afungusboy, Editor. Philadelphia, Pennsylvania.
1992.
No. 1 (May 1992). 2 3/4"x2 3/4". (12 pages). "A microzine dedicated to reproducing low
resolution (72 dpi or less) computer generated and/or manipulated images...Collaborative
pieces from the non microcomuper world are encouraged and welcomed."
No. 2 (August 1992). Photocopy. 4 1/4"x2 3/4". (14 pages). "A Disease of Carcass
Awaiting." Images by the editor. Words by "ge (of.huth)" (aka Geof Huth, USA). Dual
printing with "DBQP"#159. One-hundred copies distributed by each magazine.

Umbrella. Judith A. Hoffberg, Editor. Glendale; Pasadena; Santa Monica,
Vol. 1, No. 1 (January 1978). Offset. 11"x8 1/2". 14 pages. "This is the first issue of
UMBRELLA, which is a new vehicle for art news, reviews and resource information. We
know that we cannot be comprehensive, but we are trying to give you as much news as
possible in a clear, concise format./We feel that we are presenting you with an information
resource that appeals to art historians, artists, librarians, and anyone else who is interested
in what is happening in this most explosive period of art development./We also offer a
means of inter-communication with our column called INFO EXCHANGE, which we are
offering to you as a service." Feature article on Ulises Carrin (Holland) and Aart van
Barnevelt (Holland) in "Profile: other books and so." "There is a continuous exhibition in the
gallery space of special artists' books, usually two artists a month, but sometimes there are
shows of Stamp Art, Postcard Art with requests for entries from around the world./Ulises
and Aart have been very instrumental in setting up the Stampelplaats Gallery in
Amsterdam-the Rubber Stamp Museum-under the auspices of Posthuma, a rubber stamp
factory of long standing in Holland. They are also launching a magazine of mail art and
ephemera as announced under 'New Periodicals' in this issue of 'Umbrella'." "International
Art Periodicals." Ken Friedman edits, "Regional Art news."
Vol. 1, No. 6 (November 1978). Offset. 11"x8 1/2". Pages Numbered 126-153. "An
Artful Autumnal Jaunt: on the road with jah," mentions a meeting with Uncle Don Milliken
(USA), "One of the most underrated, but important mail artists in America today...editor of
OR magazine..." "Artists' Archives."
Vol. 2, No. 1 (January 1979). Offset. 11"x8 1/2". 22 pages. "Wallace Berman: A Seminal
Influence," profiles the early correspondence artists and editor of "Semina," and early
assembling magazine. Sponsorship of "International Umbrella Mail Art Exhibition." Letter
from Leonhard Frank Duch (Brazil) and Geoffrey Cook (USA). Contributions by Cavellini
(Italy) and Gabor Toth (Hungary).
Vol. 2, No. 2 (March 1979). Offset. 11"x8 1/2". 51 pages. Goran Dordevic (Yugoslavia)
in "Infor Exhchange" asks artists, "Would you take part in an international strike of artists.
As a protest against art system's unbroken repression of artist and the alienation from the
results of his practice, it would be very important to demonstrate a possibility of
coordinating activity independent from art institutions, and organize an international strike
of artists." "Exhibitions & Competitions," lists Mail Art exhibition, project and publication
opportunities. "Periodicals, Old and New." Contribution by Jerry Dreva, et al. "Artists'
Books: news and reviews."
Vol. 2, No. 3 (May 1979). Offset. 11"x8 1/2". Pages Numbered 54-74. "First
International Dada Festival in 1980." "Exhibitions and Competitions," lists Mail Art
exhibition, project and publication opportunities. "Rubber Stamp News." Contribution by
Johan Van Geluwe (Belgium).
Vol. 2, No. 4 (July 1979). Offset. 11"x8 1/2". Pages Numbered 78-98. "Some Thoughts
on Mail Art," by Robert Rehfield (East Germany). "800-Pound Mail Art from Los Angeles."
"More Mail Art News," mentions Tohei Horiike (USA), David Zack (USA) and Geoffrey Cook
(USA). "MailArt; A Survey." "Profile: La Mamelle Inc., San Francisco." "Inter-Dada 80
Update." "Mail Art exhibition, project and publication opportunities in "Exhibitions &
Competitions." "International News," mentions "Rubber" magazine, "Other Child Book
Exhibit," curated by Henryk Gajewski (Poland). Contributions by Ulises Carrin (Holland),
Johan Van Geluwe (Belgium), et al.
Vol. 2, No. 5 (September 1979). Offset. 11"x8 1/2". Pages Numbered 102-121. Mail Art
exhibition, project and publication opportunities in "Exhibitions and Competitions." "Mail
Art: What Is It?," by Bagdanka Poznanovic (Yugoslavia). "Profile: Ulises Carrin: An End
and a Beginning." "Umbrella" Mail Art exhibition catalog for, "The Umbrella Show,"
available.
Vol. 2, No. 6 (November 1979). Offset. 11"x8 1/2". Pages Numbered 126-151.
"Alternative Art Publishing Conference." "Copy Art Symposium." Letter by Peter Below
(West Germany) in "Info Exchange." Contributions by R. Saunders (USA), Johan van
Geluwe (Belgium), et al.
Vol. 3, No. 1 (January 1980). Offset. 11"x8 1/2". 22 pages. "Inter-Dada 80 Update."
Mail Art exhibition, project and publication opportunities listed in "Exhibitions &
Competitions." "Mail Art News," includes mentions of Vittore Baroni (Italy), and E. F.
Higgins III (USA). "A Note on Mail Art," by Georgette Munday (England). "The Elusive
Madame X, Mail Artist." Contribution by Robin Crozier (England), Romano Peli and Michaela
Versari (Italy) et al.
Vol. 3, No. 3 (May 1980). Offset. 11"x8 1/2". Pages Numbered 50-61. "Cavellini Comes
to California," to attend the Inter-Dada 1980 Festival, Ukiah, California. Photo-
documentation of the event features Cavellini (Italy), Polly Esther Nation (USA), Michael
Mollett (USA), Abdada LeClair (USA), Bill Gaglione (USA), Buster Cleveland (USA), et al.
"Poste Haste," by Kenneth S. Friedman (USA), reviews the "Mail, Etc., Art: A Traveling
Correspondence Art Exhibition," catalog. "Mail Art Exhibitions & Competitions," offers Mail
Vol. 3, No. 4 (Summer 1980). Offset. 11"x8 1/2". Pages Numbered 67-91. "Europe,
Summer 1980: on the road with jah," mentions meetings with Felipe Ehrenberg (England),
john Armleder (Switzerland), Albrecht D. (West Germany, Angelika Schmidt (West
Germany), Cavellini (Italy), Mohammed (Italy), Betty Danon (Italy), Nicola Frangione
(Italy), Romano Peli (Italy), Michaela Versari (Italy), Maurizio Nannucci (Italy), Ulises
Carrin (Holland), Aart van Barneveld (Holland), et al. "Mail Art Exhibitions &
Competitions."
Vol. 3, No. 5 (September 1980). Offset. 11"x8 1/2". Pages Numbered 94-114. "Bern
Porter: an interview." "Art People in the News," mentions Tommy Mew (USA), Anna Banana
((USA), Bill Gaglione (USA), Sue Fishbein (USA), et al. "Copy Art: San Francisco
Revolution," by Barbara Cushman. "Letters to UMBRELLA," by Lon Spiegelman (USA) and
Vittore Baroni (Italy). Mail Art "News," mentions Lon Spiegelman (USA), Michael Duquette
(Canada), and Randy Harelson (USA), author of "S.W.A.K.: The Kids' Book of Fun Through
the Mail." "Mail Art Exhibition & Competitions." "Rubber Stamp News." contributions by
Mohammed (aka Plino Mesculium, Italy).
Vol. 3, No. 6 (November 1980). Offset. 11"x8 1/2". Pages Numbered 118-137). "Letters
to Umbrella," from Mario Lara (USA) and Irene dogmatic (USA). "Art People in the News,"
includes Tommy Mew (USA), Jonathan Held (aka John Held, Jr., USA), Dick Higgins, et al.
Mail Art Exhibitions & Competitions," mentions Mike Crane (USA) and Michael Mollett (USA)
in the "News" section. Commonpress invitations by R. Saunders (USA), and Johan van
Geluwe (Belgium).
Vol. 4, No. 1 (January 1981). Offset. 11"x8 1/2". 21 Pages. "Profile: Mohammed,
Genova," features the Photocopy/Mail Artist Plinio Mesculiam (Italy), director of the
Mohammed Center for Restricted Communication. "Art and Politics: Mail Art in Australia,"
by Dear Miss Cernak (Australia). Letters by Davi Det Hompson (USA), Mario Lara (USA),
and Piotr Rypson ((Poland). "Mail Art Exhibition & Competitions." Contributions by Marilyn
R. Rosenburg (USA), Abdada LeClair (USA), Karl Kempton (USA), et al.
Vol. 4, No. 2 (March 1981). Offset. 11"x8 1/2". Pages Numbered 27-46. "Profile: C.D.O.
Parma," features the Mail Art archive of Romano Peli (Italy) and Michaela Versari (Italy).
"Mail Art Exhibitions & Competitions," includes a "News" section mentioning Pete Horobin
(Scotland), Peter Van Beveren (Holland), Jerry Dreva (USA), Johan Van Geluwe (Belgium),
Jon Held (aka John Held, Jr., USA), et al. "Mail Art: Crises & Concern," by the editor. "there
is a growing wave of discontent among the long standing mail-artists who have been
around for a long time and are seeing changes n the network and in the kind of mail that is
being received today." Contribution by Pete Horobin.
Vol. 4, No. 3 (May 1981). Offset. 11"x8 1/2". Pages Numbered 51-79. "Mail Art
Exhibitions & Competitions." Special section on "Commonpress Deadlines." "News from
Mexico," by Le Clair RadioFreeDada (aka Turk LeClair (USA) mentions Mexican Mail Artists
Aaron Flores, Mauricio Guerrero, Gilda Castillo, Manuel Marin and Magali Lara. "Stamp Until
You Feel Guilty," by Bill Whorrall (USA).
Vol. 4, No. 5 (November 1981). Offset. 11"x8 1/2". Pages Numbered 114-142. "A
Bookman's Holiday: on the road with jah," features a trip to the Shaker Seed House of
Dada, Fluxus and Mail Art collector Jean Brown (USA), Tyringham, Massachusetts. "Art
People in the news," mentions E. F. Higgins III (USA), John M. Bennett and C. Mehrl
Bennett (USA), Anna Banana (Canada), Ken Friedman (USA), Carlo Pittore (USA), Bill
Whorrall (USA), Patrick T, (USA), Marilyn Rosenberg (USA), et al. "Mail Art Exhibitions &
Competitions," features Mike Duquette (Canada), Guy Schraenen (Belgium), David Cole
(USA), Long Spiegelman (USA), Harley (USA), Henk Fakkeldij (Holland), et al. in the
"News" section. "Rubber Stamp News."
Vol. 5, No. 3 (May 1982). Offset. 11"x8 1/2". Pages Numbered 50-75. "Art People in the
News," mentions Tommy Mew (USA), Bill Gaglione (USA), E. F. Higgins III (USA), Pawel
Petasz (Poland), Crackerjack Kid (USA) et al. "Mail Art Exhibitions & Competitions,"
mentions Chuck Stake (USA), Gyrgy Galantai (Hungary), Bruno Chiarlone (Italy), in the
"News" section. "Mail Art Magazines."
Vol. 5, No. 4 (September 1982). Offset. 11"x8 1/2". Pages Numbered 78-107. Piermario
Ciani (Italy), Michael Mollett (USA), Carlo Pittore, Gyrgy and Julia Galantai (Hungary), et
al., mentioned in the "News" section of "Mail Art Exhibitions & Competitions." "News and
Notes," has a "Rubber Stamps" section which mentions the opening of Modern Realism
gallery, directed by John Held, Jr. (USA).
Vol. 5, No. 5 (November 1982). Offset. 11"x8 1/2". Pages Numbered 110-135. "First
International Mail Art Manifesto," signed by Mail Artists from nine countries including
Graciela Marx (Argentina), Gullermo Deisler (Bulgaria), Anna Banana (Canada), Daniel
Daligand (France), Klaus Groh (West Germany), Robin Crozier (England), Michael Scott
(England), Vittore Baroni (Italy), Cavellini (Italy), Ulises Carrin (Holland), Carlo Pittore
((USA), Buster Cleveland (USA), Bill Gaglione (USA), the editor, et al. Mail Art "News"
mentions Michael Mollett (USA), Guy Bleus (Belgium), Artpool (Hungary), et al. "The
Wonderfully Foolish Mysterioso Cavellini Festivale," a report of Cavellini (Italy) in New York
City, by Diane Sipprelle (USA) and Buster Cleveland (USA). Mail Art exhibition, project and
publication opportunities in "Mail Art Exhibitions & Competitions."
Vol. 6, No. 1 (January 1983). Offset. 11"x8 1/2". 32 pages. "Third National High School
Postal Art Exhibition exhibited last Year in Washington, D. C.," accompanied by an
installation photograph of the exhibition curated by Crackerjack Kid (USA). "Letters to
UMBRELLA," includes correspondence by Artists Union (aka AU, Japan) and Lon Spiegelman
(USA). Mail Art Exhibitions and Competitions," contains "News" "Commonpress Deadlines,"
as well as deadlines for "Bambu" and "CARE" issues, and Mail Art exhibition, project and
publication listings. Contributions by Guy Bleus (Belgium), and Patrick Beilman (aka
Cowtown Art, USA). "Audio Art" mentions the activities of Peter Meyer (Sweden). "Rubber
Stamps" mentions Jonathan held (aka John Held, Jr., USA),
Vol. 6, No. 2 (March 1983). Offset. 11"x8 1/2". Pages numbered 33-63. Cover by
Leavenworth Jackson (USA). Mail Art "News" mentions Uncle Don Milliken (USA),
Rosealea's Hotel (USA), E. F. Higgins III (USA), Carlo Pittore (USA), et al. Mail Art
exhibition, project and publication opportunities. "Copy Art" mentions Louise Neaderland
(USA) and Eleanor Kent (USA).
Vol. 6, No. 3 (May 1983). Offset. 11"x8 1/2". Pages numbered 65-100. "PROFILE: rod
summers, sound artist in Holland," an interview with the Dutch Mail Artist, specializing in
audio works and compilations. Mail Art "News" mentions Bradley Lastname (USA), Sonja
Van der Burg (Holland), Gnther Ruch (Switzerland), Press Me Close (aka K. S. Ernst,
USA), C. T. Chew (USA), Carlo Pittore (USA), et al. Mail Art exhibition, project and
publication opportunities. "Rubber Stamps" mentions Ginny Lloyd (USA), Robert Rockola
(USA), Paul Cotton (USA), Leavenworth Jackson (USA), Bill Whorrall (USA), et al.
Vol. 6, No. 4 (September 1983). Offset. 11"x8 1/2". Pages numbered 101-136. Bill
Gaglione (USA) and Lon Spiegelman (USA) listed as "Contributing Editors, Mail Art' on the
masthead. "Letters to Umbrella," includes correspondence from Carol Stetser (USA) and
Carlo Pittore (USA). "Artists' Publications" reviews "Artist Postage Stamps 83," by Patrick
Beilman (aka Cowtown Art, USA) and "About Vile," by Anna Banana (Canada). "Mail Art is
'Not' Correspondence Art," by Robert C. Morgan (USA). Mail Art "News" mentions On
Spiegelman (USA), Wally Darnell (Saudi Arabia), Mark Wamaling (USA). Steve Random
(USA), Carol Pittore (USA), Rockola (USA), Fomt (aka Daniel Johnson, North Ireland), et al.
Mail Art exhibition, project and publication opportunities. "Rubber Stamp News" mentions
Betty Ruth Curtiss (USA), Dadaland (aka Bill Gaglione, USA), Leavenworth Jackson (USA),
Darlene Altschul (USA), et al.
Vol. 6, No. 5 (November 1983). Offset. 11"x8 1/2". Pages numbered 138-172. "Letters
to Umbrella," prints a rebuttal by Vittore Baroni (Italy) to a previous article by Robert C.
Morgan (USA). "Although mail Art is alive and well and expanding, there is a general
tendency in many shows and projects to call for an 'end to Mail Art,' of to make a show
'about' mail Art rather than 'of' Mail Art. While longtime mail artists are beginning to meet
in person and think of taking steps further on the path opened by the network activities,
this may be a sign that something is changing." "PROFILE: Maurizio Nannucci and Zona,
Florence." "Art People in the News" mentions G. X. Jupitter-Larsen (Canada), c. Mehrl
Bennett (USA), Karl Kempton (USA), Scott Helmes (USA), E. F. Higgins III (USA), K. S.
Ernst (USA), John Furnival (USA), Rimma and Valery Gerlovin (USA), Byron Black (USA), et
al. Mail Art "News" mentions Artpool (Hungary), Ray Johnson (USA), Mark Bloch (USA), Bill
Whorrall (USA), et al. Mail Art exhibition, project and publication opportunities.
Vol. 7, No. 1 (January 1984). Color Photocopy and Offset. 11"x8 1/2". 35 pages. Bill
Gaglione (USA) and Lon Spiegelman (USA) listed as "Contributing Editors, Mail Art." Mail
Art "News" mentions Guy Bleus (Belgium), Artpool (Hungary), Dr. Ronny Cohen (USA),
Mike Bidner (Canada), Gza Perneczky (West Germany), et al. "Mail Art Periodicals." Mail
Vol. 7, No. 2 (March 1984). Offset. 11"x8 1/2". Pages numbered 37-52. "Special
Exclusive Mailart Edition," edited by Lon Spiegelman (USA). Later retracted after a dispute
with regular editor, Judith A. Hoffberg. Issue mainly devoted to the Franklin Furnace/Dr.
Ronny Cohen controversy over the curators' (Cohen) neglect in displaying all contributions
to a Mail Art show at Franklin Furnace, New York City. Letter by Matthew Hogan , Curator
of Collections, Franklin Furnace. "Statement by The panel read by Cracker Jack Kid, to the
February 24th Artists Talk on Art Gathering, 22 Wooster Street, New York City 1984." "Mail
Art may have appeared formless, perhaps without leadership or a sense of direction. the
occasion of this panel discussion marks an important turning pint in the history of the
International Mail Art Network./international mail Art is the most important, most
significant art movement in the world today, drawing is strength form the free exchange of
artists communication./Because you, Dr. Ronny Cohen, have been insensitive to the
fundamentals of the global network, and because you failed to exhibit all materials sent to
your exhibition, as stated in your invitation, WE, Members of this panel, on behalf of our
colleagues throughout the world, remove you as moderator f this panel./We welcome you
to remain as a member of this panel, however, you have lost your credibility as a
spokesperson for mail art." "Review of postal Art panel," by Faith Heisler (USA).
Contributions throughout the issue by Carlo Pittore (USA)., Dr. Ronny Cohen (USA), Gene
Laughter (USA), Michael Mollett (USA), Crackerjack Kid (USA), John P. Jacob (USA), Ling
(aka Al Ackerman, USA), R. Saunders (USA), Ray Johnson (USA), et al. "A Brief Note on
Mail Art," by Epistolary Stud Farm (aka John Pyros, USA). "It Ain't Necessarily So, Mr.
Morgan," by Crackerjack Kid (USA). "On Mail Art and Mail Artists," by Joachim Frank (USA).
Mail Art exhibition, project and publication opportunities. "News and Notes."
""Publications." Cover by Harry Bates (aka Al Ackerman). Contribution by H. R. Fricker
(Switzerland), Michael Mollett, Victor Perez (USA), et al. Edition 8/200.
Vol. 7, No. 2-5 (Autumn 1984). Offset. 11"x8 1/2". Pages numbered 37-60. "Special
Mail Art Edition Retraction," by Lon Spiegelman (USA). "It Ain't (Necessarily) So, Mr.
Morgan: A Mail Art Rebuttal by Cracker Jack Kid." Mail Art "News" mentions Guglielmo
Achille Cavellini (Italy), David Hunter (USA), Carlo Pittore (USA), Piotr Rypson (Poland),
Jaroslav Supek (Yugoslavia), Epistolary Stud Farm (USA), Ruud Janssen (Holland), Guy
Bleus (Belgium), Clemente Padin (Uruguay), et al. Mail Art exhibition, project and
publications listed in "Mail Art Exhibitions & Competitions." "Artists' Periodicals." Front and
back covers by Karl Kempton (USA).
Vol. 8, No. 2 (November 1985). Offset. 11"x8 1/2". Pages numbered 18-31. "A
Bookman's Holiday: on the road with jah," mentions a visit with Robert Rehfield (East
Germany). No Mail Art listings, as previous.
Vol. 9, No. 2 (October 1986). Offset. 11"x8 1/2". Pages numbered 23-43. Cover by Bill
Gaglione (USA). "Mail Art: News & Reviews," mentions John Hudak (USA); Johan van
Geluwe (Belgium); "The International Mail-Art Symposium (Calgary, Canada);"
"Networking Currents," by Chuck Welch (aka Crackerjack Kid, USA); etc. Mail Art
Vol. 12, No. 1 (July 1989). Offset. 11"x8 1/2". 27 pages. "Mail Art Competitions &
Exhibitions." "Classified" listings include a notice for information by Jas. W. Felter
(Canada), "Wanted: Information leading to the identification and location of living artists
anywhere in the world currently and actively producing signed, limited editions of Artistamp
sheets;" and Paul Rutkovsky (USA), on "Visual, Textual, Aural Materials related or not to
the Avant-Garde."
Vol. 12, No. 2 (December 1989). Offset. 11"x8 1/2". Pages numbered 31-54. "Umbrella
is an occasional newsletter, focusing on artists' publications and twentieth-century art
documentation including books by artists as well as artists' periodicals with news and
reviews." Cover by Leslie Caldera (aka Creative Thing, USA). Notice of the October 1989
death of Ulises Carrin (Holland). Review of "I am a Networker (Sometimes)," by H. R.
Fricker (Switzerland). "Mail Art news" mentions John Held, Jr. (USA), Paul Rutkovsky
(USA), Bill Gaglione (USA), et al. Mail Art exhibition, project and publication opportunities.
Contributions by H. R. Fricker and Ulises Carrin.
Vol. 13, No. 1 (June 1990). Offset. 11"x8 1/2". 35 pages. Mail Art "News" mentions John
Held, Jr. (USA), Anna Banana (Canada), Ruggero Maggi (Italy), Bernd Lobach-Hinweiser
(West Germany), et al. Mail Art exhibition, project and publication opportunities.
Contributions by Mark Bloch (USA) and Gza Perneczky (West Germany).
Vol. 13, No. 2 (December 1990). Offset. 11"x8 1/2". Pages numbered 38-70. Cover by
Gza Perneczky (West Germany). "Copy Art Books" includes works by Carol Stetser (USA)
and Marilyn R. Rosenberg (USA). Mail Art "News" mentions C. W. Poste (USA), John Held,
Jr. (USA), Robin Crozier (England), Ed Varney (Canada), Leslie Caldera (aka Creative
Thing, USA), et al. Mail Art exhibition, project and publication opportunities.
Vol. 14, No. 1 (June 1991). Offset. 11"x8 1/2". 31 pages. Notice of the death of Aart van
Barneveld (Holland). "The Question of Mail Art," by Guy Bleus (Belgium), Carol Stetser
(USA), and John Held, Jr. (USA). the "Introduction" by John Held, Jr. reads, "I received the
following letters from Guy Bleus and Carol Stetser on the same day (March 29, 1991), and
they seemed to encapsulate a dichotomy that is prevalent in Mail Art; namely, the
contradictory positions that the phenomenon should, or should not, become historified,
preserved, and unhinged as a free an unencumbered creative act very much in the
tradition and spirit of Dada." "Supplement to Vol. 14, no. 1 of UMBRELLA" inserted,
containing information on "Mail Art," including sections on "News" and Mail Art Shows."
"News' section contains information on the book "A Halo," by Gza Pernezcky (West
Germany), and "The Morris/Trasov Archive," assembled by Michael Morris (Canada) and
Vincent Trasov (Canada).
Vol. 14, No. 2 (December 1991). Offset. 11"x8 1/2". Pages numbered 34-63. Review of
John Held, Jr.'s (USA), "Mail Art: An Annotated Bibliography," by Anna Banana (Canada).
"A brief description of the publications Held chose to ignore in his Moticos to Mail Art
essay," by Anna Banana. Mail Art "News" and "Shows" in a special insert. Mail Art "News"
includes notices of stamp production services provided by Anna Banana; a "Soviet &
Eastern European Mail Art Exhibition," curated by C. W. Poste (USA), "Jazz Mail Art
Project," organized by FaGaGaGa (USA); "Decentralized Worldwide Networker Congress
1992" at Rocchetta di Murales, Italy; "La Posta in Giocco," curated by Gianni Broi (Italy), at
the Uffizi Gallery, Florence, Italy; Ruud Jannsen (Holland); Bruno Chiarlone (Italy); E. F.
Higgins III (USA); Guy Bleus (Belgium), the "Postfluxpostbooklets," of Luce Fierens
(Belgium), etc. "Mail Art Book" notes the publication of a collaborative work by FaGaGaGa
(aka Mark Corroto) and Bern Porter (USA).
Vol. 15, No. 1 (May 1992). Offset. 11"x8 1/2". 27 pages. "Mail Art News" mentions
Vincze Ferenc Gyorgy (Romania), Artpool (Hungary, et. al. Mail Art exhibition, project and
publication opportunities. Review of John Held, Jr.'s (USA) book, "Mail Art: An Annotated
Bibliography. "...is indeed a tribute to a librarian's uncanny perseverance in documenting
an unstructured movement which has been active for the past 30 years." "Excerpts from
the Role of the Networkers," by Guy Bleus (Belgium).
Vol. 15, No. 2/3 (October 1992). Offset. 11"x8 1/2". Pages numbered 31-67. Cover by
Marcello Diotellavi (Italy). "Copy Art" reviews "Life Has Meaning," by Mark Pawson
(England). "Jas. H. Duke (1939-1992)," notes the passing of the Australian Mail Artist. Mail
Art "News' mentions the Mail Art exhibition, "Al Kunst Bestempeld: Mail Art International,"
at the National P. T. T. Museum, the Hague, Holland; Ray Johnson (USA); Jean-Claude
Gagnon (Canada), Carola v.d. Heyden (Holland); The Stamp Art Gallery, San Francisco;
Ashley Parker Owens (USA), et al. Mail Art exhibition, project and publication opportunities.
"My Art is Nomad Art," by Peter Kstermann (Germany). "On the road with JAH," notes a
visit to the Artpool Research Center, directed by Julia and Gyrgy Galantai (Hungary).
Vol. 16, No. 1 (March 1992). Offset. 11"x8 1/2". 34 pages. Mail Art "News" mentions
Angela and Peter Netmail (Germany), Ashley Parker Owens (USA), Shozo Shimamoto
(Japan), Miekal And and Liz Was (USA), John Held, Jr. (USA), Carl chew (USA), et al. Mail
Art exhibition, project and publication opportunities. "Interview with Angela Phler & Peter
Kstermann," by Dobrica Kamperelic (Yugoslavia). Editorial offices moved to Pasadena,
California.
Vol. 16, No. 2/3 (October 1993). Offset. 11"x8 1/2". Pages numbered 41-79. Book
cover of Gza Perneczky's book, "The Magazine Network: The Trends of Alternative Art in
the Light of Their Periodicals 1968-1988," reproduced. Review of the book. "If everyone
living can send Gza the facts as they are, rather than as they are interpreted of
fictionalized, perhaps this major contribution to a movement will be corrected and funded
so that English-speaking readers can get a corrected edition in the near future." Mail Art
"News' mentions Ashley Parker Owens (USA), Jas. Felter (aka Five/Cinq Unlimited,
Canada), Buster Cleveland (USA), Afungusboy (USA), Larry Tomoyasu (USA), Peter and
Angela Netmail (Germany), Luce Fierens (Belgium), Nigel Bents (England), et al. Notice of
the book, "Timbres d'Artistes: Catalogue D' Exposition," published by the Muse de la Post,
Paris, France. mail Art exhibition, project and publication opportunities.
Vol. 17, No. 1 (February 1994). Offset. 11"x8 1/2". 31 pages. Mail Art "News" notes the
passing of Robert Rehfield (Germany) on September 28, 1993. Reviews of "Free Personal
Deluxe Net Mail Delivery Documentary Catalogue," by Peter and Angela Netmail
(Germany), and "Eternal Network: A Mail Art Anthology," edited by Chuck Welch (aka
Crackerjack Kid, USA). mail Art exhibition, project and publication opportunities.
Vol. 17, No. 2 (June 1994). Offset. 11"x8 1/2". Pages numbered 34-67. Mail Art "News"
mentions Chuck Welch (USA), M. B. Corbett (USA), Walter Goes (Germany), Jennifer
Huebert (USA), Guy Bleus (Belgium), Emilio Morandi (Italy), Ashley Parker Owens (USA),
Angela and Peter Netmail (Germany), et al. Mail Art exhibition, project and publication
opportunities.
Vol. 17, No. 3/4 (December 1994). Offset. 11"x8 1/2". Pages numbered 70-123. "Jean
Brown, 1911-1994," by John Held, Jr. (USA). "Jean Brown has been variously described as
'the Archivist of the Avant Garde' and 'the Den Mother of Fluxus.' One tends to want to
capture her essence in a well-turned phrase, because this way a lady who was obviously a
unique personality. She was known as one of the world foremost collectors of challenging
art, but for those who knew and loved her, sharing was her greatest asset." Mail Art
"News" mentions Serge Segay (Russia), Peter and Angela Netmail (Germany), Genesis P-
Orridge (England), Eugenio Dittborn (Chile), Picasso Gaglione (USA), Le Peintre NATO
(France), et al. Mail Art exhibition, project and publication opportunities. John Held, Jr.
noted in "Art People," as having traveled to Eastern Europe in October-November 1994.
Vol. 18, No. 3 (August 1995). Offset. 11"x8 1/2". Pages numbered 50-79. "From the
Editor" notes the passing and lasting influence of Ray Johnson (USA). "Ray Johnson has
been memorialized at Quaker House in New York city. It happened on a Saturday afternoon
in late April, when I could not be there. so I sent a mail art piece in homage to the person
who made me an 'artist', who gave me permission to send things through the mail
throughout the world and consider myself a 'mail artist'. and although I can hardly draw a
straight line or even a stick figure, I can make art with decal, stickers, rubberstamps,
collage interesting found postcards and found detritis (sic) and enter the 'network' of
friends and fellow mail artists, and not feel ashamed, untalented or unresponsive." Johnson
memorial exhibitions held in Belgium and New York City, as reported in "Mail Art". Other
Mail Artists mentioned include Crackerjack Kid (USA), Buster Cleveland (USA), Valery
Oistenau (USA), E. M. Plunkett (USA), Mark Bloch (USA), Anna Banana (Canada), John
Held, Jr. Guy Bleus (Belgium), Shozo Shimamoto (Japan), Jas. W. Felter (Canada), et al.
Vol. 19, No. 1 (May 1996). Offset. 11"x8 1/2". 34 pages. "Mail Art news" mentions
Eberhard Janke (Germany), Ray Johnson (USA), Creative Thing (aka Leslie Caldera, USA),
John Held, Jr. (USA), Picasso Gaglione (USA), The Spanish Mail Art Association (Spain),
Angela and Peter Netmail (Germany), et al. Mail Art exhibition, project and publication
opportunities. "Mail Art Publications" notes "H. R. Fricker: Ort der Orte," edited by Bern
Lbach-Hinweiser (Germany), and "PIPS-the magazine of UnZeitgist, UnCommerce &
Literary Objects," edited by Claudia Ptz (Germany).
Vol. 19, No. 2 (September 1996). Offset. 11"x8 1/2". Pages numbered 38-82. Mail Art
News" mentions Harley (aka Terra Candella, USA), Guy Bleus (Belgium), Ed Varney
(Canada), Dragonfly Dream (USA), John Held, Jr. (USA), Picasso Gaglione (USA), et al.
"Pacific Rim Artistamp Congress 1997," organized by The Stamp Art Gallery, San Francisco.
Mail Art exhibition, project and publication opportunities. "Art as a Means of Survival Under
Communism," by Peter Kstermann (aka Peter Netmail, Germany). "Mail Art vs. E-Mail Art:
A Personal Inquiry," by Kristof Debris (Belgium). Review of "Galantai-Lifeworks," a
"bilingual journey through the art/life of Gyrgy Galantai, co-founder of Artpool in
Budapest, and a major figure of the Hungarian art scene of the last quarter century."
Review of "All My Rubberstamps," by Mark Pawson (England). Contribution by Peter
Kstermann.
Vol. 22, No. 4 (December 1999). Offset. 11"x8 1/2". Pages numbered 94-132. "Who
would have believed 20 years ago that I would be doing Umbrella on a computer, that it
would take longer than when I did it on the IBM composer, that all this information flows in
so fast that I am on the computer more than I am with anyone else in the world, that I
send messages 10 times a day and receive them as frequently and that I read a great deal
less than I did 20 years ago!" "Mail Art News" mentions Anna Banana (Canada), Ed Varney
(Canada), "The Rubber Stamps of Ray Johnson," exhibited on rubberstampmuseum.com.
Mail Art exhibition, project and publication opportunities. Contribution by William Harroff
(USA). announcement of the publication of "Umbrella The Anthology." "Twenty plus years
of 'Umbrella', the newsletter about artist books, mail art and cutting edge contemporary art
news begun in 1978. Includes profiles of alternative spaces, interviews with major figures
in the artist book, mail art and Fluxus world, as well as 20 artist pages made especially for
this special anniversary edition! Essential reading for anyone interested in alternative
media."
Vol. 23, No. 1 (April 2000). Offset. 11"x8 1/2". 39 pages. Mail Art "News" mentions a
special Ray Johnson issue of "Lightworks" magazine; "The Popular Art of Postal Parody," an
exhibition curated by Anna Banana (Canada); "The World of Artistamps," a CD-ROM
produced by Rosemary Gahlinger-Beaune (Canada) in honor of Michael Bidner (Canada).
Mail Art exhibition, project and publication opportunities. Contribution by Gza Pernezcky
(Germany).
Vol. 23, No. 1 (April 2001). Offset. 11"x8 1/2". 32 pages. Cover by Ed Varney (Canada).
Mail Art "News" mentions the "Los Angeles County Museum of Art Mail Art Program," Shozo
Shimamoto, Gianni Simone's "Kairan" magazine, et. "Artistamp News" mentions a project
by Dogfish (aka Robert Rudine, USA), honoring the late Francis Hall (aka Kite Post, USA);
"Artistampzine," edited by Picasso Gaglione (USA) and John Held, Jr. (USA), and a special
issue of "New Observations" magazine edited by FaGaGaGa (Mark and Mel Corroto, USA).
Mail Art exhibition, project and publication opportunities. Graphic tribute to the late David
Cole (USA), by Marilyn R. Rosenberg (USA).
Vol. 24, No. 2 (August 2001). Offset. 11"x8 1/2". Pages numbered 38-74. Mail Art
"News" mentions an exhibition on Ray Johnson (USA), in Chicago, Illinois; Luce Fierens
(Belgium) and Annina Van Sebroeck (Belgium), a Mail Art exhibition on Jeju Island, South
Korea; and an assembling magazine by Jean-Claude Gagnon (Canada). Mail Art exhibition,
project and publication opportunities. Review of "The Stamp Art & Postal History of Michael
Thompson & Michael Hernandez de Luna," which includes an essay on Mail Art by Simon
Anderson (USA), and one on artistamps by Jas. Felter (Canada).
Vol. 24, Nos. 3/4 (December 2001). Offset. 11"x8 1/2". Pages numbered 78-122. "As I
write this, in the fifth week of writing this newsletter, it seems to me that Umbrella is
reaching a milestone of 25 years (a year from now) and we are going into our 25th
volume, but rather than a milestone, the news has become a millstone. There is so much
information coming in, that selection is difficult and it takes a very long time to do this
newsletter each time. Yet most of you replied that you want hard copy, and so it goes for
at least one more year. Then we shall see. If any of you have any ideas for a Silver
Anniversary celebration, please send it along." "Peace Island Mail Art Accord 2001," signed
by Jas.. W. Felter (Canada), Peter Netmail (Germany), Alberto Sordi (Italy), Snak-Y (Italy),
Eun Chul Jan (South Korea), Young Jay Lee (South Korea), John Held, Jr. (USA), Michael
Thompson (USA), Michael Hernandez de Luna (USA), and Mia Spiral (USA). The "Preamble"
reads; "Mail art has been widely accepted as a contemporary artistic movement. It should
remain an open, non-hierarchical structure. It is both a new medium (mail art) and a
movement (Mail Art). Mail art offers a new and tremendous possibility of making art in the
new millennium. Mail art is an established tradition in North America, Europe and Australia,
and is experiencing new expansion in South America. The Peace Island Jeju International
Mail Art Show 2001 represents an historic moment in spreading mail art in regions like
Asia. Such shows give us the chance to develop an international language and imagery
against the challenges of violence." Mail Art "News" mentions an artistamp exhibition
curated by Harley (USA); the "John Held, Jr. Papers" at the Archive of American Art,
Smithsonian Institution, Washington, D. C.; Mark Bloch (USA); "Kairan" magazine, edited
by Gianni Simone (Japan); Angela Phler (Germany) and Peter Kstermann (Germany).

Undu Review: Poetry & Mail Art Networking Netmag. Reed Altemus, Editor.
Cumberland Center, Maine. (2000).
No. 4 ([2000]). Photocopy. 11"x8 1/2". (8 pages). "The UNDU Review was originally an
idea for recycling mail art information (as Robert Filliou pointed out, there's so much
information around that no one can know everything, hence, the rational for his 'eternal
network' concept). Then it turned into a poetry and mail art info magazine (in plain text via
email message). The last issue, #3 November 1999, was I felt, a very strong issue and I
felt satisfied that I liked what I was doing with it and that the result was an interesting e-
zine for both writers of experimental/epistolary poetry not in English which I included even
though I couldn't read it). And for mail artists hungry for info on shows and projects to
send their work to. This was went out to about 200 email addresses. Then I waited for
submissions for #4 to start pouring in (i.e. are people REALLY interested). Two or three
polite 'Thank you' emails and one anemic poem, then...nothing. I waited. The I waited
some more. Finally I had to face facts: I had no material for issue #4. At this point I
decided that I should take the hint and scrap UNDU Review to put my energies into more
fruitful activities./But then, about a month ago I started to get snail mail addressed to
'UNDU Review' and heard that it had been mentioned on a website. This was enough
impetus to wake up the dormant editor in me-so word HAD gotten around...somehow. So
much the better. So here, in your hands is issue #4, same idea only photocopy snail mail
which enable me to include visual poetry & copier art, as you'll see." Contributions by
Keiichi Nakamura (Japan), Spencer Selby (USA), Picasso Gaglione (USA), et al. Mail Art

UNI/ver(;): Visual and Experimental Poetry Portfolio. Guillermo Deisler, Editor.
Peacedream-Project, Halle, East Germany. 1990-1994.
No. 7 (1990). Photocopy and Mixed Media. 8 1/4"x5 3/4". Unpaged. Assembling
magazine. Theme: Erotic. Forty contributors including Vittore Baroni (Italy), W. Neumann
(East Germany), Joki Mail Art (West Germany), Ever Arts (Holland), Ryosuke Cohen
(Japan), Fernando Aguiar (Portugal), Antonio Gomez (Spain). John Held, Jr. (USA), Mark
Bloch (USA), Pierre Marquer (France), et al. Edition 100.
([1992]). Offset. 8 1/4"x5 3/4". (8 pages). Documentation of five years (1987-1992) of
the editors' "UNI/vers(;)" project. Includes a list of contributors to the assembling
magazine. "Artists' project for visual and experimental poetry. Artists are invited to submit
100 works. 40 artists are put together in one issue, each artist receives a copy of the
magazine. 'UNI/vers(;)' transmits messages and poetry with simple matters. It is poetic
communication bearing in mind the mass being available. In it's best case an issue can be
simultaneous poetry in a collective form without censorship or borders." Contributions by
Anna Boschi (Italy), Volker Hammann (Germany), Crag Hill (USA), Mogens Otto Nielsen
(Denmark), et al.
(1992). Offset and Rubber Stamp. 8 1/4"x5 3/4". (12 pages). Produced by Galerie Am
Markt, Annaberg-Buchholz, Germany, documenting five years of the editor's "UNI/vers(;)"
assembling magazine. Introduction by gallery director, Brigitta Milde (Germany),
Bibliography. List of participants. Contributions by Ralf Langer (Germany), Mogens Otto
Nielsen (Denmark), Csar Figueiredo (Portugal), Stephen Perkins (USA), Serse Luigetti
(Italy). K. Takeishi (Japan), the editor, et al. Postcards, poster and invitation included.
(1992). Offset. 8 1/4"x5 3/4". (30 pages). Catalog documenting 5 years of the 'UNIvers(;)
Peacedream-project (1987-1992)." Contributions by Karla Sachse (Germany), Anna Boschi
(Italy), Pascal Lenoir (France), Vittore Baroni (Italy), Carlos Montes de Oca (Chile). Susana
Uribe (Chile), Shigeru Nakayama (Japan), Lancillotto Bellini (Italy), Csar Figueiredo
(Portugal), Crag Hill (USA), Lola Fish (France), Mogens Otto Nielsen (Denmark), Jos
Oliveira (Portugal), Hazel Jones (England), Ivan Sladek (Czech Republic), Jrgen Olbrich
(Germany), Serge Segay (Russia), Friedrich Winnes (Germany). Gnther Ruch
(Switzerland), Klaus Groh (Germany), the editor, et al. Edition 1000.
Magazin 1 (1994). Offset, Handmade Paper, Rubber Stamp and Mixed Media. 8 1/4"x5
3/4". (28 pages). Memorial edition in honor of the late editor. "In Memoriam," by Ruth
Wolf-Rehfeldt (Germany). Contributions by Karla Sachse (Germany), Franzobel (Austria),
Jrgen Kierspel (Germany), Jrgen Olbrich (Germany), Joseph W. Huber (Germany), Csar
Figueiredo (Portugal), Gyrgy Galantai (Hungary) Guy Bleus (Belgium), Ruggero Maggi
(Italy), Ko de Jonge (Holland), K. Takeishi-Tateno (Japan), Spencer Selby (USA), Vittore
Baroni (Italy), Mogens Otto Nielsen (Denmark), Pascal Lenoir (France), Jean-Claude
Gagnon (Canada), Hartmut Andryczuk (Germany), Birger Jesch (Germany), Pedro Juan
Gutierrez (Cuba), Willie Marlowe (USA), Serge Segay (Russia), Robert Rehfeldt (Germany),
the editor, et al. Edition 1000.

Unmuzzled Ox. Michael Andre, Editor. Anthology Film Archives, New York, New
York. 1997.
(No. 23) (Winter 1996-1997). Offset. 8 1/2"x5 1/2". 96 pages. Contributions by Ray
Johnson (USA), John Evans (USA), Anna Banana (Canada), Richard Kostelanetz (USA),
Norman Conquest (USA), et al. Includes a photographic portrait of Ray Johnson by Jimmy
DeSana (USA).
No. 26 (1989). Newsprint. 17"x11" (oversize). Pages numbered 43-77. Special "Blues"
issue, guest edited by Charles Henri Ford (England). Contributions by Ray Johnson (USA),
Valery Oisteneau (USA), et al.

Unowned Worlds. Al Ackerman, Editor. Harry Bates Club/Mad Dog Press, San
Antonio, Texas. 1987-(1988).
No. 3 ([November 24, 1987]). Photocopy. 11"x8 1/2". 11 pages. Cover by The Haddock
(USA). Contributions by John M. Bennett (USA), Dazar (USA), Bill "Mad Dog" Shields
(USA), Tara Babel (North Ireland), Jack Saunders (USA), Musicmaster (USA), Franny Mae
Jerkoffsky (aka Fran Cutrell Rutkovsky, USA), the editor, et al.
([February 1, 1988]). Photocopy. 8 1/2"x5 1/2". (4 pages). Cover illustration by the
editor. Contributions by Bill "mad Dog" Shields (USA). David Greenberger (USA), Dr. John
E. Mumbles (aka John Eberly, USA), John M. Bennett (USA), et al. "This is an UNOWNED
WORLDS 'shoestring edition' published by Harry Bates Club in association with Mad Dog
Press. Some enchanted eve(n)ing you will meet a stranger."
([February 1988]). Photocopy. 8 1/2"x5 1/2". (4 pages). Text and graphics by
Musicmaster (aka Tom Cassidy, USA). "This is another UNOWNED WORLDS shoestring
edition. for real magic, try reciting it in a loud shouting voice next time they tell you, 'The
bar is closed.'"
(February 11 or 12, [1988]). Photocopy. 8 1/2"x5 1/2". (8 pages). "More Detorism:
'The Asp' in Nottingham," by the editor. Cover illustration by Dazar (USA). Contributions by
The Haddock (USA), John E. (aka John Eberly, USA), Snow White Jung (England). "This is
an UNOWNED WORLDS special 'double peach' edition which was edited Feb. 11th or 12th,
same day as the pair Snow White and Sleeze were married some say. The thing is also
dedicated to Jon Held, Jr., on whose sofa in Dallas one Saturday night Gerald 'The Asp'
Simonsen nearly strangled to death on a peanut. Let them that don't want none have
memories of not getting any."
([March 1988]). Photocopy. 8 1/2"x5 1/2". (8 pages). Cover illustration by the editor.
contributions by Sleeze Steele (England), Bill "Mad Dog" Shields (USA), Snow White Jung
(England), John M. Bennett (USA), Dazar (USA), The Haddock (USA), Mike Miskowski
(USA), Paul Weinman (USA), John E. Mumbles (aka John Eberly, USA), et al. "This is an
UNOWNED WORLDS special 'Big Louts of Fire' edition with more louts in it than Wheaties
has flakes. Hell, you'd have to go to parochial school and be beaten by nuns to find this
kind of fun anywhere else, nearly!"
([April 28, 1988]). Photocopy. 8 1/2"x5 1/2". (8 pages). Cover by Dazar (USA).
Contributions by mumbles (aka John Eberly, USA), the editor, et al. "This is a special
UNOWNED WORLDS' 'Double Peach' edition. No worse than a bad cold..."
([May 12, 1988]). Photocopy. 8 1/2"x5 1/2". (12 pages). Cover by State of Being (aka
Reid Wood, USA). Contributions by Haddock (USA), Eel Leonard (aka al Ackerman, USA),
Bill "Mad Dog" Shields (USA), John E. (aka John Eberly, USA), John M. Bennett (USA),
Andre Stitt (England), Mike Miskowski (USA), Sleeze Steele (England), Gerald "The Asp"
Simonsen (USA), et al. "Edited by Blaster Fowl Ackerman. This is UNOWNED WORLDS big
dog & pony issue with cover by State of Being. That was no acorn, that was the sky(.)"
Vague - Vortex 3
Vague. Steve Random, Editor. Greenfield, Massachusetts. 1982.
(October 30, 1982). Photocopy, Rubber Stamps. 5 1/4"x4 1/4". 14 pages. "A Nebazine."
Contributions by Bernard Banville (USA), et al. "Down with the wall between Writer and
Reader." Edition 21/50.
No. 5 (April 9, 1983). Photocopy and Rubber Stamps. 5 pages. Artistamp sheet by the
editor. contribution by Rockola (USA). Edition 57/100.
No. 6 (May 20, 1983). Photocopy, Rubber Stamps and Mixed Media. 5 1/4"x4 1/4". (8
pages). "Vague/Rant No. 6...This is a special issue combining Steve Random's book
magazine, 'Vague,' and Creative Thing's one page magazine, 'Rant.'" Description of a party
at Lon Spiegelman's (USA) home to view the film, "Mail Art Romance," documenting the
courtship of John M. Bennett (USA) and C. Mehrl Bennett (USA). In attendance were
Creative Thing (USA), Carolyn Olenius (USA), Judith Hoffberg (USA), Steve Durland (USA),
Wally Darnell (Saudi Arabia), Michael Mollett (USA), et al. Contribution by Michael Leigh
(aka A1 Waste Paper Company, England). Photograph of Jean Brown's (USA) Shaker Seed
House.
(August 13, 1983). Photocopy. 5 1/2"x4 1/4". (32 pages). "Vague started out nebulously
as an artist's book, but soon tried to become just another magazine. Realizing Vague was
becoming what I had not intended, I changed it back into a book using all the artists ad
ons as the theme. I hope you'll understand that I could have gone on forever doing Vague
(and Neba), but I've decided to change, to do more art!, which will be better for us all. And
to all my mail art friends that weren't included, please accept my apologies and bear in
mind I will have more projects that we can work on in the future, for now do your own ad
on the front or back cover to be included in truly Vague-that is everyone will have a
different copy. And to you all who took out ads, my deepest thanks." Contributions by
Barnard Banville (aka Zona, USA), Bern Porter (USA), Rockola (USA), Michael Leigh (USA),
Bernd Olbrich (West Germany), Jrgen Olbrich (West Germany), Buster Cleveland (USA),
Anna Banana (Canada), Crackerjack Kid (USA), Patrick T. (USA), Leavenworth Jackson
(USA), Larry D. Smith (USA), Radio Free Dada (aka Turk LeClair, USA), Vittore Baroni
(Italy), Creative Thing (USA), Brenden deVallance (USA), Robin Crozier (England), Miny
(USA), Guy Bleus (Belgium), Bart Boumans (Holland), Klaus Peter Frstenau (West
Germany), Michael Scott (England), et al.

Vague. Tom Vague, Editor. London, England. 1982-(1991).
No. 11 ([January 1982]). Offset. 12 1/4"x8 1/2". 38 pages. "Back from the Grave
Issue." A punk rock/anarchist/pop culture magazine that morphs into a
situationist/plagiarist mouthpiece.
No. 12 ([June 1982]). Offset. 12 1/4"x8 1/2". 34 pages. "Tales from the Blank
Generation."
No. 14 ([1983]). Offset. 12 1/4"x8 1/2". (30 pages). "The Generation that Refused to
Grow Up."
No. 16/17 ([1984]). Offset. 12 1/4"x8 1/2". 120 pages). "The Brag of the SubGenius."
Interview with Genesis P-Orridge (England), conducted by the editor. "Muzak," by Genesis
P-Orridge. "The Boy Scout's Guide to the Situationist International: The Effect the S. I. had
on Paris '68 and all that, Through The Angry Brigade and King Mob to the Sex Pistols," by
Stewart Home (England). Unattributed, but Home listed as contributor. Includes a
"Bibliography/Plagiarism/Influences." Second Edition, 1988.
No. 18/19 ([November 1983]). Offset. 12 1/4"x8 1/2". 147 pages. "None Dare Call it
Plagiarism: Nothing is New Everything is Permissible," by the editor. "SMILE" magazine
incorporated in body of the magazine. "What's there to SMILE About?: The Neoist Cultural
Conspiracy," by Pete Scott (aka Stewart Home?, England). "Neoism is open to all; anybody
can do it. People in the streets are the greatest Neoist performance artists. Everybody-my
father, the Pope, the police and the terrorists. Even if you don't realize it, YOU are part of a
Neoist performance..." Monty Cantsin. Church of the SubGenius.
No. 20 (1988). Offset. 12 1/4"x8 1/2". 97 pages. "SMILE" Supplement by Stewart Home
(England). Festival of Plagiarism events, includes notices of appearance by Shaun Caton
(England), John Berndt (USA), Karen Eliot, an installation by Miekal And (USA) and Liz Was
(USA), et al. Additional contributions by bob Black (USA), Monty Cazazza (USA), Genesis P.
Orridge (England), Rev. Ivan Stang (aka Douglas St. Clair Smith, USA), et al.
No. 21 (1988). Offset. 12 1/4"x8 1/2". 115 pages. Stewart Home (England) listed as
"Resident Richard Allen Plagiarist" on masthead. "Towards a Millennium," details "a two
month FESTIVAL OF PLAGIARISM in London during January and February 1988." Review of
Stewart Home's "The Assault on Culture: Utopian Currents from Lettrisme to Class War."
No. 22 ([1990]). Offset. 12 1/4"x8 1/2". 74 pages. Extract from "Defiant Post," by
Stewart Home (England). "This is an extract from Defiant Pose by Stewart Home. Written
in 1989, the novel is as yet unpublished. Stories by Stewart Home can be found in Vague
20 & 21, Smile 9 & 10 and The Art Strike handbook. His first novel Pure Mania was
published by Polygon Books in December '89."
No. 23 ([1991]). Offset. 12 1/4"x8 1/2". 73 pages. "I didn't think I'd be doing this again,
as the scribes of the Blank Generation used to say. I though I'd-if not get a job-find
something else to do. But I haven't so here I am. Here's another VAGUE. Still militantly
unsuccessful after 11 years of Thatcherism-in fact I was better off in 1978-I don't belong
here (I want to go back to 1978!-and still looking for the funny line. Promise (there wont
be any mention of the S-word this time. Or, for that matter, the PR one, if I can help
it./This issue was going t be a Vague Greatest Hits, after Jon Savage suggested I do a
sequel to his Sex Pistols book, 'England's Dreaming'. But I went right off that idea, and just
make it up as I went along like I usually do. I know you cant do a Punk Rock fanzine
anymore (Couldn't help that one) but it's the only thing I was ever any good at...Besides
God told me to do it and I had to make it to #23. and here we go." "Vague History: The
Power and the Glory," includes a statement from Stewart Home (England). "...Personally I
feel more affinity with people like the journalist Tom Vague, a former punk who isn't
worried about whether what he does is considered ideologically acceptable by the self-
styled fuhrers of British anarchism..."

Valentine Project. Darla, Editor. Venice, California; Carson City, Nevada. (1987-
1988).
Book 2 ([1987]). Photocopy, Postcards, Rubber Stamps and Mixed Media. 6"x4".
Unpaged. Assembling project. Contributors send 100 postcards on the theme of valentines.
Fifty-five contributors including Gail Alien (USA), Matty Jankowski (USA), Gonzo (aka Rudi
Rubberoid, USA), Homer Springer (USA), Fruit Basket Upset (aka Laura and Steve, USA),
Freya Zabitsky (USA), Fran Cutrell Rutkovsky (USA), Rick Banning (USA), Bill Gaglione
(USA), Mitzi Cartee (USA), Darlene Altschul (USA), et al. "The Valentine Project will
continue next year. It's so much fun, how can I resist? Please feel free to tell your friends
about the project and encourage them to join in. My address will be changing some time
this year but I will keep you all posted with the correct address as it happens." Edition 100.
Book 3 ([1988]). Photocopy, Postcards, Rubber Stamps and Mixed Media. Unpaged.
Assembling project. "Hi there! This is your copy of Book 3 of the Valentine Project entitled
'P. S. I Love You'. We had a super turn-out this year! And I'd like to thank Roberta Sperling
for most of it, seems most of our new participants joined in after reading the article in this
month's issue of Rubberstampmadness. So thanks Roberta! And thanks to all the
participants new and old./This year's packet is going to be on display at what I feel is the
perfect place for it, our local Post Office. The theme for next year's book is 'Falling in Love
Again' and as usual the Deadline is February 1st, so mark your calendars..." Ninety-seven
contributors including Jennifer Henderson (USA), Shmuel (USA), JT Oh Boy! (aka Johnny
Tostada, USA), Gail Alien (USA), Sharon Tuke (USA), Fran Cutrell Rutkovsky (USA), Rubi
Valentino alias Ofelia Swanshitte (aka Rudi Rubberoid, USA), Freya Zabitsky (USA),
Abracadada (aka Bill Gaglione, USA), Fruit Basket Upset (USA), Ruberta Stampling (aka
Roberta Sperling, USA), Sheril Cunning (USA), Dorothy Patrick Harris (aka Arto Posto,
USA), Art Snyder (USA), et al. Edition 100.

Vamp Stamp News. Nancie Waterman, Editor. Hanover, Maryland. 1994.
Vol. 2, No. 7 (August 1994). Offset and Rubber Stamps. 11"x8 1/2". 19 pages. "With
this issue, we begin our send year of VSN. Like any newborn, VSN has grown in amazing
ways during this past year. We started with five pages, stapled at the corner, with a few
articles and no stamp art. This issue has a twenty-page folded format full of wonderful
stamp art and many articles. We have moved from photocopies to offset print. We began
with a closed distribution among twenty friends to an open circulation of over four
hundred." Rubber Stamp magazine, with a feature article, "Focus on Mail Art & Mail."
"According to Joni Miller and Lowry Thompson in their book 'the Rubber Stamp album,' mail
Art began back in the late 1950s when Ray Johnson founded the 'New York
Correspondence School.' 'This was a network of 'happenings' that took place through the
mails, involving hundreds of artists.'/Ok, you say, what is a 'happening?' A happening is a
planned event treated as an art experience. Closely related is 'Fluxus.' Fluxus was an art
movement of the sixties and seventies. The idea was that there should be a 'fusion'
between art and life. Making a salad could be art, mailing a letter could be art, a wedding
could be art. The point was that 'art' is not confined to what is found on museum walls.
Often the art works created in a Fluxus spirit are interactive (there is more than one person
participating.)/Mail Art is very much tied in with happenings and fluxus. One thing that is
important in Mail Art is process. The process of the creation is more important than the
result. Mail Artists are not looking to create a beautiful or aesthetic result."
Vol. 2, No 10 (November 1994). Offset and Mixed Media. 11"x8 1/2". 19 pages. "Mail
Art Calls & StampArt Swaps." Contribution by Steven Sloan (USA), Larry Angelo (USA), et
al.

Variant. Malcolm Dickson, Editor. Glasgow; Dundee, Scotland. 1988-1991.
No. 5 (Summer/Autumn 1988). Offset. 113/4"x8 1/4". 54 pages. "The Festival of Non-
Participation," by Pete Horobin (Scotland). "The Festival of non-Participation is a
decentralized cultural festival being held in Scotland during 1988. The festival will provide
an open situation in which various groups and individuals can organise events expressing
their ideas about non-participation. the festival is not confined to the arts." "Art Suicide, by
Karen Eliot. "A Footnote to the Festival of Plagiarism," by Ed Baxter (Scotland). "The
'Festival of plagiarism' took place in London, San Francisco and elsewhere during January
and February 1988. this brief article deals only with the London phenomenon (details of the
other manifestations being unavailable) and does so from an insider's point of view, the
author having published and contributed to the booklet 'Plagiarism; as commodity and
strategies for its negation'; having been involved in the organising of some of the events of
the 'Festival'; and having attended virtually all of them." Review of "Collaborations," by
Stefan Szczelkun (England), "a very dissimilar area of interaction is also discussed: the
International Post Art Network crosses boundaries of locality and experience." Review of
John A. Walker's, "Crossovers: Art into Pop/Pop in Art," by Stewart Home (England).
"There are numerous practicing fine artists who did not train at art school and/or who tend
to produce work other than painting and sculpture-the performance artist Stefan Szczelkun
immediately springs to mind as an example of both these tendencies...Walker somehow
manages to get taken seriously in the inbred world of British academics but fortunately he
will never cut it with the street kinds one presumes he hoped to reach with this book." "A
Balloonist's Story," by Karen Eliot (aka Mark Pawson?, England). "Karen Eliot pasted all
her/his 2 dimensional mailart s/he received systematically onto the walls. This was done as
a continuous action. Karen was now mid-way through the third layer. it was her/his
intention to leave this installation in the house when the final notice to quit was served by
hackney council. mailart was not a thing to archive, store and gather dust. For Karen, it
was a living thing. A medium to work and create with. these reasons meant mailart could
never be totally accepted by the artworld. Karen was very glad of that." "Mail Art Piece by
Karen Eliot," uses detourns found rubber stamps with the words, "Demolish-Serious-
Culture." "An Investigation...Karen Eliot." Published in Glasgow, Scotland.
No. 6 ([1989]). Offset. 11 3/4"x8 1/4". 54 pages. Cover by Pete Horobin (Scotland).
"Review of Stewart Home's THE ASSAULT ON CULTURE," by Peter Suchin (Scotland).
Finally, I should mention that I disagree with the stress placed upon, or the interpretation
given to some of the contents of the book. the College of 'Pataphysics' may be an
interesting phenomena but it doesn't seem to be one with Utopian leanings or concerns.
Similarly, I find the critical potential of multiple names (-see chapter 14, 'Beyond Mail Art'-
), as well as the arguments Home puts forward for their defense unconvincing. this,
however, is perhaps not the place to enter into an extensive account of these and the other
(arguably minor) faults of a book which is a most beneficial contribution to late twentieth-
century critical debates about the nature of 'politics' and of 'art'." Karen Eliot (Pete
Horobin?) contributes "A Neoist Story," wherein appearances are made by John Berndt
(USA) and David Zack (Mexico), and tentatively, a convenience (USA), et al. Letter to the
editor by John A. Walker (England) in response to a review of his book by Stewart Home
(England) in the previous issue. Stewart Home replies. "It was an error of judgment on my
part to use the term 'provincial school teacher': I should have said 'small minded school
teacher'." Published in Dundee, Scotland.
No. 8 (1990). Offset. 11 3/4"x8 1/4". 61 pages. Review of Stefan Szcelkun's, "Class
Myths and Culture (Working Press, 1990). "...but there is till a confused uncertainty which
Szczelkun allows repeatedly to creep in-indicated, for example, by the appearance of that
well worn badge of poverty in thought, the 'Karen Eliot' by-line, here used as a tag to
Szczelkun's description of his 'Skyline' performance." "European Echoes; A Review of Some
Recent Magazines," examines "Weast" and "Version 90." "This disparate batch of
publications emanate from what might be palled 'peripheral culture': largely self-motivated
and self-funded, of no interest to weekend supplement readers. Although their diversity
resists comparison and classification, some common concerns, in response to our times,
allow is to follow one path among many." Editorial offices remain in Glasgow, Scotland.
No. 9 (Autumn 1991). Offset 11 3/4"x8 1/4". 63 pages. Ben Allen (North Ireland)
mentioned in a review of the exhibition, "Live Work Weekend," in Belfast, North Ireland,
March 1991.

Velocity. Christian Herman, Editor. St. Louis, Missouri. 1986-1987.
(May 1986). Photocopy. 11"x8 1/2". (52 pages). "An International Mail Art Show." Fifty-
five contributors including Luc Fierens (Belgium), Nenad Bogdanovic (Yugoslavia), A1
Waste Paper Co. (England), Keith Bates (England), State of Being (USA), Karl Kempton
(USA), Gerard Barbot (USA), Ron Sakolsky (USA), Arturo G. Fallico (USA), Dixon (USA),
Harry Polkinhorn (USA), C. Mehrl and John M. Bennett (USA). Blaster (aka Al Ackerman,
USA), Carol Stetser (USA), Bern Porter (USA), Richard Kostelanetz (USA), Art Nahpro
(England), Pat Fish (USA), Crag Hill (USA), Creative Thing (USA), Graf Haufen (West
Germany), Chuck Stake (Canada), Anne Sharp (USA), Ulrich Kattenstroth (West Germany),
Mark Melnicove (USA), National Neographic (USA), Craig Lyman (USA), et al.
(No. 5) (June 1986). Photocopy and Mixed Media. 11"x8 1/2". (56 pages). Assembling
magazine. "Velocity is a contributor sponsored alternative arts publication. Our contributors
not only provide their own return postage, they are also actively involved in the production
of the magazine. Some do design work, others do reviewing. Because we are contributor
sponsored (the only publication of this kind) we've created our own alternative system of
publishing." Facilitators: A. K. A. Creative Thing (USA), Robert Grumman (USA), and
publisher/editor Christian Hermann. Text reviews by Lon Spiegelman (USA), and Robert
Grumman. Contributions by Jeff Mullican (USA), John Berndt (USA), Lon Spiegelman
(USA), Karl Kempton (USA), Pat Fish (USA), John Bennett (USA), Minoy (USA), Steve
Frenkel (USA), Mimi Holmes (USA), Homer Springer (USA), Bern Porter (USA), Brian
Callahan (USA), Creative Thing (USA), et al. "Pulpscope: Reviews, Sources,
Announcements." Edition 100.
No. 7 (April 1987). Photocopy and mixed Media. 11"x8 1/2". (70 pages). Assembling
magazine. "How to contribute: Send 105 high quality copies or originals of your work.
Enclose $1 in stamps (no cash or checks). Your package will be returned to you Bookrate.
We ask that contributors provide their own return postage. We do all the other funding
such as printing covers, staff pages and reviews, etc." Thirty-three contributors including
Pat Fish (USA), Bill Shields (USA), Minoy (USA), John Bennett (USA), Steve Frenkel (USA),
Creative Thing (USA), Fruit Basket Upset (USA), John Hudak (USA), Fran Cutrell Rutkovsky
(USA). Carol Stetser (USA), John Held, Jr. (USA), State of Being (USA), Mimi Holmes
(USA), Crag Hill (USA), Michael Helsem (USA), et al. Special section on the work of Pat
fish. Edition 105.
magazine. Variant.
magazine. Variant.

Verificato per Censura. Father Ric of the Church of Right Now, Editor. Normal
Heights, California. 1988.
Vol. 1, No. 1 (June 1988). Computer Print. 11 "x8 1/2". 14 pages. Church of the
SubGenius inspired publication. "'Verificato per Censura', a new compendium of satire,
sarcasm, bad taste and unpopular ideas invites original art, photographs, commentary, and
related outrages for its next issue...new-age, liberal or 'universal brotherhood of man' type
material is crap and should not be submitted unless it is unusually sarcastic or venomous.
Advertisement for artistamps issued by Philetelica Santa Lucrezia.

Version 90. Alexandra Fisher, David Gionfriddo, Lauren Leja, and Michael
McInneis, Editor. Steve LeBlanc, PMS Press, Allston, Massachusetts. (1990-1991).
No. 2 ([1990]). Offset. 10"x7". 171 pages. "Steal This (Stolen) Art(icle): fifty-One
Footnotes in Search of an Author," by Stephen Perkins (USA). "What better time than
during these days of alleged art strike, to reflect on the ownership of intellectual property,
its historical roots and programs for its eradication. As part of our continuing effort to
explore these issues, we present the following piece-a series of footnotes in search of an
article-from the mind of San Francisco publisher and plagiarism expert Stephen Perkins.
Write your won text. or better yet, plagiarize your favorite sources. and feel free to send us
your thoughts (or someone else's) on the ongoing battle between the forces of thought-for-
profit and the forces of communal ownership./Oh, and don't bother looking for a copyright.
Go ahead. Steal this article." Mentions various Festivals of Plagiarism, including the San
Francisco event, organized by the author. "Correspondence" features mail from Monty
Cantsin (aka Istvan Kantor, USA), and Andrej Tisma (Yugoslavia), who contributes graphics
and text on "Art Strike, 1990-1993."
No. 3 ([1991]). Offset. 10"x7". 187 pages. "Crimes of the Century," an interview with
John M. Bennett (USA). "Long-time indie-publisher and literary vagabond John Bennett
mulls over American fringe writing and his own mimeographed past." Publisher Steve
LeBlanc contributes the text, "11x30," on the periodical of the same name, edited by Joel
Lipman (USA). "The alit-zine with a tabloid heart and the soul of a poet brings you avant-
garde verse and gossip on a beautiful broadsheet suitable for pinning up." Reduced
examples of the periodical, and Lipman's graphic works are reproduced. "Love in a Time of
Neoism?!." Text and images by Monty Cantsin (aka Istvan Kantor, USA). "NEOISM?! may
be compared to a net, a net of principles, life tendencies, knots in the flow of life, vortices
of force called matter. Pick up a knot of the net and the rest of the net comes with it."
Review of the book, "Sensoria from Censorium," (Mangajin Books, 1990) edited by John
Marriott (Canada). Short reviews of the periodicals "ND" ("one of the best magazines on
Mail Art, Cassette Culture and Performance Artists...publisher Daniel Plunkett's dedication
has kept this magazine from wallowing in the usual fringe art world's attitude that
'mediocrity is best because it's democratic and everyone can participate in it'-an attitude
shared by most people who call themselves Mail Artists or Performance Artists.") and
"Retrofuturism" ("'Retrofuturism' publisher Lloyd Dunn supported the 1990-1993 Art Strike
by temporarily ceasing publication of his excellent 'Photostatic' magazine. In
'Retrofuturism,' the hypermedia magazine of the Tape-beatles, he denounces Mail Art and
the Art Strike and calls for a new network of cultural workers..."), as well as Stewart
Home's book "Pure Mania" (Polygon, 1989).

Video'n Print: the Newsletter of Richie's Video. Bill Ritchie, Editor. Ritchie's Video,
Seattle, Washington. 1987.
Vol. 1, No. 1 (Winter 1987). Offset. 11"x8 1/2". 29 pages. Video catalog for
printmaking, artists' books, and diverse arts and crafts. Includes a videotape featuring C.
T. Chew (USA) on designing rugs with a computer. "A report by artist C. T. Chew (known
for his computer art, printmaking, and videos) after he took his computer art to Nepal
where it was translated into beautiful tapestries and carpets. He provides the artistic
context for the adventuresome project and comments on the handicraft and society of the
people in Kathmandu."
Vol. 2, No. 1 (Spring 1987). Newsprint. 17 1/2"x11 1/2". 4 pages. "The Future of Artists'
Books & Bookworks," by the editor. the article focus on the works of Judith Hoffberg (USA)
and Ulises Carrion (Holland). "Ulises and Judith do not function within an establishment;
they remain outside of it. maybe this allows them order in which to calmly contemplate the
future of books...Judith Hoffberg is a writer, trained as a librarian. She is the editor for
'Umbrella', a newsletter focusing on artists' publications; she has a large collection of
artists' books and artists' publications; she also has the largest known collection of
umbrella memorabilia, and one of the largest collections of artists' t-shirt...Ulises Carrion's
view of the future-his view of time, past, present, and the future-resembles Judith's. but it
is more specific in one way; he sees making an archive as an artwork. this is a very
futuristic viewpoint! Yet, in his opinion, it is not revolutionary; it is an evolution...be came
an archivist of bookworks and mail art when he started 'Other Books and So' in 1975, in
Amsterdam. he received many examples of artists' books and mail art, from all over the
world. the gallery's contents is now the archive."

VILE. Anna Banana and William Gaglione, Editors. Abananadaddalandproduction;
Banana Productions, San Francisco, California; Vancouver, Canada. 1974-1983.
Vol. 1, No. 1 (February 14, 1974). Offset. 11"x8 1/2". 56 pages. "Editorial...O.K. Here it
is. I hope you're satisfied. As Editor-In-Chief of this project, all I can say is don't bother
sending me any more of this shit. Dada...ha! It's a fuckin' Art Book. And you're all old
enough to know that Art is dead./Course you can always send your precious collages to
that Gaglione Jerk who co-edits this production...he might do something with them...But if
you want to be in the next and last edition (there's still time) better make it photos or
verbage (sic). I don't care what, drivel's fine, so long as I don't have to set it like poetry.
That' all folks-Anna Banana." Cover features Monte Cazazza (USA) holding a bloody heart
for this "Valentine's Edition," dated February 14, 1985 on the cover, but with the correct
year (1974) on the spine. Contributions by Jeff Berner (USA), Stu Horn (USA), Davi Dm
Ayor (aka David Mayor, England), Davi Det Hompson (USA), Dana Atchley (USA), Felipe
Ehrenberg (England), Michael Scott (England), Ray Johnson (USA), A. M. Fine (USA), Irene
Dogmatic (USA), Russell L. Butler (aka buZ blurr, USA), Pat Tavenner (USA), John Evans
(USA), Cosey Fanni Tutti (England), Opal L. Nations (USA), Tip Top (aka Rick Solaway,
USA), Tim Mancusi (USA), Futzie Nutzle (USA), Tom Hosier (USA), Chuck Stake (Canada),
Indian Ralph (aka Perry Mancusi, USA), Fitch/Smallville Funny Farm (USA), Whitson (USA),
Genesis P. Orridge (England), Brian Buczak (USA), R. Man (aka Robert Mancusi, USA), Carl
Giovanni Cicatelli (aka Charles Chickadel, USA), Subwaxiin Haddock (USA), Marcel Idea
(Canada), A. A. Bronson (Canada), Bill Gaglione (USA), et al. A
"Abananadaddalandproduction."
Vol. 1, No. 4 (September 1974). Instant Print. 11"x8 1/2". 46 pages. Although an
editorial touts this as "VILE four," in actuality this is the second issue. "Here's VILE four-the
dada literary edition that you've all been waiting for. It's still not the magazine I have in
mind to produce but money being what it is, that big combination graphics/literature issue
is going to have to wait in the wings a little longer. " Anna Banana writes about the issue in
"About VILE," published nine years later. "I published the second issue of VILE in Sept. '74,
in time to meet a CCLM (Coordinating council of Literary magazine) grant deadline, and
received a grant towards the publication of the third issue. the cover photo by Jimmy de
Sana, on the second issue, is of a naked man with an erection hanging by the neck in a
doorway. Inside the front and back covers I repeated from "VILE" 1, a pattern of women's
fetish shoes, and this became a constant element in all issues. While the first issue was
vello-bound with a wraparound cover, this second issue, the slimest (sic) of them all was
simply stapled./"VILE" 2 still contained a number of artists I refer to in Michael Crane's
book "Correspondence Art" as the 'first wave' of mail art; artists such as Ken Friedman,
William Farley, Lowell Darling, Ray Johnson and Gary Lee Nova." Banana Productions. Bill
Gaglione co-editor.
Vol. 1, No. 2; Vol. 2, No 1 (AKA Nos. 2 & 3) (Summer 1976). Offset. 11"x8 1/2". 100
pages. "Introduction," by Anna Banana. This special, international double-issue of VILE is
different from the others in several ways. First it is edited and produced by Bill Gaglione,
which primarily accounts for the other differences./ Within this issue, Gaglione has
assembled the works of artists from twenty-three countries around the world...Because
these editions were in production such a long time, they contain works produced from 1972
(before the first issue of VILE) up to April 1976. A primary purpose for the publication of
VILE is to demonstrate that while a number of the early participants of Mail Art have gone
on to other forms of expression, there is still a large and active network of mail
Artists...many of whom put out publications concerning the activities of this network...mail
Art shows, publications, events and happenings./One of the main things that Mail Art
seems to be about, is artists getting into and using the printed medium for their own
designs and purposes, as opposed to the usual commercial use of such media...creating an
international consciousness/circle of contacts that reflects the avant-garde of art activity
around the world./This is a resurgence of Dada Art, in form as well as function, as the
original Dadaists were involved in mailing their printed manifestos, posters,
announcements and small publications back and forth between New York, Paris, Zurich and
Milan, etc...publications such as Cabaret Voltaire, edited by Hugo Ball, Litterature edited by
Breton, Blind Man and New York Dada edited by Duchamp, Maintenant by Arthur Craven,
etc., are the early forerunners of such contemporary 'Zines' as QUOZ?, 491, LaHonduras,
CAYC Bulletin, OVUM, Focke Editions, Perdura, Modern Correspondence, Weekly Breeder,
Dadazine, Banana Rag, Nitrous Oxide, FILE and VILE...all of which are produced and
distributed in limited editions of 200 to 1000 by artists and artist groups..." Contributions
by Mr. Peanut (Canada), Dr. Brute (Canada), Opal L. Nations (Canada), Flakey Rose Hips
(Canada), Donald E. Mabie (aka Chuck Stake, Canada), David Zack (Canada), A. A.
Bronson (Canada), Felix Partz (Canada, Jorge Zontal (Canada), Felipe Ehrenberg (Mexico),
Damasco Ogasz (Venezuela), Clemente Padin (Uruguay), Edgardo Antonio Vigo
(Argentina), Horacio Zabala (Argentina), Terry Reid (Australia), Mieko Shiomi (Japan),
Genesis P. Orridge (England), Cosi Fanni Tutti (England), Robin Crozier (England), Pauline
Smith (England), David Mayor (England), Michael Scott (England), Robert Filliou (France),
Herv Fischer (France), Daniel Spoerri (France), Achille Cavellini (Italy), Arturo Schwartz
(Italy), John Armleder (Switzerland), Joseph Beuys (Germany), Klaus Groh (Germany),
Ruth Rehfeldt (East Germany), Albrecht D. (Germany), Johan Van Geluwe (Belgium), Peter
Van Beveren (Holland), G. J. de Rook (Holland), J. H. Kocman (Czechoslovakia), Jiri Valoch
(Czechoslovakia), Endre Tot (Hungary), Valery Oisteanu (Romania), et al. Edited by Bill
Gaglione. Banana Productions.
Vol. 1, No. 2; Vol. 2, No 1 (AKA Nos. 2 & 3) (Summer 1976). Photocopy. 11"x8 1/2".
50 pages. Production sample with alternative cover to the above. Notes by the editor (in
hand) on Table of Contents page.
Vol. 3, No. 1 (December 1975). Offset. 11"x8 1/2". 66 pages. "Editorial," by Anna
Banana. "This issue of VILE falls into two halves: the first of which consists of 'modified
mail art,' pgs. 1-27; and the second, 'pure mail art' on pages, 28-64./The difference
between them is simple; in the first half, works have been modified by editorial and
production changes. material is cut and/or typeset, photos placed with appropriate captions
from original LIFE pages. A collage by your editor producer who hopes you enjoy the
parody./The pure mail art pages are reproduced as they were received; being treated as
'finished works' rather than components. This approach enables the presentation of a much
wider range of people and work than is possible in a publication composed entirely of 'pure
mail art.'" Contributions by John M. Bennett (USA), Blaster Al Ackerman (USA), Dr. Brute
(Canada), Monte Cazazza (USA), Carl Giovanni Cicatelli (aka Charles Chickadel, USA),
Buster Cleveland (USA), Irene Dogmatic (USA), General Idea (Canada), Frank Ferguson
(USA), Ken Friedman (USA), Bill Gaglione (USA), Klaus Groh (West Germany), Davi Det
Hompson (USA), Ray Johnson (USA), Carl Loeffler (USA), Genesis P-Orridge (England), Tim
Mancusi (USA), Raul Marroquin (Holland), Opal Nations (Canada), Valery Oisteanu (USA),
Mr. Peanut (Canada), Gregg Pulchaski (USA), Robert Rehfield (East Germany), Terry Reid
(Australia), Tip Top (USA), Cosey Fanni Tutti (England), Sweeny Todd (aka buZ blurr,
USA), Peter Van Bevern (Holland), Edgardo Antonio Vigo (Argentina), Al Whitson (USA),
Jorge Zontal (Canada), et al. "Letter to the Editors," in which Ken Friedman (Fluxus West)
and Sweeny Todd (aka Russell Butler, buZ blurr) square off over "the INTELLIGENT
CONTRIBUTION."
Vol. 3, No 2 (Summer 1977). Offset. 11"x8 1/2". 98 pages. In "About VILE," editor Anna
Banana writes, "With the fifth issue (Summer '77, vol. 3 #2), I finally satisfied my notions
of a successful parody of 'LIFE' magazine. In the table of contents I listed works under the
following categories: Art news, Art performances, Art Events, Art feature Stories, Art
Works, poetry, fiction and Short Writings, Letters and photographs. These works
represented over one hundred artists and thirty writers. sixty-eight pages were laid out
magazine style with type, ad art and photos. The mil-art works such as postcards, collages,
drawings completed the final thirty pages./The issue was more of a showplace for the
documentation of events and performances than art work. I kept up with the poetry and
fiction more for the 'texture' it gave to the issue than any heavy commitment to those
mediums, although I do enjoy the mix of literary and visual expression. And there was the
CCLM to keep in mind, since they came up with grant funds for 'VILE' on three occasions.
They were most interested in the literary content. I don't think we would have received the
funding we did from them if all the issues had Bill's mail-art focus." Includes reprinted
articles from the postcard obscenity trial of Genesis P. Orridge (England) and his letters on
the subject, a short story, "The Witness." by Blaster Al Ackerman (USA), a pictorial spread
on Cavellini (Italy), and a report on the antics of Mendo Dada (USA) during Christo's
"Running Fence" project."
No. 6 ("AKA Vol. 6, No. 3") (Summer 1978). Offset 10"x7". 107 pages. Anna Banana
(Canada), writes in "About VILE," that ""Number 6, 'Fe-Mail-Art', one of the most po[ular
issues, edited by Gaglione, was the first to break with the 'LIFE'-like logo. We had seen
'FILE' do battle with 'LIFE' over its logo, and come out having to change theirs. We knew
we'd be in the same boat if 'LIFE' caught on to us and decided it was time to experiment
with other formats. So, 'Fe-Mail-Art' was smaller (7x10" rather than the standard 8 1/2
x11"), and Bill chose an illustration rather than a photo for the black and pink front
cover./'Fe-Mail-Art' is a collection of mail-art works exclusively by women. The contents are
broken down into three categories: Postal Art, postcards and correspondence. the postal
Art section is a mixed bag of items ranging from photographs, rubber stamp works,
typewriter art, mail-art invites and newsletters on or by women about their activities
and/or facilities..." Anna Banana contributes an overview in her, "Introduction," giving
perspective to the 110 female artists from 18 countries included in the issue. Contributors
include Pat Larter (Australia), Cosi Fanni Tutti (England), Irene Dogmatic (USA),
Leavenworth Jackson (USA), Pat Fish (USA), Patty Ackerman (USA), Carol Law (USA), Ruth
Rehfeldt (East Germany), Yoko Ono (USA), Angelika Schmidt (West Germany), Pauline
Smith (England), Ms. Pitts (USA), Judith A. Hoffberg (USA), Mieko Shiomi (Japan), Pat
Tavenner (USA), Eleanor Kent (USA), Polly Ester Nation (USA), Rhoda Mappo (USA),
Katalin Ladik (Yugoslavia), Barbara Rosenthal (USA), Nancy Frank (USA), May Wilson
(USA), Eleanor Antin (USA), Linda Montano (USA), Hanna Hch (West Germany), Alison
Knowles (USA), Granada Gazelle (Canada), Jean Brown (USA), et al. Bill Gaglione, Editor.
Banana Productions.
No. 7 (Winter 1979). Offset, Rubber Stamps and Mixed Media. 9 1/2"x6 1/2". )198
pages). Assembling magazine with contributions of original rubber stamp prints. "VILE #7,
Stamp-Art, is a dossier of international stamp works, produced in a limited edition of 300
copies. One copy of each book was mailed to each contributing artist." Includes a listing of
"Rubber Stamp Shows Publications & Events," from 1970-1979. One-hundred and eighty-
six contributors including Vittore Baroni (Italy), Anna Banana (USA), Patrick Beilman
(USA), John and C. Mehrl Bennett (USA), Julien Blaine (France), GeORge Brett (USA),
Paulo Bruscky (Brazil), Russell Butler (aka buZ blurr , USA), Henryk Bzdok (Poland), J. M.
Calleja (Spain), Ulisses Carrin (Holland), Romano Peli and Michaela Versari (Italy), Buster
Cleveland (USA), Geoffrey Cook (USA), Paul Cotton (USA), Mike Crane (USA), Robin
Crozier (England), Albrecht D. (West Germany), Daniel Daligand (France), Ko De Jonge
(Holland), R. Dick Trace It (USA), Leonhard Frank Duch (Brazil), Steve Durland (USA),
Mike Dyar (USA), Leif Eriksson (Sweden), Pittore Euforico (aka Carlo Pittore, USA), John
Evans (USA), Aaron Flores (Mexico), Cees Francke (Holland), Ken Friedman (USA), Gini
Gino (Italy), David B. Greenberger (USA), Gyrgy Galantai (Hungary), John Held, Jr.
(USA), Geoffrey Hendricks (USA), E. F. Higgins (USA), Tyler James Hoare (USA), Davi Det
Hompson (USA), Tohei Horiike (Japan), Horst Hahn (West Germany), Wolfgang Huber
(East Germany), Miroslav Klivar (Czechoslovakia), Lomholdt Formula Press (Denmark),
Michael Mollett (USA), Pawel Petasz (Poland), Bern Porter (USA), Terry Reid (Australia),
Rockola (USA), Joel Rossman (USA), Piotr Rypson (Poland), Rudi Schill (Switzerland),
Scarlatina Lust (USA), Lon Spiegelman (USA), Klaus Staeck (West Germany), Rod
Summers (Holland), Balint Szombathy (Yugoslavia), Patricia Tavenner (USDA), Gabor Toth
(Hungary), Jiri Valoch (Czechoslovakia), Peter Van Beveren (Holland), Ed Varney (Canada),
G. E. Marx Vigo (Argentina), Horacio Zabala (Italy), David Zack (Canada, et al. Edition 300
(but not all bound). Wm. John Gaglione, Editor. Banana Productions.
(1983). Offset. 11"x8 1/2". 106 pages. "About VILE," edited by Anna Banana (Banana
Productions, Vancouver, Canada). Production assistance by Lon Spiegelman (USA) and Ed
Varney (Canada). "Mail Art, News & Photos from the Eternal Network." The editor
contributes an "Introduction" and "VILE History," a detailed overview of the intent and
production of the various issues. "VILE was inspired by FILE magazine's growing disdain for
mail-art. it began at Speedprint, a small instant print shop in San Francisco where it
became apparent to me that anyone could be a publisher. In 1973, letters by Robert
Cumming and Hudson of Ant Farm voiced FILE's viewpoint; that mail-art is a plague on art
and ought to be wiped out immediately. As an ardent 'mail-arter,' I disagreed, and so
began work on the first issue of VILE which appeared in February '74 as a new forum for
mail-art." Michael Scott (England) contributes, "Mail Art." "Perhaps, for those pioneers who
were building the mailways across no-man's land in the good old fifties and sixties, the
scene, like nostalgia, ain't what is used to be. The network is so much bigger and looser
now-there's probably a whole lotta head-shaking going on-standards must drip.
maybe.../But I (who wasn't in there way back when) don't think that some sloppy
connections matter. I think that the mail network is a very beautiful energy system-
because it just naturally copes. And I think 'it is important to understand that mail art is a
system': a system made up of complex, continually re-charging interrelationship(s) of
individual mailings." Anna Banana contributes, "Work Record '71-'82." Additional
contributions by Dick Higgins (USA), Pauline Smith (England), Rod Summers (Holland),
Bob Black (USA), Blaster Al Ackerman (USA), Henryk Bzdok (Poland), Gabor Toth
(Hungary), Vittore Baroni (Italy), Michael Gibbs (Holland), Piotr Rypson (Poland), Charles
Cicatelli (aka Charles Chickadel), Richard C (USA), Angelika Schmidt (West Germany),
Irene Dogmatic (USA), Tim Mancusi (USA), Ray Johnson (USA), Patricia Tavenner (USA),
Peter Van Beveren (Holland), Gyrgy Galantai (Hungary), Johan van Geluwe (Belgium),
Madam X (USA), Bill Gaglione (USA), et al.

Village Voice Literary Supplement, The. M. Mark, Editor. VV Publishing Corp., New
York, New York. 1992.
No. 108 (September 1992). Newsprint. 15"x11" (oversize). 31 pages. "Wisconsin Life Trip:
And Was in Dreamtime Village," by C. Carr (USA). "Folks in West Lima, Wisconsin, may not
know it yet, but their itty-bitty burg is about to become a permaculture hypermedia village,
thanks to new residents named And and Was./ I refer, of course, to Miekal And and Liz
Was, the two artists (for lack of a better job description) who run Xeroxial Endarchy, a
well-known hub on the international zine/cassette/mailart network. 'Endarchy' means 'that
which is formed or taking place from the center outward,' and XE's radius reaches way
beyond hubdom, way beyond the Wisconsin wilds..."

Virus, El. Martin Urquiza, Editor. Mazatln, Mexico. 1996.
Vol. 7, No. 54 (December 1996). Photocopy. 8 1/2"x6 1/2". (20 pages). Design by
Gerardo Ypiz (Mexico). Publication reviews.

Visions of Eros: Erotic Time Capsule. Keith Glancy and S. Hightower, Editors.
Phillip Stansbury Gallery, New York, New York. 1987.
Vol. 1, No. 1 (March 1987). Photocopy, Rubber Stamps and Mixed Media. (43 pages).
Assembling magazine. Twenty-nine contributors including National Neographic (USA), Fruit
Basket Upset (USA), Craig Lyman (USA), Hokey Mokey (USA), et al. See also, "Secret
Love." Edition 32/100.

Visual Delight v Visual Disaster. (Joe Decie), Editor. Joe's Art Corner, Nottingham,
England. (1998).
Book Two ([1998]). Photocopy and Rubber Stamp. 5 3/4"x4 1/4". (36 pages). Each
contributor submits two graphics: a "visual delight" and a "visual disaster." Twenty-nine
contributors including Michael Leigh (aka A1 Waste Paper Company, England), David
Dellafiora (England), Pascal Lenoir (France), Pat Collins (England), Pete Spence (Australia),
The Sticker Dude (aka Joel Cohen, USA), Robin Crozier (England), Lois Klassen (Canada),
Jos Vandenbroucke (Belgium), Barry Edgar Pilcher (Ireland), John Held, Jr. (USA), Theo
Breuer (Germany), Guido Bondioli (Guatemala), Royston Du Maurier Lebek (England). et
al. Edition 24/50.

Visual Poem Collab. Reed Altemus, Editor. Luna De Flux Editions, (Cumberland,
Maine). 2001.
No. 1 (2001). Computer Print, Rubber Stamps and Mixed Media. 6"x4". Postcard. "Sharpie
drawing & rubber stamping by Reed Altemus/Calligraphy & rubber stamping by John M.
Bennett." Edition 100.

Void. Zona (aka Bernard Banville), Editor. (Greenfield, Massachusetts.) 1984.
No. 3 (April 1984). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (20 pages). Photo-
collage and brief text. "NEBADOOR, courtesy of Minoy. Dr. Al Ackerman, witness."

Vortex 3: Grfica Experimental & Poesa Visual/Visual poetry & Experimental
Graphic. Juan Carlos Romero and Fernando Garca Delgado, Editors. Vrtice,
Buenos Aires, Argentina. 1997-1999.
No. 1 (December 1997). Newsprint. 8"x6". (8 pages). "The artists invited in this first
issue dedicate their works to coleague (sic) & friend Edgardo A. Vigo." contributions by
Argentinean artists Claudia Del Rio, Juan Carlos Romero, Fernando Garcia Delgado, Len
Ferrari, Hilda Paz, Leonello Zambn, and Edgardo Antonio Vigo.
No. 2 (March 1998). Newsprint. 8"x6". (8 pages). "Open project to all artists. Send one
original work (no photo & no postcard). size 4 3/4"x6 3/4". No deadline///No
return.Distribution through 'Vortice' Mail Art Project. In 1998 a Gallery will be open in the
Web." Contributions by Argentinean artists Nora Menghi, Ivana Martnez Vollar, Norberto
J. Martinez, Javier Sobrino, Jorge Daffunchi, Leonardo Robertazi, and Anabel Vanoni.
No. 3 (June 1998). Newsprint. 8"x6". (8 pages). Contributions by Emilio Morandi (Italy),
Simon Baudhuin (Belgium), Fernando Aguiar (Portugal), Vittore Baroni (Italy), Pere Sousa
(Spain), Jrgen Olbrich (Germany), Hugo Pontes (Brazil), Clemente Padin (Uruguay),
Patricia Collins (England).
No. 4 (September 1998). Newsprint. 8"x6". (8 pages). Contributions by Giovanni Strada
(Italy), Ibirico (Spain), Juan Orozco Ocaa (Spain), Carlo Pittore (USA), Pedro Juan
Gutirrez (Cuba), John M. Bennett (USA), Gza Perneczky (Germany), Hemi Mittendorf
(aka Henning Mittendorf, Germany).
No. 5 (December 1998). Newsprint. 8"x6". (8 pages). Contributions by Luc Fierens
(Belgium), Stephen Perkins (USA), Pascal Lenoir (France), Ruggero Maggi (Italy), David
Baptiste Chirot (USA), Michael Lumb (aka A1 Waste Paper Company, England), Laura
Andreoni (Argentina), Marcello Diotallevi (Italy).
No. 6 (March 1999). Newsprint. 8"x6". (8 pages). Luis Trimano (Brazil), Gustavo Capril
(Argentina), Joe Decie (England), Antonio Orihuela (Spain), Srgio Monteiro de Almeida
(Brazil), Jrgen Hesse (Canada), Manuel Sainz Serranco (Spain), Antonio Prez-Cares
(Chile), Mauro Molinari (Italy), Ricardo Quesada (Peru).
Wall - Worldmap
Wall. Kristof D'Haeseleer, Editor. Gijzegem, Belgium. (1991).
No. 7 ([1991]). Offset and Mixed Media. 8 1/4"x5 3/4". (3 pages). Assembling magazine.
Sixteen contributors including K. Symaczak (Poland), Michael Northam (USA), Luce Fierens
(Belgium), Lszl Vincze (Romania), Andrej Tisma (Yugoslavia), Albertto Rizzi (Italy), et al.
Incomplete (contains original works by Symaczak, Northam, and Fierens). Back cover by
Lszl Vincze.

Weast: An Art Magazin. Jens Pepper and Roland Schefferski, Editors. Berlin, West
Germany. 1989-1990.
No. 1 (1989). Offset. 10 3/4"x8 1/4". 45 pages. "'Weast' is a publication featuring the
work of creative people from around the world. Each issue offers a thematic framework.
'Weast' is published twice annually. Contributions are welcome." Theme for the issue:
"European Neighbours." "My Dream of Freedom and Love," by Henning Mittendorf (West
Germany). "Embarrassing Europe," by Ulli Kattenstroth (West Germany). "Aktion
Eichhirnchen," by Peter Kstermann (West Germany). "After 4"45 We'll Shoot Back," by
Graf Haufen (West Germany). Contribution by Andrzej Dudek Drer (Poland).
No. 2 (1990). Offset. 10 3/4"x8 1/4". 44 pages. "Shortly after the first issue of WEAST
was published, the walls between the imaginary East and West fell. six months later these
notions regained their geographical meaning." Theme for the issue: "Hopes and Fears."
"The End," by Mark Bloch (USA). "Deadman Decay Talk," by Shaun Caton (England).
Artistamp sheet, "Chorus," by Sndor Gyrffy (Hungary).

Weekly Breeder. Buster Cleveland, Dadaland (aka Bill Gaglione), Rockola, Editors.
LaMamelle, Inc., San Francisco, California. 1980.
Vol. 1, No. 2 (November 1980). Photocopy and Rubber Stamp. 17"x11". (16 pages).
Poster size works by the editors in the "New Wave" style popular at time of publication. A
continuation of the "NYCS (New York Correspondence School) Weekly Breeder." Edition
3/25. Signed by Rockola (USA).

Weekly Readers Da-Jest. (Indian Ralph [aka Perry Mancusi]), Editor. (Montauk ,
New York). 1972.
Vol. 1, No. 1 (November/December 1972). Instant Print. 11"x8 1/2". (4 pages). "Dada
never preached, having no theory to defend." Parody of the "NYCS (New York
Correspondence School) Weekly Breeder." Edited by Long Island Dadaist Perry Mancusi
(Brother of Tim Mancusi [USA], cousin of Bill Gaglione [USA], both of whom were editors of
the NYCS Weekly Breeder."). Contribution by R. Man (aka Robert Mancusi, USA), brother of
the editor.

Wellcomet Boletim. Gilberto Prado, Editor. Unicamp, Sao Paulo, Brazil. (1985)-
1989.
([1985]). Offset. 12 1/2x9". (4 pages). This first number issued in response to
contributions received in as a result of organizing a mail Art exhibition by the same name.
"Thank's all of you who kindly changed my days in a delicious surprises when opening a
mail box. ...We are thankful that more then 240 artists from 31 countries Wellcomet our
invitation...In February in the perielium passage and Carnaval, Mr. Halley will be in the
Pao das Artes in Sao Paulo, and we would like you to keep sending us mail art news. We
intend to put in orbit another Wellcomet Boletim." "An Introduction About Art and
Exchange," by Guy Bleus (Belgium). Nine Mail Art "Statements," by Ruud Janssen
(Holland). Mail Art exhibition, project and publication opportunities.
No. 2 ([1986]). Offset. 111/4"x8 1/4". (4 pages). "Alternativas de Expressao e
Comunicao," by Norma Cardoso (Brazil). Breve Introduao Arte Postal," by Joao Pirai
(Brazil). "El Artecorreo no Acepta ser Definido," by Graciela Gutierrez Marx (Argentina).
"An Introduction About Art and Exchange," by Guy Bleus (Belgium). "DADA, Mail-art reveal
Historic(al) parallels 1913-1985." "Mail Art/Debate-Inquest," by Ruggero Maggi (Italy). Mail
Art exhibition, project and publication opportunities. Also included is a participant list
documenting the editor's exhibition, "Stop the Star Wars-Wellcomet Mr. Halley."
No. 5 ([1987]). Offset. 12 1/2"x7". (6 pages). "The Department of Art of the Institute of
Fine Arts of Unicamp is opening and developing new space and methods of spreading the
arts in its most different forms. Along with this, we are participating in the spreading and
exchange of mail art, xerox art, visual poetry, bolletims, performance projects...Here in
Brazil, fighting for the amplificacion of this communication network of artists from diverse
parts of the world it is necessary to cite the Office of Mail Art of the Sao Paulo Cultural
Center under the care of the untiring Joao Pirahy..." "Conclusive Statement" from the
"Decentralized MA-Congress-Villorba, Italy," organized by Ruggero Maggi (Italy) and Maria
Pia Fanna Roncoroni (Italy). List of "Revistas e Boletins de Arte postal." Contributions by
Michael Bidner (Canada), Joki mailArt (West Germany), H. R. Fricker (Switzerland), Andrzej
Dudek-Drer (Poland), Shozo Shimamoto (Japan), et al. Mail Art exhibition, project and
No. 6 ([1987]). Offset and Rubber Stamp. 12 1/2"x6 3/4". (6 pages). "We would like also
to thank the 120 artists, Babel citizens, that already answer our Bamboo Tower project
(Deadline is 30/06/87). Besides we are receiving works, publications, stamps, books, post-
cards, proposals, informations,...that are fulfilling our mural," Mail Artists of Uruguay and
Argentina contribute, "Federacin Mundial de Artistas Correo." Contributions by Cavellini
(Italy), H. R. Fricker (Switzerland), Mark Pawson (England), Acosta Bentos (Uruguay),
Nenad Bogdanovic (Yugoslavia), et al. Photographs of students associated with the
publication of the magazine, and organization of various mail Art projects.
No 7/8 (1987). Offset. 11 3/4"x8 1/2". (4 pages). "The 7.8 edition is arriving a little late,
but anyway 8.7 is saying bye-bye. We thank all of you who have send us works and those
who have make our project possible. From 'Babel/Bamboo Tower' we have made a VHS (7
min.) about it, since the receiving, the exhibition and the destruction of the towers, we
have recorded in diapositive most of the works, and also those who were send to 'The
Earth and is Terrestrialities in 88', we are also working a video about that event."
Statement by Vittore Baroni (Italy). Contributions by John Held, Jr. (USA), Ryosuke Cohen
(Japan), Shiegeru Nakamura (Japan), Emilio Morandi (Italy), et al. Mail Art exhibition,
No. 9 (June 1988). Offset. 12 1/2"x6". (12 pages). Photo-documentation of the editor in
Italy with Cavellini (Italy) and Ruggero Maggi (Italy), et al. "Cassette Activism," by David
Ciaffardini (USA). Letters to contributors of "The Annotated Bibliography of Mail Art,"
project, by John Held, Jr. (USA). "International Shadow project," by Ruggero Maggi (Italy).
Contributions by Andrej Tisma (Yugoslavia), Dobrica Kamperelic (Yugoslavia, et al. Mail Art
books, magazines and exhibition catalogs pictured.
No. 10 (June 1989). Offset. 9"x8 1/2". (36 pages). "Nice to be back, now with number
10, to celebrate our fo(u)rth birthday. With this number goes a special thanks to all
brothers/tourists in mail, who helped in the video-action-interview-project. Thanks for your
warm receptivity and friendship. The project continues and I hope we can also
meet...soon." "Um Toque Sobre a Mail Art," by the editor. "Reflecion Sur le Mail Art," by
Pierre Restany (France), reprinted from the "Coup d'Envois: au l'Art a la Lettre," exhibition
catalog produced by the Muse de la Poste, Paris, France. "Notes for a 'Historical Theory of
Art'," and "Mail Art Desert/Mail Art Today," by Montse Claveiria (Spain). Contributions by
Luc Fierens (Belgium), Ryosuke Cohen (Japan), Daniel Daligand (France), Clemente Padin
(Uruguay), Graciela G. Marx (Argentina). Joki Mail Art (West Germany), C. W. Poste (USA),
Rosemary Gahlinger (Canada), et al. Mail Art exhibition, project and publication
opportunities. Stills from the editor's video project, "Projeto Videoscpieo," documenting
various Mail Artists including Ruggero Maggi (Italy), Ibirico (Spain), Daniel Daligand
(France), John Furnival (England), Lucio Kume (Brazil), Paulo Bruscky (Brazil), Clemente
Padin (Uruguay), Klaus Groh (West Germany), Joao Pirahy (Brazil), Edgardo-Antonio Vigo
(Argentina), Suzana Lombardo (Argentina), Hilda Paz (Argentina), Henning Mittendorf
(West Germany), Angela Mittendorf (West Germany), Jorge Caraballo (Uruguay), Acosta
Bentos (Uruguay), Jo Klaffki (aka Joki Mail Art, West Germany), et al.

West Bay Dadaist. Arthur Craven (aka Charles Chickadel), Editor. Foundling
Publications/Trinity Press, San Francisco California. 1973-1974.
Vol. 1, No. 1 (May 1973). Instant Print. 5 1/2"x4 1/4". (8 pages). Newspaper articles
about long hair and flag burning. Nixon bashing. Police brutality in a detourned Dick Tracy
comic strip ("Crimestoppers Textbook: The use of a seer in police work-is an indictment of
the directing officer's intelligence [sic] and degrades his department and those he
commends.") Dada/prescient Punk in the early seventies.
Vol. 1, No. 2 (June 1973). Instant Print and Rubber Stamp. 5 1/2"x4 1/4". (24 pages).
Unusual newspaper articles interspersed with contributions by Genesis P. Orridge
(England), Davi Det Hompson (USA), R. Man (aka Robert Mancusi, USA), Monte Cazazza
(USA), Daddaland (aka Bill Gaglione, USA). "Ladies & Gentleman: I don't have to tell you
that for the general public and for you, the refined public, a dadaist is the equivalent of a
leper."
Vol. 1, No 3 (August 1973). Instant Print. 5 1/2"x4 1/4". (24 pages). Front cover by Tim
Mancusi (USA). More unusual newspaper articles reprinted ("Poison Fatal To Grandson Of
Picasso") More contributors, including Pat Tavenner (USDA), Albrecht D. (aka Dietrich
Albrecht, West Germany), Carlo Giovanni Cicatelli (aka the editor), Daddaland (aka Bill
Gaglione USA), Irene dogmatic (USA), John Dowd (USA), A. M. Fine (USA), et al.. Text by
Negation (USA) directly links Bay Area Dada to knowledge of the situationists. "Those who,
from the Dadas of the 1920's to the situationists, see only the recuperative function of
verbal poetry, have advocated its 'suppression.' But in this they fail to see the way in which
this poetry, which is nothing other than language at its most subjective, reasserts the living
power of language in the face of the dead language of power. They ideologize the real
necessity, which is the 'suppression' of poetry by means of its realization: the overflowing
of its creativity and imagination into the reconstruction of everyday life."
(Vol. 1), No. 4 (October 1974). Instant Print. 5 1/2"x4 1/4". (40 pages). Daddaland
(aka Bill Gaglione, USA) and Ms. Ann Thrope (USA) listed as Assistant Editors. Newspaper
articles ("Artist Is 'Crucified' On His Own Painting"). Contributions by Genesis P. Orridge
(England), A. M. Fine (USA), Anna Banana (USA), The Haddock (USA), Indian Ralph (aka
Perry Mancusi, USA), R. Man (aka Robert Mancusi, USA), Opal L. Nations (USA), Davi Det
Hompson (USA), Another Gollinkambi Product (aka Steve Caravello (USA), Jeff Berner
(USA), Dawn Rose Gaglione (USA), Tiptop (aka Rick Soloway, USA), Cosey P-Orridge (aka
Cosey Fanni Tutti, England), Futzie (aka Futzie Nutzle, USA), Tim Mancusi (USA).
Vol. 2, No. 5 (March 1974). Instant Print. 5 1/2"x4 1/4". (48 pages). "no hope coming!"
screams the front cover. More Dada
news ("The guru war") drawn from "everyday life." Contributions by Genesis P. Orridge
(England), Albrecht D. (West Germany), Ms Generality (Canada), J. H. Kocman
(Czechoslovakia), David Mayor (England), Ed Varney (Canada), Mary Ashley (USA), Sir
Quaxalot (USA), Fletcher Copp (USA), Irene Dogmatic (USA), John Dowd (USA), Pat
Tavenner (USDA), Jaroslaw Kizlowsi (Poland), Ms. Ann Thorpe (USA), A. M. Fine (USA),
Ray Johnson (USA), Al Souza (USA), T(om) Hosier (USA), The Western Dakota Junk Co.
(USA), Timmy Smut (aka Tim Mancusi, USA), Indian Ralph (aka Perry Mancusi, USA), Jack
Hirschman (USA), Opal L. Nations (USA), Daddaland (aka Bill Gaglione, USA), et al.
Vol. 2, No. 6 (June 1974). Instant Print. 5 1/2"x4 1/4". (39 pages). Editor listed as C. G.
Cicatelli (aka Charles Chickadel). Contributions by Canada Art Writers (aka David Zack,
Canada), Indian Ralph (aka Perry Mancusi, USA), A. M. Fine (USA), Al Souza (USA),
Horacio Zabala (Argentina), Ray Johnson (USA), Western Dakota Junk Company (USA),
The Northwest Mounted Valise (USA), Fletcher Copp (USA), Subwaxin Haddock (USA),
Clemente Padin (USA), Tom Hosier (USA), Albrecht D. (West Germany), Jack Hirschman
(USA), Tip Top (USA), Irene Dogmatic (USA), Daddaland (aka Bill Gaglione, USA), et al.

Whap! Magazine. Glans T. Sherman (aka Al Ackerman), Editor. (San Antonio,
Texas). (1988).
Vol. 3, No. 1 ([December 1988]). Photocopy. 8 1/2"x5 1/2". (8 pages). Contributions by
Tony Lowes (Northern Ireland), Eel Leonard (aka Al Ackerman), John "Spurt" Bennett
(USA), Bill "Mad Dog" Shields (USA), John E. Mumbles (aka John Eberly, USA). Illustrated
by the editor.

What the Hell is Going On? Kelley Keys, Editor. Direct Hit, Dallas, Texas. (1990).
No. 1 ([1990]). Photocopy. 8 1/2"x5 1/2". (48 pages). Straight Edge zine from Deep
Ellum record store in Dallas, Texas.
No. 2 ([1990]). Photocopy. 8 1/2"x5 1/2". (60 pages). Reprint of "Tartu Shadows:
Proceeding of the International Mail Art Symposium in the USSR," by John Held, Jr. (USA).
Photographs by Paula Barber (USA).

White Worm Review. Cap'n Worm & Hiney-eyes (aka Al Ackerman), Editor. (San
Antonio, Texas). (n.d.).
Vol. 10, No. 6 (n.d.). Photocopy. 14"x8 1/2". (9 pages). Circa 1984-1987.
Correspondence from Crackerjack Kid. Irene Deworm Dogmatic (aka Al Ackerman)
contributes a 'sampling" from a "new novel," "A Can of Worms." Illustrations by Nunzio 6-
Wormy Fingers (aka James Cobb, USA). Contributions by Michael "Worm of Popular" Leigh
(aka A1 Waste Paper Company, England) and Wormy Billie Haddock (aka Billy Haddock,
USA), et al.

Wild Children: A Zine for and By Kids Age 0-18. Glen Venezio, Peter Lamborn
Wilson, Dave Mandl, Editors. Autonomedia, Brooklyn, New York. 1992.
No. 1 (1992). Offset. 11"x8 1/2". 63 pages. "One of our editors, Glen Venezio, was about
16 when he first got involved with 'Wild Children.' Now he's too old to be our 'youth editor'
any more, and we're looking for someone to take his place and work on the next issue.
could it be you?/Our other editors, peter Lamborn Wilson and Dave Mandl, are both
'adults'-but they're also both anarchists, so they don't act very grown up! And our
publishers, Autonomedia, are pretty ancient too-but hey, they're the ones with the printing
press, so what can we say?" Notable for the inclusion of "Computer Poems," by Liaizon
Wakest (USA), son of Miekal And (USA) and Liz Was (USA).

Wild Rabbit News. Graziella Caroni and Anna Boschi, Editors. Osteria Grande and
Castel S. Pietro Terme, Italy. 1996.
No. 2 (December 1996). Photocopy. 11 3/4"x8 1/4". (2 pages). Mail Art project
opportunities. "...inform us about your mail art projects. We shall spread them in the
network." Computer graphic of Ray Johnson (USA) "bunny head."

Wire, The. Sharon Wysocki, Editor. Progressive Press, Dearborn Heights,
Michigan. 1983-1984.
Issue 10/11 (December 1983). Photocopy. 11'x8 1/2". 6 pages. Contributions by John
M. Bennett (USA), Leavenworth Jackson (USA), Carol Stetser (USA), et al.
Issue 12 (April 1994). Photocopy. 11"x8 1/2". 4 pages. "THE WIRE is seeking for
consideration voluntary, written contributions from artists on their work. Communicate
your latest in photography, graphics, collage, xerox, poetry, etc...We are particularly
interested in work from language poets." Contributions by Johan Van Geluwe (Belgium),
Carol Stetser (USA), et al.

Wire Magazine. (Al Ackerman), Editor. Unowned Worlds Group/Mad Dog Press,
(San Antonio, Texas). (1987).
Vol. 3, No. 2 (May [1983]). Photocopy. 8 1/2"x5 1/2". 17 pages. "Confused? Jumpy?
That's how it goes in Wireland. While most heads still identify the Wirist movement as
something happening far out on the cutting edge among the cyperpunks and ampeaters,
there is a rapidly multiplying hoard of Wire devotees who trace their roots back to the
solidly middle-class mainstream, and even lower. In fact, Wirism today arcs and sizzles
across all socio-economic-cultural boundaries. In this month's issue we'll be meeting a wide
cross-section of Wire devotees, including a new Jersey housewife who drives a book-
mobile, a Minnesota printer, a Michigan carwash attendant, and a man with a Messiah
complex in NYC who thinks he's the living incarnation of Thomas Dewey, the politician who
made pencil-line mustaches a household byword way back in 1947. But first, let's meet Eel
Leonard, the author who provided the first authoritative text on what it feels like to grow
up wired. The following excerpt is from Leonard's 1963 autobiography The Education of a
Champion..." MY First Lesson." by Eel Leonard (aka Al Ackerman). "I Must Have Wires!," by
Monty Cantsin (aka Istvan Kantor, USA). "Homming Object," by John "Pego Berndt (USA).
additional contributions by John M. Bennett (USA), Pat fish (USA), Dolly Brain Offenjerk
(aka Doris Oppenheimer, USA), Crowbar Nestle (aka Susie "Popular Reality" Poe, USA), Bill
"Mad dog" shields (USA), Dazar (USA), et al. Contributor notes (hilarious!).

Words Used in Mail Art. Ruud Janssen, Editor. TAM (Traveling Art Mail) Archives,
Tilburg, Holland. 1994-1996.
TAM-940021 (April 2, 1994). Computer Print. 8 1/4"x5 3/4". (6 pages). "This is just a
small booklet to list a few of the words and abbreviations I encounter in mail-art. If you
miss any works or abbreviations in this document, please inform me and I will include it in
the next version of this text." From "A-1 Waste Paper Co. Ltd." to "Zaum."
TAM-940021 (April 21, 1994). Computer Print and Rubber Stamp. 8 1/4"x5 3/4". (8
pages). "Yes plenty of books are written about mail-art. But these books all have a limited
edition and are expensive. Also the books are mostly not up-to-date with the new 'tends' in
mail-art. for new-comers in mail-art it is always a search to find out what is happening.
This booklet is a small attempt to give them a glimpse of what it is all about and who is
doing what and why and when and whatever. The words and abbreviations in this list come
from books I have in the TAM-Archive, and from reactions by mail -artists throughout the
world. Feel free to copy and spread this list to your fiends (sic)! Only existing words in
Netland are printed in this list!
TAM-940021 (June 1, 1994). Computer Print and Rubber Stamps. 8 11/4"x5 3/4". (12
pages). "Please send missing words/abbreviations to TAM, and receive the newest update
as thanks for your help! (mention the version-date of the issue you last read when you
send in your comments!)."
TAM-940021 (October 17, 1994). Computer Print and Rubber Stamps. 8 1/4"x5 3/4".
(16 pages). The list grows. Two-hundred and thirty-five entries.
TAM 960117 (February 23, 1996). Computer Print and Rubber Stamps. 11 3/4"x8
1/4". 10 pages. An indispensable Mail Art reassert tool. finding aid to mail Art pseudonyms
("A Classic Pair=Russell Bloch"), genres (Artiststamps=Not-official postage stamp"),
publications ("Arte Arte=mailart magazine in Italian Language edited by Andrea
Ovcinnicoff, Italy"), projects (B&B=Birds & borders. cooperative project of Ever Arts and
Rod Summers, Netherlands."), Mail Art "slang" (Ear Art=Audio-art (e.g. audio-cassettes"),
etc.

Workarea Art Ambient. Ponte Romano, Editor. Work Area Ambient, Cairo
Montenotte, Italy. 1989.
(July 1989). Photocopy. 8 1/4"x5 3/4". (4 pages). "From the Statute," of Work Area
Ambient. Contribution by Guy Bleus (Belgium).

Works, The: The Block Island Art Magazine. Brian Salzberg, Editor. The New Leaf
Arts Foundation, Bloch Island, Rhode Island. 1988-1989.

Vol. 2, No. 4 (July 24, 1988). Newsprint. 14"x10 3/4". 19 pages. "Art
Books/Bookworks/Artworks," by George Myers, Jr. (USA), discusses the work of Dick
Higgins (USA). "Mail Art," by the editor. "Mail Art is a way of thinking and communicating.
It is an international network of artists who share expressions in an uncensored medium-
the mail. It's existence alone challenges mainstream ideas of commercialism and it it's role
in the art world...On this page we feature the artist SHOZO SHIMAMOTO who is an active
mail artist from Japan." Contributions by Shozo Shimamoto (Japan).
Vol. 2, No. 6 (August 21, 1988). Newsprint. 14"x10 3/4". 19 pages. "Art
Books/bookworks/Artworks," by George Myers, Jr. (USA), discusses "three artist-produced
magazines publishing collage and graphic arts, poetry and prose of a type for which I know
only one characterization: radical texts." Include in the discussion are "Velocity" and
"Generator." "Mail Art," by the editor, focuses on the work of Frank Anderson (USA).
Contributions by Frank Anderson. Envelope bearing the periodical also contains tearsheets
from previous articles on Mail Art printed over the course of Summer 1988, including
articles featuring Crackerjack Kid (aka Chuck Welch, USA).
Vol. 2, No. 7 (September 4, 1988). Newsprint. 14"x10 3/4". 14 pages. "Mail Art
'Tourism': International Mail Art Show at Hiroshima," by John Held, Jr. (USA). "Mail art is
the exchange of artistic materials through the international postal system, but in recent
years correspondents have met with each other as well as written. In 1986, two Swiss
artists, Gnther Ruch and H. R. Fricker, conceptualized the Decentralized Worldwide Mail
Art congress, which brought together of 500 participants in 10 congresses held in over 25
countries. but well before this, mail art 'founder,' Ray Johnson, was holding 'Buddah
university Meetings' and 'Bunny Clubs' to introduce his correspondents to one another.
Within this framework of mail art meetings (or tourism, as H. R. Fricker has named it). the
International symposium of Mail Art at Hiroshima occurred on August 2, 1988, followed by
a series of performance artworks on August 6th. Mail artists from Italy, France, japan and
the united States were present. mail Art has become networking art and is occurring either
through the post or in person." Contributions by Shozo Shimamoto (Japan). Ruggero Maggi
(Italy), H. R. Fricker (Switzerland, Serge Segay (USSR), John Held, Jr.
Vol. 2, No. 9 (October 2, 1988). Newsprint. 14"x10 3/4". 19 pages. "Art
Books/Bookworks/Artworks," by George Myers, Jr. (USA), discusses the work of Xexoxial
Editions (aka Miekal And and Liz Was, USA). "Mail Art," by John Held, Jr. (USA), features,
"a diary account of a large scale art event at Hiroshima, Japan in the summer of 1988..."
Photographs of Held, Shozo Shimamoto (Japan), Ruggero Maggi (Italy), and Gerard Barbot
(USA), by Paula Barber (USA).
Vol. 3, No. 2 (June 12, 1989). Newsprint. 14"x10 3/4". 19 pages. "Mail Art in
Czechoslovakia," by Petr Sevcik. "Presently in Czechoslovakia, there are very few artists
who are actively involved with the mail art movement. it s really only a marginal activity.
Approximately twenty others of various ages have been involved; the oldest in Josef
Slepicka, a painter/autodiact born in 1915. Men and women poets, conceptual artists,
minimalists, painters and one theoretician have participated in mail art. The majority of
these artists, however, don't know each other and never had any intention of becoming
acquainted. there were no theoretical works or exhibitions about mail art with the
exception of Jiri Valoch whose private 'notes' make sporadic references to mail art."
Contributions by J. H. Kocman (Czechoslovakia). List of Eastern European Mail Artists
including Andrej Tisma (Yugoslavia), Dobrica Kamperelic (Yugoslavia), and Petr Sevick and
Radana Parmova (Czechoslovakia).
Vol. 3, No. 3 (June 26, 1989). Newsprint. 14"x10 3/4". 19 pages. "Mail Art Glasnost:
Part 1; proposing a U.S.-U.S.S.R. Friendship Mail Art Exchange," by Crackerjack Kid (aka
Chuck Welch, USA). "In the broadest interpretation, Mail Art and 'glasnost' are terms that
signify individual fights to freedom of expression and open communication." Contributions
by Serge Segay (USSR), Rea Nikonova (USSR), and Crackerjack Kid.
Vol. 3, No. 4 (July 10, 1989). Newsprint. 14"x10 3/4". 23 pages. "Mail Art Glasnost: Part
II: Mail Art into the Soviet Union," by Crackerjack Kid (aka chuck Welch, USA).
Contributions by Rea Nikonova (USSR) and Serge Segay (USSR). List of nine Mail Artists
living in the USSR and their addresses.
Vol. 3, No 5 (July 26, 1989). Newsprint. 14"x10 3/4". 19 pages. "The Hidden Link: The
mail Art phenomena, Part 1," by Vittore Baroni (Italy). "Mail Art is only one among many
peep-holes spying on Networkland. I use this widely spread definition (Mail Art), but
personally I prefer to think of an Ethereal Open Network (E.O.N.) that includes all sorts of
alternative networks operating today on the planet. mail Art is not enough, it's very
reductive and frustrating to limit your playground to a highly specialized ghetto of
postcard-makers and rubberstampers. Networking, the search for a contact with other
beings and the collective work on different projects, is interesting for me only when it
opens the mind to new frontiers, when it does not shy away from Utopia. The 70's/80's
may me looked on as two decades that have forgotten all radical dreams of cooperation
towards a better quality of life for all." Contributions by Crackerjack Kid (aka Chuck Welch,
USA), et al.
Vol. 3, No. 6 (August 7, 1989). Newsprint. 14"x10 3/4". 23 pages. "The Hidden Link:
The Mail Art Phenomena, Part 2," by Vittore Baroni (Italy). "I am not here to convince or
enroll anyone, I am in front of a typewriter feeling helpless. and what about loneliness,
unemployment, despair, toothache, you-name-it? surely, to put the hands to work, to draw
or paint o type, may be as useless as staring into the void. remember how god answered
to Woody Allen: 'you only have to write better jokes.' mail Art is as good a starting point as
any other, to look for (or laugh for) the 'Meaning of Life.' how many mail artists are out
there. In ten years, I corresponded with least 3,000 different people (there is a limit to
everybody's sparetime!), but the total number of active postal artists has been estimated
in the range of 10-20,000 individuals. It's a small army or a big family, depending upon
how you look at it..."Contribution by Guy Bleus (Belgium).
Vol. 3, No. 7 (August 21, 1989). Newsprint. 14"x10 3/4". 23 pages. "A Solstice
Computer project," by Paul Summers (USA). "In Mid-December, 1986 an idea was kicked
around on the possibility of a computer link-up with artist's widely separated from each
other. This idea was an evolution of a number of events and experiments begun by many
Baltimore artists spanning a five to six year period. In the Fall of 1981, Baltimore artists
had been involved in mail art activities for some time. Various phone events initiated by
the Baltimore folk included teleconference calls, phone link-ups using answering machines,
speakerphones and other electronic gadgets. Through mail art contacts, I became
acquainted with many of the Baltimore artists...The idea of using computers and modems
to link-up artists was an attempt to be more direct-for quick access and hopefully more
economical in terms of phone bills. also considered was an attempt to transcend territorial/
political/ social/ technological/ cosmological confines of information flow. This underlines
part of the motives, or philosophies of the artists involved in these actions. but the main
idea is the 'combination' in whatever form it would take." Contributions by Cavellini (Italy),
Gyrgy Galantai (Hungary).
Vol. 3, No. 8 (September 4, 1989). Newsprint. 14"x10 3/4". 19 pages. "Networks and
Networking,' by Joachim Frank (USA). "To talk about Networking implies a reluctant
acceptance of an awkward term that associates wires, electronic, high technology, and
seems to be capable of describing only a reduced dimension of human interaction.
Ironically, we learn that its ultimate aspirations are, on the contrary, to transcend the
space/time/culture limitations of the individual artist and arrive at a new generalized
concept of art." Contributions by David Cole (USA), Gza Perneczky (West Germany),
Crackerjack Kid (USA).
Vol. 3, No. 9 (September 18, 1989). Newsprint. 14"x10 3/4". 18 pages. "How is This
Magazine Made?" "It's made in a barn on Bloch island. We have a Mac II, a large screen a
LaserWriterII. For those of you who have never heard of those terms, it is a computer and
printer designed for what is now called "Desktop Publishing.'"
Vol. 3, No. 10 (September 25, 1989). Newsprint. 14"x10 3/4". 15 pages. "The Tao of
Networking," by Mark Bloch (USA). "Until recently, corporations and governments had a
monopoly on information. What we are witnessing for the first time in history, is that
individuals working together in a networking system are gaining control of information. We
are weaving patterns in an attempt to decentralize, de-bureaucratize and therefore,
rehumanize the planet." Contributions by Mark Bloch and Crackerjack Kid (USA).

Workspace News. (Joachim Frank), Editor. Workspace Loft, Inc., Albany, New
York. 1979.
(June 1979). Photocopy. 14"x8 1/2". (2 pages). The editor lectures in Munich, West
Germany, on such topics as, "Art as a Vehicle of Communication." In "What You Should
Know About Prop," we find, "Correspondence Art: WORKSPACE, through PROP, got
entangled in the eternal network. We keep receiving a lot of correspondence art in the mail
from international mail artists. part of the material will be on display in a rotating fashion
at Cathy's Waffle Store..." See also "PROP."

Worldmap. Jo Klaffki (aka Joki Mail Art), Editor. Kunst-Bahnhausen Academy,
Minden, Germany. 1991.
No. 4 (1991). Photocopy. 23 1/4"x16 1/2". (2 pages). Poster size project contribution by
the editor (sent to Mail Art exhibitions, etc.). Contributions by Crackerjack Kid (USA), Lloyd
Dunn (USA), Gerard Barbot (USA), Keith Bates (England)
X-Ray Magazine - Xerolage
X-Ray Magazine. Johnny Brewton, Editor. Pneumatic Press, San Francisco,
California. 1994.
Vol. 1, No. 2 (Spring 1994). Offset and Mixed Media. 8 1/2"x7". (41 pages). Assembling
magazine. Thirty-two contributors including John Bennett (USA), Hardbound Ed (USA),
Geof Huth (USA), Julee Peezlee (USA), John Tostado (USA), Paul Weinman (USA), et al.
Edition 200.

Xero-Post. Sheldon Polsky, Editor. Philadelphia, Pennsylvania. 1981.
([1981]). Photocopy. 11"x8 1/2". 21 pages. "Xero-Post is a quarterly newsletter dedicated
to the propagation of the 'eternal network' of artists who use and abuse the postal system
as a vehicle of creative compulsion beyond the normal boundaries of correspondence. the
content is solely dependent on recent submissions. Send us news, reviews, art, poetry,
true confessions, exhibition notices, or almost anything at all relevant to the people, places
and things that revolve around the world of mail-art. We will pass it on to others, O. K.
easy...we need to hear from you." "Mail/Postal Art Junkie!," by Peter Craigie (USA). "If it
can be conceived and mailed, it is postal art. it makes no difference if it is sent to a show
or to an individual, is sent across town or around the world, the potential to express
yourself is limited only by the (ugh) postal regulations. finally, there is the excitement and
anticipation of looking to find what each day's mail will bring, and well, that's something
else!" "The Last Acts of Saint Fuck You," by Bern porter (USA). "V.E.C.. Audio Exchange...A
Sound Opportunity," by Rod Summers (Holland), includes three verses from "Mail-Art Dada
Skank" ("Spend all your money at the post office/Spend all de money on glue/Spend all de
money on everybody else/Never spend any money on you/It's all gone on mail-art dada
skank..."). Ray Johnson (USA), "Add To & Return." Contributions by Ginny Lloyd (USA),
Steven Durland (USA), et al. Mail Art exhibition, project and publication opportunities.
(No. 2). ([1981]). Photocopy. 11"x8 1/2". (18 pages). "Here is your new improved Xero
Post. Once again let me request submission from our reading public. shows of interest/
exhibition opportunities/ artwork/ interviews/ articles/ political commentary/ etc. please
use the mailing list to communicate with others." "Mail -Art Shows," by Lon Spiegelman
(USA). Mail Art exhibition, project and publication opportunities. Editor's mailing list.
No. 3 (1981). Photocopy. 11"x8 1/2". (26 pages). "Thank you all for your overwhelming
support. As always, your contributions are anxiously awaited. Send graphics, cartoons,
relevant reprints, exhibition opportunities, poetry, prose etc...Let us hammer out a few
more details. the growth of our mailing list has necessitated a change in structure. Be it
hereby decreed...XERO-POST is now available on a subscription basis only. .." "Neoists &
Krononauts," reprinted anonymously (Rev. Paul Summers, USA). Untitled text by Lon
Spiegelman (USA). Reprint of "Basement Dweller," by Musicmaster (USA). Mail Art
exhibition, project and publication opportunities. Editor's mailing list.

Xerolage. (Miekal And and Liz Was), Editors. Xerox Sutra Edition, Madison,
Wisconsin. (1985)-1990.
No. 2 ([1985]). Photocopy. 11"x8 1/2". (28 pages). Collage art by Michael Voo Doo
(USA). "Two Questions for Michael Voo Doo..Why do you make art?/I make images and
object as a means of easing the guilt I feel for being a monster in a monstrous world./Why
do you mail your art to others:/there are endless answers to that question: (*) Mail Art is
not consumerist art (*) Mail Art is troublesome to the funeral home merchants who pretend
to market art (*) Mail Art is a protective measure so that the messenger isn't slain for the
content of the message (*) Mail Art cause extreme mechanical and physical motion (*) Mail
Art makes good use of a federal service (laxative-like) (*) Mail Art is often temporary and
spontaneous (*) Mail Art is naive spiritualism (*) Mail Art is a dinosaur guaranteed to
evolve (*) etc...'." Biography on Voo Doo ascribed to Carlo Pittore (USA), who disclaims the
text in an accompanying note.
No. 18 (1990). Photocopy. 11"x8 1/2". (28 pages). "Xerolage is an irregular magazine of
visual poetry, copy art & collage graphics. Each issue is devoted to the work of one artist.
'Xerolage' is a word coined by Miekal And to suggest the new world of 8.5x11 art
propagated by xerox technology. 'the mimeo of the 80's.' The primary investigation of this
magazine is how collage techniques of 20th century art, visual & concrete poetry
movements, & the art of xerox have been combined." "Clemente Padin: Signographics &
Texts." Visual poetry by the artist from 1967-1970. Biographical information provided by
Harry Polkinhorn (USA) in his text, "Gnosis; Clemente Padin's 'Sigographics and Texts'."
Drawing of Padin by Felipe Ehrenberg (Mexico). Biographical notes.
Yawn
Yawn: Sporatic Critique of Culture. (Lloyd Dunn), Editor. The Drawing Legion,
Oakdale; Iowa City, Iowa. 1989-1993.

No. 1 (September 15, 1989). Computer Print. 11"x8 1/2". (2 pages). "Art Strike
1990-1993...We call on all artists in the U.S. to put down their tools and cease to
make, distribute, sell, exhibit or discuss their work from January 1, 1990 to
January 1, 1993> We call for all galleries, museums, agencies, alternative spaces,
periodicals, theaters, art schools etc., to cease all operations for the same
period." "Give Up Art Save the Starving." A joint publication by "Yawn," Art Strike
Action Committee (London), Art Strike Action Committee (San Francisco), and
"PhotoStatic/Retrofuturism." Edition 500.
No. 2 (September 22, 1989). Computer Print. 11"x8 1/2". (2 pages). Detourned comics
with Art Strike rhetoric. "The Art Strike (1990-1993) can only be propagated on the basis
of a limited idea of what art is. If art is everything, according to the definition of Dada and
Fluxus...Then an Art Strike (1990-1993) would be death!...Culture is a sinking ship...By
Golly, I'm getting off!" "20 of the Most Difficult, Awkward, & Searching Questions You Could
Ask About the Art Strike (1990-1993)." Listing of Art Strike Action Committees (ASACs) in
San Francisco, Baltimore, London, Ireland (c/o Tony Lowes), Montevideo. "Any part of
YAWN may be reproduced in any form whatsoever, even without acknowledgment." Edition
500.
No. 3 (September 29, 1989). Computer Print. 11"x8 1/2". (2 pages). More detourned
comics. "But Pete's quandary did not stop there, so he phoned for advice from
mother...Perhaps the desire for the Art Strike is more interesting than the Art Strike
itself!...I see. I must have been mistaken." "You must decide for yourself whether or not to
join the Art Strike (1990-1993)!" "After December 31 of this year, there won't be any more
poetry readings. nobody will write poetry. Nobody will print pictures or make art videos. no
dance performances will he held, no one will mingle at art openings. Galleries will close or
be converted to other uses. a great calmness will settle over the world..."
No. 4 (October 21, 1989). Computer Print. 11"x8 1/2". (2 pages). "YAWN is a sporadic
communiqu which seeks to provide a critical look at our culture in all its manifestations.
YAWN welcomes responses from its readers, especially those of a critical nature. Be
forewarned that anything sent to YAWN may be considered for inclusion in a future issue.
Submissions are welcome and encouraged. Monetary donations are requested to help
defray costs..." "OWVRAS90-93 (One Woman's Viewpoint Regarding Art Strike 1990-
1993)." "A Response to the Proposal for Forced Art participation 1990-2001." "An Apology
from OWVRAS90-93, the Proposal of Forced Art Participation 1990-2001." Edition 500.
No. 5 (November 3, 1989). Photocopy. 11"x8 1/2". (2 pages). "Dear YAWN. You Saved
My LIFE. Thank You, Pablo Picasso." "Demolish Serious Culture." "One Woman's Reaction
to 'A Response to the Proposal for Forced Art Participation 1990-2001." "It's not art that's
illusionary, it's the 'criticism'." Edition 1000.
No. 6 (November 24, 1989). Computer Print. 11"x8 1/2". (2 pages). "To the person who
offered a critique of YAWN #5 by scribbling on a copy that was publicly posted: 'This
degrades women. down with YAWN!': You sexist bigot! the battle against degradation must
proceed upon all front simultaneously. to see this image as primarily degrading to women
is to miss that, if it degrades, then it also degrades caucasians, blondes, art majors, people
who wear glasses, and human beings in genial. When you fragment your reality into
smaller 'political issues', you only make it easier for those in control to control you. YAWN
refuses to toe the line of you dogmatic, outmoded, snotty feminism." "Letters from YAWN's
Readers." "ART STRIKE: Karen Eliot Interviewed by Scott MacLeod (1989)." "Yes, artists
are one group our activities are intended to demoralize. There's an attitude among artists
that they're in touch with a higher discourse, a meta-ethics if you will, which frames their
activities within different ethical standards than those of other people. The National
Socialist Party in Germany became successful partly as a result of encouraging this kind of
attitude..." Edition 1000.
No. 7 (December 31, 1989). Computer Print. 11"x8 1/2". (2 pages). "The Artist as a
Victim of Tourette Syndrome." Art Strike as Art," by Karen Eliot. "Art Strike is symbolic,
merely provocative.. It is meant to provoke conversation among artists like all the other
insulated works it rails against. It is a piece of performance art that will break down the
boundaries between art and non-art focus on like...Art Strike is the sound of one hand
clapping." "When Censorship Works, You Don't Know It." "Stop carrying the torch for art.
Sit down. Take off your shoes. Relax. Have a nice, hot cup of coffee." Edition 500.
No. 8 (January 1., 1990). Computer Print. 8 1/2"x7". 3 pages. "GET IT OUT OF YOUR
SYSTEM...the following letters were lent to YAWN by an 'art magazine' that is participating
in the Art Strike 1990-1993. they can be considered as a cross section of the responses to
the Art Strike, and to some extent typify the ways in which people interpret the action as
being counterproductive. Most of them, of course, miss the point that it is the intent of the
Art Strike to 'create as least as many problems as it solves'. Although it is not YAWN's
intent to offer dogmatic 'clarification's' of what the Art Strike is 'all about', it does behoove
YAWN to offer the responses that follow in an effort to stimulate dialog which will hopefully
be a means of critiquing what art is 'all about' in he current mood of 'fin-de-millennium'.
The reader is encourage to look beyond YAWN's response to each letter, as well as the
letter itself, and formulate opinions and critiques that pint us in the direction of
reconstructing creativity and its role in culture." Edition 325.
No. 9 (February 1, 1990). Computer Print. 11"x8 1/2". (2 pages). "Pretentious Drivel
Strike (1990-1993)." "Last Gasp of the ASAC East Coast USA)...This text was drafted
immediately before 1990 and is being distributed from P. O. box...The Art Strike Action
Committee which operated from this P O. Box has ceased to 'exist' with the beginning of
the strike and will suspend its actions of public agitation and debate over 'political' and
'cultural' questions. the P. O. Box will remain open and revert to use by its former owners
who will mail one copy of this text and one Art Strike flyer to anyone who writes concurring
the Art Strike. This is basically to get such correspondents off their backs...The most typical
formation is to see the Strike's primary organizers as 'Artists' for whom the public strike is
a 'conceptual art piece'. The mystifying actions of some organizers have tended to promote
this reading, most notably those who have acted without anonymity and those who have
'aesthetically elaborated' the Strike, fetishizing it. it is apparent that the socially
constructed attitudes which surround 'Art' are well reinforced in certain populations and
may people find it difficult to shift away from them." Edition 1000.
No. 10 (February 15, 1990). Photocopy. 11"x8 1/2". (2 pages). "Why I Invented Art
Strike (1990-1993)... Art Strike (1990-19930 is a NET, of fine mesh, to capture those with
heads TOO LARGE. suspended by the net of Art Strike (1990-1993) they hang together
discussing, analyzing, rehashing, criticizing Art Strike (1990-1993), those who have been
caught in it, those who have slipped through, and their opinions about them and
everything..." Lettre Documentaire (Bordeaux, France) added to list of, "Art Strike Action
Committees and Supporting Publications." Edition 1000.
No. 11 (March 1, 1990). Computer Print. 11"x8 1/2". (2 pages). "Quitting Time." "Bitch,
Bitch, Bitch." "The Dangers of Cockteasing." "Regarding the Great Art Strike (1990-1993)
and its Relative Effects," submitted anonymously by Malok (USA). Contribution by the
Lower East Side Neoist Front (USA), "Art Glut." "Reactions to the Art Strike, " by Jean-Ren
Lassalle, student, Berlin. "This art strike is hysterical, really...One might say that it's like
the graffiti of may '68; sentences...which were made up to provoke (thought, among other
things), while perhaps their immediate significance is not so very important. The mystique
of the Artist bothers me some. On the other hand, if one creates, he gives of himself...and
this is worth of some recognition." (Translated from the French.)" Edition 500.
No. 12 (March 15, 1990). Computer Print. 11"x8 1/2". (3 pages). "YAWN is a sporadic
communiqu which seeks to provide a critical look at our culture in all its manifestations.
YAWN welcomes responses from its readers, especially observations of a critic nature. Be
forewarned that anything sent to YAWN may be considered for inclusion in a future issue
without specific prior notification. Submission are welcome and encourage. it's the policy of
YAWN not to attribute work, unless the content benefits from such attribution. YAWN is a
collective, mostly anonymous, effort. contributors receive a copy of the YAWN in which
their work is used. ..." "Art Strike Form (valid 1990-1993)." "Art Strike (1990-1993): 'Life
went on as usual, but had no consequences, that is to say, sounds did not echo nor
thought develop. Everything seemed cut off at its root and therefore infected with illusion.'"
Edition 500.
No. 13 (May 1, 1990). Computer Print. 11"x8 1/2". (2 pages). "Real Life." "Now that the
Art Strike has begun, what is needed most is to renounce it. the thought that such an
(in)action can be treated by some as a 'work of art' is reason enough. this fetishization
through esthetics is one of the tendencies the Art Strike had hoped to discredit. the best
thing to do now is simply to stop referring to the Art Strike, which is, after all, just another
plaything to make the mind do somersaults." UN attributed graphic contribution by Gza
Perneczky (West Germany). Edition 1000.
No. 14 (May 15, 1990). Computer Print. 11"x8 1/2". (2 pages). "Confession in Support of
the 1990-1993 Art Strike." "The Abolition of Art." Edition 500.
No. 15 (June 1, 1990). Computer Print. 11"x8 1/2". (2 pages). "Statement Regarding the
Art Strike 1990-1993," by Andrej Tisma (Yugoslavia). "The modes of discourse," from
'SMILE.' Art Strike questionnaire. Edition 500.
No. 16 (July 1, 1990). Computer Print. 11"x8 1/2". (4 pages). "Let's Go bowling with Art
Strike!" "Critique of the Art Strike." "Report from the Anti-Art Festival," by the Theatre of
Sorts. "Theatre of Sorts instigated an Anti-Art Festival, held in Cleveland on march 31st of
this year. this event was inspired by the Art Strike propaganda I had been handed over a
year ago, so therefore I had been thinking about Art Strike and its implications for quite
some time. The Anti-Art Festival was an attempt to put some of those thoughts into action
The concept was to set up a performance/exhibit situation upon non-hierarchical lines..."
"A Personal Statement by Philippe Bill." "So, with the same meaning with which I declared
in last June, at my 33rd birthday, that I wanted to 'retire' as an artist, I accept to follow
this (in)action movement; by refusing in advance, for this period, any new exhibition
project; by limiting my publications to the minimum; by associating to it my collection,
lately begun, of unopened mail, which gathers postal objects coming from the official,
associational or commercial institutions, so as various letters of shabby canvassing; by
studying the evolution of the debates raised in the American, free, and anonymous
newsletter YAWN. One will allege against me that this is too easy. This is partly right. and
then?" "The Strike Within a Strike," by Pseudo-Karen Eliot. Edition 500.
No. 17 (July 15, 1990). Computer Print. 11"x8 1/2". (2 pages). "Responses to Questions
and Opinions About the Art Strike," from "Lettre Documentaire," no. 9, April 25, 1990."
Statement by Jean-Franoise Robic (France): "as you can see, I am not participating in the
Art Strike. I find it a bit naive. It would be necessary for me to do the strike by myself, and
for me that's impossible. Even if art is a social practice-all right! art is already a strike."
Statement by Jacques Massa (France): "e Art Strike make me oscillate between
indifference and perplexity. I've discussed it only with Mark Bloch (Panpost) who is rather
in agreement as far as perplexity goes." Edition 500.
No. 17 (15 July 1990). Photocopy. 13 1/3"x8 3/4". (one page). French version of the
above. Issued by Phillipe Bill (France). Edition 1500.
No. 18 (September 22, 1990). Computer Print. 11"x8 1/2". (2 pages). "Read-
Contribute-Experience...YAWN cares to make little distinction between its 'readers' and its
'contributors' as such, and would like to bring about an interaction among all such
participants and cultural workers. In addition, the issues of concern to YAWN are
substantially more general than previous output would tend to suggest. That is to say,
YAWN is very interested in publicly exposing ideas and discussion well beyond what is dealt
with in the Art Strike. culture generally is the target of our collective discourse. The
potential is vast. This is all part of an effort on our part to bring about a critique of culture
that tests the basic assumptions of those who tacitly support our culture, even if they do
no more than unction it. It is those least challenged of assumptions which demand the
most attention. use your experience as a guide. Write down or diagram what comes to
mind. Submit it to YAWN as part of the ongoing dialog. YAWN seeks letters, essays,
commentaries, cartoons, graphics, and the results of cultural research. Any format, no
returns without SASE, copy of published work will be sent to the participant." "A Manifesto
of Counterrevolutionary Communism," from "SMILE." "Gender Strike." "Struck by the Art
Strike," by Xexoxial Endarchy (aka Liz Was, USA). "Art Strike Action Committees" listing,
changed to "Cultural Workers in Support of YAWN." Included are ASAC (England), Xeroxial
Endarchy (Madison, Wisconsin), Woodenshoe Books/Karen Eliot (Philadelphia), Lettre
Documentaire (France). Edition 500.
No. 19 (October 1, 1990). Computer Print. 11"x8 1/2". (2 pages). "About the Art Strike,"
by Stewart Home (England). "While the Art Strike was not conceived as a Mail Art project,
many of the fifty or so individuals who've been engaged in propagating it have close ties
with the Eternal Network. As such, it raises issues which are of pertinence to Mail Artists
and pints to ways in which international networking can be used to give voice to radical
social perspectives." Statement from the Albany Art Strike Action Committee (AASAC).
Lang Thompson (USA) added to "Culture Workers in Support of YAWN." Edition 500.
No. 20 (October 10, 1990). Computer Print. 11"x8 1/2". (2 pages). "Proletarian
Posturing and the Strike which Never Ends," by ASAC-MD. "Stop the Art Strike," by Anatoly
Zyyxx (USA). "Results of Art Strike (YAWN No. 15) Survey Are 'IN'." SLF/Resident
(Cleveland), and Dialectical Immaterialism Press (Baltimore) added to "Cultural Workers in
Support of YAWN." Edition 500.
No. 21 (October 24 1990). Computer Print. 11"x8 1/2". (2 pages). "The Oblique Film of
Experts," by Ralph Johnson (USA). "Censorship: The Dictatorship of the Senses," by
Stephen Perkins (USA). "No Federal Culture." "Cultural Workers in Support of YAWN" now
includes ASAC (London), ASAC (Iowa), Ralph Johnson (Iowa City, Iowa), The Drawing
Legion (Cedar Rapids, Iowa), David Dunlap (Iowa City, Iowa). Edition 500.
No. 21A ([1990]). Photocopy. 11"x8 1/2". (2 pages). Questionnaire filled out by Lloyd
Dunn (USA), for "American Artists; an Illustrated Survey of Leading Contemporaries."
"After formal training in Cubism, she developed an individual abstract plagiaristic style
influenced by the work of Archile Gorky and Vassily Kandinsky. In 1951 she became
inserted in Jackson Pollack and the transformation of the unconscious into concrete artistic
creations. She began to explore color-field combinations and the ways in which their
accidental combinations are controlled. And then she burnt everything she ever painted."
No. 22 (November 6, 1990). Computer Print. 11"x8 1/2". (2 pages). Statement of
Purpose by the Albany Art Strike Action Committee (AASAC) signed by Neal Keating (USA),
Bob Black (USA), et al. Letter to New York Governor Mario Cuomo by Neal Keating. "As
part of observing the Art Strike, will you postpone the return of Art in the ESP (Empire
State Plaza) concourse until January 1, 1993?" Reprint of an article on Art Strike in
"METROLAND," Albany, New York. "Part curmudgeonly pranksters, part dead earnest
activist against the intrusion of right-wing values on the art scene, those participating in
the nine-month old Art Strike have had a hard time 'enforcing' their call for a three-year
moratorium of art." "Strike Back," by Bob Black and Neal Keating. Edition 500.
No. 23 (November 20, 1990). Computer Print. 11"x8 1/2". (2 pages). "The Suppression
of the Art Strike," by Eleutheria (USA). "If'...one cannot create a revolutionary situation,
complete with the required general 'desperation', as Gza Perneczky says in YAWN #16,
then 'who' can? Certainly not the Art Strikers; their context for 'desperation' lies within the
parameters of an already elitist structure, namely that of the art gallery. Who really cares
about art, much less mail art? Most people spend their entire lives as Art Strike
participants; it's just that they don't notice it-they're too busy working, or trying to forget
work." "All copying and republication of YAWN or excepts therefrom is permitted and
encouraged." Edition 500.
No. 24 (December 24, 1990). Computer Print. 11"x8 1/2". (2 pages). "The Happy
Blunting of the Institutionalized Avant-garde," from Plaster Cramp Press. "In a time when
the 'cutting edge' has become a powerful tool for mediocritization, we proudly rededicate
ourselves to its blunting. In an age when the Hollywood glamour of the 'avant-garde' has
long since overtaken its aesthetic usefulness, we happily devise new tactics to send it
scurrying in disarray." "Why bother with Propaganda?" by "Leisure." "Cultural Workers in
Support of YAWN," now includes ASAC (London). ASAC (Iowa). AASAC (Albany, New York),
Plaster Cramp Press (Chicago), Leisure (Cardiff, Wales). Edition 500.
No. 25 (January 2, 1991). Computer Print. 11"x8 1/2". (2 pages). "The Release of Man's
Soul," by Ben G. Price (USA). "Striking against art, we refuse to imitate the sunrise, and
this is perfectly acceptable so long as we do not come to think that we are somehow
'preventing' the sunrise by our abdication of its expression. The suicide of expression will
do for some, standing for the eradication of the whole world, because the artist's world is
an outer expression of inferiority. So destroying that exteriorization is equivalent to
destroying the interior creator..." Edition 500.
No. 26 (January 9, 1991). Computer Print. 11"x8 1/2". (2 pages). "Notes on the
Pleasures of Neutrality," from "SMILE." "Dear YAWN; ...Thanks for you...interesting ideas.
most of which I can follow really well. Only the way the rules are set are 'not my cup of
tea'. And as things are really changing here who wants to be on strike? Maybe in the USA
it's a different situation, but here it's definitely the thing not to do!...Why be part of a small
esoteric group, saying no whe(n) even your very 'conservative neighbor' is making
excursions and searching new ways?...Kassel, Germany. YAWN agrees; it certainly is true
that being part of a small esoteric group seems a rather effective way of accomplishing
nothing at all. so it make one wonder what all the shouting is about. The last thing the Art
Strike wants to do is 'convince' others to join the strike and then sit on their hands! Doing
nothing is in fact 'obviated' by the Art Strike, which 'is' a really bad idea. But it is important
that it be as bad as it is. it forces a clarification of one's personal views on culture in part
by being very difficult to ignore." Edition 500.
No. 27 (May 9, 1991). Computer Print. 11"x8 1/2". (2 pages). "Art Strike Interview:
Tony Lowes Interviewed by Gerry Ryan, Irish Radio, November 19, 1989." "I think one of
the misconceptions is when people day, o.k. you're going on an art strike for three years.
What are you going to do? Where's this creative stuff going to go? The answer is that life
during the art strike is going to be more creative, not less." Edition 500.
No. 28 (May 23, 1991). Computer Print. 11"x8 1/2". (2 pages). "It's Inevitable...1990-
1993 the years without art...One Step Beyond Commodity Culture...The War is
Everywhere. Detourned commercial advertisement and group photo. Edition 500.
No. 29 (June 5, 1991). Computer Print. 11"x8 1/2". (6 pages). "FROWN," by the Art
Abolition Committee. "Poetic Terrorism," by Hakim Bey (USA). Letter from T. Marvin Lowes
(aka Tony Lowes, Ireland), Irish Art Strike Committee. "Please join us and support the Irish
branch of this global Art Strike. While many, if not all, of you could not give up art even if
convinced to do so, I know that if you study the arguments carefully, you'll understand why
an Art Strike is necessary to assess accurately the position of art in our society today."
"YAWN" address changed to Iowa City, Iowa. "Several people have independently sent
YAWN their 'comments' on its output in the form of envelopes which look completely
normal on the outside, but upon inspection, reveal themselves to be completely empty.
such 'creative' responses to the Art Strike, although terse and perhaps even apt do little to
encourage the dialog and debate which YAWN holds is so necessary to help clarify our
current predicament. We will not berate these senders in print, because they are, if fact,
doing 'something.' but if they feel that there is something 'wrong' with the Art Strike
(in)action-and there is much that is 'wrong' with it-perhaps they could tell us what they
feel it is. On the other hand, we at YAWN do tend to prefer these kinds of pseudo-
responses to the small packet of animal dung we received the other week!" Art Dump.
Edition 500.
No. 30 (December 1, 1991). Computer Print. 11"x8 1/2". (2 pages). "A Day Without
Artists."
No. 31 (December 15, 1991). Computer Print. 11"x8 1/2". (2 pages). "Action for A DAY
WITHOUT ART without Absence," by ASCW-IA. "Notes Toward Implementing a Discussion
Over the Merits of Graffiti," by Grudgefuck (USA). Edition 500.
No. 32 (January 5, 1992). Computer Print. 11"x8 1/2". (2 pages). "When Blowing the
Strike is Striking the Blow," by Sadie Plant (England). "The Art Strike is a valid response to
the problems of criticism, but it is not the only one. it is a good thing only insofar as it
produces more radical art, of which its own propaganda is a perfect example. consequently
it is a good thing only in its failure, and since this is inevitable, the Art Strike is necessarily
a good thing. Once put into the world, tactics such as this can be used by anyone for any
ends. So long may such active resistance continue! Here's to the saboteurs, the double
agents, and those who turn the world around! Don't strike, occupy!" Edition 500.
No. 33 (January 20, 1992). Computer Print. 11"x8 1/2". (2 pages). "What Makes Art
Strike Such a Bad Idea?," by Geoff Huth (USA). "The worst problem with the Art Strike
(1990-1993) is that it does not even truly attempt to solve any problems, and that all it
offers in return is the loss of people's artistic live. Although the strike rails against gender-
specific market art imbued with social prestige, most strikers are males working in forms of
art with virtually no female participants ('and' little prestige)." Edition 500.
No. 34 (March 1, 1992). Computer Print. 11"x8 1/2". (2 pages). "Association for
Ontogogical Anarchy: Communiqu No. 11: Turn off the Lite!," by Hakim Bey (USA). "The
Association for Ontological Anarchy calls for a boycott of all products marketed under the
shibboleth of LITE-beer, meat, lo-cal candy, cosmetics, music, pre-packaged 'life-styles,'
whatever." Brief statement on Art Strike by Bob Grumman (USA). Art Strike flyer by "The
lower East Side Neoist Front (aka Monty "Istvan Kantor" Cantsin, Canada). Edition 500.
No. 35 (April 15, 1992). Computer Print. 11"x8 1/2". (2 pages). "Reading for
Immortality: Toward an Interrogation of Nous, Neoism and Neoplatonism," by John
Kennedy (USA) and Karen F. Eliot. "this paper is intended as an introductory interrogation
of the terrain of Neoism mobilizing terms from both the writings of Plotinus and the Nag
Hammadi documents." Edition 500.
No. 36 (May 15, 1992). Computer Print. 11"x8 1/2". (2 pages). "I don't hate myself
enough to go on Art Strike." "The Tight Noose of Elitism," by I. M. I. (USA). Angles on the
Art Strike," by Von K. Lechner (USA). "No theoretical Summing Up," by Stewart Home
(England). "For the time being, the Art Strike must be understood simply as a propaganda
tactic; as a means of raising the visibility and intensity of the class war within the cultural
sphere." Edition 500.
No. 37 (June 15, 1992). Computer Print. 11"x8 1/2". (2 pages). "Immediatism: An
Invisible Movement," from "Dharma Combat" (No. 11). "Psychology Inside and Out," by
Ben g. Price (USA). Edition 500.
No. 0 (December 31, 1992). Computer Print. 11"x8 1/2". (2 pages). "Negation of
Subversion: Subversion of Negation.," by Florian Cramer a.k.a Marty Canterel a.k.a. Kenen
Elyot (Germany). Also published in German. "Neoism made intentional use of circular logic
and turned it into rhetoric. the Art Strike is the most prominent example of this. The
movement's strategy is sited herein, and not in plagiarism. This strategy is a blatantly
artistic, because it relates a collective identity in plays of negation and affirmation of a
commonly shared fiction."
No. 38 (March 1993). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". Pages numbered
1840-1861. "Assessing the Art Strike 1990-1993: Notes from a Talk Given by Stewart
Home at the Victoria & Albert Museum, London, England 30 January 1993." "There are
many ways in which it's possible to deal with the Art Strike. For instance, it's been
explained as a conceptual art piece consisting of all the propaganda calling on cultural
workers to stop making of discussing their work from January 1, 1990, to January 1, 1993-
along with the various responses with which the demand has been met. It will become
clear during the course of this talk that I don't concur with this view, because in my
opinion, the Art Strike would not have generated so much publicity or confusion if it had
been produced as an art work." "Art Strike 1977-1980," by Gustav Metzger. "Bibliography
of Art Strike and Related Materials," lists 39 articles. "Publications" lists 23 publishers of Art
Strike related materials. "Critique of International Neoism," by Stewart Home (England).
Contributions by John Held, Jr. (USA)and Jos VandenBroucke (Belgium), John Stickney
(USA), et al.
Zines! - Znak
Zines! the Postcard. Christopher B. Martin, Editor. Richmond, Virginia. (1996).
([1996]). Computer Print. 6"x4". Postcard. Review of "Global Mail", edited by Ashley
Parker Owens (USA). "The arrival of two important figures means San Francisco has
become ground zero for network culture. That and sharing the same PO box sparked
speculation that John Held and Ashley Parker Owens are the same person. a neat trick,
worthy of the Firesign Theater, because held is from Texas and Owens is from Illinois.
Owens maintains they are not, nor are they romantically involved or married./Global Mail
continues to have the most extensive listing of network contacts, projects and publications.
It deserves the global moniker. Others have more extensive discussions of theory. This is
the place to put theory into practice..."

Zippily: The First Belgian Gazette for Mail Junkies of the 90's. Luce Fierens, Editor.
Hombeek, Belgium. 1991.
No. 1 (April 1991). Photocopy. 8 1/4"x5 3/4". "Introduction to the Belgian
Correspondence School: Mail Art and Tourism." "Mail-Art exists since the 70's (and before,
mail-arters), but there was never a serious cooperation between the different braincells.
Except a few festivals and meeting, there was no real cooperation. That's why we started
ZIPPILY! Perestrojka Geert, C. I. A. Kristof and Mr. Luce put their Networking Heads
together to bring life in to the Belgian Mail-Artscene and also to give an index of the mail-
artcells in Belgium." De Decker Geert contributes the brief article, "The Mail Art Movement
and It's Democratic Principles." "An Introduction About Zero-One Mail-Art," and "You Know
the Way to Mail-Art Philately," by Guy Bleus (Belgium). "Art Postal=Mail Art," by Baudhuin
Simon (Belgium). "De Media," by Bola (aka Jan De Boever, Belgium). Information on
Belgian Mail Artists Jos VD Broucke, R. V. Bulck, Guy Bleus, Bernard Boigelot, Baudhuin
Simon, De Decker Geert, P. Y. Deapre, Kristof D'Haeseller, Thierry Tillier, Ulrich Bouchard,
Magisch Theater, Metallic Avau, Socit Anonme (aka Jean Spiroux), Johan Van Geluwe,
Jaak de Koninck (aka Starbrook Airlines), and the editor. "Mail-Art Shows & Projects in
Belgium," a listing from 1973-1990.

Znak. Nikola Sindik, Editor. Department of Philosophy, Beograd University,
Beograd, Yugoslavia. 1988-1989.
No. 23 (March/April 1988). Offset. 91/2"x6 3/4". 87 pages. "Art as a Habit," by the
Editor. Visual and textual poetry.
No. 24 & 25 (March 1989). Offset. 9 1/2"x6 3/4". 108 pages. Contributions to "Stalin
Test," by Vagrich Bakhchanyan (USA), a 1979 Mail Art project, runs throughout the text.

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