Mail/Art/Book at the San Francisco Center for the Book

mail / art / Book

mail / art / Book

mail / art / Book

mail / art / Book FEBRUARY 14, 2014

THROUGH

APRIL 27, 2014

mail / art / Book

THIS EXHIBITION MADE POSSIBLE BY THE

EXHIBITION COMMITTEE

in exhibition at the San Francisco Center for the Book February 14, 2014–April 27, 2014

GENEROUS SUPPORT OF:

Mary Austin, Kathleen Burch, Sas Colby, Jennie Hinchcliff, Alyson Kuhn, Macy Chadwick, Donna Seager and Samantha Hamady. Honorary member: Marie Dern

CURATORS:

Jennie Hinchliff | John Held, Jr.

EXHIBITION COORDINATION: EXHIBITION DESIGN:

Jennie Hinchcliff

Jennie Hinchcliff and

Kahle/Austin Foundation San Francisco Grants for the Arts San Francisco Foundation

Exhibition Volunteer: Sarah Wolken BOARD OF DIRECTORS

Maureen Forys

Mary Austin, Co-founder

CATALOG DESIGN: Maureen Forys, Happenstance Type-O-Rama

Kathleen Burch, Co-founder

Maureen Forys, Happenstance Type-O-Rama COVER CONCEPT + DESIGN: COPY EDITOR:

Cody Gates

Maureen Forys, Happenstance Type-O-Rama CREATIVE DIRECTION: PHOTOGRAPHY:

Von Span

CATALOG PRINTING:

Inkworks, Berkeley, California

ISBN: 978-1-929646-07-4 FIRST PRINTING:

January 2014

2014 the individual artists and the San Francisco Center for the Book 375 Rhode Island Street San Francisco, California 94103 sfcb.org FRONTISPIECE: Artistamps and books

by Big Dada/Ed Varney OUR PATH IS STREWN WITH WORDS AND LETTERS

“Philatelic Atrocity: Cuba/Hungary,”

by Niko Courtelis

Coleen Curry Alan Dye Wally Jansen Mary Laird Margaret Miller Kathleen Rydar Donna Seager Anne Smith Curtiss Taylor, Emeritus Duff Axsom, Emeritus SFCB STAFF

Chad Johnson Malgosia Kostecka Jeff Thomas Arthur Weiss Alex Lin

OPENER:

A HISTORY OF WEST COAST MAIL ART OPENER:

Vincent Trasov, Image Bank, Vancouver, B. C., Canada PAGE 98:

“P.O. Box 532,” by Karen Isaacson

A portion of the purchase price of this exhibition catalog helps fund the operation of the San Francisco Center for the Book, a 501(c)3 nonprofit organization.

This catalog uses Neutraface Slab Text and Neutraface Condensed typefaces designed by Christian Schwartz of House Industries as well as Trend Slab and Trend Sans typefaces, designed by Paula Nazal & Daniel Hernández of Latinotype.

The San Francisco Center for the Book logo was created by Studio Hinrichs.

The San Francisco Center for the Book, founded in 1996, fosters the joys of books and bookmaking, the history, artistry, and continuing presence of books in our culture and enduring importance as a medium of self-expression.

The SFCB was co-founded by Mary Austin and Kathleen Burch, who recognized a growing need in San Francisco and the Bay Area for a facility specifically designed and equipped for the book arts. The first Center of its kind on the West Coast, the SFCB now offers over 300 workshops and many free events a year, including the annual street fair called Roadworks: Steamroller Printing Festival. In addition to workshops and events, there is a thriving artist-in-residence program, producing numerous artists’ books every year, and collaborations with many local non-profits, museums, and libraries. The SFCB also hosts special visits and hands-on demonstrations for students of all ages, teachers, librarians, corporate team building, collectors, visiting printers, artists, writers and designers.

Our path is strewn with words and letters M A K I N G , M A I L I N G , A N D P O S TA L M O D E R N I S M

BY JENNIE HINCHCLIFF

CORRESPONDENCE ART (a.k.a mail art) is a hard creature to pin down. What is it exactly? Is it an envelope, hand decorated and thrown in the mailbox?

Could it be a zine wrapped in packing tape and postage stamps? What about a politically charged postcard, ready to be handed over the counter to a postal employee? Mail art is all of these things and more.

In 1968, French conceptual and visual artist Robert Filliou coined the phrase “The Eternal Network.” Calling upon artists to realize that “they are part of a wider network, La Fête Permanente (Eternal Network) going on around them all the time in all parts of the world,”1 Filliou promoted the idea that art could (and should) be play, a thing to be incorporated into daily life on an ongoing basis.

Closing the gap between artist and audience, bringing together disparate groups—this was also one of the central tenets behind the Eternal Network concept. By blurring these designations, Filliou believed that one could exist in a state in which art and life were interchangeable. In time, correspondence artists around the globe would embrace this outlook and adapt it to their own, unique situations.

Seeking out new definitions related to “art” and blazing a path for one’s own creative lifestyle is something we take for granted today. However, in the early days of the correspondence art scene, this philosophy provided a rallying cry for artists around the globe, especially in the arena of artmaking itself. “No jury, no fee, no return” is a standard phrase in all mail art call-for-entry postings,

6

M A I L /A R T/ B O O K

the implication being that mail art is democratic, open to all, and participation is guaranteed. Both the fine artist and hobbyist are encouraged to create and send—the egalitarian nature of mail art exhibitions assures a place for everybody. If you have access to a mailbox and a way to pay for postage, then you have two of the most fundamental tools needed for mail art. Collaborative projects, add-n-pass, zines, sound poetry, collaged works, “naked” mail—all are considered mail art and all have been sent through the mail, at one time or another. In the Eternal Network of today, an astonishing variety of objects and artwork race through postal channels and fly across the world, circumventing traditional art spaces and giving new meaning to the playing field where art and lifestyle meet.

Artists’ books, correspondence art, and the space where those two ideas intersect is fascinating to explore. Over three hundred entries from artists around the world show that this global community is more active than ever before. Artists’ books such as Patrizia Tic Tac’s “Convergence” and Karen Chew’s carefully layered “In Books of Travel” show us that each page is a space to be explored and celebrated. Canadian artist Carl Baker’s printed ephemera demonstrates a sophisticated use of printmaking techniques and found materials; Cuan Miles’ “Please Open Here” incorporates clever book structures which invite the viewer to become part of the reading experience. This blurring of boundaries—book into correspondence, letters into artwork—is limitless. Each artist in the exhibition celebrates paper, words, writing in some way. In turn, viewers can readily appreciate the very heart and soul of correspondence and corresponding, through the eyes of those who know it best.

Without realizing it, the post office plays an unwitting part in the world of mail art, and entries for this exhibition were no

exception. Participating artists were encouraged to affix postage directly onto the surface of their artwork and then place them into a mailbox; at times it wasn’t easy. At numerous postal counters refrains of “you can’t send that through the mail” or “I can’t hand cancel that” were uttered by employees. Undaunted, artists would usually affix more postage and deposit artwork directly in a sidewalk mail box— after all, a little bit of challenge makes the reward that much sweeter.

More often than not, the work would arrive in one piece, undamaged and with all parts intact. However, there were exceptions.

Joan Menapace’s artist book “A Tribute to Jenny Hunter Groat” is a heartfelt remembrance of Networker and artist Jenny Hunter Groat, who passed away in 2013. Long after the deadline for “mail/art/book” submissions had passed, I received an email from Joan inquiring as to whether or not her work had arrived. Sadly, I had to explain that I hadn’t seen her book, that it hadn’t made an appearance in my mailbox. I assured Joan that if things changed, I’d get in touch right away.

Six weeks later, the unexpected occurred: “Jenny” had arrived.

A small, square book wrapped in a plastic “We Care” USPS baggie, it was intact and unharmed. Overjoyed, I emailed Joan to let her know, and we expressed faith in a system that might take a while, but ultimately managed to pull through. As a correspondence artist, we constantly interact with the post office and it can be an unpredictable wild card. The general public seems to take the post office for granted; for us it is a necessary part of our tool kit, much like brushes for the painter or marble for the sculptor. The PO can be fickle, generous, frustrating, smile-inducing, mysterious; as artists, we embrace these myriad moods and still choose to use the postal system as one of our primary artistic tools.

As a curator, I feel that one of the most exciting things about “mail/art/book” is the amazing range and scope of work on display.

Some of the artists represented are long time Networkers (Vittore Baroni, Picasso Gaglione, buZ blurr) who still send out mail on a regular basis. Other artists are new to the scene, but are movers and shakers in their own right (Su Mwamba, Donovan Beeson, Niko Courtelis). The historical pieces curated by John Held, Jr. introduce viewers to the world of West Coast correspondence art, in all of its frenetic, playful glory. Whether new school or old school, all of the artists shown share a love for the post office and an intrinsic desire to communicate with other people, whether across the world or on the other side of town. This diversity makes an exhibition like “mail/ art/book” undeniably appealing: each postcard and piece of mail is a snapshot from somewhere else, a glimpse into a different world. As a viewer, you may not agree with that particular “world” (or you may find it enchanting) but your life is a little bit richer because of the experience.

These days, there’s a lot of nostalgia associated with things like fountain pens and lickable postage stamps, so much so that they’ve become status symbols in their own right. We’re coming full circle: “retro tech” (witness: the typewriter) is finding a place on the shelf next to our iPhones (postcard apps, anyone?) and PC printable postage. The internet age shows us that there is a yearning, stronger than ever for the printed word and all that it entails. Cursive handwriting, onion skin typing paper, ink stained postal cancellations: all have a certain amount of prestige these days. There is a DIY renaissance happening, a groundswell of individuals who want to make, design, and create with their own hands. Some would argue that this renaissance is nothing new, just a continuation of an ethos that has always

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

7

been part of the creative spirit, this need to produce with one’s own hands. Others theorize that this fascination with the handmade springs from our constant connection to technology, a sort of nostalgia for a simpler, less complicated time.

So what exactly is mail art? Like any other genre of artistic expression, mail art is the sum of all its participants; the community ultimately defies description. It is a vast assemblage of artists creating, thinking, sharing, and sending—without expectation, without limits, and without inhibitions. Receiving something from another mail artist is great—a little bit of excitement injected into the daily grind of bills and junk mail—but if you step back and look

8

M A I L /A R T/ B O O K

a bit closer, you may find that the most meaningful aspect of corresponding with someone else stems from the interaction with that person. A fundamental connection is created on a personal level, which inspires excitement, understanding, and that irresistible “aha!” moment. Once you have experienced that feeling, you have experienced the Eternal Network in action. o —JENNIE HINCHCLIFF, curator “mail/art/book,” Winter 2014

1

Robert Filliou, Teaching and Learning as Performing Arts, 1970

A B

D

A

Joseph Higares, USA

B

Jonathan Johnson, USA

C

Adamandia Kapsalis, USA

D

Chanrady Kul, USA

E

Rupert Loydell, UK

F

Russell Manning, USA

G

Mission Mini Comix, USA

H

Cindy Moser, Canada

I

Mark Sonnenfeld, USA

I

G F

E H C

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

9

A

Lancillotto Bellini, Italy

B

Arkom Chongphaisal, Thailand

C

Irene Dogmatic, USA

D

Jinny Pearce, USA

E

Ross Priddle, Canada

B

A

C

E

10

M A I L /A R T/ B O O K

D

A C B E

A

Barb Adams, USA

B

Steve Dalachinsky, USA

C

Dorian Ribas Marinho, Brazil

D

Julie Martin, USA

E

Jodie Medeiros, USA

F

David Solomon, USA

G

Emilie Staubs, USA

H

Test Tower, USA

I

Carroll Woods, USA

J

Jim Hayes, USA

K

Laura Zander, USA

K

D

G

H

I J F

E

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

11

A

Kimberly Ah, USA

B

Lisa Onstad/Bobolink Press, USA

C

Chaninthom Chayrussamee, Thailand

D

JJ All the Way, USA

E

Napon Kunanitisarn, Thailand

F

Mary Leikvold, USA

G

Marcela Peral, Argentina

H

Ryan Tamares, USA

I

Wichai Yothawong, Thailand

J

Delva Yeager, USA

H G

C

E

D

J

A

F I B

12

M A I L /A R T/ B O O K

E B

F

H

G

A

Roberto Formigoni, Italy

B

Steve Jeffries, UK

C

Angela Naspro Pittrice, Italy

D

Christine Nielsen, USA

E

Michael Orr, USA

F

Clemente Padin, Uruguay

G

Punwit, USA

H

Roberto Scala, Italy

I

Nophaklao Srimatyakun, Thailand

J

Dorothy Yuki, USA

D

J

A

I C

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

13

A

Warakorn Chaitiamvong, Thailand

B

Andrea Jay, USA

C

Kriangkrai Kongkhanun, Thailand

D

Fletcher Oakes, USA

E

David Schulze, USA

F

Maria Jose Silva-Mize, Portugal

G

D.C. Spaulding, USA

H

David Stanley Aponte/ Sub Real Alchemy, USA

I

Marcia Weisbrot, USA

J

Guido Bondioli, USA

K

Ron Omlin, USA

L

Alan Turner, UK

F J G

E

B

L

D

K

I A

14

M A I L /A R T/ B O O K

C

H

J

G

A

Emmalee Carroll, USA

B

Thom Courcelle, USA

C

Michel Della Vendova, France

D

Robert DiGrazia, USA

E

Miguel Jimenez/ El Taller de Zenon, Spain

F

Pratana Jaroensukpanich, Thailand

G

Betty Franks/ Mystic Tulip Art, USA

H

Catie O’Leary, USA

I

Zlatko Krstevski, Macedonia

J

Guido Bondioli, USA

I F C

H

B

D

A

E

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

15

A

Jose Luis Alcade Soberanes, Mexico

B

Che-botics, Australia

C

Michael Kelly/ Dopesick SF, USA

D

Wolfgang Faller , Germany

E

Ginny Lloyd, USA

F

Andre Pace, USA

G

Consuelo Margarida R. Debiagi, Brazil

H

Reuben Sandwich, USA

I

Lauren Scott, USA

J

Michaela Superstar, USA

K

Zlatko Krstevski, Macedonia

B

I D

J F

C A

E

16

M A I L /A R T/ B O O K

G

H K

D

H

F

A

Pier Bassi Roberto, Italy

B

Eni Ilis, Brazil

C

Mrs. Sawbones, USA

D

Ronnie Oliveras, Germany

E

Junanne Peck, USA

F

Reid Wood/ State of Being, USA

G

Jim Stewart/ The Zymoglyphic Museum, USA

H

Phillip Tran, USA

I

Vanessa Woods, USA

C

G

B E

I

A

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

17

A Helen Amyes, Australia

J

H

D

B Rachel Carter, USA C Kate Kaminski, USA

G

D Bethany Lee, USA E Mim, USA F

William Philyaw, USA

G Tofu St. John, USA H Cathy Stewart, USA I

Simon Warren, UK

J

Jennifer Weigel, USA

A

K Lisa Young, USA L

I

Ron Omlin, USA

F E

C

L

18

M A I L /A R T/ B O O K

K

B

J

N

L

E C

G F

I

A

Jane Belisle, USA

B

Leslie Chow, USA

C

Kathleen McHugh/ Eagle Island Post, USA

D

Ivana Ferraro, Italy

E

Robin Gommel, Germany

F

Andrea McNeill, UK

G

Opp, USA

H

Bettina Pauly, USA

I

Sandra Simone Schmidt, Germany

J

Kris Van Hatcher, USA

K

Bruno Chiarlone, Italy

L

Megan Adie/Aviary Press, Denmark

M

Delva Yeager, USA

N

Jim Hayes, USA

D

H K

B M

A

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

19

A

Nicole Carnes, USA

B

Frank Donato, USA

C

Connie Jean, USA

D

Palma Puskas, Hungary

E

Sonya Rapoport, USA

F

Carmela Rizzuto & Jon Foster, USA

G

Marina Salmaso, Denmark

H

Jenny Soup, USA

I

Nadine Wendell-Mojica, USA

B

I

E

H

C G

A

F

20

M A I L /A R T/ B O O K

D

F

H

A

Alwina, UK

B

Frips, Belgium

C

Pamela Lawton, USA

D

Carmen Liu, USA

E

Richard Metzgar, USA

F

F’n’L (Francis & Leonie) Osowski, Australia

G

Helene Smith-Romer, USA

H

Bruno Chiarlone, Italy

B E C

D

G

A

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

21

R.F. Cote, Canada

22

M A I L /A R T/ B O O K

Michael Thompson, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

23

Alyson Kuhn, USA

24

M A I L /A R T/ B O O K

Jill Stoll/Artisanal Postcards, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

25

Jas Felter/ Mraurovian High Commission, Canada

26

M A I L /A R T/ B O O K

Carl Baker, Canada

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

27

Elke Grundmann, Germany

28

M A I L /A R T/ B O O K

buZ blurr, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

29

Jesse Edwards/ Jes Archives, France

30

M A I L /A R T/ B O O K

Nick Yeager, USA In collaboration with: Deb Carlen, USA Cara Catallo, USA Bebin Cypher, USA Dell Hollingsworth, USA Larry McClellan, USA Carol Niec, USA Joe Schaller, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

31

Stan Askew, USA

32

M A I L /A R T/ B O O K

Niko Courtelis/ Philatelic Atrocities, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

33

A

ex posto facto, USA

B

Rebecca Foster, USA

C

Ana Garcia, Portugal

D

Snehankita Patil-Patkar, USA

E

Diane Sands, USA

F

Panuwat Sitheechoke, Thailand

G

Leesa Snyder, USA

H

Blake Sutton, USA

I

Mandy Fariello/Farstarr, USA

J

John Jennings, USA

K

Laura Zander, USA in collobaoration with Becker, USA

H B

J

C

I

E

A

D G K

34

M A I L /A R T/ B O O K

F

A C

A

Karen Chew, USA

B

Lucy Childs, USA

C

Sarah Jelley, USA

D

Kim Joe, USA

E

Kelly Pocci, USA

F

Lyall Harris Ronchetti, Italy

G

Jaromir Svozilik, Norway

E

G

D B F

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

35

A

Dame Mailarta, Canada

B

Sandra Franz, Germany

C

Colin Scholl, USA

D

Lubomyr Tymkiv, Ukraine

E

Jeff Carlock/ Well Read Fox, USA

F

Snappy, Canada

A B

C

F D

36

M A I L /A R T/ B O O K

E

A

Titia Eggen, Netherlands

B

Macy Chadwick/ In Cahoots Press, USA

C

Kazunori Murakami, Japan

C B

A

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

37

A

Sas Colby, USA

B

Luc Fierens, Belgium

C

Jonathan Stangroom & Mark Greenfield, USA

D

William Stewart, USA

E

Su Mwamba/ Tangle Post, UK

F

Jokie Wilson, USA

C

A

E

D

F

38

M A I L /A R T/ B O O K

B

A

B C

A

Andrew Carney, USA

B

Gina Visione, USA

C

J.A. Ever Arts, Netherlands

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

39

A

James Cline, USA

B

Emilio Morandi, Italy

C

Tara Verheide/ Sinclair Scripa, USA

B

A

C

40

M A I L /A R T/ B O O K

Mike Dyar/EAT ART, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

41

Donovan Beeson, USA

42

M A I L /A R T/ B O O K

Picasso Gaglione/ DADA Machine Fluxus, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

43

Eiichi Matsuhashi, Japan

44

M A I L /A R T/ B O O K

Ed Varney/Big Dada, Canada

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

45

Carrie Ann Plank, USA

46

M A I L /A R T/ B O O K

Susannia Lakner/Planet Susannia, Germany

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

47

A Alan Turner, UK B

neoshow mailart, USA

B A

48

M A I L /A R T/ B O O K

Karen Van Hatcher, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

49

Margaret Haas, USA

50

M A I L /A R T/ B O O K

Patrizia TicTac, Germany

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

51

A

Meri Brin/ Fixed Orifice Press, USA

B

Miriam Samuels, USA

C

Hiroshi Tokitsu, USA

D

Mandy Fariello/ Farstarr, USA D A

B C

52

M A I L /A R T/ B O O K

A

Allan Bealy, USA

B

Risa Dye, USA

A

B

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

53

A

Tiziana Baracchi, Italy

B

Formulaic Art, USA

C

Tina Wittmer, USA

D

Steve Howell, USA D B

C

54

M A I L /A R T/ B O O K

A

Cuan Miles, South Africa

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

55

A

Susan Backman, USA

B

Diane Bertrand, Canada

C

Vizma Bruns, Australia

D

Ana Reinhart, USA

B

A

C

D

56

M A I L /A R T/ B O O K

B

A

E

A

Nina Hermus, Netherlands

B

Monica Lee, USA

C

John Bennett/ Luna Bisonte Prods., USA

D

Carole Sauter, USA

E

David Shin, USA

D C

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

57

A

Sandra Lefever/ Art Like Art, USA

B

Millicent Winter, USA

C

Tulio Restrepo, Colombia A

B

58

M A I L /A R T/ B O O K

C

A

A

Michelle/ Busy Weekends, USA

B

April Guenther, New Zealand

C

Tallie Jones/ Mindport Exhibits, USA

D

Quite Contrary Press, USA

B

D

C

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

59

A

Jeanne Burger, France

B

Jules Davis, USA

C

Cindy McMath, Canada

D

Joan Menapace, USA

E

Jackie Wygant, USA

B

C

D A E

60

M A I L /A R T/ B O O K

Karen Isaacson, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

61

Vittore Baroni/EON, Italy

62

M A I L /A R T/ B O O K

A

Antic Ham, Ireland/Korea

B

Peggy Eigler, USA

C

Marguerite Keen, USA

D

Jennifer Utter, USA

D

B

C

A

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

63

A

Borderline Grafix, USA

B

Ed Hanssen, Netherlands

C

Amy Irwen, USA

D

Lorenzo Lome Menguzzato, Italy

E

D

Tulepo Restrepo, Columbia

C

B

E

64

M A I L /A R T/ B O O K

A

A

A

Carolina Busquets, Chile

B

Emma Graney, UK

C

Phyllis Lucas-Haddow, USA

C

B

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

65

John Held, Jr., USA & Mary Ijichi, USA

66

M A I L /A R T/ B O O K

A

A

Torma Cauli, Hungary

B

Pamela Gerard, USA

C

Peter & Angela Netmail, Germany

D

Cheryl Penn, South Africa

E

Francis Van Maele, Ireland

B

E C

D

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

67

A

Steve Howell, USA

B

C. Mehrl Bennett, USA

C

Tara Cunnings & Donna Barnitz, USA

D

Rosecake, New Zealand

A

D

C B

68

M A I L /A R T/ B O O K

Keith Buchholz/ Fluxus St. Louis, USA

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

69

A

Jack Lattemann/ Cascadia Artpost, USA

B

Stewart Charlebois, Canada

C

Sally Wurlitzer, USA

A

B

C

70

M A I L /A R T/ B O O K

E

A

Anonymous #1, USA

B

Anonymous #2, USA

C

Mary Campbell, USA

D

Serge Luigetti, Italy

E

Borislav Paspalj, USA

C

A

D B

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

71

A

Remy Penard, France

B John Held, Jr., USA C Megan Adie/Aviary Press,

Denmark D Sally Wurlitzer, USA

A

D

B

72

M A I L /A R T/ B O O K

C

A

A

Mariana Serban, Romania

B

Claire Dinsmore, USA

C

Jennie Hinchcliff/ Red Letter Day, USA

D

rodni, USA

D

C

B

O U R PAT H I S S T R E W N W I T H WO R D S A N D L E T T E R S

73

A

Leslie Caldera/ Creative Thing, USA

B

Maureen Forys , USA

C

Jody in Oakland, USA

D

Sharmila Aravind, India

E

Adrienne O’Hanlon, USA

A

B

C

74

M A I L /A R T/ B O O K

D

E

A History of West Coast Mail Art ARTWORK FROM THE PATRICIA TAVENNER ARCHIVE

BY JOHN HELD, JR.

THE USE OF THE POSTAL SYSTEM for the distribution and exchange of information, ideas and cultural items among artists harks back at least to the Dadaists, most likely to the dawn of the postal service itself, as the need for collaborative collegial camaraderie between international artists has been an ongoing historic concern. Artists use the mail for its cheap and efficient qualities, playing with the symbols of the postal service (rubber stamps, artist postage stamps, cancellation marks) for their creative potential.

In the late sixties and seventies, due to improved reproductive technologies such as verifax, mimeograph, instant print and photocopy, artists were able to replicate their graphic and literary progeny and distribute it to a global audience via the postal service at affordable prices. This caused an explosion of publication opportunities be it periodical, manifesto, print or book format. The finely crafted livres d’art was a tradition of long standing in the fine arts, but their rowdy sixties successor, the artists’ book, struck out for territory often intentionally slapdash, relying on concepts rather than finely honed craft for its contemporaneity. Using these affordable printing technologies, Do-it-Yourself (DiY) culture extended to music (punk and cassettes), publishing (photocopied zines and artists’ books), and visual art (mail art).

In the spring of 2013, Oakland Mail Artist Patricia Tavenner passed away after having spent over forty years in the field. An

76

M A I L /A R T/ B O O K

international “pen pal” as a child, Tavenner was persistent in her pursuit of correspondence, never waning in her practice. A long time residence in the same dwelling, afforded her storage opportunities and a stable environment in which to harbor an impressive collection of correspondence acquired through exchange with over 1,500 worldwide artists. In the process, she accumulated and preserved one of the finest archives of Mail Art in the United States.

Mail Art is a medium of exchange, and as such, it is an art movement as much as an art medium. Her forty years of involvement in the field ably traces the history of the field as it developed from the activities of Ray Johnson, a Black Mountain College graduate, who was to the letter what Joseph Cornell was to the box. Taking an everyday activity and transforming it into an art form, Johnson created a new artistic medium and a new community, predating the Internet as a forum for long distance social and cultural exchange.

This community was especially well received along the North American West Coast from Vancouver to San Diego. In the sixties, a new generation, of which Tavenner was a part, began looking for political, social and artistic alternatives. They found the long distance, time-delayed communication system based on Johnson’s New York Correspondance (sic) School and international artists associated with Fluxus, a perfect foundation upon which to build a new artistic production and distribution system, issuing personally financed publications and formulating non juried exhibitions to keep the emerging community connected.

Johnson was a correspondent of Wallace Berman, a key player among the Beat artists of Los Angeles and San Francisco. Berman was the glue that kept the West Coast Beat scene together, and his periodical, Semina, passed freely among friends, was a physical

manifestation of that connection. The Tavenner collection includes Semina 7 issued in 1961, which begins our tour of Mail Art on the West Coast.

Next stop is Jeff Berner’s early introduction of Fluxus on the West Coast. Curious about the contemporary avant-garde, Berner scoured the world looking for new artistic tendencies, contacting Fluxus impresario George Maciunas, becoming one of the maestros key lieutenants on the West Coast. Organizer of Fluxfest at the Longshoreman Hall in San Francisco in 1968, Berner was also curator of the first Fluxus exhibition on the West Coast with the presentation of “Aktual Art” at Stanford University the same year. It would be some thirty years before another significant Fluxus exhibition would be held on the West Coast.

In 1969, Johnson teamed up with his friend painter Joseph Raffael, a New York acquaintance who had taken up a position as a professor at University of California at Sacramento. Johnson curated the first Mail Art show there in 1969, one year before the Whitney Museum’s, “New York Correspondence School,” exhibition, often erroneously cited as the first Mail Art show.

Johnson’s impact on Vancouver artists was considerable, as was the “Eternal Network” philosophy of Fluxus artist Robert Filliou.

The “Deccadance,” an early meeting of fledgling West Coast Mail Artists, saluted the concepts of Filliou and took place in Los Angeles in 1974, organized by Lowell Darling and Willoughby Sharp, bringing together correspondents from Vancouver, San Francisco, Los Angeles and elsewhere. Setting the stage for the event, was the road trip of the late San Francisco artist, Dana Atchley, who set out to meet his correspondents and documented his travels in the artist book, “On the Road,” published in 1972.

The collection is also particularly strong in its inclusion of women artists and traces an evolving feminist consciousness in the arts. Tavenner, along with Anna Banana, and Irene Dogmatic, Judith Hoffberg and Eleanor Antin, all became significant figures in Mail Art. Banana and Hoffberg were central to the expansion of the field with their editorship of VILE and Umbrella respectively, while Eleanor Antin’s 100 Boots postcards have become classics not only of Mail Art, but Conceptual and Performance Art, as well. Indeed, there is much overlap between these three fields.

The exhibition, built upon Tavenners’ collection of Mail Art, is composed of magazines, artists’ books, exhibition and event documentation, representative letters and postcards, rubber and artist postage stamps, marking the growth of these emerging mediums on the West Coast from 1961 to 2012. Notable magazine articles are also cited, which spread notice of West Coast Mail Art activity to those outside the region. These include David Zack’s cover story in the January-February 1973 issue of Art in America, and the August 1974 issue of Esquire, which focused on the Bay Area Dada group composed of Banana, Buster Cleveland, Tim Mancusi, Monte Cazazza, Charles Chickadel, William Gaglione, Irene Dogmatic, as well as Tavenner, herself.

Other areas outside the Bay Area that were particular hotbeds of Mail Art activity include Vancouver, British Columbia, Canada, which hosted the first exhibition of artist postage stamps, curated by James Felter in 1974, and a wealth of other exhibitions and publications spawned by the alternative space, Western Front, which harbored the networking collectives Image Bank and the Corres-Sponge School of Vancouver. Seattle, Washington, remains a strong hub of artist postage stamp (artistamp) production, with key figures Carl Chew, Robert “Dogfish” Rudine, and Bugpost active in the area. Portland,

A H I S TO RY O F W E S T COA S T M A I L A R T

77

Oregon, was home of “Neoist” artists Al Ackerman, David Zack, and Ishtvan “Monty Cantsin” Cantor, in the seventies, while Los Angeles produced such Mail Art stalwarts as Judith Hoffberg, Lon Spiegelman, Darlene Altschul, Creative Thing and Johnny Tostado.

Self published periodicals mark the march of Mail Art activity and thought throughout this period, beginning with Berman’s Semina, extending to Anna Banana’s Banana Rag, Tim Mancusi’s New York Correspondence School Weekly Breeder, Monte Cazazza’s Nitrous Oxide, Charles Chickadel’s Quoz?, Bill Gaglione’s Dadazine, La Mamelle’s Front, all published in the San Francisco Bay Area. Los Angeles kept far-flung correspondents abreast with Lon Spiegelman’s Mail Art Rag and Judith Hoffberg’s Umbrella. Vancouver artists published Western Front and the “Image Bank Exchange Directory” in the seventies and Artistamp News in the eighties and nineties.

Rubberstampmadness, began linking rubber stamp and Mail Art communities in the eighties and continues to the present day. San Francisco was instrumental in furthering the “zine scene” with the publication of Factsheet Five in the nineties.

78

M A I L /A R T/ B O O K

Other events beside “Deccadance” that brought together correspondents from up and down the West Coast and beyond include Interdada ’80 and ’84, LA Dadafest in 1980, as well as various exhibitions of artist postage stamps and rubber stamps taking place in Vancouver, Seattle and San Francisco including Tavenner’s “First International Female Artistamp Exhibition,” held in 1996, and Harley’s, “Post Modern Post” in 2003.

Mail Art was a path towards cultural networking before the advent of the Internet, remaining a valid and active force in the lives of ongoing practitioners, who view the field as an intimate means of generating both art and community. Artists of the North American West Coast paved the way for an expansion of Ray Johnson’s postal activity and Fluxus thought both domestically and internationally.

None of these artists was more engaged than Patricia Tavenner, whose collection enables us to trace and embrace Mail Art’s impact on contemporary art. o —JOHN HELD, JR., curator “mail/art/book,” Winter 2014

Wallace Berman, USA “Semina 7” artist periodical, 1961

A H I S TO RY O F W E S T COA S T M A I L A R T

79

A Anna Banana, USA

“The Sometimes Monthly Banana Rag” newsletter, 1972

C A

B Jeff Berner, USA

Aktual Art International exhibition catalog, 1968 C California State University,

Sacramento, USA The Last Correspondance Show exhibition announcement, 1969 D Image Bank, Canada

“Image Bank Directory,” 1972 E David Zack, USA

Nut Art exhibition catalog, 1972

E

D

80

M A I L /A R T/ B O O K

B

A

C

Art in America, “An Authentik And Historikal Discourse on the Phenomena of Mail Art,” January, 1973

B

B Anna Banana, USA

envelope, 1972 C Monte Cazazza, USA

“Nitrous Oxide” artist zine, 1973 D NYCS of Vancouver, Canada

poster, 1973 E Pacific Heights Dadaists

postcard, 1973

D

E

A

A H I S TO RY O F W E S T COA S T M A I L A R T

81

Dana Atchley/Ace Space Co., USA artist book/map, 1972

82

M A I L /A R T/ B O O K

A Eleanor Antin, USA

four postcards from the “100 Boots” series, 1973

A D

B Charles Chickadel, USA

“West Bay Dadaist” artist zine, 1973 C Ray Johnson, USA

envelope and enclosed letter, 1973

B

D Tim Mancusi, USA

“NYCS Weekly Breeder” magazine, 1973 E Opal Nations, USA

postcard, 1973 F

Patricia Tavenner, USA postcard with artistamp, 1973

C

F E

A H I S TO RY O F W E S T COA S T M A I L A R T

83

A Lowell Darling, USA

“D.I.V.O.R.C.E.” invitation, 1974

C

B Decca-dance announcement,

1974 C

B

Esquire, “Their Arts Belong to Dada,” 1974

D Jas Felter, Canada

Artistamp and Stamp Images exhibition catalog, 1974

A

D

84

M A I L /A R T/ B O O K

A Kathy Acker, USA

“I Dreamed I was A Nympomaniac” artist zine, 1974 B Al Ackerman, USA

A B

F

decorated envelope with enclosed letter, 1976 C Irene Dogmatic, USA

“Rover’s Romance” artist zine, 1976 D Bill Gaglione, USA

“dadazine” artist zine, 1975 E

La Mamelle, USA Rubber Stamp Show exhibition announcement, 1976

F

Patricia Tavenner, USA postcard, 1975

G

Western Front, Canada poster, 1974

C D

G

E

A H I S TO RY O F W E S T COA S T M A I L A R T

85

Artwords & Bookwoorks exhibition catalog, 1978

86

M A I L /A R T/ B O O K

A Anna Banana &

Bill Gaglione, USA “Vile” magazine, 1978

E

B Dadafest L.A. event

announcement/program, 1980 C

C Judith Hoffberg, USA

“Umbrella” magazine, 1980 D La Mamelle, USA

“Front” magazine, 1976 E T.R. Uthco, USA

Edited By Fire exhibition poster, 1978 F B

InterDada 1984 event announcement/program, 1984

G

H F I

J D A

A H I S TO RY O F W E S T COA S T M A I L A R T

87

A

Rubber Stamp Madness magazine, 1984

B

Spiegelman’s maila

C B

A D

88

M A I L /A R T/ B O O K

Steven Leiber, USA Ray Johnson, Networkers, and Dadazines exhibition catalog, 1995

A H I S TO RY O F W E S T COA S T M A I L A R T

89

A

Factsheet Five, Issue #64, 1998

A

B John Held, Jr., USA

“Rubber Stamp Art” published by Bertiolo, 1999 C Stamp Art Gallery

D

The First International Femail Artistamp Exhibition catalog, 1997 D Ed Varney, USA

“Artistamp News” newsletter, 1997 E Gerardo Yepiz, USA/Mexico

“Andre the Giant” artistamp sheet, 1998

E

C

90

M A I L /A R T/ B O O K

B

A Carl Chew/Triangle

Post, USA D

A

first day of issue envelope and artistamp sheet, 2012 B Buster Cleveland, USA

“Art For Um” postcard, 2000 C Jennie Hinchcliff/Red Letter

Day & Carolee GilliganWheeler, USA “Good Mail Day” published by Quarry Books, 2009 D Robert Rudine /The Republic

of Tui Tui, USA

E

artistamp sheet, 2003 E Harley/Terra Candella, USA

decorated envelope and artistamp sheet

B

C

A H I S TO RY O F W E S T COA S T M A I L A R T

91

Acknowledgments Jennie Hinchcliff would like to thank the following individuals for their support, advice, and encouragement: J Angelique Evans for her assistance with the installation and management of “mail/art/book.”

J Maureen Forys and the staff of Happenstance Type-O-Rama; it was a pleasure to work together once again!

J Alyson Kuhn for snack curation, arranging the perfect postage, and overall advice-giving.

J Von Span for gorgeous catalog photography and having the patience of a saint.

J All of the artists, Networkers, and individuals who submitted work for “mail/art/book,” as well as everyone who attended the Ex Postal Facto weekend—an historical event made more so by everyone involved.

92

M A I L /A R T/ B O O K

John Held, Jr. would like to thank Sherri-Jo Palmer of Independence, Missouri for the loan of the materials from the Patricia Tavenner Archive.

Together, the curators would like to thank: J The staff of SF Center for the Book for their support and supervision during the curation process of “mail/art/book.”

J Founders Mary Austin and Kathleen Burch for the opportunity to curate an exhibition for SFCB and bring correspondence art to a larger audience; the work that you do for the book and paper community is immeasurable.

Index Ace Space Co./Dana Atchley, USA, 82 Acker, Kathy, USA, 85 Ackerman, Al, USA, 85 Adams, Barb, USA, 11 Ah, Kimberly, USA, 12 Alcade Soberanes, Jose Luis,

of

Artists

Art in America, 81

Becker, USA, 34

Burger, Jeanne, France, 60

Art Like Art/Sandra Lefever, USA, 58

Beeson, Donovan, USA, 42

Busquets, Carolina, Chile, 65

Belisle, Jane, USA, 19

Busy Weekends/Michelle, USA, 59

Artisanal Postcards/Jill Stoll, USA, 25 Artwords & Bookworks, USA 86 Askew, Stan, USA, 32

Bellini, Lancillotto, Italy, 10 Bennett, C. Mehrl, USA, 68 Berman, Wallace, USA, 79

California State University, Sacramento, USA, 80 Campbell, Mary, USA, 71

Aviary Press/Megan Adie, Denmark, 19, 72

Berner, Jeff, USA, 80

Carlen, Deb, USA, 31

Bertrand, Diane, Canada, 56

Carnes, Nicole, USA, 20

Backman, Susan, USA, 56

Big Dada/Ed Varney, Canada, 45

Carney, Andrew, USA, 39

Baker, Carl, Canada, 27

blurr, buZ, USA, 29

Anonymous #1, USA, 71

Carroll, Emmalee, USA, 15

Banana, Anna, USA, 80, 81, 87

Anonymous #2, USA, 71

Carter, Rachel, USA, 18

Baracchi, Tiziana, Italy, 54

Bobolink Press/Lisa Onstad, USA, 12

Antic Ham, Ireland/Korea, 63

Barnitz, Donna, USA, 68

Bondioli, Guido, USA, 14, 15

Cascadia Artpost/ Jack Lattemann, USA, 70

Antin, Eleanor, USA, 83

Bassi Roberto, Pier, Italy, 17

Borderline Grafix, USA, 64

Catallo, Cara, USA, 31

Aravind, Sharmila, India, 74

Bealy, Allan, USA, 53

Bruns, Vizma, Australia, 56

Cauli, Torma, Hungary, 67

Mexico, 16 Alwina, UK, 21 Amyes, Helen, Australia, 18

INDEX OF ARTISTS

93

Cazazza, Monte, USA, 81 Chaitiamvong, Warakorn, Thailand, 14

Cunnings, Tara, USA, 68

Charlebois, Stewart, Canada, 70

Cypher, Bebin, USA, 31

Chayrussamee, Chaninthom,

DADA Machine Fluxus/ Picasso Gaglione, USA, 43

Thailand, 12 Che-botics, Australia, 16 Chew, Karen, USA, 35 Chew, Carl, USA, 91 Chiarlone, Bruno, Italy, 19, 21 Chickadel, Charles, USA, 83 Childs, Lucy, USA, 35 Chongphaisal, Arkom, Thailand, 10 Chow, Leslie, USA, 19 Cleveland, Buster, USA 91 Cline, James, USA, 40 Colby, Sas, USA, 38 Cote, R.F., Canada, 22 Courcelle, Thom, USA, 15 Crane, Michael, USA, 88

94

Creative Thing/Leslie Caldera, USA, 74

M A I L /A R T/ B O O K

Dadafest L.A., 87 Dalachinsky, Steve, USA, 11

EAT ART/Mike Dyar, USA, 41

Forys, Maureen, USA, 74

Eggen, Titia, Netherlands, 37

Foster, Jon, USA, 20

Eigler, Peggy, USA, 63

Foster, Rebecca, USA, 34

El Taller de Zenon/Miguel Jimenez, Spain, 15

Franz, Sandra , Germany, 36

EON/Vittore Baroni, Italy, 62 Esquire, 84

Frips, Belgium, 21 Gaglione, Bill, USA, 85, 87 Garcia, Ana, Portugal, 34

Ever Arts, J.A., Netherlands, 39

Gerard, Pamela, USA, 67

ex posto facto, USA, 34

Gilligan-Wheeler, Carolee, USA, 91

Factsheet Five, 90

Gommel, Robin, Germany, 19

Faller, Wolfgang, Germany, 16

Graney, Emma, UK, 65

Della Vendova, Michel, France, 15

Farstarr/Mandy Fariello, USA, 34, 52

Greenfield, Mark, USA, 38

DiGrazia, Robert, USA, 15

Felter, Jas, USA, 84

Dinsmore, Claire, USA, 73

Ferraro, Ivana, Italy, 19

Dogmatic, Irene, USA, 10, 85

Fierens, Luc, Belgium, 38

Donato, Frank, USA, 20

Fixed Orifice Press/Meri Brin, USA, 52

Dame Mailarta, Canada, 36 Darling, Lowell, USA, 84 Davis, Jules, USA, 60 Decca-dance, 84

Dopesick SF/Michael Kelly, USA, 16 Dye, Risa, USA, 53 Eagle Island Post/Kathleen McHugh, USA, 19

Fluxus St. Louis/Keith Buchholz, USA, 69

Grundmann, Elke, Germany, 28 Guenther, April, New Zealand, 59 Haas, Margaret, USA, 50 Hanssen, Ed, Netherlands, 64 Harley/Terra Candella, USA, 91 Hayes, Jim, USA, 11, 19 Held Jr., John, USA, 66, 72, 90

Formigoni, Roberto, Italy, 13

Hermus, Nina, Netherlands, 57

Formulaic Art, USA, 54

Higares, Joseph, USA, 9

Hoffberg, Judith, 87

Joe, Kim, USA, 35

Loydell, Rupert, UK, 9

Mission Mini Comix, USA, 9

Hollingsworth, Dell, USA, 31

Johnson, Jonathan, USA, 9

Lucas-Haddow, Phyllis, USA, 65

Morandi, Emilio, Italy, 40

Howell, Steve, USA, 54, 68

Johnson, Ray, USA, 83

Luigetti, Serge, Italy, 71

Moser, Cindy, Canada, 9

Ijichi, Mary, USA, 66

Kaminski, Kate, USA, 18

Ilis, Eni, Brazil, 17

Kapsalis, Adamandia, USA, 9

Luna Bisonte Prods./ John Bennett, USA, 57

Mraurovian High Commission/ Jas Felter, Canada, 26

Image Bank, Canada, 80

Keen, Marguerite, USA, 63

Mancusi, Tim, USA, 83

Mrs. Sawbones, USA, 17

In Cahoots Press/ Macy Chadwick, USA, 37

Kongkhanun, Kriangkrai, Thailand, 14

Manning, Russell, USA, 9

Murakami, Kazunori, Japan, 37

Marinho, Dorian Ribas, Brazil, 11

InterDada 1984, 88

Krstevski, Zlatko, Macedonia, 15, 16

Mystic Tulip Art/Betty Franks, USA, 15

Irwen, Amy, USA, 64 Isaacson, Karen, USA, 61, 98 Jaroensukpanich, Pratana, Thailand, 15 Jay, Andrea, USA, 14 Jean, Connie, USA, 20 Jeffries, Steve, UK, 13 Jelley, Sarah, USA, 35 Jennings, John, Ireland, 34 Jes Archives/Jesse Edwards, France, 30

Kuhn, Alyson, USA, 24 Kul, Chanrady, USA, 9 Kunanitisarn, Napon, Thailand, 12 La Mamelle, 85, 87 Lawton, Pamela, USA, 21 Lee, Bethany, USA, 18 Lee, Monica, USA, 57 Leiber, Steven, USA, 89 Leikvold, Mary, USA, 12

JJ All the Way, USA, 12

Liu, Carmen, USA, 21

Jody in Oakland, USA, 74

Lloyd, Ginny, USA, 16

Martin, Julie, USA, 11 Matsuhashi, Eiichi, Japan, 44 McClellan, Larry, USA, 31 McMath, Cindy, Canada, 60 McNeill, Andrea, UK, 19 Medeiros, Jodie, USA, 11 Menapace, Joan, USA, 60 Menguzzato, Lorenzo Lome, Italy, 64 Metzgar, Richard, USA, 21 Miles, Cuan, South Africa, 55 Mim, USA, 18 Mindport Exhibits/Tallie Jones, USA, 59

Naspro Pittrice, Angela, Italy, 13 Nations, Opal, USA 83 neoshow mailart, USA, 48 Netmail, Peter & Angela, Germany, 67 Niec, Carol, USA, 31 Nielsen, Christine, USA, 13 NYCS of Vancouver, Canda, 81 O’Hanlon, Adrienne, USA, 74 O’Leary, Catie, USA, 15 Oakes, Fletcher, USA, 14 obviousfront, USA, 9 Oliveras, Ronnie, Germany, 17

INDEX OF ARTISTS

95

Omlin, Ron, USA, 14, 18

Pocci, Kelly, USA, 35

Sandwich, Reuben, USA, 16

Soup, Jenny, USA, 20

Opp, USA, 19

Priddle, Ross, Canada, 10

Sauter, Carole, USA, 57

Spaulding, D.C., USA, 14

Orr, Michael, USA, 13

Punwit, USA, 13

Scala, Roberto, Italy, 13

Spiegelman’s Mail Art Rag, 88

Osowski, F’n’L (Francis & Leonie), Australia, 21

Puskas, Palma, Hungary, 20

Schaller, Joe, USA, 31

Quite Contrary Press, USA, 59

Schmidt, Sandra Simone, Germany, 19

Srimatyakun, Nophaklao, Thailand, 13

Pace, Andre, USA, 16 Pacific Heights Dadaists, CA, 81 Padin, Clemente, Uruguay, 13 Paspalj, Borislav, USA, 71 Patil-Patkar, Snehankita, USA, 34

Stamp Art Gallery, 90

Rapoport, Sonya, USA, 20

Schulze, David , USA, 14

Stangroom, Jonathan, USA, 38

Red Letter Day/Jennie Hinchcliff,

Scott, Lauren, USA, 16

State of Being/Reid Wood, USA, 17

USA, 73, 91

Serban, Mariana, Romania, 73

Reinhart, Ana, USA, 56

Shin, David, USA, 57

Pearce, Jinny, USA, 10

Restrepo, Tulio, Colombia, 58, 64

Peck, Junanne, USA, 17

Rizzuto Carmela, USA, 20

Silva-Mize, Maria Jose, Portugal, 14

Penard, Remy, France, 72

rodni, USA, 73

Penn, Cheryl, South Africa, 67

Ronchetti, Lyall Harris, Italy, 35

Philatelic Atrocities/ Niko Courtelis, USA, 33 Philyaw, William, USA, 18 Planet Susannia/Susannia Lakner, Germany, 47 Plank, Carrie Ann, USA, 46

M A I L /A R T/ B O O K

St. John, Tofu, USA, 18

Scholl, Colin, USA, 36

Brazil, 16

Pauly, Bettina, USA, 19

Peral, Marcela, Argentina, 12

96

R. Debiagi, Consuelo Margarida,

Sinclair Scripa/Tara Verheide, USA, 40

Staubs, Emilie, USA, 11 Stewart, Cathy, USA, 18 Stewart, William, USA, 38 Stofflet, Mary, USA, 88 Sub Real Alchemy/David Stanley Aponte, USA, 14

Rosecake, New Zealand, 68

Sitheechoke, Panuwat, Thailand, 34

Rubber Stamp Madness, 88

Smith-Romer, Helene, USA, 21

Sutton, Blake, USA, 34

Rudine, Robert, USA, 91

Snappy, Canada, 36

Svozilik, Jaromir, Norway, 35

Salmaso, Marina, Denmark, 20

Snyder, Leesa, USA, 34

Tamares, Ryan, USA, 12

Samuels, Miriam, USA, 52

Solomon, David, USA, 11

Tangle Post/Su Mwamba, UK, 38

Sands, Diane, USA, 34

Sonnenfeld, Mark, USA, 9

Tavenner, Patricia, USA, 83, 85

Superstar, Michaela, USA, 16

Test Tower, USA, 11

Utter, Jennifer, USA, 63

The Zymoglyphic Museum/ Jim Stewart, USA, 17

Van Hatcher, Kris, USA, 19

Thompson, Michael, USA, 23

Van Hatcher, Karen, USA, 49

Well Read Fox/Jeff Carlock, USA, 36 Wendell-Mojica, Nadine, USA, 20 Western Front, 85

TicTac, Patrizia, Germany, 51

Van Maele, Francis, Ireland, 67

Tokitsu, Hiroshi, USA, 52

Varney, Ed, Canada, 2, 90

Winter, Millicent, USA, 58

Tran, Phillip, USA, 17

Visione, Gina, USA, 39

Wittmer, Tina, USA, 54

Turner, Alan, UK, 14, 48

Warren, Simon, UK, 18

Woods, Carroll, USA, 11

Tymkiv, Lubomyr, Ukraine, 36

Weigel, Jennifer, USA, 18

Woods, Vanessa, USA, 17

Uthco, T.R., USA, 87

Weisbrot, Marcia, USA, 14

Wurlitzer, Sally, USA, 70, 72

Wilson, Jokie, USA, 38

Wygant, Jackie, USA, 60 Yeager, Delva, USA, 12, 19 Yeager, Nick, USA, 31 Yepiz, Gerardo, USA/Mexico, 90 Yothawong, Wichai, Thailand, 12 Young, Lisa, USA, 18 Yuki, Dorothy, USA, 13 Zack, David, USA, 80 Zander, Laura, USA, 11, 34

INDEX OF ARTISTS

97

98

M A I L /A R T/ B O O K

A bou t E x P o sta l Facto Ex Postal Facto took place February 13–16, 2014 in San Francisco.

Harkening back to mail art tourism of the ’80s and ’90s, the Ex Postal Facto conference was a three day event filled with lectures, vending and a major mail art exhibition. Kicking off with an opening lecture at Chronicle Books and wrapping up three days later at the SF Public Library, Ex Postal Facto was an historic occasion for “postal moderns” of all kinds.

The Ex Postal Facto conference was inspired by Carl Chew and Robert Rudine’s AARPEX (Artistamp Artist Reunion and Philatelic Expo) gathering in Seattle in 2012. Over a year in the making, Ex Postal Facto brought together correspondence artists and artistamp makers from around the world.

XPF website: www.expostalfacto.wordpress.com

mail / art / Book

mail / art / Book