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This exhibition featured sculptures from found objects, paintings, rubberstamped works and stamp art. -- Source of annotation: Marvin or Ruth Sackner.

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The paintings are brightly colored and have a blurred constructivistic appearance somewhat analogous to artworks of the British artist, Stephen Buckley. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibited in Visualog 2, San Luis Obispo, California. Exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This second volume of the catalogue mainly documents the Congress held in conjunction with the exhibition. It includes a congress summary by Kornelia Roder. There are also essays by Geza Perneczky, Karol Sauerland, Piotr Rypson, Guy Schraenen, Karla Sachse, Joachim Blank, and Balint Szombathy on the political-cultural-artistic implications of Mail Art. The catalogue contains a transcription of a panel discussion on Mail Art. The participants included Ruth Wolf-Rehfeldt, Klaus Groh, Leonard Frank Duch, Joseph H. Huber, Thomas Schulz, Birger Jesch, Hans-Ruedi Fricker, and Uwe Warnke. The catalogue reprints reviews of the exhibition. Four pages of calligraphic concrete poetry, entitled "Mnemonic Scores" by Valeri Scherstjanoi begin this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition, curated by Kornelia Roder, provides an extensive review of Mail Art examples and exhibitions in Eastern Europe. It is well documented with respect to visuals and text. Several practitioners have contributed essays. Among them, Guy Schraenen's "Addressee Unknown" is particularly relevant to the field. He writes, "Although Mail Art was influenced by visual and concrete poetry, a language of pictures internationally understood, it was English that became the language of Mail Art right from the start. This is the reason why you speak of Mail Art rather than of Art Postal, Arte Postale, Arte Correo or Postkunst...Postal items to unknown addressees have created a circle of related minds. Such ties are the grandeur of a worldwide movement of communication. But Mail Art is only a facet of it. Mail Art used to be a fashion, and as a fashion it will again disappear. It has, however enriched the international art scene by numerous works which otherwise would have been...

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This document was reprinted from Magazine Humanitarian Fond, Moscow by Geza Perneczky. -- Source of annotation: Marvin or Ruth Sackner.

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The book and the compact discs serve as a database for Perneczky's works. In a work entitled "Very Alternative Art, 1981," Perneczky stamped the word "shit" in eight different languages on toilet tissues. This kind of activity was later used for the more contemporary assembling magazine "Wipe," that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The material in this exhibition was borrowed from the Artpool Archive. Geza Perneczky contributed an introduction. The Sackner Archive is listed in the reference section of overseas institutions "that deal with the archivation of Mail Art material." The cover of one copy is rubberstamped with the name and address of Geza Perneczky, the other is not. It is filed under its English title, "Stamp Images." -- Source of annotation: Marvin or Ruth Sackner.

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This is a personal history of international artists' magazines from 1968-1988. For the bibliographic section, there is an ikon for each of the following: multimedia publication, fluxus/concept/neodada, concrete & visual poetry/experimental literature, assembling, mail art/network publication, rubber stamp, xerography/copy & electrographic art, graphism/graphzine, radicalism/neoism, theory/review/history, and by/about computer. Toward the end of this boo,k Perneczky provides a complete listing of Commonpress issues. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Taken from the Archive of O!!Zone 2001. These prints were writtem on Fractint /Group L-system 1993-1995. -- Source of annotation: Marvin or Ruth Sackner.