311:) and mail art, one aspect that distinguishes the creative postal network from other artistic movements, schools, or groups (including Fluxus) is the way it disregards and circumvents the commercial art market. Any person with access to a mailbox can participate in the postal network and exchange free artworks, and each mail artist is free to decide how and when to answer (or not answer) a piece of incoming mail. Participants are invited by network members to take part in collective projects or unjuried exhibitions in which entries are not selected or judged. While contributions may be solicited around a particular theme, work to a required size, or sent in by a deadline, mail art generally operates within a spirit of "anything goes."
159:. Filliou coined the term the "Eternal Network" that has become synonymous with mail art. Other Fluxus artists have been involved since the early 1960s in the creation of artist's postage stamps (Robert Watts, Stamp Dispenser, 1963), postcards (Ben Vautier, The Postman's Choice, 1965: a postcard with a different address on each side) and other works connected to the postal medium. Indeed, the mail art network counts many Fluxus members among its earliest participants. While Johnson did not consider himself directly as a member of the Fluxus school, his interests and attitudes were consistent with those of a number of Fluxus artists.
447:, Balland, Paris, 1974 – in French, English and German, to note also the catalog of the exhibition "Timbres d'artistes", Published of Musée de la Poste, Paris, 1993, organized by the French artist Jean-Noël Laszlo – in French, English. Recently, an extensive compilation of artistamp artists was featured in 40 issues of the Artistamp Review. It was published by artist Adam Roussopoulos from 2019 through May 2024. Many notable artists were featured in the review including Jas Felter, E.F. Higgins III, John Held Jr., Michael Leigh, Chuck Welch, Vittore Baroni, and H.R. Fricker.
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or mail art activities take place in the mail, today's new forms of electronic communication blur the edges of that forum. In the 1960s, when correspondence art first began to blossom, most artists found the postal service to be the most readily available – and least expensive – medium of exchange. Today's micro-computers with modern facilities offer anyone computing and communicating power that two decades ago were available only to the largest institutions and corporations, and only a few decades previous weren't available to anyone at any price. –
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of the organizers, but a catalogue or documentation is sent free to all the participants in exchange for their works. Although these rules are sometimes stretched, they have generally held up for four decades, with only minor dissimilarities and adjustments, like the occasional requests to avoid works of explicit sexual nature, calls for projects with specific participants, or the recent trend to display digital documentation on blogs and websites instead of personally sending printed paper to contributors.
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198:, New York, called "Mail Art Then and Now." The exhibition was to have an historical aspect as well as showing new mail art, and to mediate the two aspects Cohen edited the material sent to Franklin Furnace, breaking an unwritten but commonly accepted custom that all works submitted must be shown. The intent to edit, interpreted as censorship, resulted in a two-part panel discussion sponsored by Artists Talk on Art (organized by mail artist Carlo Pittore and moderated by art critic
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213:, Chuck Welch a.k.a. CrackerJack Kid, David Cole, and John Held Jr. crafted a statement asking Cohen to step down as the panel moderator. Welch delivered the statement whereby Cohen was asked to remain on the panel but forfeit her right to serve as moderator. Instead of remaining, Cohen chose to leave the event. After some give and take with both panelists and audience, Cohen left, saying, "Have fun, boys." Her entourage walked out with her during the ensuing melee.
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259:! 3) Create person-to-person correspondence... 4) You have your own unique energy which you can give to others through your work: visual audio, verbal, etc. 5) This energy is best used when it is exchanged for energy from another person with the same intentions. 6) the power of the network is in the quality of the direct correspondence, not the quantity." The manifesto concludes, "We have learned this from our own mistakes."
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and private interaction between the individual participants. Mail artists value the process of exchanging ideas and the sense of belonging to a global community that is able to maintain a peaceful collaboration beyond differences of language, religion and ideology; this is one aspect that differentiates the mail art network from the world of commercial picture postcards and of simply "mailed art."
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stamped messages, which he mailed to friends and acquaintances. The
Correspondance School was a network of individuals who were artists by virtue of their willingness to play along and appreciate Johnson's sense of humor. One example of the activities of the Correspondance School consisted in calling meetings of fan clubs, such as one devoted to the actress
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The mail art philosophy of openness and inclusion is exemplified by the "rules" included in invitations (calls) to postal projects: a mail art show has no jury, no entry fee, there is no censorship, and all works are exhibited. The original contributions are not to be returned and remain the property
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In the mid-1980s, Fricker and Bloch, in a bilingual "Open Letter To
Everybody in the Network" stated, "1) An important function of the exhibitions and other group projects in the network is: to open channels to other human beings. 2) After your exhibition is shown and the documentation sent, or after
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Cultural exchange is a radical act. It can create paradigms for the reverential sharing and preservation of the earth's water, soil, forests, plants and animals. The ethereal networker aesthetic calls for guiding that dream through action. Cooperation and participation, and the celebration of art as
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Correspondence art is an elusive art form, far more variegated by its very nature than, say, painting. Where a painting always involves paint and a support surface, correspondence art can appear as any one of dozens of media transmitted through the mail. While the vast majority of correspondence art
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are often circulated among mail artists, and after artistic treatment, these common items enter into the mail art network. Small assemblages, sculptural forms, or found objects of irregular shapes and sizes are parceled up or sent unwrapped to deliberately tease and test the efficiency of the postal
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and Fluxus artists, has been embraced by mail artists who, in addition to reusing ready-made rubber stamps, have them professionally made to their own designs. They also carve into erasers with linocut tools to create handmade ones. These unofficial rubber stamps, whether disseminating mail artists'
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Because the democratic ethos of mail art is one of inclusion, both in terms of participants ('anyone who can afford the postage') and in the scope of art forms, a broad range of media are employed in creation of mail artworks. Certain materials and techniques are commonly used and frequently favored
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Mail artists appreciate interconnection with other artists. The art form promotes an egalitarian way of creating that frequently circumvents official art distribution and approval systems such as the art market, museums, and galleries. Mail artists rely on their alternative "outsider" network as the
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Lettering, whether handwritten or printed, is integral to mail art. The written word is used as a literary art form, as well as for personal letters and notes sent with artwork and recordings of the spoken word, both of poetry and prose, are also a part of the network. Although
English has been the
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Some mail artists lavish more attention on the envelopes than the contents within. Painted envelopes are one-of-a-kind artworks with the handwritten address becoming part of the work. Stitching, embossing and an array of drawing materials can all be found on postcards, envelopes and on the contents
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A mail artist may have hundreds of correspondents from many different countries, or build a smaller core circle of favorite contacts. Mail art is widely practiced in Europe, North and South
America, Russia, and Australia with smaller numbers of participants also in Africa, and China. In addition to
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The excluded works were ultimately added to the exhibition by the staff of the
Franklin Furnace, but the events surrounding it and the panels revealed ideological rifts within the mail art community. Simultaneously fanning the flames and documenting the extent to which it was already dominated by a
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Mail art has been exhibited in alternative spaces such as private apartments, municipal buildings, and shop windows, as well as in galleries and museums worldwide. Mail art shows, periodicals, and projects represent the "public" side of postal networking, a practice that has at its core the direct
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The term "mail art" was coined in the 1960s. In 1962, Plunkett coined the term "New York
Correspondence School" to refer to Johnson's activities; Johnson adopted this moniker but sometimes intentionally misspelled it as "correspondance". The deliberate misspelling was characteristic of the playful
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By the 1990s, mail art's peak in terms of global postal activities had been reached, and mail artists, aware of increasing postal rates, were beginning the gradual migration of collective art projects towards the web and new, cheaper forms of digital communication. The
Internet facilitated faster
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In a 1968 interview, Johnson explained that he found mailed correspondence interesting because of the limits it puts on the usual back and forth interaction and negotiation that comprises communication between individuals. Correspondence is "a way to convey a message or a kind of idea to someone
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is considered to be the first mail artist. Johnson's experiments with art in the mail began in 1943, while the posting of instructions and soliciting of activity from his recipients began in the mid-1950s with the mailing of his "moticos", and thus provided mail art with a blueprint for the free
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are issued. Furthermore, attempts have been made to document and define the history of a complex and underestimated phenomenon that has spanned five decades. Various essays, graduate theses, guides and anthologies of mail art writings have appeared in print and on the
Internet, often written by
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about mail art, and for the printed documentation that has been the traditional project culmination sent to participants. Inkjet and laserprint computer printouts are also used, both to disseminate artwork and for reproducing zines and documentation, and PDF copies of paperless periodicals and
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Ticket
Service. Looking to help their fans avoid the high fees that are generated by national ticket services the Grateful Dead started their own service, commonly referred to as mail order. At some point fans started decorating their envelopes with art. Some for art's sake, others to grab the
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The rise of mail art meetings and congresses during the late 80s, and the articulation of various "isms" proclaimed by their founders as movements within mail art, were in part a response to fractures made visible by the events surrounding the
Franklin Furnace exhibition. Even if "tourism" was
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Most of the Correspondance School members are fairly obscure, and the letters they sent, often featuring simple drawings or stickers, often instructed the recipient to perform some fairly simple action. Johnson's work consists primarily of letters, often with the addition of doodles and rubber
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Printing is suited to mail artists who distribute their work widely. Various printmaking techniques, in addition to rubber stamping, are used to create multiples. Copy art (xerography, photocopy) is a common practice, with both mono and color copying being extensively used within the network.
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The purpose of mail art, an activity shared by many artists throughout the world, is to establish an aesthetical communication between artists and common people in every corner of the globe, to divulge their work outside the structures of the art market and outside the traditional venues and
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unprinted documentation are circulated by email. Photography is widely used as an art form, to provide images for artistamps and rubber stamps, and within printed and digital magazines and documentation, while some projects have focused on the intersection of mail art with the medium itself.
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Ubiquitous 'add & pass' sheets that are designed to be circulated through the network with each artist adding and copying, chain-letter fashion, have also received some unfavorable criticism. However, Xerography has been a key technology in the creation of many short-run periodicals and
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have been heralded as instrumental to the early history of networking and social interaction as art. Correspondence Art was particularly widespread where state censorship prevented a free circulation of alternative ideas, as in certain countries behind the Iron Curtain or in South America.
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The growth of a sizable mail art community, with friendships born out of personal correspondence and, increasingly, mutual visits, led in the 1980s to the organization of several festivals, meetings and conventions where networkers could meet, socialize, perform, exhibit and plan further
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has also been a prominent facet, particularly since the advent of mail art meetings and congresses. Performances recorded on film or video are communicated via DVD and movie files over the internet. Video is also increasingly being employed to document mail art shows of all kinds.
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which is not verbal; it is not a confrontation of two people. It's an object which is opened in privacy, probably, and the message is looked at ... You look at the object and, depending on your degree of interest, it very directly gets across to you what is there".
443:" released in 1980. Artistamps and rubber stamps, have become important staples of mail artworks, particularly in the enhancement of postcards and envelopes. The most important anthology of rubberstamp art was published by the artist Hervé Fischer in his book
66:), and paint, but can also include music, sound art, poetry, or anything that can be put in an envelope and sent via post. Mail art is considered art once it is dispatched. Mail artists regularly call for thematic or topical mail art for use in (often
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or Dada. Mail artists often use collage techniques to produce original postcards, envelopes, and work that may be transformed using copy art techniques or computer software, then photocopied or printed out in limited editions.
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being kept by the recipient, mail art archives have attracted the interest of libraries, archives, museums, and private collectors. Or, the works may be 'worked into' and recycled back to the sender or to another networker.
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de facto language, because of the movement's inception in America, an increasing number of mail artists, and mail artist groups on the Internet, now communicate in Breton, French, Italian, German, Spanish, and Russian.
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Artist Edward M. Plunkett has argued that communication-as-art-form is an ancient tradition; he posits (tongue in cheek) that mail art began when Cleopatra had herself delivered to Julius Caesar in a rolled-up carpet.
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a birthing of life, vision, and spirit are first steps. The artists who meet each other in the Eternal Network have taken these steps. Their shared enterprise is a contribution to our common future. –
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Ray Johnson suggested (with a pun) that "mail art has no history, only a present", and mail artists have followed his playful attitude in creating their own mythologies. Parody art movements like
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Röder, Kornelia "H. R. Fricker, Mail Art and Social Networks", HR Fricker: Conquer the Living Rooms of the World, Kunstmuseum Thurgau, Warth, Switzerland: Edition Fink, 2014, p. 38.
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Mail art has adopted and appropriated several of graphic forms already associated with the postal system. The rubber stamp officially used for franking mail, already utilized by
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messages or simply announcing the identity of the sender, help to transform regular postcards into artworks and make envelopes an important part of the mail art experience.
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Mail art has also appropriated the postage stamp as a format for individual expression. Inspired by the example of Cinderella stamps and Fluxus faux-stamps, the
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institutions: a free communication in which words and signs, texts and colours act like instruments for a direct and immediate interaction. – Loredana Parmesani
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In addition to appropriating the postage stamp model, mail artists have assimilated other design formats for printed artworks. Artists' books, decobooks and
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collaborations. Among these events were the Inter Dada Festivals organized in California in the early 1980s and the Decentralized Mail Art Congress of 1986.
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Media commonly used in mail art include postcards, paper, a collage of found or recycled images and objects, rubber stamps, artist-created stamps (called
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In the 1970s, the practice of mail art grew considerably, providing a cheap and flexible channel of expression for cultural outsiders. In Canada, the
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On April 5, 1973, Johnson declared the "death" of the New York Correspondance School in an unpublished letter to the Obituary Department of
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Francesco Vincitorio, "Informalista o videoartista? Le tendenze artistiche dagli anni '40 ad oggi", L'Espresso n.44, 7 November 1982
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have long been celebrated aspects of mail art, at first using cassette tape, then on CD and as sound files sent via the Internet.
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275:(active since the 2000s) meets Brazilian mail artist Paulo Bruscky (active since the 1970s) in Berlin, Germany in November 2015
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has spawned a vibrant sub-network of artists dedicated to creating and exchanging their own stamps and stamp sheets. Artist
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primary way of sharing their work, rather than being dependent on the ability to locate and secure exhibition space.
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Although much of Johnson's work was initially given away, this hasn't prevented it from attaining a market value.
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Mail art stamp and envelope with official Colt Anniversary postmark – Chuck Welch, a.k.a. Cracker Jack Kid, 1984
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from Fluxus, mail artists are often active simultaneously in several different fields of expression. Music and
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and in copies that he circulated to his network. However, he continued to practice mail art even after this.
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1052:"A look at three Canadian artists known as the Image Bank: Michael Morris, Vincent Trasov and Gary Lee-Nova"
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In spite of the many links and similarities between historical avant-garde, alternative art practices (
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small, mostly male, coterie of artists, the discussions were transcribed and published by panelist
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In 1970, Johnson and Marcia Tucker organized The New York Correspondence School Exhibition at the
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The Magazine Network: The Trends of Alternative Art in the Light of Their Periodicals 1968–1988
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399:"The End" Issue Sheet by Post 1211 (2024) that was featured in issue 40 of the Artistamp Review
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and plagiarism have challenged notions of originality, as have the shared pseudonymous names
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dissemination of mail art calls (invitations) and precipitated the involvement of newcomers.
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of the conceptual art group Les Petits Bonbons created a set of stamps and sent them to
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by mail artists due to their availability, convenience, and ability to produce copies.
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in New York, which was the first significant public exhibition of the mail art genre.
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2071:"You've Got Mail Art: Discovering John Held Jr.'s Role as Librarian and Mail Artist"
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Ulises CarriĂłn, "El Arte Correo y el Gran Monstruo", Tumbona ediciones, Mexico, 2013
1023:"An Authentik and Historikal Discourse On the Phenomenon of David Zack, Mail Artist"
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Mail art can be seen as anticipating the cyber communities founded on the Internet.
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Correspondence Art: Sourcebook for the Network of International Postal Art Activity
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Friedman, Ken (1984). Wilson, Martha (ed.). "Mail art history: the Fluxus factor".
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Heisler, Faith (1984). "International MailArt—Part II: The New Cultural Strategy".
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Artistic movement centered on sending small-scale works through the postal service
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Blitzkunst: have you ever done anything illegal in order to survive as an artist?
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The Coffee Table Book of Mail Art: The Intimate Letters of J. P. Jacob, 1981–1987
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The Coffee Table Book of Mail Art: The Intimate Letters of J. P. Jacob, 1981–1987
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movements of the 1960s. It has since developed into a global, ongoing movement.
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Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society
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Mail Art in der DDR. Eine intermediale Subkultur im Kontext der Avantgarde
1524:, Artpool Archive, Museum of Fine Arts Budapest, April 1982 (pp. 1–4)
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Mail art rubber stamps by Jo Klafki (left) and Mark Pawson (right), 1980s
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is quoted as saying he "would pay ten dollars for anything by Johnson."
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743:"About John Held Jr. in the Spark episode "The Fine Art of Collecting""
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attention of the people that dole out tickets in hope of better seats.
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veteran networkers. A sub-group of envelope art has its genesis in the
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included mail art among the activities pursued by the Fluxus artist
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who then used them as the inspiration for the cover of the single "
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which became an influential contribution in the field of mail art.
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L'arte del secolo – Movimenti, teorie, scuole e tendenze 1900–2000
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you have received such a documentation with a list of addresses,
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are popular, affording some mail art the stylistic qualities of
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Carved eraser print by Paul Jackson, a.k.a. Art Nahpro, c. 1990
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Networking Currents: Contemporary Mail Art Subjects and Issues
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mail art zine, edited by Gianni Simone, a.k.a. Johnnyboy, 2007
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Loredana Parmesani, text under the entry "Poesia visiva", in
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Media and artistic practices in the creation of mail artworks
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Arte Postale: Guida al network della corrispondenza creativa
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In 1984 curator Ronny Cohen organized an exhibition for the
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The Name of the Game. The Postal Performance of Ray Johnson
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Good Mail Day: A Primer for Making Eye-Popping Postal Art
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International Mail Art—Part II: The New Cultural Strategy
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Lloyd, Ginny (1981). "The Mail Art Community in Europe".
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In his 1973 diagram showing the development and scope of
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Ray Johnson's invitation to the first mail art show, 1970
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Topologie und Funktionsweise des Netzwerkes der Mail Art
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On Edge: Performance at the End of the Twentieth Century
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Johnson, Ray; De Salvo, Donna; Gudis, Catherine (1999).
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938:"Ray Johnson mail art to Lucy R. Lippard, 1965 June 29"
912:"Oral history interview with Ray Johnson, 1968 Apr. 17"
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Ray Johnson, New York Correspondance School, and Fluxus
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L'e-mail-art, création d'une nouvelle forme artistique
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Belgian Postal Service, Guy Bleus & Jean Spiroux,
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New Observations, No. 126, the Art is in the Mail(ing)
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The night preceding the second panel on February 24,
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spirit of the Correspondance School and its actions.
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Mail Art-Archive at the Staatliches Museum Schwerin
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1894:Jennie Hinchcliff & Carolee Gilligan Wheeler,
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1654:The International Portfolio of Artists Photography
1518:Postal Modernism: Artists' Stamps and Stamp Images
988:, Aporia Press & Unpopular Books, London 1988
1988:Rubber Soul: Rubber Stamps and Correspondence Art
1974:Artecorreo – artistas invisibles en la red postal
1667:Christoph Cox; Daniel Warner (1 September 2004).
1516:Frank, Peter, E.F. Higgins III, Rudolf Ungváry. "
1434:
1432:
1430:
1428:
1426:
777:"Communities Collaged: Mail Art and The Internet"
1189:"Mail Art From 1984 Franklin Furnace Exhibition"
1080:(1985). "East/West: Mail Art & Censorship".
1386:Re: The E-Mail-Art & Internet-Art Manifesto
1027:Amazing Letters: The Life and Art of David Zack
371:Sheet of artistamps by Piermario Ciani, c. 1995
295:Philosophy and norms of the mail artist network
1911:John P. Jacob, "Mail Art: A Partial Anatomy",
1392:, Vol.III, n° 1, T.A.C.-42.292, Hasselt, 1997.
322:BananaPost '89 artistamps by Anna Banana, 1989
2796:
2106:
1938:, Kretschmer & Grossmann, Frankfurt, 1983
1804:Donna De Salvo & Catherine Gugis (eds.),
1493:. Wesleyan University Press. pp. 105ff.
534:postcards were circulated in the late 1990s.
46:. It developed out of what eventually became
8:
530:service. Mailable fake fur ("Hairmail") and
838:Phillpot, Clive (1995). Chuck Welch (ed.).
3143:
2803:
2789:
2781:
2511:
2344:
2228:
2113:
2099:
2091:
2002:Mail Art: Communication A Distance Concept
1880:Ramzi Turki, (preface by Olivier Lussac),
1797:Michael Crane & Mary Stofflet (eds.),
1602:Roussopoulos, Adam (May 2024). "The End".
1534:Roussopoulos, Adam (May 2024). "The End".
1458:. Wexner Center for the Arts. p. 81.
1001:, New York: Harry N. Abrams, pp. 329–333.
833:
831:
829:
801:
799:
797:
564:Mail art by A. D. Eker (Thuismuseum), 1985
338:Mail art envelope from H. R. Fricker, 1990
240:proposed satirically as a new movement by
50:'s New York Correspondence School and the
1130:"A gleefully rebellious festival of dada"
672:
670:
2077:E. F. Higgins III – Doo Da Postage Works
1444:. Calgary, Alta: Univ. of Calgary Press.
1390:E-PĂŞle-MĂŞle: Electronic Mail-Art Netzine
906:
904:
872:
870:
868:
263:1990s and the impact of the Internet era
1959:, TropiChaCHa Press, Jupiter, 1981–2011
1670:Audio Culture: Readings in Modern Music
1619:
1617:
1350:6, ISSN 0738-4777, February 1984. p. 8.
737:
735:
733:
597:
1346:. "Phantastische Gebete Revisited" in
1258:(1984). "Mailart: A Partial Anatomy".
1244:. Vol. 9, no. 4. p. 18.
607:
605:
603:
601:
2037:Eternal Network: A Mail Art Anthology
1979:Joni K. Miller & Lowry Thompson,
1908:, Riding Beggar Press, New York, 1987
1512:
1510:
1441:Eternal network: A mail art anthology
844:. Canada: University of Calgary Press
841:Eternal Network: A Mail Art Anthology
617:Collection: MOCA's First Thirty Years
7:
1950:The Storefront: A living art project
1943:Inter DADA 84: True DADA Confessions
1868:L'arte del timbro – Rubber Stamp Art
1815:, Vortice Argentina Ediciones., 2005
808:"The New York Correspondence School"
640:
638:
636:
634:
1875:Mail Art: An Annotated Bibliography
2416:List of American independent films
1827:Artistamps – Francobolli d'artista
1746:, Giò Marconi – Skira, Milan 1997
1456:Ray Johnson : correspondences
1191:. Franklin Furnace. Archived from
506:Mail artists routinely mix media;
14:
1417:"Bleus | Exploring mail-art"
2030:Mail Art: Art postal – Art postè
1964:Women in the Artistamp Spotlight
1656:. New York: Riding Beggar Press.
1322:. New York: Riding Beggar Press.
1128:Ross, Janice (August 26, 1984).
713:A Dictionary of the Avant-gardes
2326:Experimental musical instrument
2086:University at Buffalo Libraries
2049:Friedrich Winnes-Lutz Wohlrab,
1924:, Musée de la Poste, Paris 1993
1917:, vol. 3, no. 1, New York, 1984
1884:, Paris, Édition Edilivre, 2015
1775:Postcarts – Cartoline d'artista
1624:Elving, Bell (April 30, 1998).
1782:Networking: The Net as Artwork
537:Having borrowed the notion of
445:Art and Marginal Communication
1:
2770:Social peer-to-peer processes
1348:Panmag International Magazine
3632:Cassette culture 1970s–1990s
2084:digital collection from the
2051:Mail Art Szene DDR 1975–1990
1854:I Am A Networker (Sometimes)
1806:Ray Johnson: Correspondences
806:Plunkett, Edward M. (1977).
749:. KQED. 2004. Archived from
221:in his short-lived mail art
1813:El Arte Correo en Argentina
1791:, Oslo/Kassel/Sittard, 2003
1759:Thomas Bey William Bailey,
1673:. Continuum. pp. 60–.
1571:Journée du Timbre: Mail-Art
1136:. Art: The Tribune Calendar
882:"Correspondance School Art"
682:Oberlin College Art Library
391:Rubberstamps and artistamps
279:In 1994, Dutch mail artist
3650:
3612:Contemporary art movements
3549:Situationist International
1976:, La Plata, Argentina 2010
1863:, Women Artists News, 1984
1763:, Belsona Books Ltd., 2012
1025:. In Istvan Kantor (ed.).
716:. Routledge. p. 388.
379:
228:. In a letter to panelist
107:exchange of art via post.
2514:
2406:American eccentric cinema
2231:
2214:Amateur press association
2025:, Minneapolis-London 2001
1811:Fernando GarcĂa Delgado,
1219:"Franklin Furnace Fracas"
944:. Smithsonian Institution
918:. Smithsonian Institution
710:; H. R. Brittain (2001).
2018:, Out-press, Geneva 1987
1920:Jean-Noël Laszlo (ed.),
1732:(3–4). Franklin Furnace.
1487:C. Carr (9 April 2012).
942:Archives of American Art
916:Archives of American Art
3059:Experimental literature
2396:Cinema of Transgression
1986:Sandra Mizumoto Posey,
1970:Graciela Gutiérrez Marx
997:Hendricks, Jon (1988).
964:"Ray Johnson Biography"
3325:Second Viennese School
2956:Neue Slowenische Kunst
2827:Abstract expressionism
2712:Independent TV station
2641:Independent soft drink
2607:Open-source video game
2121:Independent production
1981:The Rubber Stamp Album
1929:L'Art Postal Futuriste
1626:"Pushing The Envelope"
986:The Assault On Culture
590:
584:
575:
565:
496:
474:Lettering and language
424:
408:
400:
372:
339:
323:
276:
167:
90:
28:
3432:Theatre of the Absurd
3355:Twelve-tone technique
3234:Electroacoustic music
2692:Visionary environment
2391:Independent animation
1952:, San Francisco, 1984
1825:James Warren Felter,
1808:, Paris-New York 1999
1780:Tatiana Bazzichelli,
652:University at Buffalo
650:Digital Collections,
585:
576:
567:
563:
490:
422:
406:
398:
370:
337:
321:
271:American mail-artist
270:
165:
88:
22:
3417:Postdramatic theatre
3402:Experimental theatre
2939:Multidimensional art
2704:Independent circuit
2534:Open-source software
2433:Guerrilla filmmaking
2014:GĂĽnther Ruch (ed.),
1957:Tour '81 Sketch BOOK
1801:, San Francisco 1984
1638:on January 31, 2013.
1604:The Artistamp Review
1536:The Artistamp Review
1159:"Hans-Reudi Fricker"
966:. Ray Johnson Estate
678:"Mail Art @ Oberlin"
460:Printing and copying
102:The American artist
3607:Artistic techniques
2919:Lyrical Abstraction
2672:Amateur photography
2365:Amateur pornography
2313:Musical instruments
2293:Tracker (MOD) music
2035:Chuck Welch (ed.),
2000:Jean-Marc Poinsot,
1818:Franziska Dittert,
1699:Mail-Art: The Forum
1631:The Washington Post
1372:, Tilburg 1994–2001
1337:Fricker, Hans Ruedi
1169:on 3 September 2013
708:Richard Kostelanetz
3597:Visual arts genres
3532:Postmodernist film
3437:Theatre of Cruelty
3320:Rock in Opposition
3261:Free improvisation
2904:Post-Impressionism
2837:Art & Language
2136:Alternative comics
1922:Timbres d'Artistes
1589:Bowie Golden Years
1438:Welch, C. (1995).
1242:Women Artists News
1195:on 2 February 2014
1163:Mail Art @ Oberlin
880:(March 11, 1999).
566:
497:
425:
409:
401:
373:
340:
324:
283:began a series of
277:
177:artist collectives
168:
135:The New York Times
91:
40:correspondence art
29:
3602:Visual arts media
3584:
3583:
3574:Russian symbolism
3559:Socialist realism
3397:Experimental film
3363:
3362:
3069:Hungry generation
3044:Conceptual poetry
2899:Neo-Impressionism
2778:
2777:
2728:Independent media
2620:
2619:
2539:Software cracking
2501:
2500:
2428:Exploitation film
2334:
2333:
2303:Underground music
2251:Open-source label
2236:Independent music
2141:Alternative manga
2028:Renaud Siegmann,
1856:, St. Gallen 1989
1680:978-0-8264-1615-5
1500:978-0-8195-7242-4
1111:Umbrella Magazine
1057:Whitehot Magazine
1007:978-0-8109-0920-5
723:978-0-415-93764-1
3639:
3478:Russian Futurism
3422:Remodernist film
3340:Stochastic music
3295:Musique concrète
3273:Microtonal music
3251:Experimental pop
3244:Industrial music
3239:Electronic music
3144:
2966:Nouveau réalisme
2874:Grosvenor School
2805:
2798:
2791:
2782:
2760:
2707:
2544:Unofficial patch
2512:
2461:
2401:Independent film
2345:
2275:Cassette culture
2229:
2115:
2108:
2101:
2092:
2021:Craig J. Saper,
2007:Kornelia Röder,
1993:GĂ©za Perneczky,
1927:Giovanni Lista,
1851:
1773:Vittore Baroni,
1766:Vittore Baroni,
1747:
1740:
1734:
1733:
1721:
1715:
1714:
1712:
1710:
1701:. Archived from
1695:"The Techniques"
1691:
1685:
1684:
1664:
1658:
1657:
1646:
1640:
1639:
1634:. Archived from
1621:
1612:
1611:
1599:
1593:
1592:
1585:"Scary Monsters"
1583:Griffin, Roger.
1580:
1574:
1568:
1566:
1565:
1556:. Archived from
1550:
1544:
1543:
1531:
1525:
1514:
1505:
1504:
1484:
1478:
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1451:
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951:
949:
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928:
927:
925:
923:
908:
899:
898:
896:
894:
878:Danto, Arthur C.
874:
863:
860:
854:
853:
851:
849:
835:
824:
823:
821:
819:
803:
792:
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787:
769:
763:
762:
760:
758:
739:
728:
727:
704:
698:
697:
695:
693:
684:. Archived from
674:
665:
664:
662:
660:
642:
629:
628:
626:
624:
609:
501:friendship books
257:use the channels
250:
200:Robert C. Morgan
196:Franklin Furnace
34:, also known as
3649:
3648:
3642:
3641:
3640:
3638:
3637:
3636:
3587:
3586:
3585:
3580:
3441:
3427:Structural film
3369:
3359:
3214:Aleatoric music
3202:
3133:
3021:
3015:
2976:Performance art
2815:
2809:
2779:
2774:
2758:
2716:
2705:
2655:
2634:
2616:
2553:
2497:
2478:Low-budget film
2459:
2453:'60s–'70s
2379:
2330:
2321:Circuit bending
2307:
2218:
2204:Self-publishing
2122:
2119:
2067:, 30,000 pieces
2061:
2056:
1983:, New York 1978
1891:, New York 1988
1887:Jon Hendricks,
1877:, Metuchen 1991
1873:John Held Jr.,
1870:, Bertiolo 1999
1866:John Held Jr.,
1845:
1829:, Bertiolo 2000
1770:, Bertiolo 1997
1755:
1753:Further reading
1750:
1741:
1737:
1723:
1722:
1718:
1708:
1706:
1705:on 3 March 2016
1693:
1692:
1688:
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1515:
1508:
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1486:
1485:
1481:
1466:
1453:
1452:
1448:
1437:
1424:
1419:. 26 June 2017.
1415:
1414:
1410:
1401:
1400:
1396:
1380:
1376:
1370:Mail-Interviews
1367:
1363:
1358:
1354:
1339:
1331:
1327:
1312:
1311:
1307:
1297:
1295:
1294:. panmodern.com
1286:
1285:
1281:
1254:
1253:
1249:
1239:
1238:
1234:
1224:
1222:
1221:. panmodern.com
1213:
1212:
1208:
1198:
1196:
1187:
1186:
1182:
1172:
1170:
1157:
1156:
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1139:
1137:
1134:Oakland Tribune
1127:
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1103:
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815:
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795:
785:
783:
775:(Summer 2000).
771:
770:
766:
756:
754:
753:on 6 March 2013
741:
740:
731:
724:
706:
705:
701:
691:
689:
688:on 3 April 2013
676:
675:
668:
658:
656:
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599:
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558:
549:Performance art
485:
476:
462:
453:
393:
384:
378:
297:
285:mail-interviews
265:
244:
173:
171:1970s and 1980s
153:George Maciunas
100:
83:
60:
58:Characteristics
25:György Galántai
17:
12:
11:
5:
3647:
3646:
3643:
3635:
3634:
3629:
3627:Postmodern art
3624:
3619:
3614:
3609:
3604:
3599:
3589:
3588:
3582:
3581:
3579:
3578:
3577:
3576:
3566:
3561:
3556:
3554:Social realism
3551:
3546:
3541:
3539:Late modernism
3536:
3535:
3534:
3524:
3519:
3514:
3512:Neo-minimalism
3509:
3507:Postminimalism
3504:
3499:
3494:
3489:
3488:
3487:
3486:
3485:
3470:
3465:
3460:
3455:
3453:Constructivism
3449:
3447:
3443:
3442:
3440:
3439:
3434:
3429:
3424:
3419:
3414:
3412:Poetic realism
3409:
3407:Modernist film
3404:
3399:
3394:
3389:
3384:
3379:
3373:
3371:
3365:
3364:
3361:
3360:
3358:
3357:
3352:
3347:
3345:Textural music
3342:
3337:
3335:Spectral music
3332:
3327:
3322:
3317:
3312:
3307:
3302:
3300:New Complexity
3297:
3292:
3287:
3286:
3285:
3275:
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3132:
3131:
3126:
3121:
3116:
3111:
3106:
3101:
3096:
3091:
3089:Neoavanguardia
3086:
3084:Language poets
3081:
3076:
3071:
3066:
3061:
3056:
3051:
3046:
3041:
3039:Asemic writing
3036:
3034:Angry Penguins
3031:
3025:
3023:
3017:
3016:
3014:
3013:
3008:
3003:
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2871:
2870:
2869:
2859:
2854:
2849:
2847:Constructivism
2844:
2842:Conceptual art
2839:
2834:
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2817:
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2810:
2808:
2807:
2800:
2793:
2785:
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2773:
2772:
2767:
2762:
2752:
2745:
2738:Do it yourself
2735:
2730:
2724:
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2718:
2717:
2715:
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2701:
2696:
2695:
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2536:
2531:
2526:
2521:
2515:
2509:
2503:
2502:
2499:
2498:
2496:
2495:
2493:Double feature
2490:
2488:No wave cinema
2485:
2483:No-budget film
2480:
2475:
2473:Midnight movie
2470:
2465:
2464:
2463:
2455:
2450:
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2079:
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2060:
2059:External links
2057:
2055:
2054:
2047:
2040:
2039:, Calgary 1995
2033:
2026:
2019:
2016:MA-Congress 86
2012:
2005:
1998:
1997:, Cologne 1993
1991:
1990:, Jackson 1996
1984:
1977:
1967:
1966:, Jupiter 2012
1960:
1953:
1946:
1945:, Jupiter 2014
1939:
1932:
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1859:Faith Heisler
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2053:, Berlin 1994
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2046:, Boston 1986
2045:
2042:Chuck Welch,
2041:
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2024:
2023:Networked Art
2020:
2017:
2013:
2011:, Bremen 2008
2010:
2006:
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1962:Ginny Lloyd,
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1934:Ginny Lloyd,
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1902:John P. Jacob
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1898:, Quarry 2009
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1831:
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1821:
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1560:on 2015-05-26
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361:Grateful Dead
357:
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348:Monty Cantsin
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301:visual poetry
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242:H. R. Fricker
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219:John P. Jacob
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211:John P. Jacob
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33:
26:
21:
3392:Epic theatre
3229:Atonal music
3064:Flarf poetry
3054:Ego-Futurism
2923:
2852:Proto-Cubism
2755:
2747:
2733:Indie design
2687:Outsider art
2676:
2651:Microbrewery
2594:
2384:Professional
2360:Amateur film
2280:
2268:Pirate radio
2241:Record label
2179:
2050:
2043:
2036:
2032:, Paris 2002
2029:
2022:
2015:
2008:
2004:, Paris 1971
2001:
1994:
1987:
1980:
1973:
1963:
1956:
1949:
1942:
1935:
1931:, Paris 1979
1928:
1921:
1912:
1905:
1895:
1889:Fluxus Codex
1888:
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1874:
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1853:
1839:, Paris 1974
1836:
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1798:
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1767:
1760:
1743:
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1729:
1725:
1719:
1707:. Retrieved
1703:the original
1698:
1689:
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1662:
1653:
1644:
1636:the original
1629:
1607:
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1570:
1562:. Retrieved
1558:the original
1548:
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1308:
1296:. Retrieved
1282:
1265:
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1250:
1241:
1235:
1223:. Retrieved
1209:
1197:. Retrieved
1193:the original
1183:
1171:. Retrieved
1167:the original
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1138:. Retrieved
1133:
1123:
1114:
1110:
1104:
1087:
1081:
1072:
1061:. Retrieved
1055:
1042:
1030:. Retrieved
1026:
1013:
999:Fluxus Codex
998:
993:
985:
980:
968:. Retrieved
958:
946:. Retrieved
941:
932:
920:. Retrieved
915:
891:. Retrieved
885:
858:
846:. Retrieved
840:
816:. Retrieved
811:
784:. Retrieved
780:
767:
755:. Retrieved
751:the original
746:
712:
702:
690:. Retrieved
686:the original
657:. Retrieved
649:
621:. Retrieved
616:
586:
577:
572:Ken Friedman
568:
547:
536:
521:
512:photomontage
505:
498:
492:
477:
463:
454:
444:
426:
410:
385:
341:
329:
325:
313:
298:
289:
281:Ruud Janssen
278:
256:
253:
238:
215:
204:
193:
189:
184:General Idea
174:
146:
139:
134:
132:
125:
121:
113:
109:
101:
92:
76:
72:
61:
39:
35:
31:
30:
23:Mail art by
3617:DIY culture
3544:Primitivism
3370:and theatre
3310:Noise music
3283:Drone music
3114:Slam poetry
3001:Suprematism
2986:Process art
2914:Incoherents
2909:Color Field
2884:Divisionism
2832:Art Nouveau
2812:Avant-garde
2765:Maker Faire
2706:(wrestling)
2646:Homebrewing
2572:development
2567:Indie games
2559:Video games
2549:Warez scene
2458:'80s–
2355:Home movies
2288:Lo-fi music
2209:Small press
2187:conventions
1846: [
1777:, Rome 2005
1650:Jacob, John
1340: [
1333:Bloch, Mark
1314:Jacob, John
1288:Mark, Bloch
1256:Jacob, John
1215:Mark, Bloch
1078:Jacob, John
1048:Bloch, Mark
1019:Bloch, Mark
812:Art Journal
773:Bloch, Mark
581:Chuck Welch
483:Other media
437:David Bowie
433:Jerry Dreva
352:Karen Eliot
245: [
234:Ray Johnson
142:Andy Warhol
104:Ray Johnson
48:Ray Johnson
3591:Categories
3564:Surrealism
3502:Minimalism
3377:Cinéma pur
3022:and poetry
3020:Literature
2929:Minimalism
2820:Visual art
2759:(magazine)
2577:developers
2443:Golden Age
2421:Mumblecore
1787:Ina Blom,
1709:23 October
1564:2015-05-26
1465:2080136631
1298:25 January
1225:25 January
1199:25 January
1063:2022-02-01
893:25 January
887:The Nation
786:15 January
646:"Mail Art"
613:"Mail Art"
593:References
556:Quotations
539:intermedia
380:See also:
356:artistamps
230:Mark Bloch
180:Image Bank
64:artistamps
36:postal art
3569:Symbolism
3497:Modernism
3330:Serialism
3315:Post-rock
3256:Free jazz
3164:Free funk
3119:UltraĂsmo
3074:Imaginism
3049:Cyberpunk
3011:Vorticism
2814:movements
2742:DIY ethic
2699:Indie RPG
2682:NaĂŻve art
2667:Indie art
2524:Demoscene
2411:Indiewood
2375:Machinima
2181:Doujinshi
2168:Minicomic
1382:Guy Bleus
1274:0743-6025
1096:0743-6025
654:Libraries
543:sound art
532:Astroturf
491:Cover of
451:Envelopes
429:artistamp
3517:Neo-Dada
3492:Lettrism
3473:Futurism
3387:Drop Art
3382:Dogme 95
3350:Totalism
3268:Futurism
3219:Ars nova
3147:By style
3094:Neoteric
2996:Rayonism
2949:De Stijl
2924:Mail art
2879:Devětsil
2677:Mail art
2612:ROM hack
2589:Fan game
2584:Homebrew
2507:Software
2370:Fan film
2246:Netlabel
2192:printers
2156:business
2151:Webcomic
2082:Mail art
1914:PostHype
1652:(1984).
1474:43915838
1316:(1987).
1261:PostHype
1173:11 April
1140:11 April
1083:PostHype
1032:11 April
970:11 April
948:11 April
922:11 April
848:11 April
818:11 April
814:(Spring)
757:11 April
692:11 April
659:11 April
623:11 April
527:ephemera
456:inside.
305:copy art
226:PostHype
68:unjuried
32:Mail art
3446:General
3305:No wave
3079:Imagism
3029:Acmeism
2981:Pop art
2971:Orphism
2889:Fauvism
2867:Bauhaus
2721:General
2468:Z movie
2460:present
2438:B movie
2348:Amateur
2298:Podsafe
2263:Station
2163:Webtoon
2146:Fanzine
2128:Reading
1573:, 2003.
1384:(Ed.),
516:pop art
508:collage
81:History
3622:Fluxus
3522:Neoism
3468:Fluxus
3368:Cinema
3207:Others
3109:Oulipo
3104:Oberiu
2991:Purism
2857:Cubism
2749:Doujin
2631:Drinks
2595:Doujin
2281:Doujin
2173:Co-ops
1677:
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1472:
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1388:, in:
1272:
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493:Kairan
344:neoism
149:Fluxus
52:Fluxus
27:, 1981
3196:Metal
3139:Music
2660:Other
2340:Video
2283:music
2258:Radio
2224:Audio
2197:shops
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467:zines
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3191:Punk
3186:Prog
3181:Rock
3169:Yass
3159:Jazz
3154:Funk
3129:Zaum
2756:Make
2628:Food
2597:soft
2448:'50s
1726:FLUE
1711:2013
1675:ISBN
1495:ISBN
1470:OCLC
1460:ISBN
1335:and
1300:2014
1270:ISSN
1227:2014
1201:2014
1175:2013
1142:2013
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1092:ISSN
1034:2013
1003:ISBN
972:2013
950:2013
924:2013
895:2023
850:2013
820:2013
788:2022
759:2013
718:ISBN
694:2013
661:2013
625:2013
525:and
510:and
413:Dada
350:and
223:zine
182:and
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3176:Pop
2602:Mod
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