322:) 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."
170:. 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.
458:, 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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224:, 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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270:! 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".
454:" 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
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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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286:(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.
1063:"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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410:"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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2082:"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
1034:"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
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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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754:"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).
1414:"Guy Bleus: Mail Art Initiation – Mail Art Chro no logy"
949:"Ray Johnson mail art to Lucy R. Lippard, 1965 June 29"
923:"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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1176:. Oberlin College & Conservatory. Archived from
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Mail Art-Archive at the Staatliches Museum Schwerin
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630:. MOCA: The Museum of Contemporary Art, Los Angeles
1905:Jennie Hinchcliff & Carolee Gilligan Wheeler,
1848:Art et Communication Marginale: Tampons d'Artistes
1665:The International Portfolio of Artists Photography
1529:Postal Modernism: Artists' Stamps and Stamp Images
999:, Aporia Press & Unpopular Books, London 1988
1999:Rubber Soul: Rubber Stamps and Correspondence Art
1985:Artecorreo – artistas invisibles en la red postal
1678:Christoph Cox; Daniel Warner (1 September 2004).
1527:Frank, Peter, E.F. Higgins III, Rudolf Ungváry. "
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788:"Communities Collaged: Mail Art and The Internet"
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1200:"Mail Art From 1984 Franklin Furnace Exhibition"
1159:
1091:(1985). "East/West: Mail Art & Censorship".
941:
1397:Re: The E-Mail-Art & Internet-Art Manifesto
1038:Amazing Letters: The Life and Art of David Zack
382:Sheet of artistamps by Piermario Ciani, c. 1995
306:Philosophy and norms of the mail artist network
1922:John P. Jacob, "Mail Art: A Partial Anatomy",
1434:
1403:, Vol.III, n° 1, T.A.C.-42.292, Hasselt, 1997.
401:
333:BananaPost '89 artistamps by Anna Banana, 1989
2807:
2117:
1949:, Kretschmer & Grossmann, Frankfurt, 1983
1815:Donna De Salvo & Catherine Gugis (eds.),
1671:
1504:. Wesleyan University Press. pp. 105ff.
545:postcards were circulated in the late 1990s.
57:. It developed out of what eventually became
1728:
1698:
1634:
1612:
1544:
967:
541:service. Mailable fake fur ("Hairmail") and
849:Phillpot, Clive (1995). Chuck Welch (ed.).
2814:
2800:
2131:
2124:
2110:
2013:Mail Art: Communication A Distance Concept
1891:Ramzi Turki, (preface by Olivier Lussac),
1808:Michael Crane & Mary Stofflet (eds.),
1613:Roussopoulos, Adam (May 2024). "The End".
1545:Roussopoulos, Adam (May 2024). "The End".
1469:. Wexner Center for the Arts. p. 81.
1012:, New York: Harry N. Abrams, pp. 329–333.
844:
842:
840:
812:
810:
808:
575:Mail art by A. D. Eker (Thuismuseum), 1985
349:Mail art envelope from H. R. Fricker, 1990
251:proposed satirically as a new movement by
61:'s New York Correspondence School and the
2821:
1141:"A gleefully rebellious festival of dada"
683:
681:
484:
2088:E. F. Higgins III – Doo Da Postage Works
1734:
1491:
1455:. Calgary, Alta: Univ. of Calgary Press.
1401:E-PĂŞle-MĂŞle: Electronic Mail-Art Netzine
917:
915:
883:
881:
879:
848:
816:
776:
570:
497:
429:
413:
405:
377:
344:
328:
277:
274:1990s and the impact of the Internet era
172:
95:
29:
1970:, TropiChaCHa Press, Jupiter, 1981–2011
1681:Audio Culture: Readings in Modern Music
1630:
1628:
1497:
1361:6, ISSN 0738-4777, February 1984. p. 8.
1250:
837:
805:
748:
746:
744:
470:
14:
3600:
1357:. "Phantastische Gebete Revisited" in
1269:(1984). "Mailart: A Partial Anatomy".
1255:. Vol. 9, no. 4. p. 18.
678:
618:
616:
614:
612:
2795:
2105:
2048:Eternal Network: A Mail Art Anthology
1990:Joni K. Miller & Lowry Thompson,
1919:, Riding Beggar Press, New York, 1987
1659:
1523:
1521:
1452:Eternal network: A mail art anthology
1323:
1265:
1119:
1087:
1022:
912:
887:
876:
855:. Canada: University of Calgary Press
852:Eternal Network: A Mail Art Anthology
782:
628:Collection: MOCA's First Thirty Years
1961:The Storefront: A living art project
1954:Inter DADA 84: True DADA Confessions
1879:L'arte del timbro – Rubber Stamp Art
1826:, Vortice Argentina Ediciones., 2005
1625:
1138:
1132:
819:"The New York Correspondence School"
741:
651:
649:
647:
645:
1886:Mail Art: An Annotated Bibliography
1593:
609:
24:
2427:List of American independent films
1838:Artistamps – Francobolli d'artista
1763:
1757:, Giò Marconi – Skira, Milan 1997
1518:
1467:Ray Johnson : correspondences
1202:. Franklin Furnace. Archived from
517:Mail artists routinely mix media;
181:
68:
25:
3654:
2069:
1428:"Bleus | Exploring mail-art"
1057:
1028:
642:
2041:Mail Art: Art postal – Art postè
1975:Women in the Artistamp Spotlight
1667:. New York: Riding Beggar Press.
1333:. New York: Riding Beggar Press.
1297:
1224:
1139:Ross, Janice (August 26, 1984).
724:A Dictionary of the Avant-gardes
2337:Experimental musical instrument
2097:University at Buffalo Libraries
2060:Friedrich Winnes-Lutz Wohlrab,
1935:, Musée de la Poste, Paris 1993
1928:, vol. 3, no. 1, New York, 1984
1895:, Paris, Édition Edilivre, 2015
1786:Postcarts – Cartoline d'artista
1747:
1653:
1635:Elving, Bell (April 30, 1998).
1606:
1587:
1557:
1538:
1458:
1420:
1406:
1386:
1373:
1364:
1337:
1317:
1291:
1259:
1244:
1218:
1192:
1113:
1081:
1051:
1002:
989:
1793:Networking: The Net as Artwork
867:
711:
548:Having borrowed the notion of
493:
456:Art and Marginal Communication
13:
1:
2781:Social peer-to-peer processes
1359:Panmag International Magazine
603:
566:
3643:Cassette culture 1970s–1990s
2095:digital collection from the
2062:Mail Art Szene DDR 1975–1990
1865:I Am A Networker (Sometimes)
1817:Ray Johnson: Correspondences
817:Plunkett, Edward M. (1977).
760:. KQED. 2004. Archived from
461:
232:in his short-lived mail art
7:
1824:El Arte Correo en Argentina
1802:, Oslo/Kassel/Sittard, 2003
1770:Thomas Bey William Bailey,
1684:. Continuum. pp. 60–.
1582:Journée du Timbre: Mail-Art
1147:. Art: The Tribune Calendar
893:"Correspondance School Art"
693:Oberlin College Art Library
402:Rubberstamps and artistamps
290:In 1994, Dutch mail artist
10:
3659:
3623:Contemporary art movements
3560:Situationist International
1987:, La Plata, Argentina 2010
1874:, Women Artists News, 1984
1774:, Belsona Books Ltd., 2012
1036:. In Istvan Kantor (ed.).
727:. Routledge. p. 388.
390:
239:. In a letter to panelist
118:exchange of art via post.
91:
3456:
3378:
3217:
3157:
3148:
3030:
2830:
2731:
2670:
2635:
2568:
2525:
2516:
2417:American eccentric cinema
2394:
2358:
2349:
2322:
2242:
2233:
2225:Amateur press association
2137:
2036:, Minneapolis-London 2001
1822:Fernando GarcĂa Delgado,
1230:"Franklin Furnace Fracas"
955:. Smithsonian Institution
929:. Smithsonian Institution
721:; H. R. Brittain (2001).
2029:, Out-press, Geneva 1987
1931:Jean-Noël Laszlo (ed.),
1743:(3–4). Franklin Furnace.
1498:C. Carr (9 April 2012).
953:Archives of American Art
927:Archives of American Art
3070:Experimental literature
2407:Cinema of Transgression
1997:Sandra Mizumoto Posey,
1981:Graciela Gutiérrez Marx
1008:Hendricks, Jon (1988).
975:"Ray Johnson Biography"
3336:Second Viennese School
2967:Neue Slowenische Kunst
2838:Abstract expressionism
2723:Independent TV station
2652:Independent soft drink
2618:Open-source video game
2132:Independent production
1992:The Rubber Stamp Album
1940:L'Art Postal Futuriste
1637:"Pushing The Envelope"
997:The Assault On Culture
601:
595:
586:
576:
507:
485:Lettering and language
435:
419:
411:
383:
350:
334:
287:
178:
101:
39:
3443:Theatre of the Absurd
3366:Twelve-tone technique
3245:Electroacoustic music
2703:Visionary environment
2402:Independent animation
1963:, San Francisco, 1984
1836:James Warren Felter,
1819:, Paris-New York 1999
1791:Tatiana Bazzichelli,
663:University at Buffalo
661:Digital Collections,
596:
587:
578:
574:
501:
433:
417:
409:
381:
348:
332:
282:American mail-artist
281:
176:
99:
33:
3428:Postdramatic theatre
3413:Experimental theatre
2950:Multidimensional art
2715:Independent circuit
2545:Open-source software
2444:Guerrilla filmmaking
2025:GĂĽnther Ruch (ed.),
1968:Tour '81 Sketch BOOK
1812:, San Francisco 1984
1649:on January 31, 2013.
1615:The Artistamp Review
1547:The Artistamp Review
1170:"Hans-Reudi Fricker"
977:. Ray Johnson Estate
689:"Mail Art @ Oberlin"
471:Printing and copying
113:The American artist
3618:Artistic techniques
2930:Lyrical Abstraction
2683:Amateur photography
2376:Amateur pornography
2324:Musical instruments
2304:Tracker (MOD) music
2046:Chuck Welch (ed.),
2011:Jean-Marc Poinsot,
1829:Franziska Dittert,
1710:Mail-Art: The Forum
1642:The Washington Post
1383:, Tilburg 1994–2001
1348:Fricker, Hans Ruedi
1180:on 3 September 2013
719:Richard Kostelanetz
3608:Visual arts genres
3543:Postmodernist film
3448:Theatre of Cruelty
3331:Rock in Opposition
3272:Free improvisation
2915:Post-Impressionism
2848:Art & Language
2147:Alternative comics
1933:Timbres d'Artistes
1600:Bowie Golden Years
1449:Welch, C. (1995).
1253:Women Artists News
1206:on 2 February 2014
1174:Mail Art @ Oberlin
891:(March 11, 1999).
577:
508:
436:
420:
412:
384:
351:
335:
294:began a series of
288:
188:artist collectives
179:
146:The New York Times
102:
51:correspondence art
40:
3613:Visual arts media
3595:
3594:
3585:Russian symbolism
3570:Socialist realism
3408:Experimental film
3374:
3373:
3080:Hungry generation
3055:Conceptual poetry
2910:Neo-Impressionism
2789:
2788:
2739:Independent media
2631:
2630:
2550:Software cracking
2512:
2511:
2439:Exploitation film
2345:
2344:
2314:Underground music
2262:Open-source label
2247:Independent music
2152:Alternative manga
2039:Renaud Siegmann,
1867:, St. Gallen 1989
1691:978-0-8264-1615-5
1511:978-0-8195-7242-4
1122:Umbrella Magazine
1068:Whitehot Magazine
1018:978-0-8109-0920-5
734:978-0-415-93764-1
16:(Redirected from
3650:
3489:Russian Futurism
3433:Remodernist film
3351:Stochastic music
3306:Musique concrète
3284:Microtonal music
3262:Experimental pop
3255:Industrial music
3250:Electronic music
3155:
3154:
2977:Nouveau réalisme
2885:Grosvenor School
2816:
2809:
2802:
2793:
2792:
2771:
2718:
2555:Unofficial patch
2523:
2522:
2472:
2412:Independent film
2356:
2355:
2286:Cassette culture
2240:
2239:
2126:
2119:
2112:
2103:
2102:
2032:Craig J. Saper,
2018:Kornelia Röder,
2004:GĂ©za Perneczky,
1938:Giovanni Lista,
1862:
1784:Vittore Baroni,
1777:Vittore Baroni,
1758:
1751:
1745:
1744:
1732:
1726:
1725:
1723:
1721:
1712:. Archived from
1706:"The Techniques"
1702:
1696:
1695:
1675:
1669:
1668:
1657:
1651:
1650:
1645:. Archived from
1632:
1623:
1622:
1610:
1604:
1603:
1596:"Scary Monsters"
1594:Griffin, Roger.
1591:
1585:
1579:
1577:
1576:
1567:. Archived from
1561:
1555:
1554:
1542:
1536:
1525:
1516:
1515:
1495:
1489:
1488:
1462:
1456:
1447:
1432:
1431:
1424:
1418:
1417:
1410:
1404:
1390:
1384:
1377:
1371:
1368:
1362:
1356:
1341:
1335:
1334:
1321:
1315:
1314:
1312:
1310:
1295:
1289:
1288:
1263:
1257:
1256:
1248:
1242:
1241:
1239:
1237:
1222:
1216:
1215:
1213:
1211:
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1190:
1189:
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1152:
1136:
1130:
1129:
1117:
1111:
1110:
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1079:
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1075:
1055:
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1048:
1046:
1044:
1026:
1020:
1006:
1000:
993:
987:
986:
984:
982:
971:
965:
964:
962:
960:
945:
939:
938:
936:
934:
919:
910:
909:
907:
905:
889:Danto, Arthur C.
885:
874:
871:
865:
864:
862:
860:
846:
835:
834:
832:
830:
814:
803:
802:
800:
798:
780:
774:
773:
771:
769:
750:
739:
738:
715:
709:
708:
706:
704:
695:. Archived from
685:
676:
675:
673:
671:
653:
640:
639:
637:
635:
620:
512:friendship books
268:use the channels
261:
211:Robert C. Morgan
207:Franklin Furnace
45:, also known as
21:
3658:
3657:
3653:
3652:
3651:
3649:
3648:
3647:
3598:
3597:
3596:
3591:
3452:
3438:Structural film
3380:
3370:
3225:Aleatoric music
3213:
3144:
3032:
3026:
2987:Performance art
2826:
2820:
2790:
2785:
2769:
2727:
2716:
2666:
2645:
2627:
2564:
2508:
2489:Low-budget film
2470:
2464:'60s–'70s
2390:
2341:
2332:Circuit bending
2318:
2229:
2215:Self-publishing
2133:
2130:
2078:, 30,000 pieces
2072:
2067:
1994:, New York 1978
1902:, New York 1988
1898:Jon Hendricks,
1888:, Metuchen 1991
1884:John Held Jr.,
1881:, Bertiolo 1999
1877:John Held Jr.,
1856:
1840:, Bertiolo 2000
1781:, Bertiolo 1997
1766:
1764:Further reading
1761:
1752:
1748:
1733:
1729:
1719:
1717:
1716:on 3 March 2016
1704:
1703:
1699:
1692:
1676:
1672:
1658:
1654:
1633:
1626:
1611:
1607:
1592:
1588:
1574:
1572:
1563:
1562:
1558:
1543:
1539:
1526:
1519:
1512:
1496:
1492:
1477:
1463:
1459:
1448:
1435:
1430:. 26 June 2017.
1426:
1425:
1421:
1412:
1411:
1407:
1391:
1387:
1381:Mail-Interviews
1378:
1374:
1369:
1365:
1350:
1342:
1338:
1322:
1318:
1308:
1306:
1305:. panmodern.com
1296:
1292:
1264:
1260:
1249:
1245:
1235:
1233:
1232:. panmodern.com
1223:
1219:
1209:
1207:
1198:
1197:
1193:
1183:
1181:
1168:
1167:
1160:
1150:
1148:
1145:Oakland Tribune
1137:
1133:
1118:
1114:
1086:
1082:
1073:
1071:
1056:
1052:
1042:
1040:
1027:
1023:
1007:
1003:
994:
990:
980:
978:
973:
972:
968:
958:
956:
947:
946:
942:
932:
930:
921:
920:
913:
903:
901:
886:
877:
872:
868:
858:
856:
847:
838:
828:
826:
815:
806:
796:
794:
786:(Summer 2000).
781:
777:
767:
765:
764:on 6 March 2013
752:
751:
742:
735:
716:
712:
702:
700:
699:on 3 April 2013
687:
686:
679:
669:
667:
655:
654:
643:
633:
631:
622:
621:
610:
606:
569:
560:Performance art
496:
487:
473:
464:
404:
395:
389:
308:
296:mail-interviews
276:
255:
184:
182:1970s and 1980s
164:George Maciunas
111:
94:
71:
69:Characteristics
36:György Galántai
28:
23:
22:
15:
12:
11:
5:
3656:
3646:
3645:
3640:
3638:Postmodern art
3635:
3630:
3625:
3620:
3615:
3610:
3593:
3592:
3590:
3589:
3588:
3587:
3577:
3572:
3567:
3565:Social realism
3562:
3557:
3552:
3550:Late modernism
3547:
3546:
3545:
3535:
3530:
3525:
3523:Neo-minimalism
3520:
3518:Postminimalism
3515:
3510:
3505:
3500:
3499:
3498:
3497:
3496:
3481:
3476:
3471:
3466:
3464:Constructivism
3460:
3458:
3454:
3453:
3451:
3450:
3445:
3440:
3435:
3430:
3425:
3423:Poetic realism
3420:
3418:Modernist film
3415:
3410:
3405:
3400:
3395:
3390:
3384:
3382:
3376:
3375:
3372:
3371:
3369:
3368:
3363:
3358:
3356:Textural music
3353:
3348:
3346:Spectral music
3343:
3338:
3333:
3328:
3323:
3318:
3313:
3311:New Complexity
3308:
3303:
3298:
3297:
3296:
3286:
3281:
3276:
3275:
3274:
3264:
3259:
3258:
3257:
3247:
3242:
3237:
3232:
3227:
3221:
3219:
3215:
3214:
3212:
3211:
3210:
3209:
3204:
3199:
3189:
3184:
3183:
3182:
3177:
3167:
3161:
3159:
3152:
3146:
3145:
3143:
3142:
3137:
3132:
3127:
3122:
3117:
3112:
3107:
3102:
3100:Neoavanguardia
3097:
3095:Language poets
3092:
3087:
3082:
3077:
3072:
3067:
3062:
3057:
3052:
3050:Asemic writing
3047:
3045:Angry Penguins
3042:
3036:
3034:
3028:
3027:
3025:
3024:
3019:
3014:
3009:
3004:
2999:
2994:
2989:
2984:
2979:
2974:
2969:
2964:
2963:
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2952:
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2932:
2927:
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2912:
2907:
2902:
2897:
2892:
2887:
2882:
2881:
2880:
2870:
2865:
2860:
2858:Constructivism
2855:
2853:Conceptual art
2850:
2845:
2840:
2834:
2832:
2828:
2827:
2819:
2818:
2811:
2804:
2796:
2787:
2786:
2784:
2783:
2778:
2773:
2763:
2756:
2749:Do it yourself
2746:
2741:
2735:
2733:
2729:
2728:
2726:
2725:
2720:
2712:
2707:
2706:
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2700:
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2566:
2565:
2563:
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2557:
2552:
2547:
2542:
2537:
2532:
2526:
2520:
2514:
2513:
2510:
2509:
2507:
2506:
2504:Double feature
2501:
2499:No wave cinema
2496:
2494:No-budget film
2491:
2486:
2484:Midnight movie
2481:
2476:
2475:
2474:
2466:
2461:
2456:
2446:
2441:
2436:
2435:
2434:
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2070:External links
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2053:Chuck Welch,
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2034:Networked Art
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2014:
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1571:on 2015-05-26
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3403:Epic theatre
3240:Atonal music
3075:Flarf poetry
3065:Ego-Futurism
2934:
2863:Proto-Cubism
2766:
2758:
2744:Indie design
2698:Outsider art
2687:
2662:Microbrewery
2605:
2395:Professional
2371:Amateur film
2291:
2279:Pirate radio
2252:Record label
2190:
2061:
2054:
2047:
2043:, Paris 2002
2040:
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2026:
2019:
2015:, Paris 1971
2012:
2005:
1998:
1991:
1984:
1974:
1967:
1960:
1953:
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1942:, Paris 1979
1939:
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1923:
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1900:Fluxus Codex
1899:
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1850:, Paris 1974
1847:
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1809:
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1771:
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1730:
1718:. Retrieved
1714:the original
1709:
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1664:
1655:
1647:the original
1640:
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1573:. Retrieved
1569:the original
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1307:. Retrieved
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1234:. Retrieved
1220:
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1204:the original
1194:
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1178:the original
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1149:. Retrieved
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1125:
1121:
1115:
1098:
1092:
1083:
1072:. Retrieved
1066:
1053:
1041:. Retrieved
1037:
1024:
1010:Fluxus Codex
1009:
1004:
996:
991:
979:. Retrieved
969:
957:. Retrieved
952:
943:
931:. Retrieved
926:
902:. Retrieved
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857:. Retrieved
851:
827:. Retrieved
822:
795:. Retrieved
791:
778:
766:. Retrieved
762:the original
757:
723:
713:
701:. Retrieved
697:the original
668:. Retrieved
660:
632:. Retrieved
627:
597:
588:
583:Ken Friedman
579:
558:
547:
532:
523:photomontage
516:
509:
503:
488:
474:
465:
455:
437:
421:
396:
352:
340:
336:
324:
309:
300:
292:Ruud Janssen
289:
267:
264:
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226:
215:
204:
200:
195:General Idea
185:
157:
150:
145:
143:
136:
132:
124:
120:
112:
103:
87:
83:
72:
50:
46:
42:
41:
34:Mail art by
3628:DIY culture
3555:Primitivism
3381:and theatre
3321:Noise music
3294:Drone music
3125:Slam poetry
3012:Suprematism
2997:Process art
2925:Incoherents
2920:Color Field
2895:Divisionism
2843:Art Nouveau
2823:Avant-garde
2776:Maker Faire
2717:(wrestling)
2657:Homebrewing
2583:development
2578:Indie games
2570:Video games
2560:Warez scene
2469:'80s–
2366:Home movies
2299:Lo-fi music
2220:Small press
2198:conventions
1857: [
1788:, Rome 2005
1661:Jacob, John
1351: [
1344:Bloch, Mark
1325:Jacob, John
1299:Mark, Bloch
1267:Jacob, John
1226:Mark, Bloch
1089:Jacob, John
1059:Bloch, Mark
1030:Bloch, Mark
823:Art Journal
784:Bloch, Mark
592:Chuck Welch
494:Other media
448:David Bowie
444:Jerry Dreva
363:Karen Eliot
256: [
245:Ray Johnson
153:Andy Warhol
115:Ray Johnson
59:Ray Johnson
3602:Categories
3575:Surrealism
3513:Minimalism
3388:Cinéma pur
3033:and poetry
3031:Literature
2940:Minimalism
2831:Visual art
2770:(magazine)
2588:developers
2454:Golden Age
2432:Mumblecore
1798:Ina Blom,
1720:23 October
1575:2015-05-26
1476:2080136631
1309:25 January
1236:25 January
1210:25 January
1074:2022-02-01
904:25 January
898:The Nation
797:15 January
657:"Mail Art"
624:"Mail Art"
604:References
567:Quotations
550:intermedia
391:See also:
367:artistamps
241:Mark Bloch
191:Image Bank
75:artistamps
47:postal art
3580:Symbolism
3508:Modernism
3341:Serialism
3326:Post-rock
3267:Free jazz
3175:Free funk
3130:UltraĂsmo
3085:Imaginism
3060:Cyberpunk
3022:Vorticism
2825:movements
2753:DIY ethic
2710:Indie RPG
2693:NaĂŻve art
2678:Indie art
2535:Demoscene
2422:Indiewood
2386:Machinima
2192:Doujinshi
2179:Minicomic
1393:Guy Bleus
1285:0743-6025
1107:0743-6025
665:Libraries
554:sound art
543:Astroturf
502:Cover of
462:Envelopes
440:artistamp
3528:Neo-Dada
3503:Lettrism
3484:Futurism
3398:Drop Art
3393:Dogme 95
3361:Totalism
3279:Futurism
3230:Ars nova
3158:By style
3105:Neoteric
3007:Rayonism
2960:De Stijl
2935:Mail art
2890:Devětsil
2688:Mail art
2623:ROM hack
2600:Fan game
2595:Homebrew
2518:Software
2381:Fan film
2257:Netlabel
2203:printers
2167:business
2162:Webcomic
2093:Mail art
1925:PostHype
1663:(1984).
1485:43915838
1327:(1987).
1272:PostHype
1184:11 April
1151:11 April
1094:PostHype
1043:11 April
981:11 April
959:11 April
933:11 April
859:11 April
829:11 April
825:(Spring)
768:11 April
703:11 April
670:11 April
634:11 April
538:ephemera
467:inside.
316:copy art
237:PostHype
79:unjuried
43:Mail art
18:Mail Art
3457:General
3316:No wave
3090:Imagism
3040:Acmeism
2992:Pop art
2982:Orphism
2900:Fauvism
2878:Bauhaus
2732:General
2479:Z movie
2471:present
2449:B movie
2359:Amateur
2309:Podsafe
2274:Station
2174:Webtoon
2157:Fanzine
2139:Reading
1584:, 2003.
1395:(Ed.),
527:pop art
519:collage
92:History
3633:Fluxus
3533:Neoism
3479:Fluxus
3379:Cinema
3218:Others
3120:Oulipo
3115:Oberiu
3002:Purism
2868:Cubism
2760:Doujin
2642:Drinks
2606:Doujin
2292:Doujin
2184:Co-ops
1688:
1508:
1483:
1473:
1399:, in:
1283:
1105:
1016:
731:
504:Kairan
355:neoism
160:Fluxus
63:Fluxus
38:, 1981
3207:Metal
3150:Music
2671:Other
2351:Video
2294:music
2269:Radio
2235:Audio
2208:shops
1861:]
1621:(40).
1553:(40).
1355:]
1279:(1).
1101:(1).
758:Spark
478:zines
260:]
3469:Dada
3202:Punk
3197:Prog
3192:Rock
3180:Yass
3170:Jazz
3165:Funk
3140:Zaum
2767:Make
2639:Food
2608:soft
2459:'50s
1737:FLUE
1722:2013
1686:ISBN
1506:ISBN
1481:OCLC
1471:ISBN
1346:and
1311:2014
1281:ISSN
1238:2014
1212:2014
1186:2013
1153:2013
1128:(1).
1103:ISSN
1045:2013
1014:ISBN
983:2013
961:2013
935:2013
906:2023
861:2013
831:2013
799:2022
770:2013
729:ISBN
705:2013
672:2013
636:2013
536:and
521:and
424:Dada
361:and
234:zine
193:and
49:and
3187:Pop
2613:Mod
1619:One
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